The Ysobel™ typeface family is not only elegant; it is also exceptionally legible and space economical. A collaborative design effort between Robin Nicholas, as lead designer and project director, Delve Withrington and Alice Savoie of Monotype Imaging, the project had the primary design goal of creating a typeface family for setting text in newspapers and periodicals. The result, however, is also ideal for any application that requires quick and easy assimilation of text. According to Nicholas, “The idea for the design started when I was asked to develop a custom version of Century Schoolbook. I wanted to give the design a more contemporary feel, although the client ultimately decided to keep their typeface closer to the original. The project nevertheless gave me ideas for a new design. Since designing Nimrod, some 30 years ago, I had wanted to make a more modern typeface family for newspapers and magazines – this seemed the ideal candidate.” Ysobel (pronounced “Isabel”) has the soft, inviting letter shapes of Century Schoolbook but contrasts these with more incised serifs and terminals. Its capitals are also narrower than those of Century Schoolbook, and care was taken to ensure that they harmonize perfectly with the lowercase. Ysobel’s x-height is full-bodied without disrupting lowercase proportions. In addition, curved terminals, such as those in the “C,” “c” and “e,” were drawn more open as an aid to legibility and readability in text copy. Weight stress is near vertical, and hairlines are robust to ensure character fidelity in small point sizes. Development began with the text version of the family, which has four weights, each with an italic companion. All weights feature lining and old style numerals, fractions, superiors and extended Latin language coverage. Small caps are also available in the Roman Regular design. Ysobel Display is a completely redrawn version of the typeface; it is narrower, and has a slightly smaller x-height, thinner hairlines and subtle design changes to improve its appearance when set at large sizes. The Display Italic received particular attention to make it ideal for setting headlines, subheads and short blocks of copy. Changes include a slightly greater italic angle and more cursive treatment of some letter shapes. Alternative styles of capital “J” and “Q,” to provide variation, are available in all weights.

Welcome, esteemed customers, to our magnificent array of fonts! It is with great pleasure that we present to you the rusticized Steelfish Hammer, a variation of the popular Steelfish typeface. Its rugged appearance embodies the sincere and trustworthy nature of your message, evoking sentiments of the utmost assurance. With three textured letter variations that are shuffled automatically in OpenType-savvy applications, the Steelfish Hammer typeface creates an unparalleled realistic impression. To disable this effect, simply toggle the “standard ligatures” feature in your application. And oh, the compact letterforms of the Steelfish Hammer! They are nothing short of exquisite. Each of the five weights and italics of this typeface is a testament to the power and resilience of your message, with every character carefully crafted to achieve the desired effect. There are other kinds of Steelfish too: Steelfish Regular, Steelfish Rounded, Steelfish Steeled and Steelfish Unleaded. Come, delve into the world of typography with us and experience the unmatched beauty of the Steelfish Hammer. Let your message speak with confidence and authenticity, as it is our utmost priority to provide you with the best tools to achieve your goals. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Introducing Retrio. Original glyphs with echoed behind. As if the letters were moved, but the kinetic trail remained. Colored, gradient, with transparency or solid - many options in one family for any task and for every taste. The font will emphasize the style of the 20th century in illustration. Discos, electro music, records, nostalgia - these are the associations that this font family evokes, which is very important in design. At the same time, the Retrio font is not outdated, it was created taking into account modern trends in retro themes. A unique family in which there are both color and classic monochrome versions. Great versatility in use is provided by the many fonts in the set. Great for ad designs, posters, headlines and covers. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. P.s. Have suggestions for color combinations? Write me an email with the subject "Retrio Color" on: ld.luxfont@gmail.com Features: - Free Demo font to check it works. - Uppercase and lowercase the same size. - With transparency and without. - Mega high-quality gradients in letters. - Kerning. IMPORTANT: - Multicolor version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Florian Fecher’s Lektorat font family is one for the books, and for the screens, and for the magazines. While an editorial’s main goals are to entertain, inform, and persuade, more should be considered. For example, clear divisions are necessary, not just from one article to the next, but in how each is positioned as op-ed or fact-based, infographic or table, vilifying or uplifting. From masthead to colophon, Lektorat has six concise text styles and 21 display styles to captivate, educate, and motivate within any editorial purpose. Magazines and related publications are notoriously difficult to brand and then to format accordingly. The research behind Lektorat focused on expression versus communication and what it takes for a great typeface to accomplish both tasks. In the changeover from the 19th to 20th century, German type foundry Schelter & Giesecke published several grotesque families that would become Lektorat’s partial inspiration. Experimentation with concepts from different exemplars gave birth to Lektorat’s manifest character traits: raised shoulders, deep incisions within highly contrasted junctions, and asymmetrical counters in a sans family. After thoroughly analysing magazine publishing and editorial designs, Florian discovered that a concise setup is sufficient for general paragraph text. So Lektorat’s text offering is concentrated into six total styles: regular, semibold, and bold with their obliques. Stylistic sets are equally minimal; an alternate ‘k, K’ and tail-less ‘a’ appear in text only. No fluff, no wasted “good intentions”, just a laser-like suite to focus the reader on the words. The display styles were another matter. They aim to attract attention in banners, as oversized type filling small spaces, photo knockouts, and in subsidiary headings like decks, callouts, sections, and more. For these reasons, three dialed-in widths — Narrow, Condensed, and Compressed — complete the display offerings in seven upright weights each, flaunting 21 headlining fonts in total. If being on font technology’s cutting edge is more your goal, the Lektorat type family is optionally available in three small variable font files for ultimate control and data savings. The Lektorat typeface was forged with a steel spine for pixel and print publishing. It unwaveringly informs, convincingly persuades, and aesthetically entertains when the tone calls for it. Its sans serif forms expand in methodical ways until the heaviest two weights close in, highlighting its irrepressible usefulness to the very end. Lektorat is an example of how much we relish entering into an agreed battle of persuasion — one which both sides actually enjoy.

