Minimal, modular, modern—at first glance, Materia shows a contemporary flair, combining pure, strong geometrical form with a subtle, distinct appearance. Actually, the design was inspired by lettering from the turn of the 19th to the 20th century that still can be found in the East of France. While its formal origins date back as far as this, revived e. g. by the constructivists into the nineteen twenties and later on by Dutch information designer Wim Crouwel in the nineteen-sixties, the visual language of Materia still speaks of the »future«. Following a minimalistic concept the font is formally built on a grid. Wherever optical curves are needed for a smoother, more comfortable shape of letters than a simple rectangular block, diagonals cut off the egdes – like a diamond is cut to achieve more beauty. Thus headlines and texts set in Materia are given a certain »egdy« feeling, whereas their tonality is still kept well-balanced, keeping concentation all on information in a nonconfomist way. Materia comes in eight styles, from elegant Thin to attention-forcing Ultra. Even a regular Italic is available, following the classic type-set-principle. Two of the styles are explicitly designed for display use, Shadow and Code. Both are ready for combinations with Bold or each other respectively, the layering of Shadow and Code e. g. allows astonishing effects or highlighting within the letters. For OpenType-users Materia is a real Pro, containing accented Latin letters for over 70 languages, small caps, old style, tabular and lining figures and special condensed titling all caps for cases in which space is all that counts. How useful all of the above mentioned is may be seen in the book David Lynch – Lithos, designed by Koma Amok, published in 2010 by item éditions, Paris, and Hatje Cantz, Germany, which was typeset completely in Materia.

Gaslon is a slight reinterpretation and major expansion of a 1973 film type called Corvina Black, originally designed for VGC by A. Bihari. While the original typeface was popular in its own right, there were some things in it that were too quirky to work in the display applications it was intended for. Some of the letter combinations just didn't work to their visual optimum. For example the a and o were too similar, ditto the C and G, the E, F and J were too overwhelming to be set properly within certain display uses. Gaslon eliminates these problems by the inclusion of plenty of alternates for the vast majority of the original letters. In fact, the original a is itself now an alternate to a gorgeous new one. The Gaslon Alt font includes tremendous possibilities for both unicase use, and proper use in conjunction with the main font. This is our true homage to a typeface that had great potential more than three decades ago, but was overlooked by digitizers because of a few quirks it had in film type contexts. Full of curves and invitation, Gaslon ranks very high among the friendliest poster faces ever made. It is ideal for friendly store signs, children book covers, and plenty of other applications. In fact, if you're planning on contributing to a few protests around your neighborhood or city, you would probably be better off using Gaslon to help your sign/placard carry words and slogans that are big but friendly. Nothing beats "DOWN WITH GAS PRICES" set in a nice imaginative mix of the many Gaslon letters. The OpenType version of Gaslon is a single font that contains all the alternates and niceties programmed within features accessible by OT-friendly programs.

Introducing Gaz, the square display typeface inspired by the gasoline station signs of the twentieth century. Sign painters used to refer to this type of lettering as “stovepipe”, due to its sharp angles and rounded corners. Gaz’s unique squareness exudes a vintage industrial charm, while still maintaining a friendly, almost organic feel. Gaz is available in seven weights and italics, giving you the flexibility to create a wide range of designs. But that’s not all. Gaz also comes in five greasy effect styles, perfect for creating that worn, grungy look. The ligatures contained in these styles are automatically substituted in most applications, projecting a more natural and authentic tone. Whether you’re creating a bold poster, an eye-catching logo, or a sleek website design, Gaz is the perfect choice for adding a touch of vintage industrial style. Try Gaz today and bring a piece of the past into your designs. 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.

The Journal Sans typeface was developed in the Type Design Department of SPA of Printing Machinery in Moscow in 1940–1956 by the group of designers under Anatoly Schukin. It was based on Erbar Grotesk by Jacob Erbar and Metro Sans by William A. Dwiggins, the geometric sans-serifs of the 1920s with the pronounced industrial spirit. Journal Sans, Rublenaya (Sans-Serif), and Textbook typefaces were the main Soviet sans-serifs. So no wonder that it was digitized quite early, in the first half of 1990s. Until recently, Journal Sans consisted of three faces and retained all the problems of early digitization, such as inaccurate curves or side-bearings copied straight from metal-type version. The years of 2013 and 2014 made «irregular» geometric sans-serifs trendy, and that fact affected Journal Sans. In the old version curves were corrected and the character set was expanded by Olexa Volochay. In the new release, besides minor improvements, a substantial work has been carried out to make the old typeface work better in digital typography and contemporary design practice. Maria Selezeneva significantly worked over the design of some glyphs, expanded the character set, added some alternatives, completely changed the side-bearings and kerning. Also, the Journal Sans New has several new faces, such as true italic (the older font had slanted version for the italic), an Inline face based on the Bold, and the Display face with proportions close to the original Erbar Grotesk. The new version of Journal Sans, while keeping all peculiarities and the industrial spirit of 1920s-1950s, is indeed fully adapted to the modern digital reality. It can be useful either for bringing historical spirit into design or for modern and trendy typography, both in print and on screen. Designed by Maria Selezeneva with the participation of Alexandra Korolkova. Released by ParaType in 2014.

Rolling Brush is a script font that gives handwriting appearance with original and personal brush details. This font is made beautifully so that the letters are connected to each other, creating a continuous and flowing look. Each letter is attached to the previous letter and continues to the next letter, creating beauty in writing unity. This font shows brush details on each letter. Brush strokes displays a rough, organic texture to the edges of the letters, adding dimension and visual life. These details give a unique impression to this script font. On the other hand, even though it has a rough border, this script still maintains a natural and elegant aesthetic touch. Some letters may have dramatic twists, while others are simpler. This flexible shape creates an expressive and creative look to the lettering. Because it is designed with a rough border, it would be better if you use this font at a large text size so it is more easy to read. Enjoy the various features available in this font as well. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Rolling Brush is suitable for any designs that want to convey a warm, personal and alluring impression. You can use this font in the design of greeting cards, invitations, logos, labels, and many other design projects that want to create uniqueness through a natural, handwritten touch. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Introducing Voivode—the charming and playful headline typeface that will leave you hooked! With its fish-tailed design and postmodern geometry, Voivode offers a unique and refreshing twist to traditional typography. But Voivode isn’t just a pretty face. Its welcoming letterforms give your message a genuine and sophisticated voice that will capture the hearts and minds of your audience. This typeface is perfect for anyone who wants to make a bold statement with their design while still maintaining a sense of whimsy and cuteness. Whether you’re designing a poster, a website, or even a greeting card, Voivode will add a touch of charm that is sure to delight. So what are you waiting for? Dive into the world of Voivode and experience the magic of this one-of-a-kind typeface! 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 The Loud & Proud Bobby Jones Font Collection Inside you'll find 16 quirky handcrafted fonts, oozing with personality, ripe and ready to take center stage within a variety of creative and fun design projects. If you're looking to grab eyeballs with an ad campaign, a logo design, apparel, printed stationery, and all that other good stuff, then worry not. Bobby has you covered. We all come with imperfections and Bobby is no exception! His outlines are slightly off, his corners are irregular, his straights aren't straight, but he's cool with it. In fact, he's too busy strutting his stuff. - What's Inside? Each of the fonts listed below boast multilingual glyph ranges and their own individually handcrafted outline style! (16 fonts in total!) - Bobby Jones - The original Bobby.J - Bobby Jones Soft - A rounded version of the above - Bobby Jones Condensed - The thinner and leaner sibling to Bobby Jones - Bobby Jones Condensed Soft - A rounded version of the above - Bobby Rough - A high-res textured version of the original - Bobby Rough Soft - A textured version of Bobby Jones Soft - Bobby Rough Condensed - A textured version of Bobby Jones Condensed - Bobby Rough Condensed Soft - A textured version of Bobby Jones Condensed Soft Designed a little over five years ago, the original Bobby Jones Font was my first ever product. This new and improved version has been entirely redesigned from bottom to top. Holding dearly to the punch that the original had, while adding a whole lot of extra power. I hope you enjoy the Bobby Jones Family as much as I do and have, and as always if you have any questions or comments, please do not hesitate to get in touch. I'd love to hear from you. (tom[at]tomchalky.com)

