Picture this: you’re in the heart of a lush, vibrant rainforest. The leaves rustle in the breeze, and the vibrant colors of the flora and fauna surround you. That’s exactly the feeling you’ll get when you use Rainforest, our small caps display typeface inspired by the Jurassic Park logo. Rainforest is a nod to the classic typefaces of the early 20th century, like Rudolph Koch’s Neuland and Monotype’s Othello. These fonts captured the spirit of the Art & Crafts movement with their woodcut prints, and they were particularly popular in themes depicting jungles and tropical islands. But Rainforest takes that classic style to the next level with its sleek and modern design. The typeface can be used in a variety of ways: plain, outlined, or as a separate thin-line layer. It’s versatile, stylish, and sophisticated—perfect for any project that needs a touch of class. Whether you’re designing a poster for a tropical vacation or creating an eye-catching logo, Rainforest will make your work stand out from the crowd. Its candid, natural style will transport you straight to the heart of the rainforest—all while maintaining an air of elegance and sophistication. Give Rainforest a try today and see the difference for yourself! 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, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

TT Firs Neue useful links: Specimen | Graphic presentation | Customization options TT Firs Neue is reborn! We have rethought the font to introduce the next-generation typeface. After analyzing each contour and graphic element, we rebuilt the font, preserving its best features while making any necessary adjustments. We have created a flawless and modern sans serif using the new technical capabilities of the studio. TT Firs Neue is a Scandinavian sans serif that combines expressive graphic elements with the versatility of use. In the latest 2023 edition, the font's display elements have become even more attractive, while the overall font balance has also been improved. This is the result of the visual research we did before working on the update. Here is what has changed. The visual elements of the font are now logically coherent. We got rid of the ones that did not suit the font's concept and kept the most attractive ones. The changes affected letters with diagonal strokes "M, N, И", and figures "2, 3, 6, 9". All round characters' shapes have been standardized for all font styles. In the previous version, all glyphs looked different: more square or oval, depending on the font's weight. We made the shapes consistent for the font to feel more integral. Glyphs containing bowls have also changed. We have worked on the balance, altering the height and shape of the bowls. Like rounded ones, we aspired to make the glyphs more balanced for all font styles. The shapes of the letters "J, M, N, S, W, З, И" and Black font style characters have changed. The individuality of these glyphs was slightly different from the whole set, which became apparent in larger sizes. We have improved the shapes and made them more suitable for the font's style. Letters with diagonal strokes and triangular glyphs, such as "A, V, Y, D". We have brought the characters to a consistent logic in their shapes by refining the angles and weight of diagonals in different font styles. The glyphs' terminals follow the same logic in the new version. We have preserved and perfected the old shapes. Ligatures and stylistic sets have been updated entirely and expanded. We have researched Scandinavian languages and designed ligatures and diacritical sets that would definitely be useful for designers. We have redesigned diacritical marks, figures, and punctuation marks. Now all characters follow the same logic and contribute to a well-balanced impression of the font. The character set in each font style has been increased from 934 to 1719, and the number of OpenType features—from 24 to 40. The new font includes 23 font styles: 11 roman, 11 italic, and 1 variable font. The variable font has also become a significant technological advancement for TT Firs Neue. We retained a warm sentiment towards TT Firs Neue's previous success while redesigning the font and implementing substantial alterations. The 2023 font has been developed according to new technical standards that have become significantly higher in the past 5 years. TT Firs Neue is a font well-suited for a wide range of contexts. It can be used for headings, text fragments, visual merchandising and building decoration, and the web. The font is visually aesthetic on podcast and video covers and is an ideal choice for packaging design and brand identity. TT Firs Neue OpenType features: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, tnum, onum, lnum, pnum, case, dlig, liga, c2sc, smcp, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, ss13, ss14, ss15, ss16, ss17, ss18, ss19, ss20, calt. TT Firs Neue language support: English, Albanian, Basque, Catalan, Croatian, Czech, Danish, Dutch, Estonian, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Latvian, Lithuanian, Luxembourgish, Maltese, Moldavian (lat), Montenegrin (lat), Norwegian, Polish, Portuguese, Romanian, Serbian (lat), Slovak, Slovenian, Spanish, Swedish, Swiss German, Valencian, Azerbaijani, Kazakh (lat), Turkish, Uzbek (lat), Acehnese, Banjar, Betawi, Bislama, Boholano, Cebuano, Chamorro, Fijian, Filipino, Hiri Motu, Ilocano, Indonesian, Javanese, Khasi, Malay, Marshallese, Minangkabau, Nauruan, Nias, Palauan, Rohingya, Salar, Samoan, Sasak, Sundanese, Tagalog, Tahitian, Tetum, Tok Pisin, Tongan, Uyghur, Afar, Asu, Aymara, Bemba, Bena, Chichewa, Chiga, Embu, Gikuyu, Gusii, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Kirundi, Kongo, Luba-Kasai, Luganda, Luo, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Mauritian Creole, Meru, Morisyen, Ndebele, Nyankole, Oromo, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sena, Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Swahili, Swazi, Taita, Teso, Tsonga, Tswana, Vunjo, Wolof, Xhosa, Zulu, Ganda, Maori, Alsatian, Aragonese, Arumanian, Asturian, Belarusian (lat), Bosnian (lat), Breton, Bulgarian (lat), Colognian, Cornish, Corsican, Esperanto, Faroese, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Interlingua, Judaeo-Spanish, Karaim (lat), Kashubian, Ladin, Leonese, Manx, Occitan, Rheto-Romance, Romansh, Scots, Silesian, Sorbian, Vastese, Volapük, Võro, Walloon, Walser, Welsh, Karakalpak (lat), Kurdish (lat), Talysh (lat), Tsakhur (Azerbaijan), Turkmen (lat), Zaza, Aleut (lat), Cree, Haitian Creole, Hawaiian, Innu-aimun, Lakota, Karachay-Balkar (lat), Karelian, Livvi-Karelian, Ludic, Tatar, Vepsian, Guarani, Nahuatl, Quechua, Russian, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Macedonian, Serbian (cyr), Ukrainian, Kazakh (cyr), Kirghiz, Tadzhik, Turkmen (cyr), Uzbek (cyr), Lezgian, Abazin, Agul, Archi, Avar, Dargwa, Ingush, Kabardian, Kabardino-Cherkess, Karachay-Balkar (cyr), Khvarshi, Kumyk, Lak, Nogai, Rutul, Tabasaran, Tsakhur, Buryat, Komi-Permyak, Komi-Zyrian, Siberian Tatar, Tofalar, Touva, Bashkir, Chechen (cyr), Chuvash, Erzya, Kryashen Tatar, Mordvin-moksha, Tatar Volgaic, Udmurt, Uighur, Rusyn, Montenegrin (cyr), Romani (cyr), Dungan, Karakalpak (cyr), Shughni, Mongolian, Adyghe, Kalmyk.