Who haven't heard the phrase that ‘any past time was better’?. Although I sometimes find this phrase a little too pessimistic (because I try to think that the best is yet to come), it may be true regarding my passion, typography. I'm too young (29) unfortunately, and this means I did not have the pleasure of being contemporary with maybe the man who has influenced my work the most (1). The man that showed that letters are more than just letters to be read. Herb Lubalin (1918-1981), also called sometimes as ‘the rule basher’ (2), smashed the taboos and sacred rules of type design and gave it personality. He rejected the functionalist philosophy of europeans in favor of an eclectic and exuberant style. To him, letters were not merely vessels of form, they were objects of meaning. (3). Nowadays, when looking at his portfolio, who dares to deny that the term ‘typography’ and ‘beauty’ may go hand-in-hand without any problem? Ed Benguiat, one of Herb’s partners, still likes making jokes with the phrase “screw legibility, type should be beautiful” and what I understand of this is not to forget the rules, but to know and break them carefully. In an era of pure eclecticism, we, the lovers of flourishes and swashes, can't do nothing but admire all the legacy that Lubalin, this wonderful type-guru, left. My font Lubaline read as “the line of Lubalin” is my humble tribute to him. Those who know his work, may see the influences easily like in his ‘Beards’ (1976) and ‘The Sound of Music’ (1965) posters; the art-deco forms in many of his amazing logos and practically in all his creations where letters seem to be alive just like you and me. I really hope that the future finds me still learning more and more about type-design and letterforms, and like him, always willing to make innovations in my field: Because letters are not just letters to be read. NOTES (1) These are some of my fonts in which some of Lubalin’s influences can be seen (in order of creation): Reina, Aire, Erotica, String, Beatle, Heroe, Selfie, Model, Seventies, and many others that are still in progress. (2) (3) Steven Heller. Herb Lubalin: Rule Basher. U&lc (1998) http://www.printmag.com/imprint/my-favorite-lubalin/

This is an Experimental typeface, a direct descendant of the BD Gitalona font family, which has a supermassive family with Variable technology. However, this version is more on the aesthetic aspect, which is experimental and exploratory. It complements the beauty of the primary typeface that we released separately. If you are a fan of Effectiveness and flexibility, please learn more about BD Gitalona and BD Gitalona Variable! Inspiration The world of entertainment moves non-stop. One by one, figures appeared and left. We expect to create something to entertain previous trends with packaging more relevant to the present. More specifically, we admire and are inspired by some of the world's leading and top singers with a segmented nature. We imagine so many figures that can affect every viewer. However, each artist or singer has a segment because almost all of them have characteristics. The Design The basic design of this typeface begins with a transitional serif shape with sharp, shapeless corners. Then in the middle of the invention, there was an opportunity to explore it further from the readability side by adding an optical variable that can adjust the serif thickness when used together between large, medium to paragraph text sizes for editorials. The shift from serif to sans-serif with the contrast initiated by the shift of the serif family form as a different variable also makes this font richer in terms of the features it contains. Parts are expected to add to the user satisfaction with the complexity of this font. The Features BD Gitalona consists of one sub-family intended for body text with nine weights from Thin(100) to Black(900) and four other display sub-families such as Display serif, Flick, Harmony Sans and Contrast Sans. Each consists of four weights Thin(100), Regular Weight(400), Bold(700), and Black(900). And again, there are also retailed separately; the BD Gitalona Variable font, which is designed to accommodate all Subfamily in 1 font file, and BD Gitalona Moxa, an experimental typeface. A total of 700+ glyphs in each style. Advanced OpenType features functionally and aesthetically, such as Case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Supports multi-languages ​​including Western Europe, Central Europe, Southeast Europe, South America, and Oceania.

Introducing TT Lakes Neue in version 2.0! Please note that the TT Lakes font has been removed from platforms, but you can still order it by sending a request to the studio's commercial department: commercial@typetype.org We have released a continuation of the geometric sans serif inspired by Finnish functionalism. The new version provides more opportunities, because we not only increased the character set and improved the font technically, but also reworked its visual character. What changed? Font character. TT Lakes Neue 2.0 has become calmer, as we have removed the display details in the characters of the main set, making the font more versatile. New stylistic sets were created, thanks to which the nature of the font can be controlled, making it more expressive. Changed the forms of the characters "Кк", "ЖЖ", "Дд", "Лл", lowercase "b" and alternative "g". Added alternative forms for all types of the number "1", for the characters "Mm", "DD", "Ll". Added technological character sets, with which the font looks stylish and expressive. You may notice that in these sets, the forms of lowercase characters with arches (r, m, n) are changed, and there are gaps in the places of infusions and connections of all characters. Scope of application. The scope of TT Lakes Neue 2.0 have become even more diverse, because the sans serif has become more neutral in character and more functional. TT Lakes Neue 2.0 is the perfect font for the gaming industry. Suitable for game interfaces of different genres. Technological sets can be used in architectural projects, in the headlines of posters and magazines, on outdoor signs. The font is suitable for logo design, looks great in branding. Character set and technical characteristics. We have significantly improved the set of the font, increasing the number of characters from 736 to 921. The font has become more functional due to the updated technical stuffing and new features, of which there are now 36 instead of 24. Added characters of extended Latin, fractions, arrows. Created new kerning and hinting. Updated variable font. Added new OpenType features. The TT Lakes Neue font has 5 subfamilies: Compressed, Condensed, Regular, Extended, Expanded. In total, there are 91 styles in the font: 9 upright and 9 slanted in each subfamily and 1 variable font. Each style has 921 characters and 36 OpenType features.

Flaminia is a typeface family of 4 members designed by Carlos Fabián Camargo G. The central idea started as Dingbats and titles labeled with fine-tipped brushes and flat tip for graphic design related restaurant menus, instructions, packaging, food containers and labels. Thus began the process of drawings and letters integrated by shapes and counterblocks that seem inaccurate yet but at the same time clean and attractive. For this reason each variable suggests fresh brushstrokes that combine ideas from Roman and italic calligraphy. Flaminia members work separately or together by solving needs in different scenarios. This will enhance its properties in order to control and diagram titles, subtitles and short paragraphs with an effusive and manuscript character. Flaminia is useful for generating a flavor of "hand lettered by skilled artists lettering." In conclusion, Flaminia Regular and Italic are used to write short paragraphs. His ascending and downs are lower that the X height. Its width is imperceptibly condensed to save horizontal space. Its smooth lines and finishes simulating a crescent moon have been made with fine-tipped brush. The contrast between thick and thin has medium intensity. Its complement is an ideal italic to emphasize words and phrases. Its conceptual characteristics are similar with foundation's handwriting, except for his companion who takes ideas from the ornamental italic calligraphy. Flaminia Black is compact and ideal for ranking information such as words and titles. Its personality is based on ornamental penmanship italics mixed with humanistic ideas outlined with contrast-type, flat-tipped brush thickness. Its overall width is slightly condensed, rising and falling are short compared to an exaggerated X height. Its smooth lines and terminations as in a crescent moon simulate the path of a broad brush. Its amount of contrast between strokes have average intensity. In brief, push to the limit parameters such as the type and amount of contrast, size, backward, forward, overall width, etc. And finally, Flaminia Dingbats offers three sets of different illustrations, a total of almost 90 drawings useful in communications related to: Food, Clothes and Sketchy. Each carefully wrought through research, testing, analytical design, visual strategy and high-definition of Bezier paths, optimizing time and work to their users. And in conclusion, I have plans to continue expanding the family with more complete versions in the future.

