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."

Picture this: you’re sitting in the Korova Milk Bar, sipping on a glass of the old moloko plus, and suddenly, you’re hit with the realization that your designs are missing something. That something, my dear malchiks and devotchkas, is this typeface. Its unconventional style will make your work stand out from the rest and leave your audience in awe. It’s not just about making your designs look pretty, though. It’s about making a statement, about challenging the norm. This font is all about breaking the rules, just like Alex and his droogs did in the streets of London. So, my fellow dim-witted bratchnies, don’t miss out on the opportunity to add a touch of surreal eccentricity to your work. Get this Clockwork Orange-inspired typeface today, and let your designs become a symbol of rebellion and creativity. 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.

Wak Ndjon is modern chick calligraphy font that is made by Ferry Ardana Putra. This font made by natural pen which inspired by natural writing and random scratches. Wak Ndjon is modern calligraphy typeface which has a luxury feels with additional swashes, alternates and ornaments. Combined that precious combos to make your best natural-signature feel on your glamour project! Wak Ndjon is perfect for branding, photography, invitations, quotes, watermarks, advertisements, product designs, social media posts, stationery, labels, and more! Wak Ndjon features: A full set of upper & lowercase characters Numbers & punctuation Multilingual language support PUA Encoded Characters +497 Glyph Ligatures Swashes Ornaments OpenType Features ——— ??To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe InDesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as Pop Char (for Windows and Mac). ??For more information about accessing alternative, you can see this link: http://adobe.ly/1m1fn4Y ——— ?Important tutorial from the author: Tutorial for Mollusca font trio: https://lnkd.in/d984CQD6 How to use Midway | Retro Script Font on illustrator: https://lnkd.in/eusbZd7s How to use Midway | Retro Script Font on Photoshop: https://lnkd.in/evsYrwgs ——— ??Get in touch with the author: Instagram: https://www.instagram.com/ardana619 Behance: https://www.behance.net/ardana619 ——— ?Thankyou for purchasing our product, hope you like and have fun with our product. If you have any queries, questions or issues, please don't hesitate to contact us directly. If you satisfied with our product, please give 5 stars rating. ——— Happy Designing...?

Monotalic was created as a fun experiment, exploring better solutions for the monospaced type design. Most monospaced (fixed-width) typefaces have the same main design problem regarding the lowercase – filling the empty space around l, f, i, j and r. That usually brings the addition of slab serifs to those narrow characters, causing many monospaced fonts to look and feel alike. Monotalic solves that problem by adopting the handwritten (or cursive) form for those problematic characters, which allows them to be defined in more strokes, thus getting a better distribution of form in that fixed-width space. On the other hand, cursive writing usually lacks the legibility of a Roman (Regular upright) style, so Monotalic was created to be a hybrid, taking the best of both worlds. Monospaced fonts today are mostly used for coding. Modern code editors use colored text in order to differentiate between different kinds of code. So, in that environment there’s actually no need for traditional text styling by adding Italics, Bold or other styles, because the code lines are overstated as it is. That is why Monotalic focuses on one style only, in three widths and four weights. The weights allow users to choose the perfect contrast of text on screen, depending on their monitor resolution and background color in the editor. Movie scripts are almost exclusively set in 12pt Courier. It became the industry standard because when set in the specific “screenplay format" it helps with the breakdown of the schedule and budgeting process of the film production. Although it looks completely different, text set in Monotalic (Normal width) will take the same amount of space as Courier.

Octin Sports is a typeface that commands attention and exudes a sense of strength and resilience. The seven available weights—light, book, regular, semi-bold, heavy, and black—provide a range of options for designers looking to add a bold, dynamic element to their work. But make no mistake, this typeface is not just for the sports world. Octin Sports has a versatility that extends beyond the playing field and can lend a rugged, no-nonsense vibe to a variety of themes. Whether you’re designing for a school, construction site, or law enforcement agency, Octin Sports is up to the challenge. The sleek, angular lines of this typeface give it a distinct sporty feel, making it an ideal choice for designs that seek to convey energy and excitement. The bold weight options are particularly striking and provide a strong visual impact that demands attention. Overall, Octin Sports is a solid choice for designers who want to infuse their work with a sense of toughness and vitality. Its versatility and sporty design make it a font that can rise to any challenge, whether it’s on the field or in the boardroom. Check out the rest of the Octin families: Octin College, Octin Prison, Octin Stencil, Octin Vintage & Octin Spraypaint. 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.

As a designer, it’s crucial to choose a typeface that not only complements the overall design, but also conveys the intended message. Octin Spraypaint, a typeface that exudes streetwise grit and toughness, is a perfect choice for projects that demand a bold and fearless statement. Octin Spraypaint boasts two distinct styles—sans and serif—each offering three weight options: regular, bold, and black. The sans style offers a sleek, modern aesthetic with sharp, angular lines, while the serif style offers a more classic and sophisticated feel with its clean and sharp serifs. Together, these styles and weights provide designers with the flexibility to create striking headlines that command attention. This typeface is the perfect choice for design projects that demand an edgy and daring look. From police and military themes to sports, prison, construction, and school, Octin Spraypaint is versatile enough to lend its tough appeal to various themes and contexts. Octin Spraypaint is a typeface that offers a distinctive look that’s hard to ignore. It’s ideal for projects that need to convey strength, power, and authority, and its bold, spray-painted style is sure to capture the attention of viewers. With its unique blend of streetwise design and raw power, Octin Spraypaint is a must-have tool for any designer looking to make a bold statement. Check out the rest of the Octin families: Octin Sports, Octin College, Octin Prison, Octin Stencil & Octin Vintage. 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.