TE Mona Tharwat Emara," a masterpiece of Arabic calligraphy crafted by the renowned Egyptian calligrapher, Tharwat Emara. This exquisite Ruqaa font seamlessly blends tradition with innovation, offering a timeless elegance that captures the essence of Arabic script. Tharwat Emara, a distinguished figure in the world of calligraphy, has lent his artistic prowess to create a font that is not merely a collection of characters but an embodiment of cultural richness. Each stroke of the pen reflects the heritage of Egyptian calligraphy, echoing the historical echoes of an ancient civilization. "TE Mona Tharwat Emara" stands as a testament to Emara's dedication to perfection. The font's graceful curves and meticulously designed letterforms pay homage to the classical Ruqaa style, while subtle contemporary touches infuse it with a modern flair. It is a harmonious blend of tradition and innovation, making it an ideal choice for projects that demand sophistication and cultural resonance. Designed with precision and passion, this font is not just a typographic tool; it's a work of art that brings the beauty of Arabic calligraphy to the forefront. Each character is a brushstroke of inspiration, contributing to a seamless flow that captures the eye and mesmerizes the reader. Whether you are working on a branding project, publication, or artistic endeavor, "TE Mona Tharwat Emara" adds a touch of timeless class. Embrace the elegance of Arabic script with this font, where every detail reflects the expertise of a master calligrapher. As you embark on your creative journey, let "TE Mona Tharwat Emara" be your muse. Elevate your designs, captivate your audience, and embrace the heritage of Arabic calligraphy with this exceptional font. Embrace the legacy, embrace the art – TE Mona Tharwat Emara awaits, a font that transcends time and tradition

Ghost Terror is a captivating display font that will haunt your designs with an eerie allure. Designed in uppercase and bold, this typeface commands attention and exudes an aura of fear. Each letter is meticulously crafted with a rounded shape, and some have sharp edges, adding a sense of unpredictability and suspense. The haunting brush details on each letter further enhance the font's chilling theme, immersing your audience in a world of ghostly terror. With its bold weight and rounded shape, this font brings a sense of familiarity while maintaining an air of otherworldly mystery. The mix of rounded shapes and sharp edges in this font adds a dynamic contrast, giving the font an unsettling and unpredictable appearance. The letters seem to dance between the realms of the living and the undead, capturing the essence of ghostly entities that lurk in the shadows. The brush details in Ghost Terror lend a haunting and handcrafted touch, as if the letters were inscribed by spectral beings. These eerie details add a sense of craftsmanship and an element of horror, creating an atmosphere of supernatural presence. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Ghost Terror fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed project. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Welcome to our cozy coffee shop! Come on in, take a seat and savor the aroma of freshly brewed coffee. Speaking of coffee, have you seen our new font? Meet Barrista! Its relaxed, curly script perfectly captures the whirling curls of steam rising from a hot cup of Joe. Barrista is not just any font. Thanks to OpenType ligatures, certain letter combinations will automatically be substituted with customer pairings. This creates a natural, relaxed look that’s perfect for our laid-back atmosphere. Imagine jotting down your order in Barrista, watching as our talented baristas create your perfect cup of coffee. As you wait for your order, you can admire the intricate details of Barrista’s flowing script, which is inspired by the art of coffee-making itself. So, come on down to our coffee shop and experience Barrista 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, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

Paralucent Slab is an addition to the ever-popular Paralucent family. Paralucent is versatile all-purpose modern sans and slab serif design. Available in seven weights, from Thin to Heavy, with corresponding italics, it avoids some of the more eccentric calligraphic quirks of Akzidenz or Helvetica or the cool precision of Univers for an elegant, functional, yet warm design. Several core ideas inform Paralucent’s design. Prime attention has given to the negative space between characters, giving a more even “colour”, especially in text. For example, the J, L and T have shorter arms than comparable sans typefaces, while the M and W are wider. The A has a lower bar, opening up the interior counter. An unusually high lower-case x-height again helps to give a more even colour and improve legibility. Care has been taken to rationalise repeated elements like the tails on lower-case letters, or the Q and the “ear” of the g. Typographic design solutions that are consistent across all these features add more stylistic cohesion. ‘Ink traps’ are exaggerated incisions used to open up a letter's narrower internal angles, which can become clogged with ink, especially in small point sizes. Now largely redundant due to the high quality of modern print, they are still sometimes used as a stylistic quirk or design feature. Now that digital fonts are often reversed or outlined, or enlarged to enormous sizes, these can also lead to unexpected or obtrusive results. Paralucent takes these inevitable digital manipulations into account, and adds optical corrections without resort to ink traps. The family has been picked up by many UK and US publishers, featuring heavily in magazines like Loaded, Heat and TV Quick, as well as high-end coffee-table photography books and gallery websites. The addition of the Slab family adds even more options for running text and headline.

The Getty-Dubay® family of fonts has been 500 years in the making — so that you can make your handwriting worksheets in seconds. These fonts are modern descendants of the chancery handwriting style (now called “Italic”) from the Italian Renaissance, when master scribes designed a fluid and graceful hand, inspired by the proportions of the golden rectangle and Roman capitals. The Italic style has been in constant use since then. In modern times, it has been celebrated by Alfred Fairbank, Lloyd Reynolds and many others including authors Barbara Getty and Inga Dubay in their Getty-Dubay® Italic method. The Getty-Dubay® monoline handwriting fonts provide a replete resource to effectively model the highly-legible and beautiful Italic handwriting style. These are the official fonts of Getty-Dubay® Italic. Download the Getty-Dubay® Font Guide for everything you need to know about the Getty-Dubay® fonts. The Getty-Dubay® Joined fonts produce a clean cursive handwriting with join-as-you-type ease. Four join options are included: Standard, Pointed (altered joins into m, n and r), e k (utilizing the two-stroke e and one-stroke k), and Beginning (easiest joins only). The Getty-Dubay® Basic fonts provide sans-sarif clarity suitable for young writers. The Getty-Dubay® Precursive fonts add serifs to the lowercase letters, while retaining the pure Roman capitals of Basic Italic. The Getty-Dubay® Smallcaps fonts make mixed capitals easy to use. All Getty-Dubay® fonts come with scaffolds such as dashed contours, ruled lines, directional arrow and starting dots (for Basic and Smallcaps). They support multiple Latin-based languages from around the world. Getty-Dubay® is a registered trademark in the United States.