Sassoon fonts package for handwriting starters The three upright "infant" fonts developed to meet the demand for letters to produce pupil material for handwriting as well as for reading. Letters have extended ascenders and descenders ideal on screen and print. They facilitate word recognition. The exit strokes link words together visually, also crucially, they space the letters for improved legibility. The "joined" font puts the skills gained into practice producing joined-up handwriting. Together these typefaces provide a valuable resource for Teachers to create consistent material across the curriculum. Sassoon Infant Tracker B font: This font with its direction arrows helps pupils to start in the correct place. Motor movements can be refined by keeping inside the line. When starting and direction is no problem, the arrow font can be dropped and the Dotted font used. Sassoon Infant Dotted B font: Writing over the dots of this font refines motor skills. The aim here is to give confidence by reinforcing starting points, exits and to now encourage fluidity. Sassoon Infant font: With some words in this font and a baseline beneath to copy onto, pupils can use their learned starting points and exit strokes to write freely along the baseline - still unjoined. Once learned, this leads to spontaneous joins along the baseline leading logically to a joined-up hand. Sassoon Joined font: Having learned to write letters with correct starts and exits, this is when the joined font for teaching handwriting can be used. With some words in this font and a baseline beneath to copy onto, pupils can use their learned starting points and simply extend their exit strokes to make joined-up writing. The default joins the font provides are recommended, however there are alternative letterforms that are so important for some Teachers which can be accessed. Create ‘pen lifts’ anytime too! NOTE: Fonts display unjoined by default on this website and are delivered that way - joining is controlled by your text editing application such as Word or TextEdit, read more for instructions… Free to download PDF resources: Stylistic Sets and how to access the alternative letters feature in these OpenType fonts. Using the separate letter fonts Using the joined font Teachers copybooks using these fonts: How to teach pre-cursive Copybook How to teach cursive handwriting Copybook

SCR fonts are screen optimized (also called 'pixel fonts'). Unlike standard fonts (and like the few well-hinted fonts like Verdana or Arial), they give a crisp look on screen at very small sizes, thus increasing legibility. The perfect applications for those fonts are web pages and software user interfaces (computer, cellular phones, console games and any other system that uses a screen interface). Unlike most pixel fonts, SCR fonts contain kerning information. Kerning is the adjustment of space between certain pairs of characters (like 'AV') to make text look more fluid, thus increasing legibility and appeal. To benefit from this feature, auto-kerning must be activated in the application. In Photoshop, kerning must be set to 'Metrics'. Although SCR fonts are optimized for screen, they can be used for print (in Illustrator or Indesign for example) for a decorative 'computer text' effect. In this case, there is no constraint: they can be used as any other font. For screen use (in Photoshop, Fireworks, Flash... ), they have to keep aligned with the screen pixel grid not to look blurred or distorted. To achieve this, here are the guidelines to follow: RESOLUTION If the application permits it (Photoshop, Fireworks), document resolution must be set to 72 pixels per inch. SIZE The font size must be set to 10 (or multiples of 10) points. POSITIONING & ALIGNMENT The reference points of text fields and text blocks (upper left corner for left aligned text, upper right for right aligned text) must be positioned at integer values of pixels. In Photoshop, text can be precisely moved with [Edit Free Transform]. In Flash, movie clips containing text fields must also be positioned at integer values on the stage. Text must be aligned to the left or right only. Center alignment can be simulated with left alignment by adding spaces at the begin of each line. To dispense with the positioning and alignment constraints, text anti-aliasing can be turned off if the application permits it (Photoshop, Flash MX 2004). OTHER SETTINGS Leading (line spacing), tracking (letter spacing), manual kerning and baseline shift must be set either to integer values of points or to multiples of 100 units (depending on the application). Vertical and horizontal scaling must be set to 100%. Faux bold or Faux italic must not be used. The document must neither be resized on export, nor allow resizing (Flash Movies).

The Azbuka™ typeface family has its roots in a fairly pedestrian source. “The idea came in part from an old sign in London that read ‘SPRINKLER STOP VALVE’,” says Dave Farey, designer of the typeface. Like all good sign spotters, Farey took a photograph of the sign and filed it away for possible use in a lettering or typeface design project. In Prague a number of years later, the street signs reminded Farey of the London signage - and his camera came out again. Comparing the two back in his studio, he realized that the signs from London and Prague were not as similar as he initially thought. However, they were enough alike to serve as the foundation for a no-frills, 21st century sans serif typeface family. “I wanted to draw a wide range of weights, italic and condensed designs all in one go,” recalls Farey, “rather than add on to the family later.” His goal was to create a family that could be used for text and display copy, with sufficient weights to provide a broad typographic palette. Indeed, the completed design, created in collaboration with fellow type designer Richard Dawson, consists of twenty typefaces in eight weights ranging from extra light to extra black. The five mid-range designs have complementary italics. Seven condensed designs round out the family. Azbuka’s lighter weights perform remarkably well in blocks of text composition. “They’re clean and legible - and perhaps a little boring,” says Farey, “but they are perfect for copy with a down-to-earth, yet contemporary flavor.” The heavier weights are equally well suited for a variety of display uses. The designs are authoritative but not overbearing and will readily make a strong statement without calling attention to themselves. The condensed weights of Azbuka are ideal for those instances where you have a lot to say - and not much room to say it. The name Azbuka? It’s Russian for “alphabet.” And what more appropriate name could there be for this utilitarian, industrial-strength type family than alphabet? The Azbuka family is available as a suite of OpenType Pro fonts. Graphic communicators can now work with this versatile design while taking advantage of OpenType’s capabilities. The Azbuka Pro fonts also offer an extended character set that supports most Central European and many Eastern European languages

SCR fonts are screen optimized (also called 'pixel fonts'). Unlike standard fonts (and like the few well-hinted fonts like Verdana or Arial), they give a crisp look on screen at very small sizes, thus increasing legibility. The perfect applications for those fonts are web pages and software user interfaces (computer, cellular phones, console games and any other system that uses a screen interface). Unlike most pixel fonts, SCR fonts contain kerning information. Kerning is the adjustment of space between certain pairs of characters (like 'AV') to make text look more fluid, thus increasing legibility and appeal. To benefit from this feature, auto-kerning must be activated in the application. In Photoshop, kerning must be set to 'Metrics'. Although SCR fonts are optimized for screen, they can be used for print (in Illustrator or Indesign for example) for a decorative 'computer text' effect. In this case, there is no constraint: they can be used as any other font. For screen use (in Photoshop, Fireworks, Flash... ), they have to keep aligned with the screen pixel grid not to look blurred or distorted. To achieve this, here are the guidelines to follow: RESOLUTION If the application permits it (Photoshop, Fireworks), document resolution must be set to 72 pixels per inch. SIZE The font size must be set to 10 (or multiples of 10) points. POSITIONING & ALIGNMENT The reference points of text fields and text blocks (upper left corner for left aligned text, upper right for right aligned text) must be positioned at integer values of pixels. In Photoshop, text can be precisely moved with [Edit Free Transform]. In Flash, movie clips containing text fields must also be positioned at integer values on the stage. Text must be aligned to the left or right only. Center alignment can be simulated with left alignment by adding spaces at the begin of each line. To dispense with the positioning and alignment constraints, text anti-aliasing can be turned off if the application permits it (Photoshop, Flash MX 2004). OTHER SETTINGS Leading (line spacing), tracking (letter spacing), manual kerning and baseline shift must be set either to integer values of points or to multiples of 100 units (depending on the application). Vertical and horizontal scaling must be set to 100%. Faux bold or Faux italic must not be used. The document must neither be resized on export, nor allow resizing (Flash Movies).