Kangaroo FS Joey was the offspring of a project with Rudd Studio to develop a logotype for an online streaming TV service, in 2008. While under wraps, the secret project was code-named Kangaroo. The logotype led to a second project, to design a corporate typeface for the service. It was the first big project Fernando Mello had worked on with Jason Smith. “Like any designer who just joined a team, I was very excited about it, drawing and sketching lots of ideas. I remember Jason and I experimenting with lots of possibilities, for both the logo and the typeface.” Online As the font for a Spotify-style, internet-based service, FS Joey needed to be highly legible on-screen, including at very small sizes. There had to be a range of weights, and they’d have to work well in print, too. It was also important that it felt corporate, not too quirky, while still having a strong character of its own. Quirkiest “We designed three weights specifically for use on the Web,” says Jason Smith. “There was the usual fight between me and my team. I wanted at least one identifiable letter that was a quirk. As always I went straight for the lowercase ‘g’, and it was drawn numerous times with lots of variation. I got the quirkiest one accepted by the client.” But, later in 2009, the Competition Commission blocked Project Kangaroo, and Fontsmith were left with a couple of weights of an as yet unused font. From Kangaroo, Joey was born. A favourite “Straight away, people started to notice the typeface,” says Jason. “I can take the credit for pushing the art direction and standing up for the quirks. But it was Fernando who was the key to pulling it all together and adding his own distinct flavour. Now it’s one of my favourite designs in our library.” Fresh and friendly, geometric and energetic, Joey is available in five weights, all with italics, all finely-tuned for both screen and print.

Kangaroo FS Joey was the offspring of a project with Rudd Studio to develop a logotype for an online streaming TV service, in 2008. While under wraps, the secret project was code-named Kangaroo. The logotype led to a second project, to design a corporate typeface for the service. It was the first big project Fernando Mello had worked on with Jason Smith. “Like any designer who just joined a team, I was very excited about it, drawing and sketching lots of ideas. I remember Jason and I experimenting with lots of possibilities, for both the logo and the typeface.” Online As the font for a Spotify-style, internet-based service, FS Joey needed to be highly legible on-screen, including at very small sizes. There had to be a range of weights, and they’d have to work well in print, too. It was also important that it felt corporate, not too quirky, while still having a strong character of its own. Quirkiest “We designed three weights specifically for use on the Web,” says Jason Smith. “There was the usual fight between me and my team. I wanted at least one identifiable letter that was a quirk. As always I went straight for the lowercase ‘g’, and it was drawn numerous times with lots of variation. I got the quirkiest one accepted by the client.” But, later in 2009, the Competition Commission blocked Project Kangaroo, and Fontsmith were left with a couple of weights of an as yet unused font. From Kangaroo, Joey was born. A favourite “Straight away, people started to notice the typeface,” says Jason. “I can take the credit for pushing the art direction and standing up for the quirks. But it was Fernando who was the key to pulling it all together and adding his own distinct flavour. Now it’s one of my favourite designs in our library.” Fresh and friendly, geometric and energetic, Joey is available in five weights, all with italics, all finely-tuned for both screen and print.

Geometric, stylish, and not quite a stencil face: Glance Sans is the urban alter ego of Glance Slab—a strong-willed sans-serif with no frills but a few unique character traits. Glance Sans follows the design principle of nonjoining parts that made Glance Slab successful. Some strokes may not connect to their stems, creating visible gaps and thus, a dynamic impression of balance and movement. However, Glance Sans has a calmer appearance due to the lack of detached serifs. If Glance Slab’s home territory are large, crowded stadiums and massive sports events, Glance Sans prefers streetball courts, well-used skate parks, and underground clubs. It also adapts to urban work environments from finance to high-tech. Whenever a more toned-down look is called for while retaining the elegance of an athlete, Glance Sans is ready to roll. In the city environment, versatility is key. That’s why Glance Sans sports 7 weights as well as a complete set of italics. These are not just sloped romans but individually drawn letterforms, subtly referencing classic italic construction for more effective emphasis. Among the 600+ glyphs of Glance Sans, you’ll find goodies such as six sets of figures, circled numbers, circled arrows, and all kinds of currency symbols in two stylistic versions. Glance Sans is a great tool for industrial and high-tech branding, for wayfinding systems in contemporary or modernist architecture, for corporate identities in arts, crafts, medicine, culture, and education, and for all kinds of sports-themed design. Both members of the Glance superfamily are easily and effectively combinable; both are able to stand on their own feet. With its powerful italics, you might opt for Glance Sans as your text typeface and use Glance Slab for headlines. Or you set large, clean, display-sized lines in Glance Sans and spice them up with a bit of sportive Glance Slab. It’s up to you to decide how to bring out the best in both of them.

Sorren is a definitive bold condensed sans influenced by neo-grotesque designs. A relatively low stroke contrast complimented with sharp, horizontal stroke ends lend an unyielding appearance, while it’s rounded forms and refined curves juxtapose its inherent strength with grace. Stylistically, Sorren has a classic, timeless feel with a contemporary finish and attention to detail. It is characteristically more elegant and considerably sturdier than the typical condensed sans, lending to its singular disposition.

Features: Palmer Lake Print: Uppercase letters, numbers, & extended punctuation Palmer Lake Script: Lowercase letters, numbers, & extended punctuation Non-English support for the international designer Same stroke thickness with each font, so you don't need to make any time-consuming adjustments to get it looking right! Palmer Lake Print (uppercase font) letters are the same height as the Script lowercase letters, so making quotes is super easy! This is such a fun new duo, perfect for creating quotes, logos, or just adding a hand-written touch to any project! While other fonts usually take some size adjusting to look just right, Palmer Lake duo has the same stroke thickness for both fonts, so you can set each font to the same size and you're done! Plus, the uppercase letters of the Print font are the same height as the lowercase letters of the Script font (see the samples), so lining them up with one another is a breeze! Each font also has alternates for each letter, so when you type uppercase or lowercase for each font, the letters will change slightly. For example, tying in all caps with the Script font will connect each letter, whereas typing all lowercase will disconnect each letter. Test it out for yourself in the box above!

Humanist sans in 8 styles Designed by Jean François Porchez, Le Monde Sans is a sanserif based on Le Monde Journal — a practice that become commonplace from early nineties. Designed originally in 1994 for the Le Monde newspapers, it was expended over the years to the large family we know today. Le Monde Sans features a “traditional g” in addition to the usual 1994’s g. Le Monde Sans is offered in numerous weights — in roman, italic to meet all kinds of situations. It will help designers to select the best weights depending their needs, from glossy paper printing to high resolution screen. Superfamily The design of Le Monde Sans continues the basic common structure found in the members of the Le Monde family: its proportions, a relatively narrow width, a fairly oblique axis, etc. The typographer can, at all times, switch between Sans & Journal or Courrier without any disruption in the composition. The verticals metrics and proportions of Le Monde Sans are calibrated to match perfectly others Typofonderie families. This family was designed in 1994 as bespoke typeface family for the French newspaper Le Monde. The family is not used any more by this newspaper from November 2005. Type Directors Club .44 1998 European Design Awards 1998