Few fonts reach cult status. Despite its ubiquity—and perhaps because of its lack of subtlety—for a hundred years Cooper continues to draw the faithful. It’s even come to define an entire typographic genre and recently starred in its own documentary. Cooper Nouveau is Dave West’s imaginative contribution to the Cooper oeuvre. Drawn in 1966, Nouveau refreshes Oswald Cooper’s original italic with an energetic pitch, simplified contours, and a plump friendly figure. Uniform strokes and generous curves push the font’s playful personality and springy silhouette even further. A selection of swashed characters and ligatures offers options for lively logos and strong captions. While Cooper Nouveau looks laid-back and easy-going, it’s more than capable of pulling it’s own typographic weight. Put it to work where relaxed needs to project confident. Set Nouveau large for eye-magnet posters, packaging, and advertisements. Maximize its youthful energy for kids’ themes, craft action, and apparel bounce. Or set it alongside a master like Benguiat Buffalo or Chalet to show how Cooper Nouveau can communicate on paper and screens with an inherent ability to speak the language of style in many tongues. But like any cult icon: beware! Cooper has a way of setting the needle, and Nouveau just may become your go-to design fix. FEATURES ALTERNATES: Cooper Nouveau contains several alternate characters, which add flair to your designs and can help solve spacing issues LIGATURES: Many letter combinations in Cooper Nouveau form a ligature to solve spacing issues and produce more pleasing designs. COOPER NOUVEAU CREDITS Typeface Design: Dave West Digitization: Dave Foster Typeface Direction: Ben Kiel, with Ken Barber 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.

Soleil, designed by Wolfgang Homola, is a geometric sans serif typeface. Unlike most existing geometric sans serif typefaces, it has asymmetrical counters, making it look fresher, more dynamic and more contemporary. Simple geometric forms – such as the circle or the square – played a certain role in the design of the letterforms, but in order to introduce more fluidity into the rather stiff and rigid concept of geometric sans serif typefaces, a lot of optical corrections were necessary. Soleil is based on the modernist ideas of simplicity, clarity and reduction to essential forms. Yet its letter shapes are not the result of geometric construction, but of a design process that brings together simplicity and fluidity, clarity and rhythm. Soleil has a rather large x-height, making it legible also in small sizes or from a bigger distance. The typeface family consists of six weights. The Opentype version also allows for the implementation of typographic features such as Small Caps, lining and old-style figures, both tabular and proportional, ligatures, alternate characters, case-sensitive variants and fractions. Soleil offers a wide range of potential applications: signage and wayfinding systems, book and magazine design, branding and corporate publications.

Advertising Script is a brush script typeface inspired by a handmade sample drawn by the calligrapher Ross Frederic George and depicted in Speedball 1947 Textbook Manual. Advertising Script has a vintage brush script look, perfect for food packaging, display and logo design and period advertising. The original design has been completely reworked and extended by the Zetafonts Masterclass 2016 Team to provide three lighter weights, a rough and a monoline variant, and to produce an extended character set with open type support for ligatures, alternates, European languages and ending swashes. Advertising Script covers over 40 languages that use the Latin alphabet, with a full range of accents and diacritics. It comes in four weights plus a special monoline weight. Advertising Script makes full use of Open Type ligatures to provide swashes, alternates and a wide array of ligature characters for a more handmade, natural look. Swashes can be accessed through glyph palette or by typing one to six underscores after the letter. Take care: open type features are developed using open type technology, fully compatible with Adobe software and major design softwares and OS, but not supported by every software. Check before buying!

Loaded with personality and functionality, Cresta is built to look good while surviving the worst conditions. It is at home on screen and in a magazine. Its six weights are intended to be used everywhere. Unlike most typefaces, Cresta was built without a reference. For this project, everything design choice was based on what worked best for a workhorse sans serif family. Cresta was originally created as the primary typeface for this website. This meant it needed to work in copy, headlines, and navigation across all devices, browsers and operating systems. This meant it needed to be sturdy and have enough character to make it stand out from other UI typefaces. With its large x-height, ample counters, and giant apertures, Cresta is meant for easy utility in rough conditions. Even with all of this, that doesnít mean that its dull; as the weights increase, the style of Cresta becomes more appearant. This style is defined most apparently by the terminals on the lowercase r and the angle of the joins between the curved and straight strokes (such as in the connection on the n).

Muisca, that in its early edition was named as «Muisca Sans», was developed in mid-1997 and based on the graphic concept of pre-Columbian characteristics figures within some of the very few visual elements recovered from the Muisca culture. This ancient pre-Columbian tribe disappeared since the arrival of the Spanish 500 years ago, in what is now the center of Colombia. In fact, the name of the capital Bogotá goes back to Bacatá as primary or village downtown of what was once the imperial capital of the Muisca tribe. This typographic project was submitted as my work for the degree in Graphic Design, obtained in September of that year (at the Universidad Nacional de Colombia), under the creative concept of vindicating the ancient culture and identity through a functional typeface, into a fact without precedent in the country. Muisca was recently edited, arranged and completed, including multilingual diacritic glyphs to be versatile in several languages. Related and inspired by Latin America, Ethnic, Native, Tribal, Mysthical, Handmade, Aboriginal, Pre-Hispanic, Pre-Columbian, Textured, Fantasy. Ideal to be used in logos, display text & titles, games and other design applications that reminds of the Pre-Hispanic art.

