Eloquia is a neo-grotesque sans serif type family with geometric roots. Though it's a neutral typeface the unmistakable influence of geometric shapes gives it warmth and a unique flavor. With 34 fonts in total, Eloquia comes in two distinct optical sizes Text and Display. The Display styles are spaced tightly keeping headlines in mind while the Text styles feature a larger x-height and wider apertures with loose spacing making them highly legibility at small sizes. The elegant balance of neutrality and modernism makes Eloquia extremely versatile in its functionality. Whether it's being in the spotlight or in the background blending in, Eloquia can do it all. Eloquia is equipped with powerful OpenType features like Small Caps, Capitals to Small Caps, Stylistic Alternates, Ligatures, Case Sensitive Forms, Superscripts, Subscripts, Numerators, Denominators, Fractions, Ordinals, Proportional Lining, Tabular Lining, Oldstyle Figures, Scientific Inferiors, Localised Forms, Historical Forms, Capital Spacing and more. Eloquia supports more than 88+ languages including all major Latin languages. The Eloquia Display ExtraBold & Eloquia Text ExtraLight are completely free of charge.

Hatchet Job - A Halloween Brush Font Unleashed onto an unsuspecting public this Halloween, Hatchet Job is a brush font inspired by the slasher and cabin-in-the-woods horror movies and comics typical of the 1970s and 80s. This textured all-caps design takes its visual style from old cabins, ghost ships and axe-splintered wood that can only spell danger! With a bold brush strokes and frayed edges, it offers the tools to leave your readers nerves in tatters! The Hatchet Job font family includes all-caps uppercase and lowercase characters, along with numerals, punctuation, symbols and language support. Also included are a complete set of alternative characters and additional paint marks, drips and splashes. Wingsart Studio Design Tip! The uppercase and lowercase characters work great when mixed in an alternating fashion, with shapes that combine to create a dynamic, un-hinged look that's perfect for the Halloween season. Add the alternatives and paint marks into the mix and you'll have yourself a title or header design that looks truly custom-made.

Novel Sans Condensed Pro is the humanist grotesque typeface family within the largely extended award winning Novel Collection, containing Novel Pro, Novel Sans Pro, Novel Sans Hair Pro, Novel Sans Condensed Pro, Novel Mono Pro, Novel Sans Rounded Pro and Novel Sans Office Pro. Novel Sans Condensed Pro has a carefully attuned character design and a well balanced weight contrast. Classic proportions and the almost upright italic makes Novel Sans Condensed Pro being a space saving, modern humanist with the calligraphic warmth of a real italic. Many similarities with the other typeface families within the Novel Collection enable designers to combine the families and reach highest quality in typography. Novel Sans Condensed Pro [1020 glyphs] comes in 6 weights and contains small caps, an extra set of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], small caps figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

Kasia™ is a unique contemporary sans serif family, full of character and originality. It's soft and rounded shapes give it warm, friendly, playful and dynamic feel. Special ink traps serve as ornamental details in bigger sizes, making Kasia™ a wonderful display font family. In small sizes, Kasia™ is very clean and legible. Its proportions and optimized kerning make it a versatile, friendly and organic text family, that features broad variety of OpenType features. Thanks to its various advantages Kasia™ is a great choice for all kinds of design work, both print and on-screen. It is a great choice for branding, logo design and advertising, as well as all sorts of paragraph text. Kasia™ consists of 20 fonts - 10 weights and their corresponding italics. It has extended language support including cyrillic and true italics, as well as OpenType features, such as small caps, case sensitive forms, ligatures, stylistic alternates, contextual alternates, lining, oldstyle, tabular, small cap and circled figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