Why do we need another typeface? This is a prickly question often asked of typeface designers. Depending on who you ask, the answer in simplified form is usually one of two: 1. As the basis of written communication, type design carries social responsibility, so we must continue to improve legibility. 2. Type design is a form of artistic expression. Without art, life is not worth living. The best work, of course, accomplishes both. Xavier Dupré, the designer of the Malaga typeface family, has at least one leg securely planted in the latter notion. He believes, like others, that within typeface design most legibility needs have been worked out and that today we are satisfying aesthetic desires. We design typefaces to differentiate our communications. Type design is primarily a formal exercise reflecting our personal quirks, technological obsessions, and cultural heritage. In case of Dupré’s work, issues of cultural heritage and personal quirks are of particular consequence. An incessant traveler, he visited the following countries during the development of the Malaga type family: Thailand, Malaysia, Indonesia, Myanmar, Cambodia, Vietnam, France, Belgium, and finally, Spain, where his choice for the name Malaga originates (Malaga is a port city in southern Spain). Dupré’s home is where his laptop is. He travels with a 12- or 15 inch PowerBook, without a printer, and with sporadic access to his reference books and other historical documents. All he needs is a table and chair. He even learned to design without a mouse since hotel and cafe tables are often too small to also fit a mousepad. Dupré is the new global designer who can take disparate influences and fluidly process the information into a coherent whole. Malaga is a case in point. It is inspired by ideas ranging from blackletter to Latin fonts, and from the Quattrocento’s first Venetian antiquas to brush stroke types. This makes Malaga a richly animated font saturated with unorthodox detail. Its black and bold weights are particularly suited for headlines and short texts, while the subtle modulation and moderate contrast in the regular and medium weights makes it perfectly readable in extended text settings. While Malaga doesn’t claim to resolve any particular legibility issues, it is nonetheless perfectly readable and will impart any design with a healthy dose of visual character.

Rahere Esoteric is a gothic-flavoured, quasi-Roman display font with an eccentric persona and more quirks than a Tim Burton film. A member of the extended Rahere typeface family, it’s the enigmatic cousin of Rahere Roman Display & Rahere Sans. This is a niche display font that doesn’t try to please everyone. Rahere Esoteric revels in its mystical aura, using a bewildering array of ligatures to magically transmute itself as characters loop, curl, jerk and strut, randomly connecting and disconnecting into words like a retro-futuristic steam train clattering along a disused railway track, challenging and delighting the reader at the same time. To add more sparkle, there are alternatives, inferior and superior caps plus a [Wicca] basketful of symbols, ornaments, weird faces and even a snake-infused ampersand. Whilst Rahere Esoteric has been designed primarily as an all-caps font, the lowercase slots contain small caps with corresponding numerals. However, because this is an arcane, unpredictable font, order and regularity are frowned upon, which means there are no tabular numerals – so company reports or accounts are a solid no! Unless they’re for the Golden Circle of Alchemists PLC or Gothic Blackstar Corporation. It is ideal for all things pagan, esoteric, alchemy, other-worldly or magic-related projects and particularly useful for music genres across the Gothic / Darkwave / Ethereal spectrum. What about legibility? Hey, look into my eyes: Esoteric is all about the mystique. If a secondary font is needed for the important stuff, I recommend its cousin, Rahere Sans, which pairs beautifully with this display font and is perfect for long passages or small text. The initial idea for Rahere Esoteric came about during a visit to Whitby, a small coastal town in Yorkshire, UK and famous for its inclusion in Bram Stoker’s novel, Dracula. A Steampunk festival was in full swing and the narrow streets of the town centre were teeming with people adorned in a glorious fusion of clothing and accessories influenced by a love of 19th-century life, science fiction, horror, fashion and art. I was fascinated by the juxtapositions of colour, patterns, material and style – archaic mechanical Sci-fi, gothic, the American Wild West and romantic Victorian. But what intrigued me the most, somehow, all the disparate elements worked as a whole. Thus, like Frankenstein, this font jolted into existence. Supported languages include Western Europe, Vietnamese, Central/Eastern Europe, Baltic, Turkish and Romanian.

This best selling series has now been extended to include a new member, Blue Goblet Drawn. Blue Goblet is hand-drawn by the artist, Cory Godbey, and is organic, charming and exuberant. Characters bounce and dance above and below the baseline and x-height, making this a whimsical and fun script. Not only is Blue Goblet Drawn a excellent choice, it also is also a versatile member of a wide family of different fonts. You can use it side by side with the original Blue Goblet fonts, and there are a wide range of ornaments available in the supplemental ornament sets--over 370 illustrations! These illustrations include doodley frames, lovely florals and other text ornaments that can be inserted into your text and resized at will. This makes the Blue Goblet series a great pick when you want a type system for a very unique and consistent look. The Blue Goblet series also continues to expand, making any of these family members a valuable investment for the future. Blue Goblet Drawn comes in three weights and three widths in each weight, with complementary italics for maximum impact for a total of eighteen pro fonts. The compact thin weights are delicate and tall, while the Regular has just enough heft for those situations where subtlety doesn't work. If you don't need the professional features, there are three stripped down fonts that include only the basic character set! Blue Goblet Drawn also includes auto-replacing ligatures that make it appear that the script was drawn by the artistís own hand--just for you! Blue Goblet Drawn also includes a wide variety of alternates that can be accessed in any OpenType enabled application. Blue Goblet includes over 190 additional glyphs and is loaded with features including an even more unique alternate alphabet. Included are swash alternates, style sets, old style figures and small caps. Please see the informative PDF brochure to see these features in action. OpenType enabled applications such as the Adobe suite or Quark can take full advantage of the automatic replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Blue Goblet Drawn is a great choice for friendly display type in children's books, packaging, organic packaging or other unique applications. Use Blue Goblet whenever you want to inject a handmade sense of fun and whimsy to your designs. Give the Blue Goblet series a whirl today!