Meaning of Tinkuy. Tinkuy is a Quechua word that means a meeting of opposing forces that complement each other. A meeting of opposites and differences. A meeting point where different thoughts, interests, feelings and aspirations confront and converge, providing the resurgence of new ways of thinking and that are embodied in confrontational actions, in mobilizations that seek change. Tinkuy patterns is born from the analysis of different archaeological pieces of native cultures of the Andes, where the visual signs that are recorded on them are related to the concept of encounter. It is part of the research project Crónicas Visuales del Abya Yala by designer Vanessa A. Zúñiga Tinizaray. — The Tinkuy Patterns. The Tinkuy Patterns system is divided into six files containing a total of more than 2650 modules that can be combined together creating an infinite range of possibilities. The digitization of the typeface family has been carried out by Ale Paul, through the Sudtipos foundry. An infinite number of possible combinations can be accessed by using the letters on the keyboard. Although a certain shape predominates in each set, they can be combined with each other.​​​​​​​

Download PDF Specimen See Blacker and Blacker Sans , the perfect matching companions of Blackest. Blackest is an inverse contrast wedge serif typeface family, designed by Francesco Canovaro and Andrea Tartarelli as a development of the Blacker typeface designed by Cosimo Lorenzo Pancini. The classical skeleton and sharp edges of the original have been kept while bringing the contrast of the typeface in the realm of the so called “italian” or reverse-contrast typefaces. The result is a typeface family that manages to be quirky but classical, and playful without losing elegance. With its exuberance and six weights of eye-catching proportions, Blackest is perfect for display use: editorial & magazine design, poster design and logo development - but to allow its usage as a for typesetting of longer texts a text variant in two weights has been developed, with less contrast, looser spacing, and high readability. Blackest features an extended character set that covers over 220 languages using the Latin alphabet, as well as Russian Cyrillic. Open type features include small caps, positional figures, alternate letter forms, stylistic sets, arrows and extra punctuation and discretionary ligatures.

Hortensia, designed around 1900 by Emil Gursch for his own Berlin foundry, is a typeface most expressive of the post-Victorian aesthetic that was all the rage in both Europe and America during the second half of the 19th century and up until the Great War. It is a reduced aesthetic of sharp points and natural curves that almost want to apologize for their own elegance, but clearly embody the simple excitement about the blossoming of industry and crafts during the period. This deco script trend would get a re-run for about a decade on either side of the second World War — especially in the entertainment and financial industries — before giving way to art nouveau and big brush faces. Hortensia was Gursch's most popular typeface, used extensively and prominently in many beautiful type catalogs, and a commonly seen design element in Germany for quite a while after its release. This digital version brings plenty of fixes and additions to the original metal Hortensia design, including many alternates sprinkled throughout the character set, and support for a wide range of Latin-based languages (including Central European, Baltic, Turkish and Welsh).

The lightest weight of Presley Slab takes inspiration from a late nineteenth-century type specimen, but what began as a decorative and delicate contrasted serif stirred Alejandro Paul’s imagination to conjure voluptuous reverse contrasted letterforms. These became the heaviest weight of Presley Slab, which nods to the lacquered hairstyles from the birth of rock ’n roll with its idiosyncratic ball terminals. Its playful allure and swagger remains visible in the weights that stand between these two extremes but as the curls loosened, many things happened in the design process including the appearance of swashes and alternates. Presley Slab’s personality has breadth; it is a fun, confident and contemporary palette of letters that will perfectly perform for any job, from editorial design to branding. The Extra Bold and Black weights are a powerful option at large sizes for use on posters and billboards; the graceful Thin and Extra Light weights are delicate options for packaging design or fashion branding. Despite it conjuring images of mid-century music halls, Presley Slab is also staunchly European in it’s aesthetic, offering everything from good-humour to elegance with its unique touches.

Quieta is a humanist serif typeface inspired by the aesthetics of Italian Renaissance and by the empowering history of the painter Artemisa Gentileschi, first woman to be admitted to an Academy of Fine Arts in Italy. The designer, Maria Chiara Fantini, has used sharp flat-nib calligraphic strokes to add a vibrant contemporary vibe to the traditional humanist proportions. Classical details (such as the beak of the “e” and the angled stress of the “o”), are balanced by a modern and readable low-contrast design, developed in a range of six weights with a matching set of true italics. A Display weight, with lighter shapes and stronger contrast has been developed excel in logos, headlines and captions. The wide array of alternate, decorative and swash glyphs and the full coverage of over 200 extended latin languages make Quieta a solid, highly readable and elegant typeface perfect for body text both on the screen and on the printed page. Graceful and powerful at the same time, this typeface family is ready to help you when in need of the timeless appeal of a self-conscious feminine elegance.

Montague Script takes its name from a small hilltown of western Massachusetts rich in culture and history. I lived in this beloved community for a number of years and it’s where I first began my study of calligraphy and lettering. While most brush scripts take their cue from mid-twentieth century samples, Montague Script is a fresh, contemporary alternative. It comes directly from lettering written with a #3 sable brush on smooth vellum and is digitized with the same sensibility a lettering artist writes with. Montague reflects a dynamic interplay between form and rhythm not usually associated with type. Words suggest a baseline, yet are not bound by it. Beginnings, endings, alternates and ligatures come in as needed while you type. Many more alternates are available in the glyph palette of most current graphic software. Exuberant swash versions of upper and lowercase letters, as well as ligatures can be accessed through both the type and glyph palettes. Montague Script is a natural for advertising, point of purchase displays, packaging and logo design, cards, invitations, journals and much more. You will be delighted at how well it can dress up a project and how easily it sets.

Introducing “Let’s Jazz” - a playful typeface which is inspired by iconic mid-century American advertising and lettering. With this project we wanted to homage the dazzling graphics of those booming years and the result is a jazzy typeface that provides a condensed aspect with a bouncy rhythm. As previously said, Let’s Jazz gives the spontaneous vibe of this sensational music genre but it has been also designed with a strong focus to the very distinct look of Saul Bass graphics, which are honestly still fresh and convincing, even nowadays. Let’s Jazz offers two versions, Regular and Stamp. Each version contains more than 450 glyphs and covers several languages based on the Latin alphabet; the jazzy experience is enhanced with OpenType (OTF) support for small caps and includes some neat ligatures and alternates plus the oldstyle bouncy numerals*. This package is a powerful tool in a wide variety of design purposes: headlines, packaging, logotypes, badges, posters and much more. *Let’s Jazz has built-in OpenType features enabled for Adobe® Creative Suite® and any other opentype capable software. All the extra characters has been additionally coded with “PUA Unicode”, which basically means that this font duo is totally accessible without any additional design software. All the extra characters can now be copied straight out the FontBook (Mac) or CharacterMap (Win) and pasted into your favorite text editor. Official mini-tutorials available here: - How to access alternates, ligatures and swashes in Font Book®: https://youtu.be/mGKlvKr0ReI - How to use alternates, ligatures and swashes in Photoshop®: https://youtu.be/46ZtDbHwUAc Specifications: - Multi-language Support (Central, Eastern, Western European languages) - OpenType features (Standard and Discretionary Ligatures, Alternates, Small Caps, OldStyle Numerals) - PUA Coded Extra Characters Thanks for viewing, Unio.