Pompeian Cursive is a calligraphically-inspired display typeface featuring a limited number of alternate characters and a handful of graceful ligatures. A lively set of non-lining numerals accompanies, as well as a few calligraphically-inspired flourishes for ornament. The history of this typeface: Oswald Cooper’s relationship with the Barnhart Brothers & Spindler foundry was one instigated under the auspices of creating new styles of type in lieu of following stylistic trends. In 1927, BB&S requested that Cooper create a script-like cursive typeface design in step with Lucien Bernhard’s Schoenschrift and ATF’s similarly-styled Liberty typeface. In response to BB&S’s desire to emulate instead of innovate, Cooper wrote to Mcarthur, “I am desolated to see Barnhart’s hoist the black flag. Your own efforts through the years to boost the foundry into a place in the sun as an originator seem wasted.” Still, Cooper took up the task at hand, creating a delicate, sophisticated type design which he named Pompeian Cursive. The typeface featured a limited number of alternate characters and a handful of graceful ligatures. A lively set of non-lining numerals accompanied, as well as a few calligraphically-inspired flourishes for ornamenting the end of lines of type accompanied the typeface, as well. By reviewing the few remaining original drawings for the type, as well as copious samples of Pompeian Cursive from both Cooper & BB&S' proofing process and period-specific type specimens, Wordshape presents the first digital version of this classic hybrid script/sans typeface, complete with all original alternate characters and ornaments. Pompeian Cursive has been intensively spaced and kerned for the finest setting for weddings, announcements, and general display work. - What was the inspiration for designing the font? While researching a biographic essay for Japan’s IDEA Magazine, I came across the original proofs and drawings for Pompeian Cursive. While a number of foundries have released interpretations of Cooper’s assorted typefaces, they stray from the original rather dramatically in parts. Cooper is without a doubt my favorite type and lettering designer, and to bring a refined return to his original intentions is an immense gift. - What are its main characteristics and features? Pompeian Cursive is a typeface which functions as both a display face and a limited text face. It features classy, thoughtful, and delicate swash capitals and rugged lowercase characters with a low x-height and gracefully long ascenders and descenders. - Usage recommendations: Display type or text-setting. Perfect for newspaper work, editorial design, materials intended to invoke an "old-timey" flavor, or just about anything in need of personality.

Full of life Hispanic Didot in 2 optical sizes Retiro is a daring interpretation of Spanish typography. Severe, austere and yet, full of life, Retiro is a vernacular version of Castilian and Andalusian in a typical Didot. Named after a lovely park in Madrid, Retiro started life as a a bespoke typeface designed to give a unique voice to the magazine Madriz. In 2006, the founder of Madriz was looking for a Didot for his new magazine. The Didot is the archetypal typeface used in high-end magazines. Retiro is a synthesis of these high contrast styles mixed with an Hispanic mind. Result is then, after 2-3 years of work, a typeface with countless variations to establish typographic shades adapted to different sections and pages of the Madriz. In 2014, it was necessary to further revise the typeface before its launch at Typofonderie. In order to keep its originality, the unique weight was retained, but complemented with optical size variants to set highly contrasted headlines into various sizes, visually balanced. How to use Retiro optical sizes? Each font provided in Retiro family is named according to the scale of body size: 24 pt and 64 pt. Of course, these names are referring to the body sizes used in typographic design. In the “glorious old days,” the letterpress period, it was customary to cut punches directly to the size at which typefaces would be used. The punchcutter had to visually adapt his design to the engraving size. The aim was to optimize the best contrast and general weight, but also to respect both design’s and reader’s needs. In Retiro’s case, intended for large titling sizes, it’s an adaptation of this ancient practice for our contemporary uses. Although each font is named by a typographic point size, do not feel obliged to use this font at this precise size, but why not, in larger or smaller. It’s rather the concept of gradients that must be preserved in layouts, rather than strictly size numbers. It’s up to the designer to select the right font size for his own designs. Granshan Awards 2012 Creative Review Type Annual 2011 Designpreis 2011 Club des directeurs artistiques, 41e palmarès Type Directors Club 2010 Certificate of Type design Excellence

Yes, finally. This one took the most time and the most restarting. Years went into imagining what Lust Text should look like and how it should structurally behave in order to truly improve upon a setting that includes any of the Lust typefaces. I approached it as much from the side of the type designer, as I did a potential user. The flow, the warmth, the personality needed to be there, but all of the excess had to be removed responsibly. In the process, and in need of inspiration, I looked backward to historical artifacts and precedent. In each early Lust Text approach, the solution was lackluster and/or vanilla and not actually a ‘Lust’ typeface. The exercise was not in vain though. By exploring past examples, I found my footing drawing for media now and how it might be used later—all the while, producing seamless, elegant curves and restrained indulgence (that sounds almost silly to say, but I like it). The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

One of my dreams as a type-designer was making a good looking chancery cursive. Full of life, like some of the best calligraphers around the world do on their artworks. With Julian Waters, John Stevens and Denis Brown (just to name a few of them) (1) chancery, or italic script, was transformed into a new, exciting and very fresh style of calligraphy mainly at the end of 20th Century. Dream Script may be that dream named above made true. I have been practicing chancery in the way I learnt from those calligraphers for many years now. Making a font out of my ink-sketches was a tough work, since they were closer of -being art- than of -being type-. However, this font rescues many aspects of handmade calligraphy: You have to look at it really close to notice it is actually a font, and that was one of my goals. The secret of a good looking chancery is on its subtle details: pen angle is constantly changing, even on the strokes which seem straight. Capitals and swashes have to be done a little faster than lowercase letters. The rhythm has to be even, in spite of its playful look. The fact that makes Dream look alive is that it has many alternates per glyph. This makes each word look unique like it happens in calligraphy: you will find alternates for the beginning/ending of a word/phrase, some for the middle of it, some interchangeable. Also, to accompany the script, you will find Dream Caps, which was inspired in the eternally beautiful trajan capitals. Place them like I did on the posters and you will have great results for sure. The font works great in small, middle and big sizes and can be a great selection for magazines, wedding invitations, perfumes, and posters. Close your eyes, and Dream with me... TECHNICAL Dream Script Pro is the most complete style, it contains all the alternates and ligatures (OT programmed, better if you use Adobe applications) If you plan to use the font for text, be sure to activate the less decorative capitals, which are placed in the “salt” group of alternates. Dream Script Standard has less glyphs than the Pro one, it contains just some ligatures for a better legibility. (OT programmed, better if you use Adobe applications) NOTES (1) Not only are they great artists, but also good people, who are always willing to share with their students all what they know. I would also like to thank Ricardo Rousselot, whose work inspired me this time to make “The Dream Script” exlibris; and to Alisara Tareekes, a very talented friend which international calligraphy conferences gave me: She kindly helped me with some tips to make this font better.