This is an extension of Mikolaj's Grabowski first typeface. Formerly known as EPILEPSJA, now coming as ACHTUNG. Adding lowercase and small caps, as well as additional language support including Cyrillic script and some dingbats. ACHTUNG Color Type Family has a range of application from warnings and safety signage to propaganda posters and anarchist graffiti. Every place where you need an indisputable message, be it in headlines or titles, this font comes in handy. It’s a stencil, it’s layered and impossibly dimensional. Download the specimen HERE. I advise you to do so in order to being aware of how the layers work and how to use color fonts. Total of 1020 glyphs. Languages: Afrikaans, Albanian, Bosnian, Bulgarian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Macedonian, Maltese, Norwegian, Polish, Portuguese, Romanian, Russian, Serbian, Slovak, Slovenian, Spanish, Swedish, Turkish, Ukrainian, Vietnamese, Zulu. OpenType features: small caps, localizations, superscript, fractions, ordinals, proportional and tabular figures, case sensitive forms, stylistic alternates, contextual alternates, and proper mark attachment.

MANUFAKTUR is a gas-pipe sans. A typeface influenced by an cast iron sign on an old Swedish industrial machine. The simple curves of the characters suited well for an 21st century update and the new and modern MANUFAKTUR is now a variable typeface with thousands of combinations of width and weight. MANUFAKTUR comes with stylistic alternates (smaller glyphs with underline) and small caps. The small caps also works as lowercase glyphs by default. With an OpenType-enabled app - or your website - you can control the width and weight of the typeface via a slider or with code. VARIABLE FONT SUPPORT: Currently Adobe only supports variable fonts in Photoshop and Illustrator. InDesign are still waiting on variable font support. This hardworking sans serif is perfect for display use, signage, poster, prints, editorial use, branding, logos, magazines, films and lots more. The variable weight and width makes MANUFAKTUR very versatile and flexible. If variable fonts isn't your bag MANUFAKTUR also comes predetermined weights and widths as a traditional font.

Novel Sans Office Pro is the humanist grotesque typeface family optimized for office environments within the largely extended award winning Novel Collection, also containing Novel Pro, Novel Sans Pro, Novel Sans Condensed Pro, Novel Mono Pro and Novel Sans Rounded Pro. Novel Sans Office Pro has a carefully attuned character design and a well balanced weight contrast. Classic proportions and the almost upright italic makes Novel Sans Office Pro being a modern humanist with the calligraphic warmth of a real italic. Many similarities with the other typeface families within the Novel Collection enable designers to combine the families and reach highest quality in typography. Novel Sans Office Pro [1020 glyphs] comes in 6 weights and contains small caps, an extra set of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], small caps figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

Sometimes a sans serif just needs a sister. Meet Mamirolle! A geometric wedge-serif companion to Mimolette! (OR is Mimolette the sans serif companion to Mamirolle.... hmmmmm....) Mamirolle, like her sister, is great for text and display alike—she's super-readable AND super-legible, and her different weights lend themselves to creating clear contrast in your textual hierarchy! And she's got some nifty features, too! Mamirolle has a two-story a and g in the upright versions, but if you want a one-story a and g, just turn on Stylistic Set 01! Her italic is a true italic, not just an oblique. Want more playful cursive alternatives in the italic? Activate Stylistic Set 02, and you've got them in the A, E, K, Q, R, and k. She's got true small caps in all styles! She's got true fractions in all styles, as well as oldstyle (small cap) and lining numerals, in both tabular and proportional widths. Best of all, perhaps, Mamirolle was made with love, as always, by yer pals in the Ampersand Forest.

Diaria started as a project in Typeface Architecture for Master in Advanced Typograghy at EINA, Centre Universitari de Disseny i Art de Barcelona, a course tutored by Laura Meseguer and Íñigo Jerez Quintana. Later it has developed into Diaria Pro, an extensive typeface including Cyrillic script, small caps, and various OpenType features. Diaria Pro is a low-contrast serif typeface designed as a primary text face for the newspapers. Its large x-height and static exteriors allow comfortable reading in narrow columns, and calligrafic counters as well as dynamic serifs add humanist detail to overall perception and incline contrast axis without affecting interletter counterforms. Besides extensive language support, Diaria Pro includes various OpenType features: ligatures, discretionary ligatures, small caps, 6 sets of digits, superiors, inferiors, fractions, ordinals, upper-case punctuation, and some language-specific features. Diaria Pro also has a sans-serif companion - Diaria Sans Pro. Some of the styles of Diaria Pro can be found in Mint Type Editorial Bundle together with other fonts which make some great pairs. Check it out!