Cooper Black's second coming to American design in the mid-sixties, after almost four decades of slumber, can arguably be credited with (or, depending on design ideology, blamed for) the domino effect that triggered the whole art nouveau pop poster jam of the 1960s and 1970s. By the early 1970s, though Cooper Black still held its popular status (and, for better or for worse, still does), countless so-called hippie and funk faces were competing for packaging and paper space. The American evolution of the genre would trip deeper into psychedelia, drawing on a rich history of flared, flourished and rounded design until it all dwindled and came to a halt a few years into the 1980s. But the European (particularly German) response to that whole display type trend remained for the most part cool and reserved, drawing more on traditional art nouveau and art deco sources rather than the bottomless jug of new ideas being poured on the other side of the pond. One of the humorous responses to the "hamburgering" of typography was Friedrich Poppl's Poppl Heavy, done in 1972, when Cooper Black was celebrating its 50th anniversary. It is presented here in a fresh digitization under the name Gator (a tongue-in-cheek reference to Ray Kroc, the father of the fast food chain). To borrow the title of a classic rock album, Gator is meaty, beaty, big and bouncy. It is one of the finest examples of how expressively animated a thick brush can be, and one of the better substitutes to the much overused Cooper Black. Gator comes in all popular font formats, and sports an extended character set covering the majority of Latin-based languages. Many alternates and ligatures are included in the font.

Corporate design and branding across global markets requires a universal typographic identity. The timeless, world-famous classic Neue Helvetica® typeface is now available as World fonts in the six most important styles. With support for a total of 181 languages, Monotype’s Neue Helvetica® World typeface family is suitable to meet the typographic and linguistic demands of large international brands, corporations, publishing houses, and software and hardware developers. Neue Helvetica World’s language support covers the pan-European area (extended Latin alphabet, Cyrillic and Greek) as well as Arabic, Hebrew, Armenian, Georgian, Thai and Vietnamese. The Cyrillic alphabet contains not only the standard options, but also the complete Unicode block u+0400. In addition, a large number of new global currency symbols have been included such as the Russian ruble, Turkish lira, Indian rupee and Azerbaijani manat. Neue Helvetica World is offered as OpenType font with TrueType (.ttf) or PostScript CFF (.otf) outlines. The files size are reasonably small, ranging from 140 to 270 KB depending on format and style. The uprights each include 1708 glyphs and the italics have 1285 glyphs (some scripts, such as Arabic, do not have an italic design). Typeface pairings for further global support Should the language support of Neue Helvetica World still not be sufficient for your markets, there are numerous other typefaces available which perfectly complement Neue Helvetica World. These are our recommendations for South and East Asia languages: - Devanagari: Saral Devanagari - Japanese: Tazugane Gothic or Yu Gothic - Korean: YD Gothic 100 or YD Gothic 700 - Simplified Chinese: M Ying Hei PRC or M Hei PRC - Traditional Chinese: M Ying Hei HK or M Hei HK Please contact a Monotype representative for other pairing recommendations or typographic consultations.

Sancoale Softened is the new rounded companion to Sancoale. While the original Sancoale is crisp and defined, its delicate forms also lend themselves well to a lighter, more rounded version. The stems of Sancoale Softened are blunted, and its corners have been carefully rounded, avoiding the “sausage” look seen with some rounded fonts. This blend of definition and delicacy makes the Sancoale Superfamily versatile and appropriate for a variety of applications. The design minimizes the characters to their essence, leaving a default set of simple characters without notches or spurs. However, the typeface family’s slightly technological feel still appears friendly and approachable to the reader. It’s slightly condensed proportions and tall x-height also make the design readable at a wide range of sizes, which works especially well for web pages. These softer letterforms give Softened its unique, futuristic look--great for distinguishing your text or display. There are six weights with true italics. All insigne fonts are fully loaded with OpenType features. Sancoale Softened is also equipped for complex professional typography, including alternates with stems, small caps and plenty of alts, including “normalized” capitals and lowercase letters. The face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. The Sancoale family also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Sancoale Softened supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Sancoale Softened continues with Sancoale’s successfully simple, geometric and legible structure. With its suitability for a wide range of uses, the Sancoale superfamily is a very economical and versatile addition to any designer’s font collection.

Tiresias was designed for subtitling by Dr. John Gill from the Royal National Institute for the Blind (RNIB), in the United Kingdom. The Tiresias font is designed to have characters that are easy to distinguish from each other, especially important for the visually impaired. The following key factors were considered during the design process: character shapes, relative weight of character stokes, intercharacter spacing, and aspect ratios that affect the maximum size at which the type could be used. The benefits of the Tiresias font are greatest on lower resolution displays, such as televisions, train and airline information terminals, and low resolution displays on wireless communication and handheld devices. InfoFont is for printed instructions on public terminals where legibility is the primary consideration; these instructions are often read at a distance of 30 to 70 cm. Infofont is not designed for large quantities of text. The Tiresias LPfont is a large print typeface specifically designed for people with low vision. Large print publications should be designed to specifically help with reading problems, and should not just be an enlarged version of the ordinary print. The Tiresias LPfont family, made up of roman, italic, and bold weights, was designed to address and solve these issues. The RNIB developed PCfont for people with low vision to use on computer screens. It is designed for use at larger sizes only. PCfont includes delta hinting technology in the font to ensure pixel-perfect display at key sizes. Signfont is for fixed (not internally illuminated) signage. The recommended usage is white or yellow characters on a matt dark background. Note that the “Z” versions have slashed zeroes, and are identical in all other respects. These faces were developed together with Dr. John Gill of the National Institute of the Blind, Dr. Janet Silver; optometrist of Moorfields Eye Hospital, Chris Sharville of Laker Sharville Design Associates, and Peter O'Donnell; type consultant. Tiresias himself is a figure from Greek mythology, a blind prophet from Thebes.