From today's point of view Katarine has a rather unusual origin. Initially an all-caps display face, what was to become the Medium weight of the family was augmented with a lower case, then the character set was completed by adding all the missing glyphs. The next step was the creation of the Light and the Bold weights with matching Italics. This working method compromised the relationships between the characters across the different weights After some consideration the decision was made to start over and draw the complete family from scratch. This time the "conventional" process was followed — first the Light and Bold weights were designed. Those extremes were used to interpolate the Regular, Medium and Semibold weights. When compared to the original, the glyphs of the new fonts are slightly wider. The construction of the letters is sturdy, with an x-height that varies from the heaviest to the lightest weights. The relationship of the stem weight between the horizontal and vertical strokes is carefully balanced. Characters are open and firm; the italics have room to breathe. The original fonts included two sets of small caps — Small Caps and Petite Caps. However neither set were suited for emphasis, with the Small Caps being too tall and the Petite Caps too short. We decided to replace them both with one set of traditional small caps, slightly taller than the x-height, perfectly suited for emphasis in text usage. The original version of Katarine was partly incorporated into the new OpenType versions. Thus most of the original arrows, frames and boxes can be found in the new Katarine. Each individual weight now contains 830 glyphs, nine sets of numerals, small caps, numerous ligatures and fractions. An additional font named Numbers contains numerals in circles and squares, and is now augmented with accented caps and a number of terminal alternatives, which can easily be accessed through stylistic sets. We also added two extra variants, Experts Regular and Experts Black (in inverted form). Katarine Std preserves the solid construction and excellent legibility of the original family, but has now become a fully featured OpenType typeface. Katarine is suited for a broad range of applications, from simple layouts to intricate corporate systems. It is the typeface of choice where the cold, austere character of modern sans serifs are inappropriate, yet simple shapes and good legibility are required.

Adelphi is a geometric sans, redefined for the northern side of the English Channel. Typographic modernism was a late arrival in Britain — due partly to the Second World War and to the strong local type tradition. This delay provided for fruitful divergence, thus modernism was not adored in quite the same way as it had been in Germany and central Europe. It was instead rethought and repurposed against the backdrop of the bleak British weather and postwar social reform – a continental fashion statement reshaped into a more humanist variant. Likewise, when crafting Adelphi, Nick Job reimagined the constraints that defined the geometric sans as a genre. Whereas other typefaces seem overly bound by the rules, Adelphi feels relaxed and approachable. Elementary square and circular shapes are merely implied. A keen observer may notice that the uncomplicated letterforms occasionally reveal a subtle naïveté associated with early Grotesques. Brunel’s bridges and Harry Beck’s tube map spring to mind alongside the Bauhaus and Futura. But Adelphi is by no means nostalgic! It is a contemporary, comprehensive, and durable system with a pragmatic set of features. These include a wide array of weights, ‘uniwidth italics’, and variable extenders that go from tall and flat in Adelphi Text to short and sharp in Adelphi Display, with default Adelphi standing midway between these two extremes. You can set the extenders to your preference in the all-inclusive variable font or use one of the three static fonts that come packed together, priced as a single font. The pan-European support for Latin, Cyrillic and Greek scripts already makes for a vast character set, but Adelphi takes things a step further by including alternate glyphs to satisfy the DIN1450 legibility norm, a range of ordinals that can be used to create specialist compositions in all three scripts and two kinds of fractions and arrows. Play with the alternates or use it as-is. Either way, this understated beauty will carry you through.

Imagine America in the 1930s. A gangster flick with Al Capone, a crime novel featuring Philip Marlowe. Our hero in a fedora sits in a classy bar, orders a double bourbon, lights a cigar and eyes the evening paper. He turns the pages, reading about a bank heist over on Third Avenue, a scandal involving a baseball player, a small ad for a general practitioner and a large spread about a famous law firm. What do the bottle of booze and the majestic facade of the bank have in common? The elegant baseball uniform and trustworthy attorneys? - Copperplate Gothic - When Frederick William Goudy created his legendary typeface in 1901, it went on to literally become the symbol of early 20th century America. Tiny serifs, characteristically broad letterforms, and particularly bold titles decorated calling cards at 6-point size, enormous bronze-cast logos, newspaper headlines, restaurant menus and more. This was the golden age of Copperplate, lasting up until the arrival of die neue Typografie and monospaced grotesques in the 1960s. Then the typeface almost completely disappeared. It made a partial comeback with the advent of the personal computer; digitizations of varying quality appeared, and one version even became a standard font in Adobe programs. This may have played a role in Copperplate later being used in DIY projects and amateur designs, which harmed its reputation. Copperplate New has been created to revive the faded glory of the original design. Formally, the new typeface expands the existing weight and proportional extremes. The slight serifs are reduced even further, making the typeface sans-like at smaller point sizes and improving readability. In contrast, at large point sizes it retains all of its original character. Decorative inline & shadow styles have been added and both have been created in all five proportions, making it easy to adapt the typesetting to the format you need. Despite these changes and innovations, Copperplate New remains true to Goudy’s original design and represents a snazzy way to evoke a golden era in American culture. Specimen: http://carontwice.com/files/specimen_Copperplate_New.pdf

Dr. Gerard Unger expands the concept of Sanserata to a sans type family with Sanserata, adding specific characteristics which improve reading. Sanserata’s originality does not overtly present itself at text sizes. Rather, at those sizes, it draws upon its enormous x-height, short extenders, and articulated terminals to improve readability, especially on screens. Having articulated terminals means characters flare as they near their end, but readers likely won’t notice. What they would notice is that their ability to take in more content in a line of text is improved because the lettershapes are more defined. Articulation also makes clearer text from digital sources, where rectangular endings tend to get rounded by the emission of light from the screen. Lately there seems a whispered discontent with the lack of progress in the sans serif category. Designs can either stretch too far beyond what is accepted or be too bland to be considered new. Sanserata’s strength is in being vivid and unique without being off-putting. This bodes well for designers of paragraphs and of branding schemes since, with Sanserata’s two flavors, it is well able to capture attention or simply set the tone. Sanserata’s first voice is a generous, friendly, and even cheerful sans serif. But when using the alternate letterforms its voice becomes more businesslike, though still with nice curves, generous proportions, and a pleasant character. Sanserata comes in seven weights with matching italics, covers the Latin Extended character set, and is loaded with extras. Its OpenType features allow for the implementation of typographic niceties such as small caps, both tabular and proportional lining and oldstyle figures, ligatures, alternate characters, case-sensitive variants, and fractions. The complete Sanserata family, along with our entire catalogue, has been optimised for today’s varied screen uses. Dr Unger worked with Tom Grace on the production of Sanserata. For extended branding use with Sanserata, check out Sanserata, the contemporary, eclectic typeface drawn from roots in Romanesque Europe.