The font HEXA is inspired by the Hexagon. The HEXA fonts are dynamically and uniquely designed typefaces based on the grid systems of the hexagon that extends infinitely. From this image, we have created the HEXA font. Hexa is Latin-based and a completely crafted font that consists of 3 typefaces. Each typeface contains 190 sets of characters. This font family is in all-caps fonts, and we provide different styles of uppercase and lowercase glyphs with the exception of letters c, ç, and comma/ single low-9 quotation mark. In lowercase glyphs, we emphasize the image, character, and identities of Hexa. The font family includes regular, black, and thin. We created the witty expression with Hexa’s regular identity; thin emphasizes the lines; black fills in the blanks. Hexa is a monospaced fonts. So kerning is not applied. We recommend using our fonts for big-sized uses. This typeface is a display font and looks more attractive in larger formats than on main texts. Features: -190 characters -Monospaced fonts -All-caps fonts (different styles provide uppercase and lowercase)

Vialog is a large and versatile sans serif family consisting of four weights of roman with corresponding italics, each with small caps and Old style Figures. Designers Werner Schneider and Helmut Ness based the concept for Vialog on the forms in "Euro Type," an unpublished type designed by Schneider in 1988 for the German Federal Transportation Ministry. For Vialog, Schneider made comprehensive legibility studies of the existing European transportation fonts, and combined and adapted the best features to make a new information system font family. He fine-tuned Vialog's characters and spacing with a special regard to the legibility problems of transportation settings, such as viewing type at distances and while moving. For example: cap I, J and lowercase i, j are common legibility problems in sans serif fonts, so in Vialog, these characters have serifs. In addition to its usefulness to the transportation industry, the Vialog family confidently meets the needs of corporate design and branding systems with its space-saving attributes for text settings, as well as the large number of weights and styles.

Ares is a crisp all-caps display typeface suitable for sci-fi logos and titles. It owes its peculiar futuristic vibe to angular, top-heavy letters that hang from the cap-height instead of sitting on the baseline. The typeface consists of six subfamilies available in 10 weights, as well as as two variable fonts of three axes: Weight [wght], ranging from 1 to 1000, Mid-height [MHGT], ranginf from 0 to 1000, Tracking [TRAK], ranging from 0 to -40. The mid-height axis affects the typeface's waistline, including crossbars, and divides the fonts into three subfamilies: Ares Lo, Ares, and Ares Hi. These three families are solid-stroked, and the other three families are their stencil-stylized counterparts: Ares Broken Hi, Ares Broken, and Ares Broken Lo. The tracking axis is only available in the variable versions, and proportionally affects the kerning, thus helping set the type more tightly without effort. Ares supports a wide range of Latin-based orthographies, including not only European, but also Vietnamese as well as major African languages like Hausa, Fula or Ewe.

Sonny Gothic is our most rational-geometric typefamily until so far. It’s inspired by the geometric style of the 70s, specifically by Herb Lubalin’s work. Since we were students, we have been gazing Lubalin’s logos, typefaces and magazines as inspiration that still lives in our subconscious. At first, we made a pure geometrical typeface with modern caps proportion, then we combine those proportions with the 70s traditional caps ligatures. It was at that point that we knew Sonny Gothic was ready to arise. Even though Chile is not the origin of a modern visual culture, for us geometric typefaces and Lubalin’s work are one of the most attractive aesthetics of the creative realm, and therefore, this is our homage. Designed with powerful opentype features, each weight includes alternate characters, ligatures, fractions, special numbers, arrows, extended language support and many more… Perfectly suited for the several areas of graphic design. Learn about upcoming releases, work in progress and get to know us better! On Instagram W Foundry On facebook W Foundry wtypefoundry.com

