Designal is a Félix Rufín design based on the DIN theme. The goal was to create a suitable unicase, an old dream of typographers. The icons collection —more than 400— is a result of Rufín’s obsession with label design. OpenType, 8 styles.

Merchanto is a condensed sans serif display typeface made up of 8 fonts in a variety of styles and weights. Included are over 500 stylized alternate glyphs for creative control and customization. 8 fonts total Over 500 Alternates Multilingual Over 2300+ glyphs

A squarish font with rounded edges with an amazing number of ligatures—298 to be more precise. That should be enough to make your text look like hours of fun! You will need to use OpenType supporting applications to use the autoligatures.

Designed in 2003 by Isay Slutsker and Irina Smirnova. Based on the calligraphic typeface of mid-1980 by Moscow type designer Isay Slutsker (1924-2002). There is a free variation of flat nib pen calligraphy. For use in advertising and display typography.

Wavy Rounded is a stylized sans serif display typeface by Japanese designer Hajime Kawakami. Some of the characters possess quirky features that randomly create fun visual “waves”. There is a handful of alternate characters including an old style figure set. Catch the Wave.

Phaley is a soft and charming handwritten signature script font that effortlessly exudes elegance and grace. With its delicate curves and timeless beauty, it adds a touch of allure and personality to any design or document, transforming words into works of art.

Digitek is the work of David Quay, a futuristic typeface inspired by output of a coarse resolution computer bitmap. This condensed font is best in large headlines with large letter and word spacing. Digitek is perfect for anything needing a computer-age look.

Julius comes in very handy if you want to jump back in time to the middle of the last century. Julius is also one of my first typefaces, recently I added the light version. Enjoy your trip back into the past, Gert Wiescher

Kids Yock is an updated and cleaner version of my popular comic font Kids Rock. Even though this font is more steady and clean, I did my best to keep the characteristics of the original font, which includes influences from grafitti and comics.

RMU Royal Sans is an early 20th century sans serif which was first released as Wotan by Wagner & Schmidt in 1914. The regular version is the most beautiful and characteristic of this family which contains several styles of different weights and widths.

Vallisa is a cute and sweet handwritten font with an incredibly friendly feel. This font will turn any creative idea into a true piece of art! This font is PUA encoded which means you can access all of the cute glyphs with ease!

A further development of the Colosseum range but this with a slab serif. Visually monoline and modern in appearence it still retains its Trajan characteristics. The addition of Spartacus black with its unusual Italic gives a the face a strong original headline font.

Vermilion is one of those colors that are neither/nor. It's an ancient hue, in between red and orange and I kind of like the name. Vermilion font is a hand written, narrow and tall typeface which comes with extensive language support.

Compendium is a sequel to my Burgues font from 2007. Actually it is more like a prequel to Burgues. Before Louis Madarasz awed the American Southeast with his disciplined corners and wild hairlines, Platt Rogers Spencer, up in Ohio, had laid down a style all his own, a style that would eventually become the groundwork for the veering calligraphic method that was later defined and developed by Madarasz. After I wrote the above paragraph, I was so surprised by it, particularly by the first two sentences, that I stopped and had to think about it for a week. Why a sequel/prequel? Am I subconsciously joining the ranks of typeface-as-brand designers? Are the tools I build finally taking control of me? Am I having to resort to “milking it” now? Not exactly. Even though the current trend of extending older popular typefaces can play tricks with a type designer’s mind, and maybe even send him into strange directions of planning, my purpose is not the extension of something popular. My purpose is presenting a more comprehensive picture as I keep coming to terms with my obsession with 19th century American penmanship. Those who already know my work probably have an idea about how obsessive I can be about presenting a complete and detailed image of the past through today’s eyes. So it is not hard to understand my need to expand on the Burgues concept in order to reach a fuller picture of how American calligraphy evolved in the 19th century. Burgues was really all about Madarasz, so much so that it bypasses the genius of those who came before him. Compendium seeks to put Madarasz’s work in a better chronological perspective, to show the rounds that led to the sharps, so to speak. And it is nearly criminal to ignore Spencer’s work, simply because it had a much wider influence on the scope of calligraphy in general. While Madarasz’s work managed to survive only through a handful of his students, Spencer’s work was disseminated throughout America by his children after he died in 1867. The Spencer sons were taught by their father and were great calligraphers themselves. They would pass the elegant Spencerian method on to thousands of American penmen and sign painters. Though Compendium has a naturally more normalized, Spencerian flow, its elegance, expressiveness, movement and precision are no less adventurous than Burgues. Nearing 700 glyphs, its character set contains plenty of variation in each letter, and many ornaments for letter beginnings, endings, and some that can even serve to envelope entire words with swashy calligraphic wonder. Those who love to explore typefaces in detail will be rewarded, thanks to OpenType. I am so in love with the technology now that it’s becoming harder for me to let go of a typeface and call it finished. You probably have noticed by now that my fascination with old calligraphy has not excluded my being influenced by modern design trends. This booklet is an example of this fusion of influences. I am living 150 years after the Spencers, so different contextualization and usage perspectives are inevitable. Here the photography of Gonzalo Aguilar join the digital branchings of Compendium to form visuals that dance and wave like the arms of humanity have been doing since time eternal. I hope you like Compendium and find it useful. I'm all Spencered out for now, but at one point, for history’s sake, I will make this a trilogy. When the hairline-and-swash bug visits me again, you will be the first to know. The PDF specimen was designed with the wonderful photography of Gonzalo Aguilar from Mexico. Please download it here http://new.myfonts.com/artwork?id=47049&subdir=original