Right now! FS Emeric reconciles a pair of seemingly opposing approaches: the systematic but chilly functionalism of early modernist typography, trapped in time, and a warmer, more emotional, more optimistic spirit. What Fontsmith created was something that marries precision with expression, geometry with movement, functionality with humanity. FS Emeric has a sharp, kinetic edge that cuts across design disciplines – graphic, fashion, product, automotive. It’s about what’s happening right now. Contemporary, optimistic, distinctive – a classic working sans serif. Appetite Discussions with some of Fontsmith’s design studio clients had revealed an appetite for a new kind of typeface that could express mid-century modernist principles in a fresh, contemporary voice. As he crafted the letterforms that would form FS Emeric, Phil Garnham was guided by two central ideas. First, there was Jan Tschichold’s contention that a good letter is “one that expresses itself, speaking with the utmost distinctiveness and clarity”. Second was a belief that a font can be personally expressive without compromising its functionality. These provided the fuel that drove the project to its conclusion. Posters To mark the launch of FS Emeric, Fontsmith asked 11 eminent design studios from around the world – the likes of Pentagram, Studio Dumbar, Bibliotheque, Non-Format and Build – to create a limited edition A1 poster. Each poster celebrated a different weight of FS Emeric, and just 50 of each were screen-printed by Dan Mather onto 175gsm Colorplan stock. “We gave away a randomly selected poster every time two or more weights of the FS Emeric were purchased,” says Phil Garnham. “They’ve now become somewhat of a collector’s item in their own right.” Superfamily In the spirit of Univers, the original font superfamily, FS Emeric now comprises 22 Roman and italic typefaces overall, making it one of the most versatile and functional modern fonts across all kinds of media, as well as one of the most distinctive.

MARIAMNE is an original design by Alex Kaczun. It is an elegant, modern and traditional interpretation based on and modeled after his successful "Contax Pro" and "New Age Gothic" typeface series. As such, it has generous proportions with clean, crisp lines—ideally suited for easy reading and long lines of copy. Alex felt that the skeleton for "Contax" was perfectly suited to transform the design into a modern version of 'old-style', somewhat reminiscent of German Black Letter. Numerous modifications where made to the body proportions, stems and shapes. True 'old-style' serifs and unusual 'cross-strokes' where added for a touch of distinction. The 'cross-strokes' where added at exactly visual mid-point on the overall heights. This gives the typeface a romantic, female-like quality to the overall design. Strong, yet delicate. Visually stimulating in appearance and function. The result is a truly unique transitional and modern design. Unlike other typefaces, MARIAMNE incorporates uniform stems throughout the capitals, lower case and figures. This gives the design a uniform appearance in overall color and strength. There is a perfect visual balance between inter-letter spacing, stem weights and proportions. The accents are equally large, bold and command attention. This font includes a large 'Pro' character set, which supports most Central European and many Eastern European languages. As a result, the design is ideally suited for display copy as well as text composition. In the near future, Alex plans to expand the typeface series to include a light and heavy weight, along with true italics.

Based on Element by Max Bittrof, Stamm takes the next step in adaptation to modern environment. Using it's own construction logic it makes the design far more consistent and considerably expands the character set, supporting hundreds of languages, including Vietnamese and extended Cyrillic. Generous amount of OpenType features allows various localization options, automatic fractions, super- and subscripts, oldstyle and tabular figures, small caps and ligatures to suit almost every need. There are 15 Stylistic Sets available to customize the font (some of them duplicate locl-features in case they're not supported by applications): ss01 (Traditional glyphs): changes modern shapes used by default to old-style forms; ss02 (Alternate historical glyphs): changes the shape of several characters to a more obscure historical form; ss03 (Catalan middle dot): replaces middle dot between two l's by Catalan variant for better spacing; ss04 (German ligatures): activates historical ch, ck and tz ligatures used in German blackletter typesetting; ss05 (Dutch IJ-acute): replaces j after i-acute with j-acute; ss06 (Marshallese cedilla): replaces commas under certain letters with cedillas; ss07 (Romanian/Moldovan comma): changes cedilla-glyphs to comma-glyphs; ss08 (Turkish i): replaces regular i with dotted Turkish variant; ss09 (Cyrillic alternates): changes several Cyrillic glyphs to alternate variants; ss10 (Bulgarian Cyrillic): activates Bulgarian shapes; ss11 (Serbo-Macedonian Cyrillic): activates Serbo-Macedonian shapes; ss12 (Double-story a): replaces default glyph with it's double-story variant; ss13 (Alternate asterisk): replaces default asterisk with 5-pointed shape; ss14 (Enclosed figures): replaces standard figures with enclosed variants; ss15 (Slashed zero): replaces default zero with slashed variant.

The original metal Neue Haas Grotesk™ would, in the late 1950s become Helvetica®. But, over the years, Helvetica would move away from its roots. Some of the features that made Neue Haas Grotesk so good were expunged or altered owing to comprimises dictated by technological changes. Christian Schwartz says Neue Haas Grotesk was originally produced for typesetting by hand in a range of sizes from 5 to 72 points, but digital Helvetica has always been one-size-fits-all, which leads to unfortunate compromises."""" Schwartz's digital revival sets the record straight, so to speak. What was lost in Neue Haas Grotesk's transition to the digital Helvetica of today, has been resurrected in this faithful digital revival. The Regular and Bold weights of Helvetica were redesigned for the Linotype machine; those alterations remained when Helvetica was adapted for phototypesetting. During the 1980s, the family was redrawn and released as Neue Helvetica. Schwartz's revival of the original Helvetica, his new Neue Haas Grotesk, comes complete with a number of Max Miedinger's alternates, including a flat-legged R. Eight display weights, from Thin to Black, plus a further three weights drawn specifically for text make this much more than a revival - it's a versatile, well-drawn grot with all the right ingredients. The Thin weight (originally requested by Bloomberg Businessweek) is very fine, very thin indeed, and reveals the true skeleton of these iconic letterforms. Available as a family of OpenType fonts with a very large Pro character set, Neue Haas Grotesk supports most Central European and many Eastern European languages.

Franca is a neo-grotesk family in nine weights plus matching italics. The inspiration for the design came through the constant interest in new interpretations of the classic grotesk model and a study of "neutral“ typefaces like Helvetica, Univers or Normal Grotesk. During the studies, additional attention was given to the American representatives of the genre, resulting in the initial impetus for a reinterpretation, combining both paths into one contemporary design. This is reflected in the name, blending together the names of the most popular typefaces of each genres, (Fran)klin and Helveti(ca). Due to its large x-height and plain design, the family is perfectly suited for all kinds of text. Its mid-weights are optimized for usage in long paragraphs, while the bolder weights, due to a short descender and ascender, create a compact and confident look in headlines or short copy. In order to create strong and dynamic italics, the oblique glyph shapes come with a faint calligraphic hint, defined by a higher stroke contrast and a steeper connection between stems and arcs in, for example, h n m and u. This is followed by different standard shapes for a and y, supporting the dynamic movement of the lowercase in general. A wide range of OpenType features such as ligatures, old style figures, fractions, case-sensitive shapes and many more, are available for professional and contemporary typesetting. This is completed with eleven alternative glyph sets, enabling a quick customization of the typeface. The family supports up to 92 languages and comes with 500+ glyphs per font.

