Describe the 21st century politician. Left or right? Fat or thin? War or peace? Straight or gay? Hard or soft? Male or female? Pro or con? Young or old? East or west? Now look at the Politica super-family and see which font they may be. The overused sans serif faces don’t cut it anymore. This day and age requires a sturdy, modern and straight-to-the-point sans to cover the issues. The Politica family also come in OpenType variations which extend the character set to include Cyrillic, Greek, Baltic, Turkish and Central European languages. You have no excuse: the globe is yours with Politica.

I've had an interest in typography ever since my college days, even submitting my NDD thesis on the subject. The basic concept for this typeface stems from that early creative period, hence the obvious 60’s retro feel. It’s only recently that I've have had the chance to carry through fully some of my dormant typographic ideas, but ‘better late than never’ as they say! The font’s characteristic style is based on repeating or rotating templates of a half and a quarter circle, the geometric, modular building blocks used here. The name was simply influenced by the letter ‘u’, which visually describes a stylized ‘tulip’ flower.

In 1543 the well-known “De humani corporis fabrica” treatise on anatomy by André Vesale, was printed by Johann Oporinus in Basel (Switzerland). Various typefaces were used for this work, mostly in Latin but including Greek characters. Its Jenson-type font was the one which inspired this font. It is a very elegant one, including the “long s”, a few abbreviation forms and ligatures. As it was a Latin text, there were no accented characters and a few capitals were absent. I had to reconstruct them. A render sheet, in the font file, makes all characters easy to identify on the keyboard. This font may be used as a “modern” one for web-site titles, posters and flier designs, publishing ancient texts... and anything else you want! One of the most elegant types ever cut, it stands up very well to enlargement, remaining as readable as in its original small size.

In 1805, December second, the Napoleonic French army won the famous battle of Austerlitz, against Autrichian and Russian armies. Napoleon was a great general, but his hand-writing was not legible at all, so he employed a few secretaries who wrote the official mail. This font was created, inspired from letters written by one of these professional secretaries and scribes in the months before the battle. We propose it as a typical example of the French Hand from this period. The font contains numerous ligatures and alternative characters so as to look as close as possible to real handwriting. The standard full set is complete with accented or specific characters for West (Including Celtic) and Central European, Baltic, Romanian, Hungarian and Turkish languages.

In May of this year, I went to Japan with my (then 11 year old) son Sam. It was his dream to visit Japan, probably because of my tall tales, stemming from the time I was a tour guide! Sam really wanted to try all kinds of Japanese delicacies and one day, when walking around Tokyo, we came across a little stall selling Taiyaki. Taiyaki are fish-shaped waffle/cakes with a red bean or sweet potato filling. They are really delicious! This nice ‘oriental looking’ font was made with a broken popsicle stick and Chinese ink. You are now wondering why I always use Chinese ink and not Japanese ink. Well, I have a stash of the Chinese stuff and it’ll last me a lifetime!

The 1885 specimen book of the Palmer and Rey Type Foundry of San Francisco featured the inspiration for this typeface under the name Courier. This version has been thoughtfully designed to use Contextual Alternates to avoid unsightly swash collisions. Both versions of this font include the complete Latin 1252 and Central European 1250 character sets.

Hazim is a display font designed with isolated letters. It uses thin white slits positioned within extra bold black space glyphs emphasizing the main visual characteristics of the Arabetic letters in two positions: initial/medial and final/isolated. The spacing widths between glyphs match that of the slits to give a virtual cursive look and feel. The name Hazim was chosen to honor a friend of the designer, Hazim al-Khafaji. Hazim supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It comes with one weight and a left-slanted “italic”. The script design of this font family follows the Arabetics Mutamathil Taqlidi style and utilizes varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter in an Arabic text. Hazim includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Hazims’s soft-vowel diacritic marks (harakat) are only selectively positioned with most of them appearing on similar lower or upper positions to make sure they do not interfere with the letters. Kashida is enabled.

