Chip Tunes font family is a geometric 3d pixel display typeface. It was inspired by–and designed while–listening to the chip tunes and 8bit styles of music. Designed in the UCLM, Cuenca in 2011.

Stencil Set JNL takes the 2011 release of Stencil Mark JNL (a spur-serif letter based on a vintage set of brass stencils) and transitions it to the design of a clean, bold sans typeface.

Visible is a dynamic typeface family designed by CFCG @andinistas. Visible Script has narrow horizontal spacing between lowercase, while Visible Script 2 has generous and wide horizontal spacing. Mixing both styles you will achieve italic designs loaded with speed and strength to communicate aggressiveness, nervous and sanguine temperament. Visible Caps contains capital letters derived from the font's writing, but drawn aggressively and slanted 15 degrees to the right. This type of visual characteristic is typical of very fast and nervous writing that is performed with emotion without sacrificing harmony. a monolineal and condensed version is the Visible caps 2, allowing for significant horizontal space saving economies. Used Visible Caps 1 and 2, become much more than just an expressive and functional artistic tool. In short, by combining their expressive writing or Visible Caps & Script lettering styles, they make words and phrases appear to be written with a brush and ink-filled calligraphic strokes and with eye-catching qualities, their design is the perfect choice for distinctive headlines and brand identities. for music, movies, video games and more. A special thanks to the Venezuelan artist for his impressive illustrations @franciscomarin_artistaplastico ENJOY more than 1100 glyphs: + Visible Script: 398 glyphs + Visible Script2: 221 glyphs + Visible Caps: 222 glyphs + Visible Caps2: 298 glyphs

The typeface Hand Print Stamp Rough is designed in 2018 for the font foundry Typo Graphic Design by Manuel Viergutz. The rough hand-printed typeface based on old wood letters, rubber-stamps and plastic stamps. 7 font styles (Reg + Mix, Circle, Diamond, Square Star + Icons) each with 1350+ glyphs incl. 200+ decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word LOVE for ♥ or SMILE for ☻ as OpenType-Feature dlig) and stylistic alternates (9+ stylistic sets). For use in logos, magazines, posters, advertisement and packaging plus as webfont for decorative headlines. The font works best for display size. Character Set: Latin Extended (Adobe Latin 3). 1350+ glyphs with 200+ extra icons like arrows, dingbats, symbols, geomatric shapes, catchwords and many alternative letters. (9× A–Z, 9× a–z, 9× 0–9) For use in magazines, posters, headlines and advertisement, plus as webfont for decorative headlines. Have fun with this font & try-before-buy the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: Hand Print Stamp Rough ■ Font Weights: Regular + Mix, Circle, Diamond, Square, Star + Icons + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Sans Serif + Slab Serif Dis­play for Head­line Size ■ Font-For­mat: .otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 1350 glyphs ■ Lan­guage Sup­port: 27+ for Latin Exten­ded (Adobe Latin 3). Afri­kaans, Alba­nian, Cata­lan, Croa­tian, Czech, Danish, Dutch, English, Esto­nian, Fin­nish, French, Ger­man, Hun­ga­rian, Ice­lan­dic, Ita­lian, Lat­vian, Lithua­nian, Nor­we­gian, Polish, Por­tu­gese, Roma­nian, Slovak, Slove­nian, Spa­nisch, Swe­dish, Tur­kish, Zulu ■ Spe­cials: 200+ deco­ra­tive extras like icons for arrows, ding­bats, emo­jis, sym­bols, geo­me­tric shapes, catch­words + Ger­man Capi­tal Eszett. Open Type Fea­tures: Kerning (kern), Sty­listic Set 1 (ss01) … Sty­listic Set 16 (ss16), Loca­li­zed Forms (locl), Super­script (sups), Ordi­nals (ordn), Slashed Zero (zero), Frac­tions (frac), Stan­dard Liga­tures (liga), Con­text­ual Alter­na­tes (calt) e. g. Sty­listic Set-Loop and Deco­ra­tive Liga­tures (dlig) e. g. type the word “LOVE” for ❤ or “SMILE” for ☺ ■ Design Date: 2018 ■ Type Desi­gner: Manuel Vier­gutz

Old Claude was drawn by Paul Shaw to simulate an old cut of the classic (Claude) Garamond type designs of the 16th & 17th centuries. The pronounced rough edges and coarse letter shapes create the effect of letterpress printing with old foundry type onto handmade paper. The companion Old Claude Expert includes small caps and old-style figures. This "antiqued" design works equally well for both text and display.