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

An open-hearted humanist sans-serif. Playful and friendly. Faible is everybody’s darling. You cannot not like this good-natured humanist typeface. Sure, it’s a typeface for serious work—but all serious work is better when you put a smile on your face and a whistle on your lips. The typeface itself isn’t rooted in calligraphy, but there are quite some details in Faible that reference handwriting and add a friendly, humanist facet to its appearance. Take the bowls of B, P, and R: they are merrily bulged, like balloons about to take off. The curved leg of the R adds to this joyful mood. Faible’s italics are rendered playfully, too: they’re not merely sloped Roman styles. Rather, they were designed independently with an internal dynamic that sets them apart on the page. With its trademark glyphs, the swooshin’ K and k, and its friendly details, Faible will radiate optimism in display sizes, titles, and headlines. That makes it a great choice for book covers, posters, editorial design, branding, corporate design, advertising, and packaging. Nontheless, it’s carefully spaced and equipped with plenty OpenType features—a reliable tool for short texts and body copy, too. The font family consists of six weights (ranging from Thin to Black), each with its corresponding italic style. Faible’s glyph set contains more than 600 characters, allowing you to enhance your layouts with ligatures, different sets of figures, case sensitive forms, arrows, and other necessities for the ambitious typographer. Faible is the typeface that puts “fun” back into “functional”.

Metron is so far the most ambitious typeface made to order in the Czech Republic. Despite the fact that for a number of years it has not been used for the purpose for which it was designed, every inhabitant of Prague is still well aware of its typical features. Metron Pro was commissioned by the Transport Company of the Capital City of Prague in 1970 to be used in the information system of the Prague Metro. It was first published in the manual of the Metroprojekt company in 1973 and then used to the full, under the author’s supervision, for lines “A” and “C”. Since 1985 Rathouský's system has been disappearing from the Prague Metro; it survives only in the form of metal letters at its stations and at some stations of the Czechoslovak Railways. In 2014 we're mentioning the 90th birthday of Jiří Rathouský. It’s a good opportunity for updating and re-introducing his Metron. Extended was the choice of figures and fractions, new currency signs added, diacritics revised, etc., but above all the newly designed Cyrillics including true SmallCaps. Now we have six weights plus italics, where the tone of the basic style is even closer to the original. Ten years back we've had the feeling that this typeface should again take a part of Prague’s traffic system and today, when revisiting of all the fonts, the feeling turned to certainty. The main feature of this typeface is namely a noticeability a property above all welcomed in rush of platforms.

Caslon Antique is a decorative American typeface that was designed in 1894 by Berne Nadall. It was originally called "Fifteenth Century", but was renamed "Caslon Antique" by Nadall's foundry, Barnhart Bros. & Spindler, in the mid-1920s. The design of the typeface is meant to evoke the Colonial era. Early printers would reuse metal type over and over again, and the faces would become chipped and damaged from use. Caslon Antique emulates this look. Despite the name, it is not a member of the Caslon family of typefaces. The renaming is believed to have been a marketing maneuver to boost the popularity of a previously unpopular typeface by associating it with the highly popular Caslon types. Caslon Antique is popular today when a "old-fashioned" or "gothic" look is desired. It is used by the musical group The Sisters of Mercy on their albums, for the logo of the musical Les Misérables, and for the covers of the books in A Series of Unfortunate Events. It is also frequently used on historical displays. It was used for the previous edition of the Warhammer Fantasy Role-Play. Most recently, it has been used on promotional material for the smash musical Monty Python's Spamalot on Broadway, the West End, and its tour of the United States. British 80's band The The also used the font in several of their music videos, usually displaying several lyrics from the song in the opening scenes. It used on the cover of Regina Spektor's album, Begin to Hope. This description was sourced (in part) from Wikipedia, the free encyclopedia.

Introducing From the Internet, a sleek and pragmatic sans-serif typeface that exudes technical sophistication. The narrow and square shapes of this typeface create a compact and organized appearance, perfect for modern industrial design. With softened edges, the boxy letterforms have a sense of approachability that is sure to draw in any reader. From the Internet’s austere and uncomplicated style ensures that your message is delivered with clarity and precision. Its lack of intricate detail prevents any distractions, keeping the focus on the essential message. This typeface avoids clichés, ensuring that your designs are always fresh and unique, without any conspicuous sci-fi influences. This font’s versatility is enhanced by the “stylistic alternatives” feature available in OpenType-savvy applications, allowing for access to alternate versions of the “f” and “t” letters. From the Internet offers a range of styles, including Regular, Italic, Bold, and Bold Italic, each with its unique personality. Whether you’re looking to create sleek tech manuals or modern business presentations, From the Internet is the perfect typeface to convey your message with sophistication and style. Its pragmatic and precise style ensures that your designs will always be on-trend and highly readable, making it an excellent choice for any designer looking to create an impact. 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.

Type Maestro is an exquisite ligature serif font that exudes creativity and elegance. With over 100 meticulously crafted ligatures, this font is the perfect choice for designers looking to elevate their projects to new heights. One of the key features of Type Maestro is its extensive language support, boasting compatibility with 87 different languages. This makes it an incredibly versatile font that can be used for a wide range of projects, no matter where your audience is located. But what truly sets Type Maestro apart are its alternate glyphs. These unique characters add a touch of individuality and personality to your text, allowing you to create truly one-of-a-kind designs. Whether you're designing a logo, a website, or a social media post, Type Maestro has the flexibility and style to help you stand out from the crowd. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu Ligatures : IS, FO, OD, FA, TY, EX, NN, EY, SS, LL, FU, US, UT, AS, AN, AM, CI, LO, ES, RO, ET, TE, CK, OH, OO, OE, OC, KO, KE, KC, CH, SE, EA, UR, RS, KS, TH, TU, TT, TK, TL, HE, RG, EP, ER, RE, RC, LE, ND, ED, OF, HA, EN, CT, ST, NT, ON, ME, MO, NG, NC, UG, UC, OU, GH, OR, OP, EE, YO, VE, IT, WE, TI, VO, WO, SA, MA, OL, VA, YP, YR, OX, XO, BA, OT, TO, BE, RU, KU, TW, EN, NT, FAS, FAST, CKS, OOD, FOOD, FOO, TEE, TOR, TOP, TWE, NTY, TYP, OUT, UST, URS, WAS, THE, WES, EST, EEN, ERS, EAS, LES, ENT, FOR, OUG, ERE, TER, YOU, VER, HER, THER, THA, AND, ITH, THI, MENT, WERE, WER, ROM, THE, ERG, ERE, ERC, ERU, ERO, NTH, FOU, HRO, HRE, HRC, HRU, TWO, GHT, OUR, OUP, STO, VEN, ORT, MEN How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Mock ups and backgrounds used are not included. Thank you! Enjoy!