In ITC Arecibo, Argentinean type designer Luis Siquot has created a typeface of subtle typographic turns. At first glance, ITC Arecibo has a sturdy 19th century wood type flavor, yet the delicate hairline shadow is decidedly Art Deco. Its condensed proportions and character shapes have been carefully modeled to ensure legibility. Siquot added uniqueness and versatility to the face by drawing two sets of small caps: one in which the central horizontal strokes share the same plane (ITC Arecibo) as those in the full-size letters, and another where the horizontal strokes are proportional with the small caps(ITC Arecibo Too). Another intriguing subtlety is what Siquot calls the “soul of the face,” the distinctive highlight/shadow. “This ambiguous line is an effect I have wanted to incorporate into a design for some time,” says Siquot. “Is it a black hairline that surrounds the letters, or a white line incised into the left and bottom of strokes?” ITC Arecibo and ITC Arecibo Too: distinctive, powerful and economical of space. What more could you ask from a headline face?

Seuchter Experimental is a product of the fertile Jugendstil period in Austria. Drawn by Bruno Seuchter, about whom little biographical information is available, the design first appeared in Seuchter’s publication, Die Fläche, in 1902. Die Fläche means “surface or expanse,” presumably a reference to a “tabula rasa” or clean slate. The implication is one of starting anew, rejecting the past and searching for fresh, different modes of visual expression — which is exactly what Art Nouveau attempted to do. Seuchter Experimental is a quirky and light-hearted font. Ligatures include AT, AV, CH, CK, FJ, LO and ST. Although basically an all-cap font, several of the accented letters in the lower case position represent the oft-seen desire to keep the accents below cap-height. The a-umlaut at 228 and u-umlaut at 252 reflect Seuchter’s original design. For a discussion of the difference between a diaresis and an umlaut, see Appendix B of Bringhurst’s The Elements of Typographical Style. In the meantime, give this font room to breathe.

Zierde is a take on early advertising, small-copy grotesks of the late 19th/early 20th century, and is largely inspired by Miller & Richard’s own range of Grotesques. More importantly, Zierde is accompanied by a large set of ornaments (+200) which hark back to the look-and-feel of the early-modernist arts and crafts movement. The ornaments in, and presentation of, Zierde owe much credit to J.G Schelter & Giesecke’s 1913 type specimen book ‘Die Zierde’. The strong functional uppercase sans-serifs alongside luscious, beautiful patterns in ‘Die Zierde’ make for beautiful combinations. This early-modernist use of grotesk alongside ornament looks bizarre in the eyes of us used to seeing sans-serifs in more formal, sterile settings. The face itself retains some historical flourishes such as the eccentric leaning angle of the italics, the long cross-bar on the ‘G’, the gammy-leg of the ‘R’, a strange ampersand and some irregular terminals across the weights. Zierde is display face meant for headlines, titles, short-copy, labels and logos. It comes in caps and small caps, Latin and Cyrillic.

It started with an italic, or to be more precise, half an italic. The slanted styles of Urge Text exhibit a certain bipolarity, the tops of glyphs having a standard italic form, the bottoms of glyphs being more Roman in their construction. This sturdy footing really locks the italics to the baseline, making them very legible while still being distinct from the uprights. The same bipolar approach didn't work very well in upright styles, so the Romans are more toned down. Ranging from the almost monoline, Egyptian style light weights to higher contrast ‘Modern’ bolds, there is much potential for use in typographically demanding scenarios. The family consists of six weights, normal and condensed widths, all with italics, making a total of 24 fonts; it’s a highly usable text typeface with an array of OpenType features. All styles include small caps, multiple figure styles (proportional- and tabular-, oldstyle and lining, small cap proportional figures, numerators, denominators, superscript and subscript), standard ligatures, alternate forms (stylistic sets), automatic fractions, case sensitive forms, and a handy (perhaps!) ‘percent off’ ligature in the discretionary ligatures feature.