This stylish swashbuckling typeface had a very limited character set, but with the CheapProFonts treatment this buried treasure is ready to be rediscovered. Character map included. "Arrr! Shiver me timbers!" ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Dulcinea is the title of Ramiro Espinoza’s in-depth look at Spanish Baroque calligraphy’s most extreme tendencies, and especially at some of those produced by the writing masters Pedro Díaz Morante and Juan Claudio Aznar de Polanco. These 17th and 18th centuries alphabets with their plentiful calligraphic flourishes represented a marked break with the harmonic and angular Renaissance Cancellaresca style. It was Morante who first introduced and popularized the use of the pointed quill in Spain, and although his famous text entitled “Arte Nueva de escribir” – first volume published in 1616 – contains alphabets that have much in common with traditional broad nib Cancellaresca calligraphy, most of the examples therein are outgrowths of the new models put forward by the Italian master Gianfrancesco Cresci. The writing’s swashes are complex and intricate, but at the same time they feature a profusion of defects. Many of them sometimes come close to ugliness. However, these pages contain an artistic essence that bears a relationship to the ironic and sometimes somber character of Spanish Baroque. That’s why the name of the font pays homage to “Dulcinea del Toboso”, the fictional beauty from Miguel de Cervantes’s ‘Don Quixote’, a work that reveals many of the period’s conflicts, such as the contrast between utopian ideals and reality, uncertainty and madness. But Dulcinea is far from being just a revival. Its forms are not careful tracings of the outlines of Morante and Polanco’s letters, nor are they attempts to reproduce them digitally. In fact, the author of the letters says that had the font been created that way it would have been too archaic to serve as acceptable contemporary typography. However, he believes that there are myriad interesting details that can be rescued and preserved, along with the playful spirit of the original. The work of designing Dulcinea consisted of combining original historical elements with the creativity and calligraphy of the font’s author in order to produce a modern typography that isn’t based on the same traditional sources as many recently created scripts fonts. Dulcinea offers attractive options for the setting of texts and headlines: abundant ligatures and swashes along with intricate alternate characters. It sophisticated forms make it an ideal option for women’s magazines, recipe books, lingerie products or perfume packaging.

A text typeface design with completely isolated letters and extra emphasis on vertical feel and visual connectivity to aid easy reading. The Hallock font family is named after Homan Hallock, a New York based American type designer and typographer who created the first documented unified and isolated Arabic font design in July 1864. The Hallock font family has two styles, regular and left-slanted italic styles. This font family design follows the guidelines of Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in the latest Unicode Standards, and one additional final form glyph, for the freely-connecting letters in traditional Arabic cursive text. Hallock employs variable x-height values. It includes only the Lam-Alif ligatures. Soft-vowel diacritic marks, harakat, are selectively positioned. Most of them appear by default on the same level, following a letter, to ensure that they would not interfere visually with letters. Tatweel is a zero-width glyph. Keying the tatweel key before Alif-Lam-Lam-Ha will display the Allah ligature. Hallock includes both Arabic and Arabic-Indic numerals, in addition to standard punctuations.

Mullen Hand is the fresh digitization and expansion of a Jerry Mullen metal typeface called Repro, originally published by ATF in 1953. The connectivity of certain letters in the original type was limited by metal technology, but this new digital version is updated to resolve those issues with. Two- and three-letter ligatures take care of the r, s, x and z connections. These ligatures are programmed in the 'liga' feature of the OpenType version, so they automatically activate in programs that support advanced typography. Casual, tall, and elegantly friendly, Mullen Hand's even strokes and confident connections embody the spirit of contentedness and reassurance sought by today's appeal designer. It accommodates a variety of applications, from posters and signs, to book and music covers and product packaging. Mullen Hand comes in all popular formats. The TrueType and PostScript versions come with 2 fonts, one of them containing the ligatures and some alternates. The OpenType version combines both fonts into one, and includes programmed features for localization, alternation and intelligent substitution. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages.