The Aviano collection returns, refined into a new, mid-contrast sans-serif inspired by the design and style of early 1900ís American engravers. Engravers would meticulously carve lettering into copper plates for printing, and often these letters, for more impact, would be extended and only utilize capitals. While taking inspiration from the past, Aviano Gothic is distinctly one-of-a-kind, and is not a revival, but instead is based on the structure of pre-existing Aviano type families for interchangeability and interoperability. Aviano Gothic has been diligently honed to be sinuous and seductive, making it great for high-end work such as including jewelry, beauty, and other luxury products. The full Aviano Gothic family presents you with six distinct weights and is full of OpenType options. Available with the face are deco alternates for replicating inscriptions and signage of the í20s and í30s. Style sets are offered, together with four full sets of art deco-inspired alternates, swashes, and titling, in addition to an expansive range of other alternates to help ìunique-ifyî your layouts. Aviano Gothic also features forty discretionary ligatures for inventive typographic compositions. Begin planning your work with Aviano Gothic by looking at these options in the instructive .pdf brochure. OpenType-able applications, including Quark or the Adobe suite, allow for the comprehensive benefit of the ligatures and alternates. This typeface also features the glyphs to aid a broad number of languages. Several variants have been made to extend the usefulness of the typeface, and it makes for a fine substitute for Copperplate, ITC Blair or Engravers Gothic. Aviano Gothic also pairs perfectly with the other members of the Aviano collection, including the original Aviano, Aviano Serif, Aviano Sans, Aviano Didone, Aviano Flare, Aviano Future, Aviano Wedge, Aviano Contrast and Aviano Slab.

Defense is an unyielding rectangular slab-serif stencil face designed with consistently balanced letterforms and a refined finish. It’s extremely angular geometric form commands attention in display settings, yet is also legible in short text blocks. The stencil mark width varies accordingly with each weight, helping to further define each style. Numerous alternate character sets allow room for customization, while the expanded ligatures push letter combinations to the limit. Stylistically, Defense’s almost crude, sharp-cornered construction is balanced by it’s sophisticated finish and attention to detail, often unrealized in similar faces of this genre. The upright weights are complimented by pairings of true italics, completely rebuilt, slightly narrower in width with modified letterforms, increasing their contrast and flow. Features include: Precision kerning Standard Ligatures set including 'f' ligatures (fi, fl, ff, fh, fj, ffl, ffi, ffj) Discretionary Ligatures set including (ft, rt, ae, oe, st, ft, ct, oc, oo, ry, AE, OE, AL, TH, HE, AK, AN, TT, HD, AM, AP, AR, NF, NE, NH, NL, NB, FL, ND, FE, AB, OB, OD, OF, OG, OH, OK, OL, OM, ON, OO, OP, OQ, OR, OU, AH, UE, UF, UB, UD, UH, UK, UL, UM, UN, UP, UR, UU, MP, XY, YX, KY, WY, VY, AF, FF, FI) Alternate characters (O, o, S, s, a, h circumflex, @, ®, ™, ¶, $, &, _, and various ligature alternates) Case forms (shifts various punctuation marks up to a position that works better with all-capital sequences) Capital Spacing (globally adjusts inter-glyph spacing for all-capital text) Slashed zero Full set of numerators/denominators Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Some 40 km north of Helsinki, surrounded by meadows and a serene Finnish lake, lies Ainola, the former home and now museum of composer Jean Sibelius (1865–1957). I know the place quite well, since it is only a stone’s throw away from the art school where I began my graphic design studies. We sometimes went there after classes—a beautiful walk, especially in spring, when the days were getting longer, the snow melting in the sun and the ice cracking on the lake. The composer often professed his love for this landscape and found constant inspiration in its moods, sounds and scents during different seasons. For many people, Sibelius and his music, most notably his famous symphonic poem Finlandia, are a symbol of Finland. I decided to name the typeface family I’m presenting here FinlandiaScript, because it owes its influence to both Sibelius’ manuscripts and the Finnish landscape around Ainola. The shape of letters, their poise and the rhythm they create resemble Sibelius’ handwriting without copying it. The letters form gently flowing lines of text which is legible without giving up individuality. The font family comes in three styles: FinlandiaScript, FinlandiaScript Bold and FinlandiaScript Frost. Together they are perfect for magazines, websites and brands aiming to create a personal and sincere image. While the fine details of FinlandiaScript Frost are best suitable for display sizes, FinlandiaScript and FinlandiaScript Bold work well in both headlines and texts of smaller sizes. Hundreds of ligatures give them an especially flexible appearance. The FinlandiaScript family contains Western, Central European and Extended Cyrillic character sets and supports almost 100 languages. It is best suited for Opentype savvy programs with the “standard ligatures” and “contextual alternates” features turned on.

Cinque Donne means “Five Women” in Italian. It was inspired by the five sisters in my family as well as a group of five high school friends I have known for 46 years, aka “The Club Girls”. The Pro version has 3370 glyphs with all the bells and whistles! Women are connectors, encouragers and supporters. Young, old, shy, extroverted, when you put us together, somehow we make a beautiful impact on each other’s lives. This is what Cinque Donne does in a visual way. Some letters are simple and prefer to sit quietly. Others are flourished and proud and like the limelight in the middle of a word. And then there are alternates that are flexible and work in any number of surprising places. Stylistic sets can add a vivacious feel while contextual alternates bring better understanding. Classic or contemporary, subdued or flamboyant, these letters represent the variety of women that make life interesting for us all. Within the varied glyphs, I hope you find characters that remind you of the special women in your life. Let Cinque Donne salute them on the page! The Cinque Donne Family includes: Cinque Donne, Cinque Donne Bold, Cinque Donne Swash and Cinque Donne Pro. Check out the Buying Choices tab to see special discounted combinations! Crafters: All of my fonts have been specially coded for PUA (Private Use Area) so you can access all of the swashes and alternates using Character Map (PC) or Character Viewer (Mac) or with any number of apps including PopChar. If you would like to purchase PopChar at a special discount email me and I will send you the link. Cinque Donne Pro and Cinque Donne Swash include Swash, Stylistic and Titling Alternates, Contextual Alternates, Standard and Discretionary Ligatures, Roman Numerals & Fractions.

Throughout time, history’s architects have incorporated some of the finest illustrations of type into their great works--cuneiform on Mesopotamian ziggurats; Greek etched into the temples of the gods; inscriptions marking the monuments of mighty Rome. From these Roman inscriptions specifically, we take our capital letters of today; and while we've lost the need for serifs over time, our current characters maintain the classical foundations, even after being distilled to their simplistic forms. Here’s where we have the basis for Le Havre Titling. This updated face is a carefully optimized version of Le Havre that uses purely capital lettering. Originally inspired by the golden period of the passenger ship and the French port that bid a rich bon voyage to so many famed, luxurious ocean liners of the Roaring Twenties and Thirties, the typeface includes an exciting array of ligatures that brings it into the present day and gives designers a tremendous amount of versatility in their work. With its seven weights, Titling looks equally at home on the side of a building as it does in a finely crafted invitation. With over five hundred glyphs, Le Havre Titling offers a multiplicity of options for your projects. Combine ligatures, play around with two sets of art deco forms, use original caps, and more; every one of these is obtainable with the OpenType functionality. The new design also shares five weights with the original Le Havre, allowing you to maximize your potential through its interchangeability. Titling’s Thin weights are delicate but not too fragile, and its geometric forms give each individual composition you create an exquisite and beautiful sense of emotion. Without a doubt, this fresh, fashionable take on the classical forms offers your reader refined, yet unanticipated approach as he or she travels through your text.