This typeface appears to be straight out of a science fiction movie thriller. Mingo is a slightly condensed, somewhat vain gothic with thick vertical strokes proudly tapering downward. Capitals which are normally completely round are now square inside with curving outside corners. Lowercase letters carry the same design traits. And, in the capital A and H, crossbars extend on both sides helping give the face a pronounced retro look. Mingo Gothic is a close cousin to Raleigh Gothic and is an excellent choice for book covers and large display settings. Small caps, fractions, and alternate characters have also been developed for greater layout versatility. Mingo Gothic Bold is now available in the OpenType format. Some new characters have been added to this OpenType version as stylistic alternates, historical forms, small caps, oldstyle figures, ornaments, and f-ligatures. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

This is a new version of our popular DIN Stencil family designed with a wider cut than the original. This overcomes the diminishing effect of the stencil at smaller sizes where the cuts tend to disappear, whereas it makes a bold statement at display sizes. Traditionally, stencils have been used extensively for military equipment, goods packaging, transportation, shop signs, seed sacks and prison uniforms. In the old days, stencilled markings of ownership were printed on personal possessions, while stencilled signatures on shirts were typical of 19th century stencilling. DIN Stencil B manages to preserve several traditional stencil features, but introduces additional modernities which enhance its pleasing characteristics and make it an ideal choice for a large number of contemporary projects. It consists of 7 diverse weights from Extra Thin to Black. This version supports Latin, Cyrillic, Eastern European, Turkish and Baltic. DIN Stencil B includes several additions such the recently unicode encoded character of the German uppercase Eszett (ẞ), the Russian currency symbol for Rouble (₽), Ukrainian Hryvnia (₴), Azeri and Kazakh letterforms.

Magnum Sans Pro is a strong neutral sans serif consisting of eleven weights with true Italic, Oblique and an alt upright set called Alfa. The definition of Magnum is a large wine bottle that's twice the capacity of one 750ml bottle, today the name is used in any product offering double the capacity, Magnum Sans achieves this by offering two slanted and two upright versions plus a standard and pro set. Designed to be highly readable, Magnum Sans Pro is ideal for text, signage, headlines and media broadcasting or anywhere else quick readable lettering is needed. With the stylistic alternates and swash caps you can expand your creativity in logo designing. Sprinkle in an alternate letter or two makes for a dynamic appeal that's sure to get attention in advertising. This Pro set includes additional language support for Vietnamese, Pin Yin and Greek. Opentype features in the Pro set include, Alternate Fractions, Case Sensitive Forms, Denominators, Numerators, Discretionary Ligatures, Standard Ligatures, Old-style Figures, Tabular Figures, Proportional Figures, Ordinals, Scientific Inferiors, Superscript, Subscript, Stylistic Alternates, Swash Caps, Arrows and Enclosed Alphanumerics.

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. A few of the many interpretations from the early twentieth century were true to the source, as well as strong enough to last into the digital era. These include two from the American Type Founders Company, Caslon 540 and the slightly heavier Caslon #3. Both fonts are relatively wide, and come complete with small caps, Old style Figures, and italics. Caslon Open Face first appeared in 1915 from the Barnhart Bros & Spindler Foundry, and is not anything like the true Caslon types despite the name. It is intended exclusively for titles, headlines and initials, and looks elegant whether used with the more authentic Caslon types or by itself.