This was a favorite of the old time job printers;­ decorative but readable. The MacKellar foundry was the largest and most creative of the old foundries, and decorative fonts like this one came out at the rate of several every year.

Muller Specimen: http://bit.ly/mullers Muller Narrow Specimen: http://bit.ly/mullerns The very first sketches of Muller were made about four years ago. In the process they changed to the point where they had nothing in common with the original idea. As it is with most work we do, when we seek perfection, changes are inevitable. It was specifically designed with a wider structure for better appearance in small sizes and the extra attention to the detail was needed for the big sizes. We managed to find the right balance for the perfect universal font family. The family consists of 20 weights, ranging from Thin to Heavy with matching Italics. This font family is suited for everything, ranging from advertising, packaging, editorial and branding, to web and screen projects. Muller comes with a complete range of figure options, including proportional and old style figures, each in its tabular version. It also includes advanced typographic features such as ligatures, fractions, alternate characters, case-sensitive forms, superscripts and subscripts.

Centennial Script was designed and cut by Hermann Ihlenburg in 1876 (the centennial of American independence, hence the typeface's name) for the MacKellar, Smiths & Jordan foundry in Philadelphia. Ihlenburg was then only 33 years old, and these beautiful forms put him on his way to become the most prolific and innovative deco, ornamental and script typeface designer and punch cutter of the nineteenth century. In trying to be a true homage to the history of the new world, Centennial Script transcends its then-contemporary deco fashion to embrace script elements historically similar to lettering found on maps or political documents of the 18th century. Letters like the p and s extend themselves high and mighty to accentuate words and lines of text in a fancy hand-drawn manner. The dots on the i and j are those of a careful scribe who acknowledges the importance of the document being lettered. The lowercase letters connect with two slight angular motions of the hand, also very carefully and elegantly. Even the ligatures and ending swashes Ihlenburg made for this face were reminiscent of a mapmaker's patient hand, though Ihlenburg's elegant touch in them cannot be mistaken. Although Centennial Script was one of the few Ihlenburg faces to make it to film type technology, the transition was neither credited nor faultless. The film type version was a bit sloppy in the way the connectors were made, so the lowercase needed a lot of manual work to typeset properly. To alleviate such waste of time for the user of this digital version, the connectors were redrawn according to the original metal ones made by Ihlenburg himself, and tested thoroughly in print to ensure the quality of the typeface's flowing cursive nature. This wasn't an easy task, and very time-consuming, since the changing angles on both ends of the connection made it impossible to escape from having to build every lowercase letter with both left and right connectors that would fit with the rest of the letters. This is one typeface that couldn't be revived in any other manner than the way it was originally made, regardless of more than 130 years of technological advances since the face was designed. Centennial Script comes in all popular font formats, and supports most Latin-based languages. Also included is an Alts fonts that contains alternates, ligatures, snap-on swash endings, some ornaments, as well as a complete set of the lowercase without left side connectors, for a more natural combination when following a majuscule, or just in case the user finds it fit to set the copy in a non-connecting script instead of the face's original connected flow. Centennial Script Pro, the OpenType version, combines the main font with the Alts font in a feature-packed single font. Use the ligature feature to set wordmarks like Mr, Ms, Mrs, Dr, and &Co, the stylistic alternates feature to replace some letters with their alternative forms, the contextual alternates feature for better uppercase-lowercase sequences, and the titling feature to set your text in a disconnected script. Centennial Script is the only script we currently know of that can be set connected or disconnected simultaneously, either using the titling feature in the OpenType Pro version, or manually in the other formats.