A typeface is a tool. Sure, there are frilly fonts that are more art than craft, showy faces that exist merely to call attention to themselves. But, in the end, any functional typeface worth its salt lives to serve one thing first: the text, the content. Everything else—the fashion of the moment, the allure of individual words and letters—is secondary. MVB Solitaire™ epitomizes this universal typographic mandate. As a tempered sans serif somewhere between a humanist and a gothic, MVB Solitaire captures a 21st-century neutrality. But practical doesn’t have to mean banal. MVB Solitaire has a soul. While some “neutral” type is dead the moment the ink hits the page, MVB Solitaire delivers text that feels lively, contemporary, relevant. Readers will not tire of this type. Behind the useful exterior is an arsenal of thoughtful technical features. It’s no surprise that this family’s creator, Mark van Bronkhorst, was first a graphic designer before becoming a type designer. Mark built all the goodies into MVB Solitaire that he would appreciate as a user: case-sensitive punctuation; alternate forms that can be invoked individually or together; oldstyle and lining figures in both tabular and proportional widths; slightly shorter lining figures that don’t stand out in running text, but also cap-height figures for all-cap settings; and the ability to speak nearly any Latin-based language. MVB Solitaire aspires to be the sort of workhorse that a designer keeps installed on their system at all times. It is a family bound to have a permanent spot in the font menu, always at the ready for projects (those most common of all) where the typography mustn’t mask the message. It has that quality that all truly useful typefaces have: the capacity to get the job done without getting in the way.

While Adelle is a slab serif typeface conceived by Veronika Burian and José Scaglione specifically for intensive editorial use, mainly in newspapers, magazines, and online, its personality and flexibility make it a true multipurpose typeface. Adelle’s superior screen rendering and cross-platform consistency has also made it one of our most popular webfonts. The intermediate weights deliver a neutral look when used in text sizes, providing the usual robustness expected in a newspaper font. The unobtrusive appearance, excellent texture, and slightly dark colour allow it to behave flawlessly in continuous text, even in the most unforgiving editorial applications. As it becomes larger in print, Adelle shows its personality through a series of measured particularities which make it easy to remember and identify. Its energetic character, so inherent to slab serif fonts, becomes evident when used for subheadings and headlines. A condensed series of seven weights with matching italics expand Adelle’s possibilities. This extension provides flexible solutions in situations where saving space is vital but losing legibility is not an option. The new condensed series shares the same personality, proportions, and skeleton of the Adelle family, creating an harmonious texture when combined. Be sure to check out the companion to Adelle, Adelle Sans, to complete the look of your design with the intended personality and flexibility. Awards – Third prize for Latin text typeface in the 2009 Granshan Type Design Competition – Won Gold for Original Typeface in the 2010 European Design Awards – Selected in the first Ukrainian typeface competition in 2010 – Exhibited at the Rutenia Calligraphy & Typography Festival (http://rutenia.org.ua/en/index_u.html) in Kyiv, 2010 – Selected in the 2011 Type Directors Club Tokyo Exhibition – Selected in Communication Arts 2011 Typography Annual – Selected in Yearbook of Type I, 2013 – Part of the exhibition «Call for Type» and subsequent book Neue Schriften (New Typefaces)

Introducing Raymond, the typeface that dares to be imperfect. With its rough, textured script and unevenly stamped letters, Raymond exudes a raw, unapologetic energy that will inject your message with a sense of authenticity and personality. But don’t be fooled by Raymond’s rough exterior—underneath its imperfect surface lies a sophisticated and classy design. Each letter has been carefully crafted to give your text a touch of elegance and refinement, while the worn-out edges and misaligned characters add just the right amount of character. Whether you’re looking to create a bold statement or simply want to add a touch of edge to your design, Raymond is the typeface for you. So why settle for the same old cookie-cutter fonts when you can embrace the beauty of imperfection with Raymond? Give your message the unique and candid style it deserves with this one-of-a-kind typeface. 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.

Malow - Display Font Malow is a stunning display font that will bring elegance and sophistication to any project. This font was designed with a contemporary style that still maintains a classic look, making it perfect for a wide range of applications. The idea behind the creation of Malow was to develop a font that combines a modern aesthetic with a touch of timeless elegance. The result is a typeface that looks fantastic on branding projects, logos, packaging designs, posters, and more. Malow is a versatile font that can be used in a variety of design contexts, whether it's for print or digital projects. Its clean lines and bold appearance make it an excellent choice for headlines and titles, while its legibility also makes it ideal for body text. This font comes with a range of features that make it even more appealing. It includes uppercase and lowercase letters, opentype alternates and ligatures, and full multilingual support, ensuring that it can be used for projects in any language. In the font package, you will find three different file formats, including OTF, TTF, and WOFF. This makes it easy to use the font across a range of design software, including Adobe Illustrator, Photoshop, InDesign, and more. If you're looking to add a touch of sophistication to your design project, then Malow is an excellent choice. Its clean lines and elegant style make it a versatile font that will elevate any design. In summary, Malow is an elegant display font that combines modern and timeless styles, making it a great choice for a wide range of design projects. Its features include multilingual support, opentype alternates and ligatures, and three file formats in the package. This font is perfect for anyone looking to add a touch of sophistication to their project.

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. A biography/story of each homeless person captures their story, to help raise awareness and bring some dignity to the life of homeless people. Monotype is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Juan Carlos was born in Barcelona, Spain 46 years ago. Since the age of 17 – and during eleven years – he worked double shifts of eight hours every day in a factory. Excessive work and family problems debilitated his health and he lost his job. He then faced a dilemma: to spend unemployment benefits to pay for rent or for food. For a few years, he worked helping in the kitchens of different restaurants while he lived on a pension, until he was definitively left without work and ended up living in the street for 10 years. “In the street I tried to find rest in the ATMs of banks. I preferred to be alone, and if I ran into conflictive people, I looked for somewhere else” he explains. Living in the street he was the victim of an aggression. Since then, with the help of Arrels he moved into a pension. Today, Juan Carlos is a volunteer in the shower service of Arrels, the same showers he used during years. He also collaborates with the maintenance team, helps prepare hygienic and cleaning material, and participates in activities such as the theatre group and the football team.