Welcome to the future of typography with Hybrea, the neoteric sans-serif typeface inspired by the sleek and futuristic designs found in automotive and aerospace industries. This font is designed to elevate your brand, giving your phrases an air of sophistication and high-tech wonderment. Hybrea’s clean, crisp lines bend unexpectedly, creating a sense of originality that is sure to make your brand stand out from the rest. Whether you’re designing a website, creating marketing materials, or even just crafting a simple social media post, Hybrea is the typeface you need to take your brand to the next level. With seven distinct weights, ranging from light to bold, and italics for each, you can easily tailor words to suit your specific needs. Plus, if you’re looking to add an extra bit of edge to your design, Hybrea even comes with a greasy stencil font, perfect for creating that rough and rugged look. Designed with a clean future in mind, this typeface is perfect for brands looking to make a positive impact on the world. So why wait? Try Hybrea today and take the first step towards a brighter, more sustainable future. 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.

Welcome to the world of darkness and fear, where shadows dance and nightmares come to life. Introducing Ebenezer, the typeface that will send shivers down your spine and make your message stand out like never before. With Goldburg-inspired letterforms and intricate, eerie details, Ebenezer is the perfect choice for any project that requires a macabre touch. Each character is carefully crafted to evoke a sense of dread and terror, making it the perfect typeface for horror movies, Halloween-themed designs, or any project that requires a dark and ominous feel. But Ebenezer is more than just a typeface. With its OpenType ligatures, common character sequences are automatically substituted with bespoke combos, ensuring that your message has an even more ghastly impact. Each word becomes a work of art, with letters combining and twisting into haunting shapes that will leave your audience speechless. So embrace the darkness and let Ebenezer lead the way. Its spooky, highly detailed design will take your project to the next level, ensuring that your message is unforgettable and truly terrifying. Whether you’re designing a poster, creating a logo, or simply looking to add a touch of macabre elegance to your text, Ebenezer is the perfect choice. 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.