Impressed by the quality of the Aachen typeface that was originally designed for Letraset in 1969 and extended to include Aachen Medium in 1977, Jim Wasco of Monotype Imaging has extended this robust display design to create an entire family. Derived from the serif-accented Egyptienne fonts dating to the early 20th century, Aachen has serifs that are very solid but considerably shorter than those of its precursor. The incorporated geometrical elements, such as right angles and straight lines, provide the slender letters of Aachen with a slightly technological, stencil-like quality. Despite this, the effect of Aachen is by no means static; its dynamism means that this typeface, originally designed for use in headlines, has come to be used with particular frequency in sport- and fitness-related contexts. Jim Wasco, for many years a type designer at Monotype Imaging, recognized the potential of Aachen and decided to extend the typeface to create an entire typeface family. He appropriated the existing Aachen Bold in unchanged form and first created the less heavy cuts, Thin and Regular. Wasco admits that he found designing the forms for Thin a particular challenge. It took him several attempts before he was able to achieve consistency within the glyphs for Thin and, at the same time, retain sufficient affinity with the original Aachen Bold. But he finally managed to adapt the short serifs and the condensed and slightly geometrical quality of the letters to the needs of Thin. The weights Light, Book, Medium and Semibold were generated by means of interpolation. Supplemented by Extralight and Extrabold, the new Neue Aachen can now boast a total of nine different weights. Wasco initially relied on his predilection for genuine cursives in his designs for the Italic cuts. But it became apparent with these first trial runs that the soft curves of cursives did not suit Aachen and led to the loss of too much of its original character. Wasco thus decided to compromise by using both inclined and cursive letters. Neue Aachen Italic is somewhat narrower than its upright counterparts; the lower case 'a' has a closed form while the 'f' has been given a descender, but the letters have otherwise not been given additional adornments. The range of glyphs available for Neue Aachen has been significantly extended, so that the typeface can now be used to set texts not only in Western but also Central European languages. Wasco has also added a double-counter lowercase 'g' while relying on the availability of alternative letters in the format sets for the enhancement of the legibility of Neue Aachen when used to set texts. The seven new weights and completely new Italic variants have enormously increased the potential applications of Aachen and the range of creative options for the designer. While the Bold weights have proved their worth as display fonts, the new Book and Regular cuts are ideal for setting text. And the subtlety of Ultra Light will provide your projects with a quite unique flair. The new possibilities and opportunities in terms of design and applications that Neue Aachen offers you are not restricted to print production; you can also create internet pages thanks to its availability as a web font.

My first font for 2009 was Aerle. It is a new dark sans serif font in my continuing objective of designing book fonts that I can really use. It made a little ripple in the industry, but more than that I found that I loved it with Aramus and Artimas — my latest book font family with the same proportions. In many ways, Aerle is a very different direction for me built on what I have learned on Aramus and other recent developments in my style. The concept came to me while using Bitstream's Mister Earl on a site online—though there is no direct reference. I wanted a more playful heavy sans with a much smaller x-height than I have been using lately, plus taller ascenders. As I was using Aerle, I constantly needed a light and bold version. The new direction I am taking is a result of a decision that my fonts, though I loved the character shapes, produced an even type color that is too dark or a little dense. Aerle was an attempt to get away from that look even though the letterspacing is quite tight. For Aerle Thin I pushed a little further in that direction and increased the letterspacing. The hand-drawn shapes vary a lot, many pushing the boundaries of the normal character. This gives a little looseness and helps the lightness in feel I am looking for. It will be interesting to see where this all goes. Most new type around the world is far too perfect for my taste. While the shapes are exquisite, the feel is not human but digital mechanical. I find myself wanting to draw fonts that feel human — as if a person crafted them. In most ways this is a normal font for me in that it has caps, lowercase, small caps with the appropriate figures for each case. These small caps were very small (x-height as is proper). So Aerle's small caps are a little oversize because they plugged up too bad at x-height size. The bold is halfway between. These size variations seem important and work well in the text. This font has all the OpenType features in the set for 2009. There are several ligatures for your fun and enjoyment: bb gg sh sp st ch ck ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, & small caps; proportional lining figures, proportional oldstyle figures, & small cap figures; plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

The light Roast font is a fun, friendly, and hand-drawn vintage style. Inspired by the cafeteria and eatery vintage era, this font is available in regular and italic font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out! This font is perfect for headings, flyers, greeting cards, product packaging, book cover, printed quotes, logotype, album covers.