Teo Tuominen’s Trevor took its first breath as a revival of an 18th century antiqua, but culminated in an entirely new and good-natured family. Trevor is an affable slab serif in nature: both heavy and kind. Known for their familiarity and their dark colour, the terminals of slab serifs put additional weight along the line to maintain an inky presence. Their clunky forms reveal slight immaturity and arouse the reader’s sympathy for the subject at hand. Trevor connects with others by consciously riding the line between being personal and commanding. One goal with Trevor was to pair the robust nature of a low contrast slab serif with more sophisticated elements, such as the ball terminals. So wherever one looks in Trevor, rounded corners rule the day, softening the overall appearance by mimicking ink spread made by old metal type. The easygoing look is tempered by very few inktraps and sharp corners, mostly to the inside of characters and in acute angles. Whatever Trevor is paired with, it has an altruistic outlook in that it sees the best in others. It’s the neighbourly type family
 — the neighbour you actually want. Trevor’s almost monolinear weight and high x-height give it a typewriter look in the extralight and light weights, but the whole family was made to work with many other font styles, design work, and information structures. It certainly finds its home in packaging and advertising, its sturdy verticality and narrowness fit the needs of headlines and intro text, and its seven weights are primed for plays and involved text needing many layers of distinction. The black weight is treated like a separate display style with altered ball terminals and serifs to capitalise on the added heft. Trevor’s seven roman weights cover the Latin A Extended glyph set to bring its kindly and commanding outlook to your projects. Along with alternate version of the ‘R’ in the black weight, its OpenType features include both tabular and proportional lining and oldstyle figures, ligatures, and fractions. The complete Trevor family, along with our entire catalogue, has been optimised for today’s varied screen uses.

Introducing Kleptocracy: the compact industrial typeface that’s taking the design world by storm. With a sleek and efficient assembly line design, this font purrs where other factory-made fonts rattle and buzz. But don’t be fooled by its hard edges and utilitarian lines. Kleptocracy’s cursive elements add a touch of warmth and whimsy, bringing together the best of both worlds. From the gentle curves of the “g” to the playful loop of the “y”, this font is anything but stark and frigid. Available in three weights, three widths, and italics, Kleptocracy is the versatile typeface that can adapt to any project. Its compact design makes it perfect for small spaces and modern layouts, while its industrial roots give it a bold and confident presence. So whether you’re designing a logo, creating a website, or crafting the perfect brochure, Kleptocracy has you covered. It’s time to ditch those outdated fonts and upgrade to the sleek and stylish Kleptocracy. 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.

Malabar is a type family for extensive text. Its design was developed with a nod toward newspapers. Malabar's characters are seriffed and of the Old Style genre. A strong diagonal axis is apparent within the curves. Sturdy serifs help strengthen the line of text in small point sizes, as well as define the overall feeling of the face. Malabar's x-height is very high, a deliberate choice that makes the most important parts of lowercase letters visibly larger in tiny settings. The height of the capital letters is also rather diminutive, allowing for better character fit, as well as eliminating a bit of clumsiness in German, which often includes quite a few uppercase letters. Diacritical marks and additional alphabetic forms required by many Western, Central, and Eastern European languages are naturally a part of the character set, including those needed in the Baltic states, for Romanian, and for Turkish. Malabar's accents are bold and direct, sitting well with their base glyphs. The family includes three weights, each with a companion Italic. Malabar Regular is equipped with small caps, and both it and Malabar Italic include oldstyle figures. All members of the family have both proportional and tabular-width lining figures, as well as special variants of certain punctuation marks vertically adjusted for all-caps text setting. Malabar is informed both by contemporary ideas of typeface design (sheared terminals, the wider-drawn s) as well as by 16th-century masters. Malabar Heavy and Heavy Italic are very loud; their blackness almost shouts out from the page. The Regular's wedge serifs become more slab-ish in nature as the letters' weight increases. Malabar Heavy and Heavy Italic are best relegated to headline use only. Malabar Bold and Bold Italic may be used for text emphasis, a job for which the Heavy is to dark. Malabar received a Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2009.

Ten years or so after his unique treatment of Garalde design with Trump Mediaeval, Georg Trump took on the transitional genre with Mauritius, which was to be his last typeface. He started working on it in 1965. The Stuttgart-based Weber foundry published a pamphlet previewing it under the name Barock-Antiqua in 1967, then announced the availability of the metal types (a roman, a bold and an italic) a year later. The global printing industry was already in third gear with cold type technology, so there weren't that many takers, and Weber closed its doors after more than 140 years in business. Subsequently, Trump’s swan song was unfairly overlooked by typography historians and practitioners. It never made it to film technology or scalable fonts. Thus, one of the most original text faces ever made, done by one of the most influential German type designers of the 20th century, was buried under decades of multiple technology shifts and fading records. The metal cuts of Mauritius seem to have been rushed in Weber’s desperation to stay afloat. So the only impressions left of the metal type, the sole records remaining of this design, show substantial problems. Some can be attributed to technological limitations, but some issues in colour, precision and fitting are also quite apparent, particularly in Mauritius Kursiv, the italic metal cut. This digital version is the result of obsessing over a great designer’s final type design effort, and trying to understand the reasons behind its vanishing from typography’s collective mind. While that understanding remains for the most part elusive, the creative and technical work done on these fonts produced very concrete results. All the apparent issues in the metal types were resolved, the design was expanded into a larger family of three weights and two widths, and plenty of 21st century bells and whistles were added. For the full background story, design analysis, details, features, specimens and print tests, consult the PDF available in the Gallery section of this page.