The Typist Code SansSerif is part of a big family, the Typist Family. The family consists of a monospaced, a Slab Serif and a SansSerif version. The idea behind this family originated from the research into the design of typewriter typestyles, which is also the reason why the monospaced version was released first. Since it was decided from the start to make a SlabSerif and a SansSerif version of these monospaced fonts, it was also a logical consequence that the proportional variants also became available in these versions. The monospaced SansSerif fonts have been given the name 'Code' since they are designed to be used while writing code for a software program, for example. The proportional variants with each 6 weights of the Typist Slab Serif and Code (SansSerif) are now available. Although the name may seem a bit strange, it is a logical consequence from the monospaced variant. The SansSerif variant therefore has Typist Code Prop, written in full the Typist Code Proportional. After all, who wants to be bothered with long font names in their font menu. The entire Typist family is designed as a font for use in editorial and publishing publications. A lot of attention has been paid to the spacing and kerning of the fonts. Due to the many variants and weights, this font is versatile. Typist Font Family was designed by Nicolien van der Keur and published by vanderKeur design. Typist Slab Prop and Typist Code Prop contains each 6 styles (Thin, Light, Regular, Medium, Semi-Bold and Bold, each weight also designed as a true italic) and has family package options. The links to the monospaced version of The Typist are here: https://www.myfonts.com/collections/typistslabfont-vanderkeur https://www.myfonts.com/collections/typist-code-font-vanderkeur

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

From fine print and red ink in corporate annual reports to huge three dimensional signage, Neutraface has become the definitive designers’ workhorse. Now this geometric juggernaut boasts even more font firepower with the addition of the Neutraface Slab family. Neutraface Slab features five display weights, four text weights with italics plus a unique stencil style that work together like a typographic symphony or can stand alone like accomplished soloists. Just like its sans-serif counterparts, Neutra Slab Text includes small caps, seven figure styles and a host of other sophisticated OpenType features that have been integrated in a single seamless package. The complementary display weights afford an uncompromising statement that can range from thin and delicate to bold and bombastic. FEATURES: MORE ALTS: Neutraface Slab comes with several alternate characters, accessed through either OpenType stylistic sets or through the Stylistic Alternates feature. TITLING ALTERNATES: The distinctive lower crossbars of the original Neutraface are included in Neutraface Slab as the Titling Alternates OpenType feature. TEXT FIGURES: All variations of Neutraface Slab Text feature seven figure styles. Included are text figures for use in running text, lining figures for use with uppercase forms and small caps figures. Each of these styles is supplemented with tabular figures for use in columnar settings. Plus, superscript and subscript figures are included for use in fractions, footnotes, etc. NEUTRAFACE SLAB CREDITS: Typeface Design: Christian Schwartz, Kai Bernau, Susana Carvalho Typeface Production: Ben Kiel, Hannes Famira Typeface Direction: Christian Schwartz, Andy Cruz, 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.

AB One is a captivating sans-serif font family that effortlessly blends modern aesthetics with a dynamic, fluid formality inspired by the world of architecture. This versatile typeface offers three distinct weights, each carefully crafted to cater to a range of design needs. Key Features: Dynamic Fluidity: AB One embodies the dynamic essence of architectural forms, showcasing a graceful flow and a sense of movement. The font's letterforms possess an inherent flexibility that adds a touch of vibrancy to your designs, making it an excellent choice for contemporary projects that demand energy and liveliness. Sleek and Modern: The light weight of AB One radiates a modern, minimalist charm, perfect for creating a sleek and refined impression in your design projects. Its clean lines and well-balanced proportions ensure readability while evoking a sense of cutting-edge sophistication. Three Distinct Weights: The AB One font family offers three carefully crafted weights to provide versatility in your design work. Sans-Serif Elegance: As a sans-serif typeface, AB One represents a harmonious marriage of legibility and style. Its straightforward, elegant letterforms make it suitable for a wide range of applications, including branding, advertising, editorial design, and web interfaces. Inspired by Architecture: Drawing inspiration from the world of architecture, AB One captures the essence of structural elegance and sophistication. This font is an ideal choice for projects that require a touch of architectural finesse. Versatile Application: AB One's adaptability allows it to excel in a variety of design contexts. It seamlessly integrates with other design elements, providing a harmonious and engaging visual experience. AB One is a typeface that thrives on the principles of sleek modernity and architectural inspiration, making it a go-to choice for designers who seek to infuse their projects with a touch of dynamic fluid formality.

Dynamic, attractive and catchy - the new TypeType display font! Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org TT Cometus is an expressive typeface that captivates from the first time you read a text set in it. Despite its massiveness, the typeface is malleable and dynamic, like a comet piercing the space in order to achieve the only goal - to capture the attention of the viewer. TT Cometus is a slab serif whose strong serifs are serifed at the junctions with the vertical stroke to give the typeface a dynamic and modern character. Thanks to this solution, some elements of the font evoke associations with calligraphic works, while display elements remain stable thanks to massive serifs. The pointed endings of the letters c, y, e, t and noticeable inflows of arches and semi-ovals make the character of TT Cometus dynamic. The contrast between the thicknesses of the horizontal and vertical elements is small, but in the serifs, inflows, and letter endings, the contrast is pronounced. The nature of the font is balanced, and its friendliness is supported by the smoothness of shapes. Oriented towards the viewer, flowing yet massive and dynamic, TT Cometus is suitable for use in eye-catching projects. This is a display font that shows its character better in a large body size and can be used in printed materials or on the web. The font looks flawless in headlines and logos, and is suitable for use in branding. TT Cometus consists of 5 faces: 4 upright and one variable font. Each face has 568 glyphs. The font contains 18 OpenType features, including a large number of ligatures, sets of alternative characters for the ampersand and the letter g.

The engraver’s sans serif—strikingly similar to drafting alphabets of the early 1900s—has been one of the most widely used stationer’s lettering styles since about 1900. Its open, simple forms offer legibility at very small sizes. While there are digital fonts based on this style (such as Burin Sans™ and Sackers Gothic™, among others), few offer the range of styles and weights possible, with the versatility designers perhaps expect from digital type families. Sweet Sans fills that void. The family is based on antique engraver’s lettering templates called “masterplates.” Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century—especially the engraver’s sans—are still quite familiar and appealing. Referencing various masterplates—which typically offer the alphabet, figures, an ampersand, and little else—Mark van Bronkhorst has drawn a comprehensive toolkit of nine weights, each offering upper- and lowercase forms, small caps, true italics, arbitrary fractions, and various figure sets designed to harmonize with text, small caps, and all-caps. The fonts are available as basic, Standard character sets, and as Pro character sets offering a variety of typographic features and full support for Western and Central European languages. Though rich in history, Sweet Sans is made for contemporary use. It is a handsome and functional tribute to the spirit of unsung craftsmanship. Burin Sans and Sackers Gothic are trademarks of Monotype Imaging.