With its well-defined characters that are readily legible even in the small font sizes, Mantika Sans by Jürgen Weltin is ideal for typesetting. The elaborately designed and highly individual set of italics enhances the attractiveness of the font.Jürgen Weltin developed the Mantika™ Sans sans serif font using older designs for an serif font as his inspiration. Nothing more than the merest suggestion of the original serifs has survived. Bevelled line endings and the slight variation in thickness of verticals, in particular, provide Mantika Sans with a very dynamic character that evokes manuscript. Short ascenders and descenders give the font a compact appearance that is also underscored by its condensed proportions. Weltin has achieved his aim of producing a typeface with excellent legibility even in small sizes not just by means of the x-height, which is tall in comparison with the capital letters, but also by using clearly defined and well differentiated designs for critical letters, such as i", "I" and "l". Lower case "i", for example, has a serif while the "l" has a curved base.In addition to uppercase numerals, Mantika Sans also has lowercase or old style numerals that have been designed so that they can be used in both tabular and proportional settings. The uppercase numerals are slightly shorter than the uppercase letters, ensuring that the latter can be sympathetically incorporated within continuous text.The Mantika Sans italics are very unusual. They are inclined at only 4.5° (the usual angle for italics is 10 - 12°) and so appear to be almost upright. In addition, they also have quite distinctive forms. The overall effect calls attention to their curvilinear, manuscript character, enhances contrasts and further emphasizes the terminals. Weltin explains: "Within the variety of forms of the italics there are many contrasting terminal elements that create dynamism. The result is a diversity of interaction between the rounded and angular forms". Mantika Sans Italic thus has all the features of a display typeface, but can also be happily used on its own to set longer text passages. Mantika Sans is available in two weights; Regular and Bold, both of which have corresponding italics sets. Mantika Sans has been designed so that the widths of the four related cuts are identical, meaning that a change of font within a single layout will have no effect on justification. In addition, the members of the Mantika Informal font family, designed by Jürgen Weltin in 2010, also have the same thickness. Other font families having weights with equal thickness can be found in the "Linotype Office Alliance series".The Mantika Sans character sets are paneuropean. There are characters for setting texts in Eastern European languages, Greek and Cyrillic. There is also a range of special symbols, including right-angled brackets, subscript and superscript lower case letters, together with numerals, arrows and many different bullet points.As a vibrant and highly legible text font, Mantika Sans has a broad spectrum of potential applications. Its unusual italics are not just perfect for use in display text. The fact that it has only four cuts means that Mantika Sans is particularly suitable for office use or for the setting of business reports. Its excellent legibility even in the small font sizes also makes it ideal as a text for electronic reading devices; this also applies to Mantika Informal.At the 3rd International Eastern Type Design Competition Granshan 2010, Mantika Sans was awarded in the category Greek text typefaces."