Well lookee here: an authentically distressed "rough" version of our best-selling Cornhusker font! Standing tall as an Illinois cornfield in September, Cornhusker Rough is a faux-printed, condensed sans designed by a champion cornhusker. Inspired by 1940s Midwestern signage, it's warm & inky characters are perfectly at home in logos, beverage bottles and food packaging, restaurant menus, travel advertisements, websites, stationery, handmade product packaging and so much more. If you're looking for a hand-crafted typeface with punch (who can fit into tight spaces!) then Cornhusker Rough is the font for you. This inspired revival excels in both retro & modern designs. Cornhusker Rough includes capital letters, small caps, and alternate cuts (with diacritics) of A, E, F, J, X, Y, ᴀ, ᴇ, ғ, ᴊ, x, ʏ, 0, 1, 2, 3, 4, 5, 7 and a sharp German double s in both cap and smallcap. Please note: Cornhusker Rough features a highly detailed, realistic inkplate texture. This font may render slowly in some applications. This font is not affiliated with or endorsed by the University of Nebraska. WHAT'S INCLUDED Cornhusker Regular includes an installable digital Opentype Font file in a single weight. This file contains a basic Latin character set with a full set of uppercase and small caps, multilingual diacritics, numbers, international currency figures, punctuation and pagination symbols. The font also includes alternate cuts for select uppercase and smallcap letters (located in stylistic sets). It is compatible with Adobe CS and CC, Microsoft Word and other type editing apps. SUPPORTED LANGUAGES Afrikaans, Alsatian, Basque, Bislama, Breton, Catalan, Chamorro, Danish, Dutch, English, Faroese, Finnish, Flemish, Franco-Provencal, French, Frisian, Friulian, Galician, German, Greenlandic, Icelandic, Indonesian, Irish, Italian, Ladin, Latin, Luxembourgish, Malay, Manx Gaelic, Northern Sotho, Norwegian (Bokmål), Norwegian (Nynorsk), Occitan, Portuguese, Rhaeto-Romance, Romansh, Sami (Inari), Sami (Lule), Sami (Northern), Sami (Skolt), Sami (Southern), Scottish Gaelic, Spanish, Swahili, Swedish, Tagalog, Walloon and Welsh.

Bardamu is a variable slab serif font family designed by Eugene Tantsurin and Anna Remm, and released by Groteskly Yours Studio. Bardamu is a type family that is open to interpretation and experimentation, yet this ambiguity does little to hide its inherent friendliness and good vides. Bardamu can easily be used in a variety of projects and feel at home both in graphic design, branding, web design or editorial design. Thanks to its unique letterforms and eye-catching design choices, it can be that final touch that makes your brand pop! One of the standout qualities of Bardamu is its remarkable versatility. Bardamu comes in 25 styles, allowing users to choose a style that best fits their needs. In addition to that, it offers a wide range of styles, from sleek backward-slanted italics at -20° to elegant upright styles, as well as regular 20° italics. For static fonts, there are two extra subfamilies available (10° Half Italic and 10° Half Reverse) that can be used for creating more complex hierarchy in any text. With a total of 25 static fonts and 1 Variable font, Bardamu is the perfect workhorse display slab serif with unlimited typesetting capabilities. Each font in the Bardamu family boasts an extensive 700+ character set, encompassing all major Latin-based languages, punctuation marks, symbols, and even supplementary characters. Bardamu takes flexibility to a whole new level with its incredible OpenType features that further enhance its versatility. With features such as Case-Sensitive Punctuation, Stylistic Alternates, Sub- and Superscript, Tabular Figures, and Localised Forms, you can fine-tune every detail of your design to perfection. Moreover, the multiple stylistic sets available in Bardamu allow you to switch between various versions of the same glyph effortlessly. Bardamu type family includes 25 static styles as well as a variable font. All styles can be purchased separately or as a full family package. Two styles can be downloaded free of charge. If you'd like to explore Bardamu further, we also offer free trials upon request.

ITC Riptide is a work of British designer Timothy Donaldson. Abrupt changes in stroke, pointed stroke ends and changing slant direction characterize this very experimental alphabet. The temperamental figures are irrepressible and aggressive, the forms seem to have been chosen randomly, and these traits lend the font its informality and spontaneity. ITC Riptide is legible in point sizes of 14 and its fresh character is perfect for comics and cartoons.

Burgues Script is an ode to the late 19th century American calligrapher Louis Madarasz, whose legendary pen has inspired schools of penmanship for over 100 years. His talent has caused some people to call him “the most skillful penman the world has ever known.” I use the word ‘ode’ in a colloquially ambitious manner. If I was an actual poet, my words would be about things I desire but cannot attain, objects of utter beauty that make me wallow in humility, or people of enormous talent who look down at me from the clouds of genius. But I don’t write poems. My work consists of letters drawn to fit together, that become an element of someone’s visual poetry. I am the poet’s assistant, so to speak. Once in a while, the assistant persists on what the subject of the poem will be. And occasionally, the poet gives in to the persistence. I hope you, visual poet, find my persistence justified in this case. The two main sources for Burgues were the calligraphy examples shown in Zaner Bloser’s The Secret of the Skill of Madarasz: His Philosophy and Penmanship Masterpieces, and C. W. Jones’s Lessons in Advanced Engraver’s Script Penmanship by L. Madarasz. These two references were the cornerstone for the concept I was trying to work with. I did have to change many of the letters in order to be able to produce digital calligraphy that can flow flexibly and offered the user a variety of options, while maintaining its attractive appearance. To this end, many ligatures and swashes were made, as well as full flourished sets of letters for use at the beginnings or endings of words and sentences. All of this has been tied together with OpenType and tested thoroughly within today’s standard design and desktop publishing software. After working with digital scripts for so long, at one point I thought that Burgues Script would become a bit of a chore to complete. I also thought that, like with most other scripts, the process would regularize itself after a while and be reduced to a mechanical habit. Surprisingly, and fortunately for me, this did not happen. The past holds as many surprises as the future. Madarasz’s method of penmanship was fascinating and challenging to translate into the strict, mathematically oriented language of the computer. It seems that the extremely high contrast of the forms, coupled with the required flow and connectivity of such lettering, will always be hard work for any visual artist to produce, even with the aide of a powerful machine. I can only imagine what steady nerves and discipline Madarasz must have had to be able to produce fully flourished and sublimely connected words and sentences on a whim. When I think of Madarasz producing a flourished calligraphic logotype in a few seconds, and try to reconcile that with the timelines of my or my colleagues’ work in identity and packaging design, the mind reels. Such blinding talent from over a hundred years ago. Burgues is the Spanish word for Bourgeois. In the end, I hope Burgues Script will serve you well when a flourished word or sentence is required for a design project. One of the wonders of the computer age is the ability to visually conjure up the past, serving both the present and the future. With Burgues, you have a piece of “the most skillful penman the world has ever known,” at your service. Burgues received important awards such as a Certificate of Excellence TDC2 2008 and a Certificate of Excellence at the Bienal Tipos Latinos 2008.