In Adrian Frutiger, the discipline of a mathematically exact mind is joined with an unmistakable artistic sense. His independent work possesses the controllable language of letterforms. Personal and intensive, this work is the manifestation of his expressive will. Frutiger's precise sense of outline reveals itself two- or three-dimensionally in wood, stone, or bronze, on printing plates and in the form of reliefs. However, even his independent work can be understood as objectivized signs; in their symbolism, they are embedded in the fundamental questions of human existance. They might have developed in the spirit of playfulness, but their nature is always conceptual, directed towards a complex, yet harmonic, whole. Following function, form also necessarily follows the content of the language. The entire spiritual world becomes readable through letters. Essentially, Adrian Frutiger attempts to fathom the basic, central truth which defines our lives: change, growth, division - beginning and end. In a virtual synthesis, he seems to close the circle in which the world reflects itself in symbolic forms. Frutiger Stones is for Adrian Frutiger the example of his formal artistic sensibility par excellence. Searching for the fundamental elements in nature, he has discovered the pebble, rounded and polished over innumerable years by gently flowing water. And out of this, he has created his complete system, a ruralistic typeface of letters and symbols. It depicts animals and plants, as well as astrological and mythical signs. Because of its unique aura, Frutiger Stones is particularly well-suited to different purposes - in headlines and prominent pictograms, as symbol faces, illustrations, and more. Frutiger Symbols is a symbol font of plants, animals and stars as well as religious and mythological symbols. Together with Frutiger Stones this typeface builds a complete design system, which offers endless possibilities. It can be used for illustrations or a symbol type with its distinctive pictograms. Frutiger Symbols is available in the weights regular, positive and negative.

A creative context 2003. Fontsmith was sharing a small, cold, whitewashed studio space in Northburgh Street, Clerkenwell. But things were on the up following prestigious custom type commissions for The Post Office and E4. “Slab serifs were on the brink of another revival, we could feel it,” says Jason Smith. “All we wanted to do was have a play with these slabs, go as far as we could within what was acceptable and readable.” “It wasn’t initially clear what was happening,” recalls Phil Garnham. “We were becoming very influenced by our surroundings, outside the studio space. We absorbed the essence and the designer grime of where we were.” Process Jason began by drawing stems on-screen. “The key aspect of the font is the upward bend of the leading shoulder serif, the way it kind of ramps up and then plummets back down the stem. “The regular and light characters are quite narrow – great for text but the bold is quite wide and chunky – better for headlines. I think ‘y’ is quite different for a slab design. We call it the Fontsmith ‘y’.” Promotion Fontsmith were determined to get FS Clerkenwell noticed. To launch the font, Ian Whalley, a designer friend of Fontsmith, captured words heard on the streets of Clerkenwell, set them in the new font and crafted a small book of typographic conversations. It was a first for Fontsmith. “I think that’s part of why this font has been so successful,” says Phil. “It really does embody the spirit of the area, as a special place for design, arts and crafts. And designers love that.” Contemporary twist FS Clerkenwell, based on influences in and around this part of London with a rich tradition of printing and design, mixes tradition with creation. Old-fashioned values meet new-school trends. Its quirky, contemporary character lends an edge to headlines, logotypes and any large-size text.

Introducing Lineavec—the typeface of the future. With its precise, wide, and light design, Lineavec embodies the essence of technology and innovation. This futuristic font will transport your message to the far reaches of space and time, evoking images of vector arcade games, laser beams, and the intricate traces of a circuit board. Lineavec is not just a font, it’s a statement. It’s a symbol of the ever-evolving digital landscape and the unstoppable march of progress. Its sleek and minimalistic design is perfect for a range of contemporary projects, including tech startups, gaming websites, and sci-fi films. So if you want to give your message a sense of interstellar distinctiveness, Lineavec is the font for you. Whether you’re looking to captivate your audience with bold headlines, or to add a touch of sophistication to your brand identity, Lineavec is the perfect choice. Don’t miss out on the opportunity to make your mark on the future—get Lineavec today! 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.

Buffet Script is based on fantastic calligraphy by Alf Becker, arguably the greatest American sign lettering artist of all time. The Alf Becker series of nameless alphabets published by Sign of the Times magazine in 1941 has attracted letter digitizers for a few years now, so it’s really a wonder that a few of those alphabets are still in the non-digital realm. It is understandable, though, that the basis for Buffet Script was not digitally attempted until now. The page presenting this alphabet shows a jungle of letters running into each others and swashes intertwining. The massive amount of work involved in digitizing such lettering, where scanning is nowhere near being an option, is quite obvious at a mere glance. If anyone was going to commit this particular alphabet to a digital form, it would have to be redrawn stroke by stroke and curve by curve on the computer. And don't we love a challenge! But seriously, the challenge was not the main attraction. In a way, the Becker approach to lettering is so far from digital that the imagination is almost forced to work out possibilities and letter combinations to solve problems presented by the scant showings in that magazine. After a few imaginative visualizations, the digital potential becomes clear in the mind, and the eye and hand follow. The result with Whomp (another Alf Becker-inspired work) was an enormous font with a lot of alternates and ligatures. With Buffet Script the imaginative process was no different, but the result particularly shines here, because this is some of the most fascinating flowing calligraphy ever seen. Calligraphy is where the accountability of all the little extra touches, such as alternates and swashes and ligatures, is raised to a higher level than in most other type categories. Buffet Script’s OpenType programming contains discretionary ligatures, stylistic and contextual alternates, interacting with each other to allow the composition of just the right word or sentence. This font is best used where lush elegance is one of the design’s requirements.