Kazootie was inspired by cut-paper shapes and named after the hand puppet character Rootie Kazootie in a 1950s children's television show. Kazootie is a light-hearted and fun display font with a big, strong voice and crisp confident stride. Best for headlines and larger text in picture books, Kazootie is all caps, but you can type your letters in uppercase or lowercase to access two different variants of the style.

An informal sans serif typeface carefully cut from the template of Regan and Regan Slab. Smooth curves are combined with simple angles to form a modern, legible font with a charming personality. Regan Alt is ideally suited to wide range of applications including advertising, fashion, retail and the web. Details include 10 weights with italics, 540 characters, 5 variations of numerals, small caps, stylistic alternatives, manually edited kerning and Opentype features.

Imagine being printer in the early nineteenth century, your stock isn’t the finest, your lead characters are worn out: Voilá Kandidat Rough. But wait, Kandidat isn’t the usual scan-an-old-book,-put-the-glyphs-in-a-font-and-you’re-done-font. Kandidat Rough has a variety of whopping 14 alternates for most characters. Our algorithm changes the letters automatically. All you have to do is turn on Contextual Alternates in your layout app. The algorithm is the best we’ve seen so far, and it’s so good that even same words appear in different forms. And should by coincidence words have the same glyphs, just assign a different Style Set to the first letter, and all other letters in the word will change as well (well, it depends a bit on your software). The mechanism isn’t perfect and maybe we stretched OpenType capabilities a bit over the top, but we yet haven’t seen any better routine for switching letters on the fly. Is it worth to mention that Kandidat Rough not only speaks English, but also German, French, Spanish, Dutch, Danish, Norwegian, Swedish, Croatian, Turkish and most likely some other languages? Maybe. To be sure whether your language is supported, this is the typeset of all letters: ABCDEFGHIJKLMNOPQRSTUVWXYZÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØÙÚÛÜÝĆČĐĞ݌ފŸŽ abcdefghijklmnopqrstuvwxyzàáâãäåæçèéêëìíîïñòóôõöøùúûüýÿćčđğıœşšž Apart from that we also included the following punctuation and currency symbols: !"#$%&'()*+,-./:;?@[\]_{|}¡©«®°±¶·»¿×–—‘’‚“”„†•…‹›⁄≠☞ €¢$£¥ This sums up to nearly 3000 glyphs per font, and we have three of them: Regular, Italic and Bold. All neatly kerned. All in all a great repertoire for even the most demanding book or advert jobs with a look of old times. And now imagine you are sick of the rugged print experience Kandidat Rough delivers: go for Kandidat. This is our Scotch-ish ancestor the Rough version was made from. A sturdy, friendly, round, warm friend from the beginning of the nineteenth century. A bit dark, maybe. You will like it. Kandidat has the aforementioned type set plus complete Baltics, Eastern Europe and Cyrillic. Plus a couple of gimmicks like fleurons, stars, circled numbers, arrows, and, and, and… Kandidat Regular additionally has small caps for Latin based scripts (not Cyrillic). The spick and span Kandidat font set also consists of Regular, Italic and Bold cuts. The bold cut is on the very bold side and can nicely be used for headings, whereas Italic is a great companion for Regular. It took us some time and trouble to finish this project, but after all we are very proud of our little feat and hope you will enjoy Kandidat as much as we do. Enjoy!

Supria Sans™ and Supria Sans Condensed is an extended family of 36 fonts designed by Hannes von Döhren. It contains two widths, six weights and three styles, including the curvy, feminine Italic as well as the more conventional Oblique. Although it is inspired by the utilitarian clarity of Swiss type design, subtle curves and fine detailing impart a more playful character to the whole Supria Sans family. Supria Sans™ is equipped for complex, professional typography. As an exclusively OpenType release, these fonts feature small caps, five variations of numerals, arrows and an extended character set to support Central and Eastern European as well as Western European languages. Supria Sans™ received the “Certificate of Excellence in Type Design” at the TDC2 (2011).