Welcome to the gritty, raw world of Ceroxa. This rugged stencil typeface is not for the faint of heart. With its spattered spray-paint look and hardcore letterforms, Ceroxa is the ultimate tool for delivering your message with an assertive, in-your-face voice. Inspired by the urban street art of stencils, Ceroxa is a font that doesn’t shy away from making a statement. Its bold, aggressive letterforms will grab your audience’s attention and demand to be heard. And with bespoke letter pairings in OpenType-aware programs, your message will be delivered with a realistic, filthy tone that will leave a lasting impression. But Ceroxa isn’t just a typeface—it’s a statement. It’s a declaration of your raw, unapologetic voice. It’s a nod to the rebellious, DIY spirit of street stencils. And it’s a call to action for those who refuse to be silenced. So if you’re ready to make a statement, if you’re ready to deliver your message with an uncompromising voice, then Ceroxa is the typeface for you. Embrace the hardcore, raw energy of this stencil typeface and watch as your words become a force to be reckoned with. 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 famous roman type cut in Venice by Nicolas Jenson, and used in 1470 for his printing of the tract, De Evangelica Praeparatione, Eusebius, has usually been declared the seminal and definitive representative of a class of types known as Venetian Old Style. The Jenson type is thought to have been the primary model for types that immediately followed. Subsequent 15th-century Venetian Old Style types, cut by other punchcutters in Venice and elsewhere in Italy, are also worthy of study, but have been largely neglected by 20th-century type designers. There were many versions of Venetian Old Style types produced in the final quarter of the quattrocento. The exact number is unknown, but numerous printed examples survive, though the actual types, matrices, and punches are long gone. All these types are not, however, conspicuously Jensonian in character. Each shows a liberal amount of individuality, inconsistency, and eccentricity. My fascination with these historical types began in the 1970s and eventually led to the production of my first text typeface, Iowan Old Style (Bitstream, 1991). Sometime in the early 1990s, I started doodling letters for another Venetian typeface. The letters were pieced together from sections of circles and squares. The n, a standard lowercase control character in a text typeface, came first. Its most unusual feature was its head serif, a bisected quadrant of a circle. My aim was to see if its sharp beak would work with blunt, rectangular, foot serifs. Next, I wanted to see if I could construct a set of capital letters by following a similar design system. Rectangular serifs, or what we today call "slab serifs," were common in early roman printing types, particularly text types cut in Italy before 1500. Slab serifs are evident on both lowercase and uppercase characters in roman types of the Incunabula period, but they are seen mainly at the feet of the lowercase letters. The head serifs on lowercase letters of early roman types were usually angled. They were not arched, like mine. Oddly, there seems to be no actual historical precedent for my approach. Another characteristic of my arched serif is that the side opposite the arch is flat, not concave. Arched, concave serifs were used extensively in early italic types, a genre which first appeared more than a quarter century after roman types. Their forms followed humanistic cursive writing, common in Italy since before movable type was used there. Initially, italic characters were all lowercase, set with upright capitals (a practice I much admire and would like to see revived). Sloped italic capitals were not introduced until the middle of the sixteenth century, and they have very little to do with the evolution of humanist scripts. In contrast to the cursive writing on which italic types were based, formal book hands used by humanist scholars to transcribe classical texts served as a source of inspiration for the lowercase letters of the first roman types cut in Italy. While book hands were not as informal as cursive scripts, they still had features which could be said to be more calligraphic than geometric in detail. Over time, though, the copied vestiges of calligraphy virtually disappeared from roman fonts, and type became more rational. This profound change in the way type developed was also due in part to popular interest in the classical inscriptions of Roman antiquity. Imperial Roman letters, or majuscules, became models for the capital letters in nearly all early roman printing types. So it was, that the first letters in my typeface arose from pondering how shapes of lowercase letters and capital letters relate to one another in terms of classical ideals and geometric proportions, two pinnacles in a range of artistic notions which emerged during the Italian Renaissance. Indeed, such ideas are interesting to explore, but in the field of type design they often lead to dead ends. It is generally acknowledged, for instance, that pure geometry, as a strict approach to type design, has limitations. No roman alphabet, based solely on the circle and square, has ever been ideal for continuous reading. This much, I knew from the start. In the course of developing my typeface for text, innumerable compromises were made. Even though the finished letterforms retain a measure of geometric structure, they were modified again and again to improve their performance en masse. Each modification caused further deviation from my original scheme, and gave every font a slightly different direction. In the lower case letters especially, I made countless variations, and diverged significantly from my original plan. For example, not all the arcs remained radial, and they were designed to vary from font to font. Such variety added to the individuality of each style. The counters of many letters are described by intersecting arcs or angled facets, and the bowls are not round. In the capitals, angular bracketing was used practically everywhere stems and serifs meet, accentuating the terseness of the characters. As a result of all my tinkering, the entire family took on a kind of rich, familiar, coarseness - akin to roman types of the late 1400s. In his book, Printing Types D. B. Updike wrote: "Almost all Italian roman fonts in the last half of the fifteenth century had an air of "security" and generous ease extremely agreeable to the eye. Indeed, there is nothing better than fine Italian roman type in the whole history of typography." It does seem a shame that only in the 20th century have revivals of these beautiful types found acceptance in the English language. For four centuries (circa 1500 - circa 1900) Venetian Old Style faces were definitely not in favor in any living language. Recently, though, reinterpretations of early Italian printing types have been returning with a vengeance. The name Vendetta, which as an Italian sound I like, struck me as being a word that could be taken to signifiy a comeback of types designed in the Venetian style. In closing, I should add that a large measure of Vendetta's overall character comes from a synthesis of ideas, old and new. Hallmarks of roman type design from the Incunabula period are blended with contemporary concerns for the optimal display of letterforms on computer screens. Vendetta is thus not a historical revival. It is instead an indirect but personal digital homage to the roman types of punchcutters whose work was influenced by the example Jenson set in 1470. John Downer.

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