With its well-defined characters that are readily legible even in the small font sizes, Mantika Sans by Jürgen Weltin is ideal for typesetting. The elaborately designed and highly individual set of italics enhances the attractiveness of the font.Jürgen Weltin developed the Mantika™ Sans sans serif font using older designs for an serif font as his inspiration. Nothing more than the merest suggestion of the original serifs has survived. Bevelled line endings and the slight variation in thickness of verticals, in particular, provide Mantika Sans with a very dynamic character that evokes manuscript. Short ascenders and descenders give the font a compact appearance that is also underscored by its condensed proportions. Weltin has achieved his aim of producing a typeface with excellent legibility even in small sizes not just by means of the x-height, which is tall in comparison with the capital letters, but also by using clearly defined and well differentiated designs for critical letters, such as i", "I" and "l". Lower case "i", for example, has a serif while the "l" has a curved base.In addition to uppercase numerals, Mantika Sans also has lowercase or old style numerals that have been designed so that they can be used in both tabular and proportional settings. The uppercase numerals are slightly shorter than the uppercase letters, ensuring that the latter can be sympathetically incorporated within continuous text.The Mantika Sans italics are very unusual. They are inclined at only 4.5° (the usual angle for italics is 10 - 12°) and so appear to be almost upright. In addition, they also have quite distinctive forms. The overall effect calls attention to their curvilinear, manuscript character, enhances contrasts and further emphasizes the terminals. Weltin explains: "Within the variety of forms of the italics there are many contrasting terminal elements that create dynamism. The result is a diversity of interaction between the rounded and angular forms". Mantika Sans Italic thus has all the features of a display typeface, but can also be happily used on its own to set longer text passages. Mantika Sans is available in two weights; Regular and Bold, both of which have corresponding italics sets. Mantika Sans has been designed so that the widths of the four related cuts are identical, meaning that a change of font within a single layout will have no effect on justification. In addition, the members of the Mantika Informal font family, designed by Jürgen Weltin in 2010, also have the same thickness. Other font families having weights with equal thickness can be found in the "Linotype Office Alliance series".The Mantika Sans character sets are paneuropean. There are characters for setting texts in Eastern European languages, Greek and Cyrillic. There is also a range of special symbols, including right-angled brackets, subscript and superscript lower case letters, together with numerals, arrows and many different bullet points.As a vibrant and highly legible text font, Mantika Sans has a broad spectrum of potential applications. Its unusual italics are not just perfect for use in display text. The fact that it has only four cuts means that Mantika Sans is particularly suitable for office use or for the setting of business reports. Its excellent legibility even in the small font sizes also makes it ideal as a text for electronic reading devices; this also applies to Mantika Informal.At the 3rd International Eastern Type Design Competition Granshan 2010, Mantika Sans was awarded in the category Greek text typefaces."

Divina Proportione is based from the original studies from Luca Pacioli. Luca Pacioli was born in 1446 or 1447 in Sansepolcro (Tuscany) where he received an abbaco education. Luca Pacioli was born in 1446 or 1447 in Sansepolcro (Tuscany) where he received an abbaco education. [This was education in the vernacular (i.e. the local tongue) rather than Latin and focused on the knowledge required of merchants.] He moved to Venice around 1464 where he continued his own education while working as a tutor to the three sons of a merchant. It was during this period that he wrote his first book -- a treatise on arithmetic for the three boys he was tutoring. Between 1472 and 1475, he became a Franciscan friar. In 1475, he started teaching in Perugia and wrote a comprehensive abbaco textbook in the vernacular for his students during 1477 and 1478. It is thought that he then started teaching university mathematics (rather than abbaco) and he did so in a number of Italian universities, including Perugia, holding the first chair in mathematics in two of them. He also continued to work as a private abbaco tutor of mathematics and was, in fact, instructed to stop teaching at this level in Sansepolcro in 1491. In 1494, his first book to be printed, Summa de arithmetica, geometria, proportioni et proportionalita, was published in Venice. In 1497, he accepted an invitation from Lodovico Sforza ("Il Moro") to work in Milan. There he met, collaborated with, lived with, and taught mathematics to Leonardo da Vinci. In 1499, Pacioli and Leonardo were forced to flee Milan when Louis XII of France seized the city and drove their patron out. Their paths appear to have finally separated around 1506. Pacioli died aged 70 in 1517, most likely in Sansepolcro where it is thought he had spent much of his final years. De divina proportione (written in Milan in 1496–98, published in Venice in 1509). Two versions of the original manuscript are extant, one in the Biblioteca Ambrosiana in Milan, the other in the Bibliothèque Publique et Universitaire in Geneva. The subject was mathematical and artistic proportion, especially the mathematics of the golden ratio and its application in architecture. Leonardo da Vinci drew the illustrations of the regular solids in De divina proportione while he lived with and took mathematics lessons from Pacioli. Leonardo's drawings are probably the first illustrations of skeletonic solids, an easy distinction between front and back. The work also discusses the use of perspective by painters such as Piero della Francesca, Melozzo da Forlì, and Marco Palmezzano. As a side note, the "M" logo used by the Metropolitan Museum of Art in New York City is taken from De divina proportione. “ The Ancients, having taken into consideration the rigorous construction of the human body, elaborated all their works, as especially their holy temples, according to these proportions; for they found here the two principal figures without which no project is possible: the perfection of the circle, the principle of all regular bodies, and the equilateral square. ” —De divina proportione