TT Jenevers useful links: Specimen | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Jenevers: TT Jenevers is a modern serif with Dutch flavor. The font family features the characteristic details peculiar to Dutch serifs—these are the asymmetrical shape of serifs and an irregular slant of ovals. For example, in the letter “o” there is no slant, but it is present in p-q. In TT Jenevers, both lowercase and uppercase characters are of a large size, which makes it a rather display typeface. At the same time, the big half-ellipse of the lowercase characters does not allow the letters to stick, which allows the implementation of TT Jenevers in text arrays. The italics of the TT Jenevers are slightly narrower as compared to upright faces—this is done to ensure a greater density of the text array. The italics of the TT Jenevers are slightly narrower as compared to upright faces—this is done to ensure a greater density of the text array. TT Jenevers font family consists of 12 fonts (6 upright and 6 true Italics), each of which has more than 830 characters. The typefaces include small capitals for Cyrillic and Latin alphabets, 33 ligatures, standard and old-style figures, stylistic alternates, arrows, hands, and card suits. We have prepared two dissimilar stylistic sets, which allow changing the nature of TT Jenevers to a more hand-written one, or adding a futuristic touch to the typeface. FOLLOW US: Instagram | Facebook | Website TT Jenevers OpenType features: ordn, case, c2sc, smcp, frac, sups, sinf, numr, dnom, onum, tnum, pnum, lnum, liga, dlig, salt, ss01, ss02, zero. TT Jenevers language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Azerbaijani, Banjar, Basque, Belarusian (cyr), Belarusian (lat), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chichewa, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Dutch, Embu, English, Erzya, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Ganda, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Jola-Fonyi, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Kazakh (lat), Khasi, Khvarshi, Kinyarwanda, Kirundi, Komi-Permyak, Komi-Zyrian, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luba-Kasai, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Maltese, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Silesian, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Tahitian, Taita, Talysh (lat), Tatar, Teso, Tetum, Tok Pisin, Tongan, Tsakhur (Azerbaijan), Tsonga, Tswana, Turkish, Turkmen (lat), Udmurt, Ukrainian, Uyghur, Vastese, Vepsian, Volapük, Võro, Vunjo, Welsh, Wolof, Xhosa, Zaza, Zulu.

In B-movie awesomeness, Air began as Grotesk vs. Grotesque. I was trying to unify the prevailing traits of German and English Grotes(que/k)s in order to make something different but familiar. I am NOT trying to reinvent Helvetica (snore), so get that out of your system. From the onset, I intended this typeface to be a true workhorse that offers infinite options and flexibility for the user. At its core, it is the maturation of the Aaux Next skeleton I developed years ago. I worked out Aaux Next to settle my issues and love for Akzidenz. With Aaux Next, I strove to be mechanical, cold and unforgiving with it. I was single, young, cocky and it fit. Now I'm married, kids, dog and have found that I've turned into a big softy. When I look at Aaux Next (and have for the past few years) I see another typeface trying to eek out. I wanted it to avoid the trappings of robotic sans, quick tricks and compromises. The typeface’s DNA needed to be drawn and not just generated on a screen — so I set aside a year. I love type. I love working with type. I hate when my options for a slanted complement is only oblique or italic. I set out to produce both to balance usage — there are more than enough reasons to prepare both and I want the user to feel free to consciously choose (and have the option to choose) the appropriate typeface for print, web, etc. That flexibility was central to my decision-making process. The Oblique is immediate and aggressive. The Italic was redrawn at a less severe angle with far more movement and, as a result, is far more congenial when paired with the Uprights. Condensed and Compressed. Yep, why not? I know I would use them. There are nine weights currently available. The logical progression of weights and the intended flexibility demanded I explore a number of light weights and their potential uses — this has produced a number of ‘light without being too light’ options that really work based on the size. The result is a robust 81-font superfamily that is functional, professional, and highly legible without compromising its personality. Pair that with over 900 characters per font that includes ligatures, discretionary ligatures, stylistic alternates, fractions, proportional/tabular lining and proportional/tabular oldstyle figures, numerators, denominators, ordinals, superiors, inferiors, small caps, case-sensitive functionality and extensive language support and you have a versatile superfamily well-suited for any project.

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

Type designer Xavier Dupré’s Garalda is a charming 21st century family that renews a legacy of finesse. As paragraphs on a page, Garalda’s overall impression is of a workaday personality, committed to the main purpose of the job: easy long-form reading. But setting it in display sizes proves something different: This reinvented Garamond is anything but basic. The Garalda story begins with the serendipitous finding of a book typeset in a rare Garalde, called Tory-Garamond, with which Dupré was not immediately familiar. This Garamond was used in bibliophile books in the decades surrounding 1920, but after that it became déclassé for an unknown reason. Dupré found the italic styles especially charming and discovered the family was probably the mythical Ollière Garamond cut from 1914. He obtained low resolution scans of the typeface and used them, rather than high resolution scans, as the basis for his new type family. This allowed Dupré the mental freedom to experiment and remix as he saw fit, culminating in a contemporary family with heritage. As seen in the simplistic rectangular serifs, Garalda is a humanist slab serif, but with a mix of angles and curves to give the classic shapes a fresh, unorthodox feeling. While almost invisible in paragraph text, these produce a graphic effect in display work. The set of ligatures in the roman and italics lend themselves to unique display use, such as creating lovely logotypes. In the italics, some swashes inspired by different historic Garamonds are included, sometimes breaking their curves to be more captivating. Just look at how the italic ‘*-s’ ligatures create ‘s’ with a cursive formation rather than merely a flowing slant. And how the roman ‘g’ link swings as wide as a trainer’s whip. These are all balanced by squared serifs in the roman to keep an overall mechanised regularity. The Garalda family comes in eight styles, includes some of the original arrows and ornaments, and speaks multiple languages for all typesetting needs, from pamphlets to fine book printing. The complete Garalda family, along with our entire catalogue, has been optimised for today’s varied screen uses.