‘Thwaites’ typeface is fully dedicated to one of my best Canadian friends who I do cherish and value highly. This great and industrious Canadian friend is ‘James Douglas Thwaites’ who lives along with his good-natured family in British Columbia, Canada. For me, James is like a source of inspiration and I do consider him as an ideal in my life. Our strong friendship has started since 1999 and I hope that it will endure just to the last moment of my life. Sometimes I see him as the writer and poet that I learn a lot from, sometimes I see him as a devoted religious minister that I try to understand more about his teachings, and other times I see him as the educator that I strive to imitate verbatim in my life. When I want to talk more about this Canadian friend, I will not be able to give him his due in full. Thus, I will instead mention some excerpts of his biography that he wrote himself saying that: “James D. Thwaites is a self-accomplished man. Having worked in various fields including restaurant management and cleaning, he has achieved his goals of being a full-time teacher, past-time writer, and volunteer religious minister for the Christian Congregation of Jehovah's Witnesses. His personal and academic pursuits have led him to be published in various magazines, newspapers, self-published books, and websites, including his now defunct ‘poetryofthemonth.com’ website. He continues to learn and augment the craft of writing while working primarily in early literacy and delayed literacy learners, teaching reading and literature to a wide age range of students. He views his religious endeavors as an extension of his academic ones. He teaches others both as a public speaker and in one-on-one situations, teaching about the benefits of submission to God and to His teachings. His future goals include expanding his ministry and continuing his writing.” The name ‘Thwaites’ itself comes from Great Britain and originated from the last Viking raids upon England, being an Anglicized version of a Scandinavian term meaning—depending on the source material—either "a place that is difficult to approach" or "a small thicket of trees." Another recitation mentions that ‘Thwaites’ can be described also as an English surname but one of pre 7th century Norse-Viking origins. It may be either topographical or locational, and is derived from the word "thveit", meaning a clearing or farm. As a locational surname it originates from any one of the various places called "Thwaite", found in several parts of Northern England and East Anglia to the south. The various modern spelling forms include Thwaite, Thwaites, Thwaytes, Thoytes, Twaite, Twatt, Twaites, Tweats and Twite. The name, although often appearing unique to outsiders, can often be found within other famous names like Braithwaite, Goldthwaites, or Misslethwaites. With various spellings, some families not including the ‘e’ or the ‘s’ at the end, Thwaites and its derivations—although not exceedingly common—is a name found worldwide. ‘Thwaites’ typeface is simply a sans-serif streamlined, stylish, and versatile font. It is designed using a combination of thick and thin strokes for its +585 characters. Its character set supports nearly most of the Central, Eastern, and Western European languages using Latin scripts including the Irish language. The typeface is appropriate for any type of typographic and graphic designs in web, print, and other media. It is also absolutely preferable to be used in the wide fields related to publication, press, services, and production industries. It can create a very impressive impact when used in headlines, posters, titles, products’ surfaces, logos, medical packages, product and corporate branding, and also signage. It has also both of lining and old-style numerals which makes it more suitable for any printing or designing purposes. ‘Thwaites’ typeface is really the cannot-miss choice for anyone who wants to possess unique artistic and modern designs produced using this streamlined typeface.

Here is another classic design by Robert Hunter Middleton for the Ludow Foundry in 1940. Samson Classic is a very heavy display face with a wonderful medley of thick-and-thins. Developed just before World War II, this sturdy, chunky style gained popularity in newspaper advertising work. It appears as though it was created using a broad pen and retains the angled stroke endings. Goes great on certificates and diplomas where just a hint of calligraphy is appropriate. Samson Classic is also available in the OpenType Std format. Some new characters including decorative ornaments for creating certificates have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Lately I have been experimenting with different foods. At home, we eat a lot of Asian food, but I thought it would be nice to broaden my culinary horizon a bit. So far I have (successfully) added Georgian beef and walnut soup, Tacos (after a suggestion by my friend Stuart), Surinam Roti and various vegetarian dishes to our menu. When I created this font, I had to think of Gumbo - a dish I have never made. Gumbo is a handmade display font that comes in a rotund regular and an obese bold (with Italics). Use it for your book covers, product packaging and sticky notes. Gumbo comes with cute ‘end of word’ ligatures - just type the glyph + space and presto: you have a little swash. As for the dish Gumbo, well, I will make that this weekend!

Quinter is inspired by the writing on the vintage beer labels from the good old days, but still has a strong modern appearance. It come with 2 types of styles. Each combination has been carefully crafted to make your design look better. Ideal for product names, packages, labels, old-fashioned coffee shops, bars and everything with special characteristics in the past. This combination allows you to easily build beautiful vintage designs in a short amount of time. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Or simply send me a PM or email me at picatypestudio@gmail.com. Thanks for purchasing and have fun!

Kevin Simpson was five years old when the stylized "E" of the Electrolux vacuum cleaner logo caught his eye. This is his earliest recollection of an interest that ultimately became an obsession. Type remains his major preoccupation, and he admits to attempting to work a good typeface design into any project where he can get away with it. Aitos was inspired by a metal sculpture Simpson saw while driving through the French countryside. "The statue was very strong. It was heavily weathered and had obviously been there for some time, yet it also seemed very delicate and light." Aitos, like the statue, is a rugged design. At first glance, it is chunky and bold, perhaps a little jarring. If you look again, however, you'll see it has refined qualities. Aitos commands attention - yet is still affable.

One would think the whole hippy thing would have died out after the knighting of Mick Jagger and the selling out of the The Who. Not at Canada Type. We still occasionally read Burroughs and Ginsberg, listen to Dylan and Hendrix, and use the backyard to pretend (um, like run barefoot with the dog). And we're always happy to make another psychedelic font. This one is based on an early 1970s film type that went by the names Hoopla and Scorpio. Doobie is a typical hippy font that uses the simplest elements of the art nouveau genre. Bubbly and wavy, Doobie exudes an almost child-like innocence, the ever laid back, optimistic simplicity of flower power. It is right at home alongside the many other psychedelic fonts that make Canada Type the definite home of the groovy alphabet. Far out!

Dante was designed by Giovanni Mardersteig. Mardersteig started work on Dante after the Second World War when printing at the Officina Bodoni returned to full production. He drew on his experience of using Monotype Bembo and Centaur to design a new book face with an italic which worked harmoniously with the roman. Originally hand-cut by Charles Malin, Dante was adapted for mechanical composition by Monotype in 1957. The new digital font version has been re drawn, by Monotype's Ron Carpenter, free from any restrictions imposed by hot metal technology. The Dante font family was issued in 1993 in a range of three weights with a set of titling capitals. Dante is a beautiful book face which can also be used to good effect in magazines, periodicals etc. Dante® font field guide including best practices, font pairings and alternatives.

Stretto (Italian for narrow) is a revival, correction and expansive update of an Aldo Novarese reverse-stress font called Sintex, which he did for VGC in 1973. Openly idiosyncratic and playfully rebellious in its design, this alphabet fuses the straights and rounds in an unusual manner, riffing on the idea of hand-made sign and wood type forms while adhering to its odd grid’s parameters. In spite of its counter-stress, its legibility is high and even, helped by its unicase forms and very distinct counters. First released in 2007, it became quite popular with film studios and nostalgia designers (Sintex was the font used for David Bowie’s Hunky Dory album and Life on Mars? single). A dozen years later we revisited it for an update. Stretto now comes with over 660 characters and includes Pan European language support.

It's just downed a Cortado in one gulp, it's shaved the sides of its head and its grown a magnificent beard groomed with the very best beard oils. Turn around and you'll find that it has illustrated today's specials in chalk on the wall sized blackboard behind the espresso machines it's Quigglesmith! Penned by Comicraft's very own Chattanooga Barista, Sarah Hedrick, with a foam art finale by Swell John Roshell, it's sure to dye its hair purple by the weekend. Quigglesmith is as variable in its weights as your soy/almond/oat/hazelnut milk choices at the coffee bar, and is sure to bring customers back for more. Have a Biscotti on us. Quigglesmith contains an alternate version of each upper and lowercase letter which automatically cycle for a natural, hand-drawn appearance. Each weight contains 538 glyphs and supports 220 languages.