Professor Minty is a cartoon-inspired kind of comic font with a lotta bounce and a whole buncha spooky fun. Both regular and bold are based on Chank’s first fonts, Mister Frisky and Uncle Stinky. The Bold version is brand new in 2011, never before available. But here both of those fonts are combined into one extra-savvy font that does all kinds of tricks. It has many extra special OpenType features, like Swash, Contextual Alternates and Small caps and more. There’s even a “decaf” feature (Stylistic Set #1) which tones it down a bit if the account people think it is just too exciting. Works good for Halloween, Christmas and Valentine’s Day, oddly enough. Who knew those three holidays had anything in common?

Brix Slab Condensed and Brix Slab is an extended family of 24 fonts. It was designed by Hannes von Döhren & Livius Dietzel in 2011. Brix Slab Condensed is a robust slab serif family with subtle details. It's optimized for longer texts and highly readable in small sizes. Brix Slab Condensed is intended to be used in applications like magazines, newspapers and digital devices. It also works great as a corporate typeface. With more than 700 glyphs in each font, Brix Slab Condensed is equipped for complex, professional typography. As an exclusively OpenType release, these fonts feature small caps, five variations of numerals, arrows and an extended character set to support Central and Eastern European as well as Western European languages.

Childlike on the surface, Gongo hides the maturity and wisdom of age. Flowing freely across the page with a graceful ease, Gongo manages to make its mark with every letter, resonating deeper than first appearances. For authority backed up in a friendly tone or wisdom imparted in light hearted words, Gongo is the go to font.

Word up! DJ Dongboi and triple threat "JG" Roshell has been bustin' out for all the young font gunnahs out there. He bein' crazy, givin' out the love and non-stop dope moves... You feel it? Be showin' ya respect and holla at the Phat Boi an' y'all be cool. Aiiiigggghhht?! Phatboi is Da Next Big Thang! Stay bent.

Nami, the Japanese word for wave," is the latest collaboration between Adrian Frutiger and Linotype's Type Director, Akira Kobayashi. This typeface family is the most humanistic sans serif design ever to come from Adrian Frutiger, and it has an interesting twist: lapidar alternates that may be surfed through with the help of OpenType-savy applications. Adrian Frutiger began the design that would blossom into Nami during the 1980s. Although it would not be produced during the 20th century, it was quite forward thinking. The typeface included several seemingly avant garde alternates; these were "lapidary" versions of common letterforms. Revisiting the project in 2006, Akira Kobayashi reworked the concept into a working family of three typefaces. Each font contains 483 glyphs, including 11 alternates-two extra forms of the lowercase g, as well as new forms for a, e, h, l, m, n, r, t, and u."

Stanzer is an interpretation of wood type combined with the idea of modern stencils. Instead of cutting every letter, we are presenting an example of how a modern stencil typeface could look like, as we have come to the conclusion that almost every letter works without cutting it. Stanzer is a Unicase typeface, available in three OpenType weights: Black, Shadow and Block. Stanzer first started as part of our diploma 2010 (it was called Stanley at that time). The basic idea behind this typeface is that it is fully stencil usable, and, unlike other stencil fonts, does not require any bridges (except for the O and Q). Almost every letter can be sprayed without inserting planks. However, Stanzer also offers the display weight Block, which is only suitable for print or online usage.

German type designer Ingo Preuss created this sans Super-family between 2010 and 2015. The family has 84 weights, ranging from Light to Ultra in Normal, Compact, Condensed and Compressed (including italics). It comes in OpenType format with extended language support. All weights contain ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and matching arrows. The “Adora PRO family” is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design.

Lalola (whose early version was released as ‘Lola’ by the spanish foundry Type-Ø-Tones in 1997) is a display typeface with strong attitude. It was inspired by a lettering model by Eugen Nerdinger and Lisa Beck. From a few letters of that model, Lalola became an original design and a single font, comprising all the necessary characters for languages based on the Latin alphabet. You can ‘say it loud’ with Lalola, either in lower or uppercase, yet with wit and a unique, distinctive friendly voice. Lalola received already two mentions, the Typefacts’ Best Typefaces of 2013 and the prestigious TDC 2014 Certificate of Excellence.