Coco Sharp is the newest evolution of the Coco typographic project, developed since 2013 by Cosimo Lorenzo Pancini for the foundry Zetafonts, with the help of Francesco Canovaro and Andrea Tartarelli. Influenced by vernacular grotesques sign-painting and modernist ideals, and inspired by the classy aesthetic of fashion icon Coco Chanel, Coco is drawn on a classic geometric sans skeleton but applies humanist proportions and visual corrections to key letters with the aim to create a warmer, subtly vintage texture on the page and on the screen. Coco Sharp drops the rounded corners of previous incarnations (Coco Gothic and Cocogoose) to pair the typeface display and logo capability with a sharper definition for text use. As in the other Coco families, a wide range of alternate letterforms allows to express different historical moods, including elegant, quirky and unexpected designs able to transform a simple word in a memorable wordmark. The other peculiarity of Coco Sharp lies in the wide choice of x-heights given to the user, both by providing a variable version and five graded sub-families, that allows designers to fine-control text readability and space usage. Large and XLarge versions provide big and easily readable lowercase letters, perfect for small point size typesetting or bold copywriting; Small and XSmall provide smaller lowercase letters with the elegant proportions of Futura and its modernist eponyms, optimized for display use or for adding a classy flare to body text; the Regular x-height offers a "one size fits all" solution that works both for texts and for display use. Alle the 60 weights of Coco Sharp come with a full set of open type features allowing faultless typesetting thanks to small capitals, positional numbers & case sensitive forms. Use Coco Sharp out of the box as a solid workhorse family or enjoy discovering the limitless possibilities of its 2000+ latin, cyrillic and greek glyphs covering over 200 languages worldwide. • Suggested uses: perfect for modern branding and logo design, editorial design, web design, packaging and countless other projects; • 62 styles: 6 weights + 6 italics x 5 different x-heights + 2 variable fonts; • 2011 glyphs in each weight; • Useful OpenType features: Access All Alternates, Small Capitals From Capitals, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Small Capitals, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Stylistic Set 8, Stylistic Set 9, Subscript, Superscript, Tabular Figures, Slashed Zero • 220 languages supported (extended Latin, Cyrillic, Greek alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Vietnamese, Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Greek, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Zarma, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Irish, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük;

Morris Sans is a newly revised and extended version of a small geometric family of typefaces originally produced by Morris Fuller Benton in 1930 for ATF. His initial design consisted of an alphabet of squared capital letters with a unique twist that characterized its appearance: corners with rounded exteriors and right-angle interiors. The types were intended for use in the fine print found on business cards, banking or financial forms, and contracts. But over the ensuing decades, this design became a popular element in all sorts of design environments, and several foundries revived the typeface in digital form. Since digital fonts are bicameral, with slots for both upper and lowercase letters, new cuts of the type opted filled the lowercase slots with small caps. In 2006, Linotype commissioned its own version of the typeface-an extension for 21st century use. Under the advisement of Linotype's type director Akira Kobayashi, Dan Reynolds redrew the uppercase and added an original lowercase for the first time. Additionally, a number of extras were brought into the fonts, including six figure styles (tabular and proportional lining figures, tabular and proportional oldstyle figures, and special tabular and proportional small cap" figures). Small caps, which have become an iconic element over time, are accessible in each font as an OpenType feature. To differentiate this version from the original, Linotype's new family is named Morris Sans, in honor of Morris Fuller Benton. All fonts in the Morris Sans family are OpenType Com fonts; they include a character set capable of setting 48 European languages that employ the Roman alphabet, including all Central and Eastern Europe languages, those from the Baltics, and Turkish. This glyph coverage extends to the small caps as well. Morris Sans is a wide typeface, especially in its regular widths; the condensed faces set a more conventional line of text. The new lowercase letters are less geometric than the uppercase, except for those that share the same basic forms (e.g., c, o, and s). Instead of following this geometric trend, the new lowercase tends to strengthen the humanist elements that were present in several characters from the original type, including the uppercase D and the figures 5, 6, and 9. Morris Sans also sports a number of glyphic flares, like the stroke found on the original uppercase Q. Morris Sans is a clean, modern design best suited for headlines, advertising, posters, expressive signage (especially on storefronts), and corporate identity work."

The world of typography has been forever transformed by the innovative and avant-garde typeface that is Silicone. Its unique, all-caps letterforms embody the futuristic essence that forward-thinking graphic designers crave. Silicone is a synthetic typeface that boasts a smooth, sleek surface with soft strokes and letterforms that will captivate the viewer’s attention. Each letter has been meticulously crafted to evoke a sense of calm and sophistication. With seven weights available, Silicone is a versatile typeface that can be tailored to meet the demands of any design project. Whether you need a chunky weight for a bold headline or a laser-thin weight for delicate body text, Silicone has got you covered. And let’s not forget about the italics! With its own distinct style, the italics add a touch of elegance and refinement to any composition. Silicone is more than just a typeface, it’s a high-tech voice that communicates your message with precision and style. Don’t settle for ordinary when you can elevate your designs to the extraordinary with Silicone. 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.

Introducing Venacti, the typeface that embodies the spirit of the industrial era. Inspired by the bold and powerful logotypes of the 1970s, Venacti is a typeface designed for the modern age. Featuring a robust and futuristic style, Venacti’s square letterforms and sleek corners exude a distinct scientific vibe, making it the perfect choice for any project that demands a technical and industrial edge. With three weights and italics, Venacti offers versatility and flexibility that makes it ideal for a wide range of applications, from branding and marketing to editorial and packaging design. Venacti’s bold and confident appearance is perfect for making a statement, while its clean lines and geometric shapes give it a timeless quality that will never go out of style. Whether you’re designing a cutting-edge tech startup or a retro-inspired brand, Venacti is the typeface that will help you stand out from the crowd. So why settle for anything less than the best? Choose Venacti and let your creativity take flight. 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.

Introducing Fluctuation—the typeface that’s as fashionable as it is high-tech. Designed with the same precision and attention to detail as the consumer electronics products it’s inspired by, Fluctuation is the perfect choice for anyone looking to add a touch of sophistication to their design. With its smooth lancet arches and chamfers, Fluctuation is a typeface that truly stands out. It’s the perfect choice for those looking to conserve horizontal space without sacrificing style, making it a popular option for websites, advertisements, and more. Fluctuation is available in a variety of weights and italics, giving you the flexibility to choose the perfect style for your project. Whether you’re looking for something extra-light or bold and attention-grabbing, Fluctuation has you covered. So why wait? Add a touch of high-tech sophistication to your next project with Fluctuation. Try it out today and see for yourself just how stylish and versatile this amazing typeface can be. 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.