From the dainty light weight through to the striking UltraBold, Otama raises the bar to a new level of dangerous sophistication. Although easily classified alongside Modern typefaces such as Didot and Bodoni, Otama was purposely developed with minimum reference to these two visual heavy weights. In search of something more than a mere historical revival, Otama instead draws proportional reference from popular 20th century Transitional and Garalde typefaces with visual inspiration coming from calligraphic studies. Many characteristics from Tim Donaldson’s 2010 display face Pyes Pa were directly passed on in execution of Otama — The shoelaced k, e and a being the most obvious examples of this family relation. Refined over 2 years with well over 8,000 characters over 28 styles, Otama certainly deserves its place as a comprehensive and versatile typeface in any designer’s font library.

The font is based on an alphabet from a mid1920s art deco book. The original seemed to have tapering strokes but it was too small to be sure; I made all strokes parallel & orthogonal and slightly modified the original in a number of other ways to bring it into the 21st Century. The designers of the original were Paul Carlyle and Guy Oring. Nocturne has all the elegance of the Deco fonts of the 1930s. It recalls the romantic, sophisticated Zeitgeist of the early 20th century, that nostalgic time "between the wars". Nocturne comes in two styles: Nocturne Regular, which uses the Art Deco convention of small x height, and long ascenders. This style is perfect for headers, posters, labels etc. Nocturne Book, which, with its higher x height and slightly wider characters, is extremely legible and suitable for small size text.

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though; in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from ultralight to heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic.

The Madison Ave. family started from Madison Ave. at Fontstruct.com. As my most downloaded font, this was an easy, although not necessarily logical choice to make – regarding taking an existing free font and attempting to offer it for purchase. The font is very basic and simple in its layout, but has achieved popularity over at Dafont with almost 80,000 downloads with its cool, understated nature and inherent sophistication. The original Madison Ave. is now 95 Madison Ave. A couple of glyphs have changed from the original, but mostly the set is the same. The big news here is the availability of multiple variations on the original. Ninety-five refers to the filter settings used to achieve the faint cross lines in the font. The sequence 95-100 provides a gradual fade to solid effect when used together. The other versions use variations on the filter settings that allow each its own distinctive flavor, while at the same time maintaining inherent characteristics of the original. Ninety-five is now joined by 55, 75, 97, 99, 100, 102, 105, 155, 175, 201, 202, and 275. 100 is the solid version which doesn’t contain the trademark lines found in 95. In 95-99, the line width varies to achieve subtle effects. 50 and 85 are distorted by reducing the filter settings in a somewhat minimizing fashion. In 102-205, these are distorted by increasing the filter settings above the normal which is what 100 represents. While some of the effects are extreme and challenge the legibility of text, these can be fun or edgy. They offer a cohesion that can be used to advantage for different projects that require the use of a modern font family.

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though; in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from ultralight to heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic.

Oddsorts is delighted to present Bradley Wayside and Bradley Chicopee as its début offerings. Begun in 2000 as a wedding gift for the designer’s wife and used privately for years, they’re finally available to the public. The fonts were inspired by the masterful art nouveau lettering of Will H. Bradley, whose posters for Ault & Wiborg printing inks and Victor Bicycles continue to draw collectors after more than a century. Wayside and Chicopee expand the twenty-odd characters Bradley drew into a comprehensive multiscript system that includes modern Greek and extended Cyrillic alphabets, ordinals, automatic fractions, and ornaments. Bradley Wayside and Chicopee derive much of their charm from an organic mix of shape and spacing intrinsic to hand drawings. Mimicking that spirit in type used to mean painstaking substitution and adjustment of characters. The Bradley fonts make imaginative use of OpenType’s power to achieve the same effect — minus all the work. Wayside and Chicopee contain alternate forms for every letter — up to seven for some characters. Part of what makes these Bradley types delightfully “smart” fonts is that the fonts themselves actually choose the variation best suited to a letter’s place in a word. All you need to do is turn on your software’s “Ligatures” or “Contextual Alternates” option and the Bradleys do the rest. The alternates even work in most word processors. Bradley Wayside and Chicopee are available in “Standard” and “Pro” editions. The Pro editions sport all the bells and whistles, including the alternates. They support over one hundred forty languages and include localized forms especially for setting Bulgarian, Serbian, Polish, Romanian, and Turkish. The Standard editions are geared toward casual use and are ideal for license as webfonts, where streamlined character sets mean faster load times.

The hand-brushed Fave™ Set has ten informal scripts and other handwritten fonts made up of two subfamilies: Fave and the even-more informal Fave Casual, each have a primary script with a bold version and three other handwritten faces for a total of ten typefaces spanning the casual spectrum. All are optimized for large type use too so they look as good up close as they do set at smaller sizes. OpenType features The Fave family has a few features that happen largely in the background. All of the fonts use the OpenType Standard Ligature feature to automatically differentiate consecutive lowercase letters and numbers (using separate glyphs) and like our previous release Turbinado, they also automatically differentiate like characters that are separated by another letter. Alternate characters The script fonts have alternate uppercase and lowercase characters including multiple t (and double t) crossbar alternates that can be selected from the OpenType glyph table. Enable Contextual Alternates feature to automatically insert a bigger crossbar as the surrounding letters allow throughout a text box or document. You can also make your own custom lowercase t and crossbar to fit any situation–all of the lowercase t ascenders and crossbars are available separately in the OpenType glyph table, and can be combined and moved around manually. Stylistic sets and other goodies Fave Script and its bold counterpart have two Stylistic Sets. When enabled, one automatically substitutes non-connecting alternate characters at the ends of words, the other substitutes even bigger t crossbars than the Standard Ligature feature does. Smart apostrophes and ligatures Other subtle but hopefully helpful features include smart apostrophes, which insert themselves between two script characters in common situations without breaking their connection, and a few ligatures that also make character connections more seamless.

Welcome to the bizarre world of typography where the surreal meets the extraordinary! Introducing Body Goat, a hand-painted display typeface that will leave you spellbound. Its compact design may seem unassuming at first, but the inky quality of its letters draws you in with a hypnotic effect. But that’s just the beginning. When Body Goat is colored, it transforms into a fantastical creature that is both playful and powerful. Its casual appearance is deceptive, as it is perfect for creating headlines that command attention and make a bold statement. With Body Goat, you can create a world that defies the norms of typography, where the rules are rewritten, and the possibilities are endless. Whether you’re a designer, artist, or just a curious outsider, let Body Goat take you on a journey of surreal proportions. 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.