The history of Aerolite, from Jan Paul: "The Aerolite fonts are essentially stripped down versions of a complex outline typeface I designed for the first Midnight Oil album in 1978, affectionately known as "The Blue Meanie". Many years later I saw the font "powderworks" and asked Brian Kent if he would be interested in digitizing Aerolite. Brian is a font (!) of knowledge and was of invaluable help by getting Aerolite to where it is today. Special care was taken in keeping the distinct character while as Aerolite Regular also providing a legible, thouroughly kerned body type which can be used in all sizes for large volume text." For the Pro version the kerning has been tweaked further, and the character set completed and expanded - and the alternate uppercase A (also with accents) is available as OpenType stylistic alternates. It is now ready for your next international science or sci-fi project. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Kaytek™ Sans is a fresh take on the correspondence typefaces of the 90s - which were originally designed for the demands of office environments. Just like its predecessors, this text typeface is robust and hard-working - meaning it works well in challenging design or printing environments - but it’s not without personality. Look closer at the lowercase g and a, especially in the italic, and you can see some unexpected elements of subversiveness within the design. This blend of sturdiness and quirkiness means it’s just as relevant for information-heavy projects, such as annual reports, as it is in more expressive environments. Although first and foremost designed for text, Kaytek Sans’ details shine through in its heavier weights and larger sizes, meaning it also has display potential. Every style of the typeface takes up exactly the same amount of space, thanks to the way Radek Łukasiewicz created the design. He based the entire typeface on a single, master set of proportions. This means designers can switch between styles without the text being reflowed, making it particularly useful in magazines, where space might be limited, and also on the internet, where hover links appear in a different style. As well as its roots in the office, Kaytek Sans draws on a little bit more 90s nostalgia. It’s named for the first and only Polish walkman, and embodies the same solid, no-nonsense shapes that made the analogue technology of the era so charming. Just like these early personal music devices, Kaytek Sans is practical, but not clinical, able to work hard while still exuding warmth and personality. It pairs effortlessly with Kaytek Slab, which is a sturdier and more expressive take on the design. Kaytek Sans comes in 12 weights, from Thin to Black Italic, and offers multi-language support. Kaytek Slab, Kaytek Headline and Kaytek Rounded are also available.

MMC Insignia, is an Iconic & Emblematic Neogothic Geometric Capitals Display… Assembled by Trivial Squares and Diagonals Symbols Pattern from a puzzled grid Aftermath!! Includes Stylistic Alternates!! +Extra Monospaced Figures. In 22 styles, with Obliques, both for single display and layer Typesetting, plus OpenType Features & Bonus Blocks Fonts! MMC Insignia is a Small Caps Typeface, which default lowercases character set is included in the Pro family, its cursive version, apart from it, has also Exclusive Stylistic Alternates… Its atmosphere stands by on both Corporative to Decorative, Modern, Fashion, Federalist, Bohemian, Romantic, Ludic, Treasured Look, Etc. This Display font-family is the result of the repeated applications of this unique infamous Icon or Symbol, of two counterpointed triangles, implicit as hourglasses, in order to compose an innovative and unprecedented typographic pattern and modulation concept through the letterforms, in an extremely Geometric style. The Graphic Sign used throughout this type, is a remarkable trend used already in Logos of different businesses, whose most famous case refers to a famous International Bank, which doesn’t need to be mentioned, as it is instantly associated! This characteristic innovation was the main motivation while creating this type. Usage Suggestions: Type Fancy Titling texts, Display Remarkable Logos, Branding Projects, Labels, Emblems, Fashion Patterns, or in everything Noble and designed for Excellence as a type of Insignia, or distinguished marks and attributes of Royalty and Power!! That’s also forwardly, the reason why it was named MMC Insignia… TIPS: 1-Combine styles into innumerous possibilities of Chromatic Typesetting, by ‘central pasting’ layers… You may dislocate layers for improvisations! 2-USE BLOCK “FREE-STYLES” 1 & 2 also to add default 3D! Change 3D directions by switching Block 1 to Block 2, that way you can Zig-Zag words and lines. *Also shift the block layer up to bottom limit, it makes the 3D direction turn upside down. Greetings! André, MMC-TypEngine.

Breaking from our catalog of typefaces to create a new handwritten font family, Modern Love was born out of our desire to see what would happen if we took a step back from the norm. We weren’t looking for the perfection of the many calligraphy techniques, but more of a natural way of writing with the same tools. Our escapist experiment into casual lettering culminated into 4 fonts: Modern Love Regular, Grunge, Rough and Caps. Modern Love Regular is a hand-painted script, each glyph individually designed with a pointed brush and walnut ink. The aim was to create an effortless hand-drawn feel while keeping the contrast high density. Playful, yet polished, this font works very well when accentuated with the family’s two distinctive styles: Modern Love Grunge, simulating a washed-out effect, perfect to add a vintage look to your projects; and Modern Love Rough, with its crunchy borders, makes letters visibly rough-around-the edges and gives large letters an unmistakeable pop. All three fonts include a hand-painted set of ornaments, swashes and alternates to limitlessly customize and decorate your texts, accessible through Opentype features. Modern Love Caps is the fourth font, a handwritten Sans Serif that ties the family together with its simplicity and readability. Designed with a pointed nib and Indian ink, this font boasts a different style that perfectly complements Modern Love Regular, Grunge and Rough. The result is a fresh font family perfect to create headlines, posters, DIY hand-lettered artwork, books, holiday cards, wrapping paper, invitations, T-shirts, labels, packaging for cosmetics, fashion supplies, food products, artisanal goods, and an endless array of options for your projects. Modern Love…when brush meets passion. Check out also ‘Modern Love Slanted’ Turquoise Nautica

Designs of characters that are almost forty years old can be already restored like a historical alphabet – by transferring them exactly into the computer with all their details. But, of course, it would not be Josef Tyfa, if he did not redesign the entire alphabet, and to such an extent that all that has remained from the original was practically the name. Tyfa published a sans-serif alphabet under the title Juvenis already in the second half of the past century. The type face had a large x-height of lower-case letters, a rather economizing design and one-sided serifs which were very daring for their time. In 1979 Tyfa returned to the idea of Juvenis, modified the letter “g” into a one-storey form, narrowed the design of the characters even further and added a bold and an inclined variant. This type face also shows the influence of Jaroslav Benda, evident in the open forms of the crotches of the diagonal strokes. Towards the end of 2001 the author presented a pile of tracing paper with dozens of variants of letter forms, but mainly with a new, more contemporary approach: the design is more open, the details softer, the figures and non-alphabetical characters in the entire set are more integral. The original intention to create a type face for printing children’s books thus became even more emphasized. Nevertheless, Juvenis with its new proportions far exceeds its original purpose. In the summer of 2002 we inserted all of this “into the machine” and designed new italics. The final computer form was completed in November 2002. All the twelve designs are divided into six variants of differing boldness with the corresponding italics. The darkness of the individual sizes does not increase linearly, but follows a curve which rises more steeply towards the boldest extreme. The human eye, on the contrary, perceives the darkening as a more fluent process, and the neighbouring designs are better graded. The x-height of lower-case letters is extraordinarily large, so that the printed type face in the size of nine points is perceived rather as “ten points” and at the same time the line spacing is not too dense. A further ingenious optical trick of Josef Tyfa is the figures, which are designed as moderately non-aligning ones. Thus an imaginary third horizontal is created in the proportional scheme of the entire type face family, which supports legibility and suitably supplements the original intention to create a children’s type face with elements of playfulness. The same applies to the overall soft expression of the alphabet. The serifs are varied; their balancing, however, is well-considered: the ascender of the lower-case “d” has no serif and the letter appears poor, while, for example, the letter “y”, or “x”, looks complicated. The only serif to be found in upper-case letters is in “J”, where it is used exclusively for the purpose of balancing the rounded descender. These anomalies, however, fit perfectly into the structure of any smoothly running text and shift Juvenis towards an original, contemporary expression. Tyfa also offers three alternative lower-case letters *. In the case of the letter “g” the designer follows the one-storey form he had contemplated in the eighties, while in “k” he returns to the Benda inspiration and in “u” adds a lower serif as a reminder of the calligraphic principle. It is above all the italics that are faithful to the tradition of handwritten lettering. The fairly complicated “k” is probably the strongest characteristic feature of Juvenis; all the diagonals in “z”, “v”, “w”, “y” are slightly flamboyant, and this also applies to the upper-case letters A, V, W, Y. Juvenis blends excellently with drawn illustrations, for it itself is modelled in a very creative way. Due to its unmistakable optical effect, however, it will find application not only in children’s literature, but also in orientation systems, on posters, in magazines and long short-stories.