Zeitung is a sans serif family which works equally well on print and web. First of all: Zeitung is a sans serif made according to contemporary standards: 8 weights, romans and italics, all equipped with small caps. Lots of OpenType features, like uppercase punctuation or 5 figure styles to make sure any of your mathematical or financial charts, tables and diagrams look cool. Zeitung’s typographic palette focuses on utility and legibility, but in the farthest corners you’ll discover a rich array of flavours: punchy black weights, fashionable thin styles, carefully hand crafted true italics, distinct small caps. But Zeitung has more to offer. Its optical sizes offer the best style for each size of your text. Zeitung fonts are devided to two optical families: Zeitung Standard and Zeitung Micro. Zeitung Standard works great in most sizes, while Zeitung Micro fonts are specially made for very small sizes in print and web. Zeitung Micro fonts are perfectly legible in web, where the same technical font styles have to survive in many environments, from older browsers to most up to date mobile screens. Next to that: the lightest weights also function as grades, because they share the same metrics. This can be very handy for selecting the optimal weight for your specific situation, especially on screens or when type is printed by a newspaper press. Letters are rendered in many various ways on different screens. Maybe the interface of your next app requires a different grade than your latest website? Zeitung allows you to change the weight of your text without any further consequence for the design. That is a welcome relief during the design process. Zeitung will help to bring your message across in many different circumstances, from large text in print to small type on screens.

Our new Hamburger font is based on the old classic Brush Script design with many new additions. We've added many alternates to the design including lowercase swash tail letters, swash underscores and a few alternate uppercase letters. Upright scripts are popular these day so new to this old type design is a near upright script version, a lot of hand work went into producing it. One of the biggest problems with the old Brush Script font is that people use it as all caps, which doesn't look good because of the extended swash on the top left side of the caps letters. We've fixed that problem by making an all caps version where the caps in the lowercase position have the top left swash tucked in to help the letters display better as an all caps font. We've also created a small caps version, again the small caps lowercase have all the top left swashes tucked in to bring the letters closer together for a better display. Also new to this font are two higher x-height versions that are ideal for signage. The first is Hamburger X which stands for extra x-height and the second is Hamburger SPX which stands for super x-height. Both of these higher x-height fonts are suitable for signage on a building, billboard and vehicle lettering where you're looking for faster readability from moving traffic. We've designed a new lowercase b and moved the original to an alternate position. We've also redesigned the uppercase C bringing the bottom up to the baseline and moved the original C to an alternate position. The original lowercase g was open at the top, we've closed it and we're not offering the original g as an alternate.

Hey there, font fanatics! Have you met Bonobo? This casual-style transitional serif typeface is the perfect addition to your font collection. With its robust uprights adorned with blunt serifs and curls, Bonobo exudes a friendly yet sophisticated vibe. But that’s not all—the italics are flared and laid back, adding a touch of playfulness to your designs. And the best part? Bonobo comes in a variety of weights to suit your every need—Regular, Semibold, Bold, and Italic. So whether you’re crafting a brochure, designing a logo, or just jazzing up your social media posts, Bonobo has got you covered. Why settle for boring fonts when you can add a little personality to your work with Bonobo? Try it out today and see the difference it makes! 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.

New York vibes FS Irwin was born in New York while Senior Designer, Fernando Mello, was studying an intensive 5 week typeface design course at the Cooper Union. His brief was to design a perfectly clear typeface that could communicate well, without loud or overtly mannered design features. Fernando was influenced by the subway font in New York: ‘It is very in your face and clear, always in bold. It doesn’t shout much but at the same time is very present and unique. The design is completely different but it was this spirit I wanted to capture for FS Irwin.’ And the vibe of the city: ‘In a similar way to London, New York is so mixed and so cosmopolitan. I was amazed by the different styles and identities I saw there, and tried to encapsulate this essence to create something new, relevant and very now.’ Incisive quality Rather than focusing on quirks or distinctive characteristics, the key to FS Irwin is the quality of its design and spirit of simplicity. The design, proportions and details are usable and authentic and it is suitable for countless situations, without running the risk of being instantaneously noticeable. Families like this can be used on nearly anything, from more playful designs to serious corporate IDs. ‘Extensively tested and precisely drawn text-oriented typefaces are what I enjoy designing the most. There is a beauty and a different approach, a different way of making them interesting, sellable and usable rather than adding flicks or unexpected details.’ Inscriptions and calligraphy FS Irwin’s origin lies in Fernando’s studies in inscriptional lettering and writing-calligraphic exercises at the Cooper Union. Mello started the process by digitising his explorations and adapting them into a more workable sans serif structure. The traditional forms of writing which gave the basis to Latin type as we know it today were the perfect place to start. This influence can be seen in the proportion of the capitals and in slight writing-calligraphic details in the lowercase, such as the slightly angled, chiselled spurs and their open terminals.

Razumec is a carefully crafted display serif typeface with a highly unique personality. Its epic yet warm sentiment is established by a skillful blend of slab and wedge serifs, tapered stems, curves with raised center, and creative weight distribution. Proper pronunciation of these style elements influenced wide proportions and medium-to-high contrast. Besides its main typology, it incorporates subtle allusions to a spectrum of typographic and visual traditions, from calligraphy, ordinary handwriting, blackletter, and medieval uncial script to the neoclassical Didone and industrial typefaces. All of these flavors are combined tastefully and consistently throughout the whole set. With its rich visual identity, Razumec is primarily intended for display usage, as shown in the promo images. It's perfect for branding and packaging. Fantastic for projects focusing on storytelling like fairy tales, epic fantasy books, board and video games with historic or adventurous themes. Superb for theme magazines, quotes, headlines, museum and concert brochures. On the other side, its authentic historical voice works great as a strong counterpart point in ultra-modern contemporary designs for print and screen. Web design, motion graphics, conceptual art, posters, and social media material are just the first few ideas. The laborious production process focused on achieving a high level of classical typographic virtues rather than having an extensive character set. Beautiful stylistically consistent characters with balanced weight and width, high-quality curves, meticulous spacing and kerning, well-articulated diacritics, and punctuation were priorities. Special attention is given to solving problematic letter pairs through contextual alternates, which enable better spacing and smooth joints (hence the recommendation to always keep the Contextual alternates feature on for this font. Learn more about it HERE). Razumec is a small but well-executed and thoroughly tested font. Font family comprises nine weights plus variable font.* * Variable font lets you access all the weights through the single font file. In apps that support it, you will find a slider where you can pick any number from 100 to 900 corresponding to 800 possible font weights. Learn more about variable fonts and their support on the following two links: VF ABOUT and VF SUPPORT.