Godysun Arabic style font. Create the perfect Arabic and Islamic decorative design with this collection of exclusive value examples. With this stylish font, you can create all kinds of themes, from elegant to modern, and get the same result as shown. To get a variety of styles into your projects, they come in both upper and lower case, as well as several Alternates. You will be able to easily create quality designs.

Because Contenu is designed for text use, it is spaced for body copy in the 9-12 point range. That is far too much spacing for heads, subheads, and the like. So I made the display version of Contenu Book to use for headers. In the process of tightening the spacing at the very large sizes, I also made some minor modifications to the glyph shapes to make this version a little more elegant. Contenu Opentype has two Opentype families for print design. Contenu Book has five fonts: Regular, Italic, Bold, Bold Italic, and Display. Contenu has Medium, Medium Italic, Black, and Black Italic. The name is French for content and this is what the family is designed for: text, body copy, and book layout. If it has a style, it is a modern take on oldstyle serif font using Jenson as a mask. There are no plans for display versions of the bolder weights or the italics. If you want them, use Contenu Medium, Book Bold, Contenu Black, or any of the four italics and tighten the tracking.

The early Twentieth Century was a golden age for cinema, and for the artists who lettered the iconic title sequences. Cinema Script is inspired by this lettering style, but has departed substantially from the source material in an effort to be less retro and more in tune with today’s designers' needs. The font will work admirably ‘out of the box’ but to really shine use the advanced OpenType features. Contextual alternates and ligatures should be on by default for the best results. Discretionary ligatures are a little more out there, so use them, ahem, at your discretion. Cinema Script also boasts swash characters, optional oldstyle numerals, plenty of stylistic sets and a nice ordinal feature for 1st, 2nd, 3rd etc. For greater detail, check out the user guide in the gallery section. This is a versatile brush script style font. It seems familiar, with a similar vibe to other brush fonts but without the staid ubiquity. Cinema Script will look great on the big screen, or on your screen, on food packaging, t-shirts, blogs, photobooks, wedding stationery... You get the idea!

Because Contenu is designed for text use, it is spaced for body copy in the 9-12 point range. That is far too much spacing for heads, subheads, and the like. So I made the display version of Contenu Book to use for headers. In the process of tightening the spacing at the very large sizes, I also made some minor modifications to the glyph shapes to make this version a little more elegant. Contenu Opentype has two Opentype families for print design. Contenu Book has five fonts: Regular, Italic, Bold, Bold Italic, and Display. Contenu has Medium, Medium Italic, Black, and Black Italic. The name is French for content and this is what the family is designed for: text, body copy, and book layout. If it has a style, it is a modern take on oldstyle serif font using Jenson as a mask. There are no plans for display versions of the bolder weights or the italics. If you want them, use Contenu Medium, Book Bold, Contenu Black, or any of the four italics and tighten the tracking.

This is a simplified Tuscan, free from excessive ruffles and flourishes. Types of this general design began to appear in profusion in the 1830, and continued as a popular form until the end of the nineteenth century. We added the lowercase to this one for increased usefulness.