I spend a lot of time following two obsessions: packaging and hand lettering. Alongside a few other minor obsessions, those two have been my major ones for so many years now, I've finally reached the point where I can actually claim them as “obsessions” without getting a dramatic reaction from the little voice in the back of my head. When you spend so much time researching and studying a subject, you become very focused, directionally and objectively. But of course some of the research material you run into turns out to be tangential to whatever your focus happens to be at the time, so you absorb what you can from it, then shelf it — like the celebrity bobblehead that amused you for a while, but is now an almost invisible ornament eating dust and feathers somewhere in your environment. And just like the bobblehead may fall off the shelf one day to remind you of its existence, some of my lettering research material unveiled itself in my head one day for no particular reason. Hand lettering is now mostly perceived as an American art. Someone with my historical knowledge about lettering may be snooty enough to go as far as pointing out the British origins of almost everything American, including lettering — but for the most part, the contemporary perspective associates great lettering with America. The same perspective also associates blackletter, gothics and sans serifs with Germany. So you can imagine my simultaneous surprise and impatience when, in my research for one of my American lettering-based fonts, I ran into a German lettering book from 1953, by an artist called Bentele. It was no use for me because it didn't propel my focus at that particular time, but a few months ago I was marveling at what we take for granted — the sky is blue, blackletter is German, lettering is American — and found myself flipping through the pages of that book again. The lettering in that book is upbeat and casual sign making stuff, but it has a slightly strange and youthful experimentation at its heart. I suppose I find it strange because it deviates a lot from the American stuff I'm used to working with for so long now. To make a long story short, what’s inside that German book served as the semilla, which is Spanish for seed, for the typeface you see all over these pages. With Semilla, my normal routine went out the window. My life for a while was all Bezier all the time. No special analog or digital brushes or pens were used in drawing these forms. They're the product of a true Bezier process, all starting with a point creating a curve to another point, which draws a curve to another point, and so on. It’s a very time-consuming process, but at the end I am satisfied that it can get to pretty much the same results easier and more traditional methods accomplish. And as usual with my fonts, the OpenType is plenty and a lot of fun. Experimenting with substitution and automation is still a great pleasure for me. It is the OpenType that always saves me from the seemingly endless work hours every type designer must inevitably have to face at one point in his career. The artful photos used in this booklet are by French photographer and designer Stéphane Giner. He is very deserving of your patronage, so please keep an eye out for his marvelous work. I hope you like Semilla and enjoy using it. I have a feeling that it marks a transition to a more curious and flexible period in my career, but only time will tell.

While it is obvious that this is an ornamental style font, it is more than that: it is a Celtic Knotwork design tool! Irish, Scottish, Welsh, even Norse and Viking cultures have used knotwork designs for millenia. These ancient traditional interwoven designs are experiencing a revival as Celtic culture gains exposure in the modern world. Intricate Celtic knots are featured everywhere from jewelry to tattoos. While many enjoy them simply for their beauty and fascinating twists, they can also be used to add an air of myth, magic and mystery to any project. The interlaced lines make them perfect for wedding invitations, borders, dividers and rules, web graphics, and logos. I began using Celtic knotwork designs in my own work as part of my knifemaking and jewelry making hobbies. I read all of the books I could find about Celtic knots and at first I drew them by hand with pencil and paper. Then as I realized how nice it would be to have "undos" I switched over to using Corel Draw. Draw proved to be a natural for this type of artwork with tools like contour and the trim function. But even with these great tools, it was still tedious to create these designs. I noticed that I was able to reuse a lot of parts in repetitive sections. I developed a small library of reusable bits and chunks of Celtic designs. I found them so useful and fun to work with that I began thinking about ways to market my Celtic design kit. I thought about CDR and EPS formats, but then I thought of creating this toolset as a True Type Font. That way anyone with ANY program that uses fonts could easily create Celtic knotwork designs. Word processors, embroidery programs, engraving programs, jewelry design programs, CAD/CAM programs...almost every program can use fonts. I was also interested in CNC work and thought that this font would work well for applications such as laser etching, vinyl signs, and machining. With that in mind, I designed each character of the font with extremes of accuracy. If one character from the font is used at one inch tall, every control point will be placed to an accuracy of better than 0.0001 inch. I wanted every piece to meet exactly with the next, with no possibility for misalignment. The different styles are all very carefully created to fit accurately with each other. So the Filled Style fits exactly into the Outline Style, and the Inverse Style fits precisely around the Outline Style so as to make up the background behind the knotwork. Combining the styles allows you to have complete creative control. By assembling the nearly 200 pieces it is quite easy to produce very complex designs. It is actually a bit like playing with a puzzle and many people really enjoy putting the pieces together to make designs. In fact, I have had many customers tell me of how they love playing with this font and making knots into the wee hours of morning. If you like puzzles then you will absolutely love this font! And creating the patterns is just the beginning of the fun! If you apply your favorite Photoshop tricks on them you can make anything from dazzling chrome knotwork to carved stone. Photoshop plug-ins like SuperBladePro are great for converting knotwork text into corroded bronze or rusted iron. Use your knotwork to add texture to a virtual landscape, or add them as surface embelishments on architecture and furniture. You can also make round knotwork by using this font with "WordArt" (WordArt is included with every copy of Microsoft Word. See http://clanbadge.com/round_knots.htm for a tutorial on how to make round knotwork). For Crafters there are limitless uses for this font. It has been used for embroidery, jewelry, leatherwork, stencils, stained glass, quilting, painting, pyrography, woodcarving and lots more. We have even sold copies to monks for use in decorating handmade books!