Blue Goblet is a series of fonts and ornaments by Cory Godbey and Jeremy Dooley. This best selling series has now been extended to include a new member, Blue Goblet Serif. Blue Goblet Serif comes with a variety of weights and also an outline version. Blue Goblet is hand-lettered by the artist, Cory Godbey, and is organic, spontaneous 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 Serif a excellent choice, it also is a member of a wide family of different fonts. You can use it side by side with the original Blue Goblet, and there are a wide range of ornaments available, totaling over 350 illustrations! These illustrations include frames, 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 that works very well together for a very unique and consistent look. The Blue Goblet series continues to grow and be expanded, making it a valuable investment. Blue Goblet Serif also includes auto replacing ligatures that make it appear that the script was drawn by the artists own hand, just for you! Blue Goblet Serif also includes a wide variety of alternates that can be accessed in any OpenType enabled application. Blue Goblet includes over 150 OpenType 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 Serif is great choice for display and short blocks of display text, children's books, packaging, or other unique applications. Fill in the counter spaces with color for a unique look, or alternate the different weights. Use Blue Goblet whenever you want to inject a sense of fun and whimsy to your designs. Give the Blue Goblet series a try today!

Now even more design possibilities with the popular DIN Next. With its technical and neutral character, DIN Next has earned a permanent place in contemporary typography. Now, DIN Next Slab expands the font family further, offering new design potential. Now comes the next step, DIN Next Slab, also produced under the direction of Akira Kobayashi. On a team with Sandra Winter and Tom Grace, Kobayashi is creating the new font variant based on the optimized shapes of DIN Next. The expansion will make the popular font all the more flexible and versatile. Apart from that, the geometric slab serifs underline the technical and formal nature of the font and emphasize a central design element of DIN Next. However, the team did have some challenges to overcome. While it is relatively easy to imagine DIN Next Light with slab serifs, the amount of available space quickly disappears when it comes to the Black styles. Winter explains that many tests and trials were necessary to find a compromise between space, letters and the serif shapes. Experiments with modified contrast in the weight or only one-sided serifs were quickly abandoned. The central, technical and powerful character of the font changed too much. Nevertheless, it was necessary to simplify slightly the shape of some letters, such as the ‘k’ or ‘x’, for example. These changes, first developed in the Black styles, were applied to all weights in order to lend the font a consistent appearance. Like DIN Next, DIN Next Slab also has seven weights, which cover the range from Ultralight to Black, each with matching italic. There are various character sets in all of the styles and the four middle weights have small capitals available. DIN Next Slab harmonizes perfectly with the styles of DIN Next: the basic letterforms and weights are identical. Both versions of the font can work together perfectly, not just in headlines and body text, but also within a text; they complement each other very well as design variations. With the new DIN Next Slab, Monotype expands the DIN Next super family consistently. With DIN Next Slab, you can underscore the technical and formal nature of the understated font not only in headlines, but in texts, as well. In this way, you have new and diverse potential for application, thanks to the way the different styles of DIN Next combine perfectly.

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Spiral" because of the spiral like design. The first "Alef" has a "hamzit wasel", this indicates that you can pronounce the names both ways, "AR-RAHMAAN" or "R-RAHMAN". (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). The "Ye" doesn't have 2 dots at the end of a name, instead we chose to include a small "ye" on the letter "ye". Also, we used the traditional "soukoun" instead of the Quranic "soukoun". Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Kaf, Alef & Ye". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran. --------------------------------------------------------------------------------------------------------------------------- Here is a link to all the extra files you will need: https://drive.google.com/drive/folders/1Xj2Q8hhmfKD7stY6RILhKPiPfePpI9U4?usp=sharing ---------------------------------------------------------------------------------------------------------------------------

Welcome to Sunday Evening, a stunning display typeface that is guaranteed to elevate your designs to new heights. This typeface is not your typical typeface; it has a unique character that is sure to catch the eye of anyone who sees it. With its squarish letterforms and high-tech superelliptical style, Sunday Evening is perfect for anyone who wants to add a touch of sophistication to their designs. The reverse contrast of this soft sans-serif typeface gives it a one-of-a-kind look, while the high waistlines and curving ends are reminiscent of the Art Nouveau era. However, the elegant technical letterforms and sensual lines make this font anything but old-fashioned. It’s a perfect blend of vintage and modern design that will make your message stand out from the rest. But what truly sets Sunday Evening apart are the adorable heart symbols that have been included. Simply type [heart1], [heart2], and so on to add these sweet symbols to your designs. These little touches are what make Sunday Evening so special and unique. In summary, Sunday Evening is a display typeface that combines vintage and modern design elements to create a stunning and unforgettable font. With its unique character and squarish letterforms, this font is sure to add a touch of sophistication and elegance to any project. So why not give it a try and see how it can transform your message with exquisite accuracy and a truly unique personality? Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, 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, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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.