The story of Scripps College Old Style is a heart-warming and inspiring chronicle about a young librarian, a handful of students, a wealthy grandmother, a dedicated educator -- and two eminent American type designers. The story begins in 1938, when Dorothy Drake, the newly hired librarian at Scripps College, a small women's college in southern California, became an impromptu dinner companion of the American type designer Fred Goudy. By the 1990s, the original fonts that Goudy had created for Scripps College in the 1940s had become prized -- but they were seldom-used antiques. Scripps needed digital versions of the metal fonts. This goal posed two immediate challenges: finding a designer familiar with letterpress printing who was skilled at creating digital fonts, and locating the money to commission the designer's services. The first challenge was the easiest to conquer. Sumner Stone was my first and only choice," recalls Kitty Maryatt, the current curator of the Scripps College Press. "I knew he had letterpress experience, was an accomplished calligrapher, and that his typeface designs were simply exquisite. The choice was easy."The second challenge was more difficult. It took the dedication, hard work and tenacity of Maryatt to bring the beautiful Goudy designs into the twenty-first century. While Stone was eager to begin work on the project, the college had no more money for new typeface designs in the 1990s than it did in the1930s. Years of lobbying, cajoling and letter writing were necessary to obtain the college's approval for the design project. Once she had the necessary funding, the design brief posed yet a third challenge. Goudy had provided two sizes of type to the Press: 14 point and 16 point. Which would serve as the foundation for Stone's work? In addition, the Goudy fonts were quite worn. Should Stone use printed samples as his design master, or base his work on the original Goudy renderings? The 14-point master drawings were the ultimate choice, with the stipulation that the finished fonts would provide both a seamless transition from the worn metal versions and a faithful representation of the original Goudy designs. Once the budget and design brief were established, the process of converting the original Goudy drawings into digital fonts took just a little over two months. Stone delivered finished products to Scripps in the fall of 1997. The first official use of the fonts was to set an announcement for a lecture by Stone at Scripps in February of 1998. But the story is not quite finished. Maryatt was so pleased with the new digital fonts, she wanted to share them with the graphic design community. At Stone's suggestion, she contacted Monotype Imaging with the hope that the company would add the new designs to its library. An easy decision! Now Monotype Imaging is part of the story. We are proud to announce the release of Scripps College Old Style as a Monotype Classic font. The once exclusive font of metal type is now available in digital form for designers around the world. "

Speaking Corporate is a modern font of icons and pictograms.

An original design by Malcolm Wooden of DTP Types Limited.

Galeb Texture is textured version of our Galeb font family.

Based on the handwriting of Alberto Corradine, Manuel Corradine's father.

Elante is the Compugraphic version of W.A. Dwiggins's Electra typeface.

Legible yet elegant font family with a variety of weights.

An original design by Malcolm Wooden of DTP Types Limited.

This doodled font features a variety of unique, fun letters.

Another foray into the area of a comic based textface.

This font is a simple version of my Scripio A.

Each character of this display font fits into a circle.

An original design by Malcolm Wooden of DTP Types Limited.

An original design by Malcolm Wooden of DTP Types Limited.

inspired in the idea of traveling in the light velocity

Based on the Ludlow/ATF versions of this great typeface.

a digitization of a classic blackletter by german typographer Schneidler

A revival design by Malcolm Wooden of DTP Types Limited.

A legible multi-purpose, multilingual monoline-script of great clarity.