“For those who regret what keyboards and touch screens have done to their penmanship, typographer Harald Geisler has an answer: Sigmund Freud.” — The Wall Street Journal Sigmund Freud was a neurologist who lived from 1856 to 1939. His research and studies led to the foundation of ‘Psychoanalysis’. When I first saw Freud’s century old letters, I was fascinated by the beauty of these historic manuscripts. It made me smile to imagine a person writing his or her shrink a letter set in Freud’s handwriting. I started to plan creating a font based on his manuscripts. I contacted the Sigmund Freud Museum Vienna and Freud Museum London. To start the creation I selected eight handwritten documents from the archive in Vienna – This selection of specimen was my orientation during the design process. The Samples were created between 1883 to 1938 and are of various character such as handwritten scientific papers, personal letters, notes and a telegram. A successful Kickstarter Campaign "The Sigmund Freud Typeface - A Letter to your Shrink" with over 1400 Backers enabled me to visit the archive in Vienna and study the original manuscripts of Sigmund Freud. After a year of preparation and design work, I finished four alphabets based on Freud’s handwriting. What are the different Versions PRO, Kurrent, #1, #2, #3 and #4 about? “This project gives people the convenience afforded by the computer while maintaining the romantic nostalgia, beauty, and character of letter writing with real handwriting.” — Daniel Vahab, The Huffington Post When you write with your hand, every letter looks a little different. When you write a text on your computer every letter looks exactly the same. In order to make type look like handwriting, I chose four different variations of each letter from Freud’s manuscripts, drew and stored them in the font. The font is then programmed to exchange letters while you are typing. This makes the rendered result on your screen or print look like unique handwriting. PRO While you are typing… the PRO Version actively combines all four alphabets and exchanges them automatically. Through this mechanism never the same two o’s will stand next to each other. With every touch a unique look is generated. This works in certain applications i.e. Word 2010(or newer), Pages, TextEdit, Editor(Pre-installed on Windows 7 or newer), InDesign, Illustrator… →Here you can see an animation of what this effect looks like in action. (Please Note: some applications like LibreOffice, OpenOffice do currently not support this feature. Date: December 2013) #1 #2 #3 and #4 The Sigmund Freud Typeface #1, #2, #3 and #4 each hold one individual lowercase alphabet based on Freud’s handwriting. Kurrent Most of Freud’s correspondence was written in German. Until the 1950′s a different handwriting was taught throughout German speaking countries (Switzerland, Austria, Germany). This style is called Kurrent. The name Kurrent and Cursive derive from the Latin word currere - to run, hurry - both styles were designed to write fast. As you can see in the samples above, Freud practiced both Kurrent and when writing english Cursive (Latin script or Joined-up). Kurrent has three significantly different letters (s,h,e). Use Kurrent to render the authentic look of an historic Sigmund Freud letter in German. Bundle On the Top of this page you can get all six fonts of the Sigmund Freud Typeface Family in a bundle. International Typeface All styles of the Sigmund Freud Typeface feature a wide range of accented letters so you can write to all your friends in Sweden (Bjørn) France (Chloé & Zoë), Ireland (Dáirine), Poland (Łucja), Germany (Jörg) and almost everywhere around the globe (Find a complete list in the tech specs). Usage recommendations I hope that this design will be valuable to you and most of all that you have fun with this typeface! 1. Point Size — To reproduce the size of Sigmund Freud’s handwriting adjust the type size between 18-24 point in your word processor. If you are using an imaging software like Photoshop set the resolution to 300dpi and adjust the point size between 18-24. 2. Line Spacing — Narrow the line hight until swashes of capital letters touch the baseline above. This also happens when you write a letter and gives the document a unique handwritten look. 3. Right Aligned — Freud had the habit to write towards the right edge of the page and start loosely on the left. Set your text alignment to ‘right’ to incorporate this dramatic expression also to your documents. What do other People say about the Sigmund Freud Typeface? “Wouldn’t you love to write a letter to your shrink using the Sigmund Freud typeface?” — Dorothy Tan, Design TAXI ''“JUST DON’T WRITE A LETTER TO YOUR MOTHER WITH IT… …until the reader looks a bit closer, and they see 70+ years of modern science weighing in on turn-of-the-century pop psychology."'' — Mark Willson, Fast Company “Doctor, what does it mean if you dream of creating a font of Freud’s handwriting?” — Ayun Halliday, Open Culture “…geekily romantic, at once artistic and scientific” — Edie Jarolim, Freud’s Butcher “…sympathisch” — Jürgen Siebert, Fontblog !WOW! Thank you for reading the complete font description! You are awesome! If you still have a question please contact me through MyFonts or my website haraldgeisler.com. Credits This project was made possible by the help of 1481 Backers on Kickstarter and the kind support of the Sigmund Freud Museum Vienna and the Freud Museum London. Thank you. All of Freud’s Manuscripts shown are © Sigmund Freud Museum Vienna. Poster Image: IN17 - Sigmund Freud, Germany 1932. © Freud Museum London. Flag Image: IN19 - Sigmund Freud 1930’s. © Freud Museum London.

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.

Update November 2022: ULGA Grid now features an oblique variant. It’s also been expanded into a family of different but related designs with the addition of ULGA Grid Solid and ULGA Grid Rounded typeface families. All variants and new designs are monospaced, sharing the same width as the original ULGA Grid font and matching character sets. The character set has also been enlarged and now supports Western Europe, Vietnamese, Central/Eastern Europe, Baltic, Turkish and Romanian. ULGA Grid is a modular, monospaced typeface reminiscent of the old Letraset LCD & Quartz typefaces from the 1970/80s with lots of alternative characters and ornaments to bring a fresh twist to the genre. The idea’s seed germinated while I was going through a phase of binge watching my favourite 1980/90s sci-fi movies (classics such as Terminator, Total Recall and RoboCop). However, perception and reality don’t always align. Thirty years later, when compared to today’s technology, some visual elements look kind of outdated, almost Retro Futuristic. The initial design process started out in Adobe Illustrator when I constructed letters from a few geometric shapes within a square block. Just playing around with different shapes was so engrossing that it wasn’t long before there were enough characters for a basic typeface. The project grew again as I experimented with designs within the shapes and set paragraphs of text in patterns, resulting in over a hundred alternative characters and ornaments, some of which double up as border designs. This typeface may be square but it’s anything but boring. What it lacks in legibility ULGA Grid makes up for in style and the end result is a surprisingly versatile typeface that you'll have fun using for a wide range of display purposes including CD covers, posters, packaging, advertising, brochures and film titles. Ironically, the fixed grid structure frees the characters to create patterns of text not possible with variable widths.

Introducing our stunning Goodfood Font Family, a versatile and delicious sans serif display typeface that is perfect for your most tasteful design projects. With a total of five different weights, this font family offers you ultimate flexibility in creating captivating and impactful designs. Whether you're working on a logo, branding materials, product packaging, or editorial projects, this font family will enhance the overall aesthetic and make your designs stand out. To further enhance creativity, Goodfood Font Family includes alternates and ligatures. These additional characters provide you with ample possibilities to customize and stylize your typography, creating unique and eye-catching designs. By utilizing alternates and ligatures, you can bring a distinctive touch to your headers, titles, headlines, and other important elements of your design. Here's what you can expect from this font family: Five Weights: The font family offers five weights, ranging from Light to Bold. This wide range allows you to experiment with different typographic hierarchies and create visually appealing compositions. Alternates: The inclusion of alternates expands the versatility of this font family. By simply swapping characters, you can create different stylistic variations, giving your designs a fresh and creative look. Ligatures: The font family also includes ligatures, which are special characters that combine two or more letters into a single unique glyph. Ligatures ensure smooth and visually pleasing connections between characters, resulting in a harmonious and cohesive typography. Superior Legibility: While the Goodfood Font Family features elegant and decorative serifs, it doesn't compromise on legibility. The carefully crafted characters and balanced letterforms ensure readability across various sizes and mediums. Extensive Language Support: This font family supports a wide range of languages, allowing you to create designs for global audiences with ease. Whether you're a professional designer looking to elevate your creative projects or an individual seeking a unique font for personal use, the Display Serif Font Family offers an impressive array of options. Add sophistication, versatility, and a touch of uniqueness to your designs with this remarkable font family.