Are you looking for an appropriate typeface for coffee shops concept? We want to introduce Pistacho, the new type family of Estudio Calderon that contains 18 fonts to design great illustrations and to be applied, especially, in coffee shops, bakeries, ice-cream shops, candy stores, pastry shops, fruit shops and all those places where food is the center. Pistacho was designed by hand using pencils and markers that let us get a handcrafted and rough texture. Below, a brief description of each style: Display: A fresh and modern type, perfect to be used in coffee shops outdoor signs. The logotype of “Central Perk”, the coffee shop of the tv show “Friends” was our inspiration to develop this beautiful font that contains 317 characters and three variables: Display 1, Display 2 and Display 3, each one has specific characteristics that will be an excellent resource for your designs. Sans: Style that contains 7 fonts that can be mixed to get interesting finishes in your designs, each variable has 363 characters with standard ligatures and stylistic alternatives. You can find this styles as: Sans 1, Sans 2, Sans 3, Sans 4, Sans 5, Sans 6 and Sans 7. Good news, you can get Sans 5 DEMO for free. Script: Script 1 and Script 2, two monolineal fonts with a generous spacing that provides contrast and movement, being a suitable complement for the rest of the types of Pistacho family. Serif: Font with a lot of style and personality, inspired in the interlock alphabets shown in «Photo-Lettering´s One Line Manual of Style». Serif 1, Serif 2, Serif 3 and Serif 4 contain a great number of ligatures that generate nice compositions by combining them. One of the characteristics of this style is the combination of upper case and lower case giving as a result a different touch in each design. Soft: Humanist type with a rustic texture and geometric forms ideal for long texts and small sizes. Dingbats: We have designed a package of 244 graphics, illustrations and ornaments that are the perfect complement to combine with each font of this family. Get Pistacho type family, enjoy using it… and do not forget your cup of coffee.

Carnero™ is a feisty hybrid of precise geometry and calligraphic flair; a design that walks that fine line between being sensible and a standout. In an increasingly monotone typographic landscape – Carnero has a unique pulse that moves the reader along with a new energy. Carnero gives life to simple utility with kinetic letter shapes, open apertures, and generous counters Drawn by Steve Matteson for the Monotype Studio, Carnero’s versatility is its strength. From digital ads and applications to packaging and branding, Carnero is comfortable and contemporary. The lightest and boldest weights create inviting headlines, while the middle weights read well for body copy. Used together, they build a lively brand and a clear hierarchy. Matteson infused Carnero with a modernist exterior resting on a 10th century calligraphic foundation. Delightful flourishes on the capital R and K, and lowercase a, k and l, give the design a distinctive demeanor; while the alternate italic swash caps are a saucy nod to the scribes. The result is a design that is warm, approachable – and a bit lighthearted. Matteson describes Carnero as, “transcending the static posture of the geometric sans genre.” The Carnero family is a compact collection of six distinct weights, ranging from an engaging light to an authoritative black, each with an italic counterpart. Its extended Latin character set ensures worry-free localization for eastern/western European languages. This is a design that will prove its value many times over. Matteson has drawn over 80 distinctive typeface families for major corporations, branding firms and retail sales. His passions for the outdoors and performing music balances an intense focus on work – and subtly finds its way into typefaces like Carnero. Matteson has designed custom fonts for three generations of the Microsoft Xbox® game console, the original core fonts for the Android® mobile-phone platform, in addition to branding typefaces for Toyota®, Rocket Mortgage®, and Google®. He also drew the Kootenay™ family, Monotype’s proprietary branding typeface. Matteson’s retail designs range from the elegant and utilitarian Open Serif™ (a companion to Google’s Open Sans), to a growing series of Frederic Goudy revivals. Carnero Variables are font files which are featuring one axis and have a preset instance from Light to Black.

Carnero™ is a feisty hybrid of precise geometry and calligraphic flair; a design that walks that fine line between being sensible and a standout. In an increasingly monotone typographic landscape – Carnero has a unique pulse that moves the reader along with a new energy. Carnero gives life to simple utility with kinetic letter shapes, open apertures, and generous counters. Drawn by Steve Matteson for the Monotype Studio, Carnero’s versatility is its strength. From digital ads and applications to packaging and branding, Carnero is comfortable and contemporary. The lightest and boldest weights create inviting headlines, while the middle weights read well for body copy. Used together, they build a lively brand and a clear hierarchy. Matteson infused Carnero with a modernist exterior resting on a 10th century calligraphic foundation. Delightful flourishes on the capital R and K, and lowercase a, k and l, give the design a distinctive demeanor; while the alternate italic swash caps are a saucy nod to the scribes. The result is a design that is warm, approachable – and a bit lighthearted. Matteson describes Carnero as, “transcending the static posture of the geometric sans genre.” The Carnero family is a compact collection of six distinct weights, ranging from an engaging light to an authoritative black, each with an italic counterpart. Its extended Latin character set ensures worry-free localization for eastern/western European languages. This is a design that will prove its value many times over. Matteson has drawn over 80 distinctive typeface families for major corporations, branding firms and retail sales. His passions for the outdoors and performing music balances an intense focus on work – and subtly finds its way into typefaces like Carnero. Matteson has designed custom fonts for three generations of the Microsoft Xbox® game console, the original core fonts for the Android® mobile-phone platform, in addition to branding typefaces for Toyota®, Rocket Mortgage®, and Google®. He also drew the Kootenay™ family, Monotype’s proprietary branding typeface. Matteson’s retail designs range from the elegant and utilitarian Open Serif™ (a companion to Google’s Open Sans), to a growing series of Frederic Goudy revivals. Carnero Variables are font files which are featuring one axis and have a preset instance from Light to Black.

ATTENTION! See the newest version of Reina here. Reina Neue is now a family of 45 styles and it's also a Variable Font! Have a look. For the traditional version of Reina, you may stay here ;) --- Reina is Sproviero’s didone of the year. We recommend seeing its user’s guide . Inspired in the sweet letters of calligraphy and typography masters of our past; such as Didot, Bodoni and the incredible Herb Lubalin, its aim was to incorporate the decorative accolades from blackletter and copperplate styles of calligraphy into a Modern Roman typeface. Reina reflects sovereignty due to the enveloping atmosphere and the sensation of greatness that can be felt when using it. It has an unique way of standing over paper and screen, being its swashes responsible of an extreme elegance. Similar to what Lian did in his last font Breathe , Reina 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. TECHNICAL Reina is a family with many members. In order to achieve better results when printing, Lian took his time to design the necessary styles: Reina 72 Pro, prepared for display sizes; Reina 36 Pro, for medium sizes; and Reina 12 Pro, the best for text or decorative words in small size. Each of these members have variants inside, which are open-type programmed: The user decides which glyph to alternate, equalizing the amount of decoration wanted. Reina Engraved Pro has the same features than the variants mentioned above. The family also contains variants which were made exclusively for decoration. These are: Reina Words, a set of the most common words used in english, german, italian, french and spanish; Reina Capitals, which consists in a big set of ornamented capitals; and Reina Fleurons, those little friends which always help to embellish our work.