Syntax was designed by Swiss typographer Hans Eduard Meier, and issued in 1968 by the D. Stempel AG type foundry as their last hot metal type family. Meier used an unusual rationale in the design of this sans serif typeface; it has the shapes of humanist letters or oldstyle types (such as Sabon), but with a modified monoline treatment. The original drawings were done in 1954; first by writing the letters with a brush, then redrawing their essential linear forms, and finally adding balanced amounts of weight to the skeletons to produce optically monoline letterforms. Meier wanted to subtly express the rhythmical dynamism of written letters and at the same time produce a legible sans serif typeface. This theme was supported by using a very slight slope in the roman, tall ascenders, terminals at right angles to stroke direction, caps with classical proportions, and the humanist style a and g. The original foundry metal type was digitized in 1989 to make this family of four romans and one italic. Meier completely reworked Syntax in 2000, completing an expanded and improved font family that is available exclusively from Linotype GmbH as Linotype Syntax. In 2009 the typeface family was renamed into a more logical naming of "Syntax Next" to fit better in the Platinum Collection naming."

Introducing Promenade – a calligraphic serif that started on paper with a flat nib pen (see the 6th image), and blossomed into a full serif with italics. At its core, this font is just... beautiful. It's elegant, it's crisp, it's delicate, but can still hold its own. As I was creating the graphics, I just couldn't get over the flow of the letters – especially the italic. It's got class, but also isn't afraid to rock a pair of Doc Marten's. Funny enough, Jen from Tonic (they make beautiful websites) saw a preview of this font and said, "I'd take that font to prom." Which of course spurred a conversation about how this font would take a Mercedes G-Series instead of a limo, and wear Doc Marten's instead of heels, but still wear the most gorgeous dress, and that is 100% Promenade (and inspo for the name – thanks, Jen!). I've also been loving combining the regular and italic, especially for logos (see the "Friendfolk" logo) One thing to note about Promenade is the letter spacing. It was spaced for clean reading and intentional balance, so I recommend setting the spacing a little tighter if you want to create the display look found in many of the logo mockups(around -20 to -40 should do!).

The design process of OkayPaint began as hand-painted letters on paper. Thus, a variety of distressed paint effects can still be seen in the details, from splatters to dry-brush. This makes for a textured, artistic look. Use OkayPaint to create eye catching designs - perfect for grunge, surf, any casual cool setting. OkayPaint is extended, containing the West European diacritics & ligatures, making it also suitable for multilingual environments & publications.

Cupid Hearts is a hand written script, first drawn on paper and then remastered on the computer to give a smooth free flowing script,that looks perfect over the top of photos or as a logo. With 20 alternate style sets this lovely and friendly typeface take the stress out of finding fonts that match together so you can focus on what you want to do which is designing beauty work.

Calder is a display typeface collection. It incorporates 10 styles and offers two distinctive voices: a playful semi-connected script and a selection of subtle yet authentic sans serifs. Designed to complement each other, they offer a unique and engaging visual tool. Inspired by the pursuit of the outdoors, Calder began as a personal experience and endeavor to express and share the spirit of adventure connected with this renewed, growing movement.

Organic Respect is my monospaced and organic slab serif font. Although the font is monospaced - which may not lead your mind to something organic - I did my best to make the letters appear vibrant and lively in an organic way. I've added 6 slightly different letters for you to choose from, and they automatically cycle as you type, or you can manually select them from the glyph menu.

PiS Lietz Parilon invites you to the austrian countryside for an amazing ski-tour on snowy mountains back then when skilifts were sparse and mustaches were far from ironic. Use this heavy fraktur for retro tourism posters, your classic beer or schnaps brand or anything that needs a good swig of tradition! Heat up the Jagatee and enjoy the earthy taste of PiS Lietz Parilon, it will warm your heart!

Island Time JNL is based on the hand-lettered title from a piece of 1940s sheet music called "An Island Melody". This Art Deco typeface is perfect for projects where a clean, yet attractive headline font is needed. The font's name is based on the euphamism popular amongst Caribbean Islanders that when someone is excessively late for an appointment, date or event they are running on "island time".

If you're old enough to remember having a lettering stencil in school, then you might have tried to save all of the waste paper punched out of the letters and numbers; hoping to do something with them later on. Jeff Levine took his Tramp Steamer JNL stencil font and gave it the look of those waste paper pieces - lined up to form erratic characters with a personality all their own.