Jazmo is an offspring of an assignment I did for a Dutch architect. A classic building and coincidently the place of my studio in my hometown Zwolle, Netherlands, needed to be renovated. My job was to design the house numbers and signs for this building. This building I refer to was built in 1932 and designed according to the ‘New objectivity’ architecture. Now it accommodates several artist and craftsmen and also houses students. In my design I used elements of the Art Nouveau, which is related to the ‘New Objectivity’. Words as stately, angular, linear, stylish, artful, playful and frolic came to mind. It should be a design with a hint of the past and a flirt with the future. This house numbering is the root wherefrom Jazmo arises. The name Jazmo cites to the Jazz scene, which was a new and very popular artistic influence that time and age and is still a vibrant source of musical renewal. Mo stands for my Name Marit Otto. Together with my intern Arie Blok I created the missing characters and completed the font. Welcome Jazmo!

The Akko typeface family is the first new design from Akira Kobayashi in a very long time - and it is well worth the wait. Picture an industrial strength typeface like the Isonorm™ design. Now blend this with an organic design like the Cooper Black™ typeface. It was the idea of the fusion of these two design concepts that inspired Kobayashi to draw Akko. „My initial idea was to create a sanserif type with a ‚soft-focus‘ effect,“ says Kobayashi. „From here, the design evolved into two families, the robust and structured sanserif Akko and soft and friendly Akko Rounded.“ Akko has a wide range of weights, with options including complementary italics and a new Condensed range. The Akko typeface family is available as a suite of OpenType™ Pro fonts, allowing for the automatic insertion of small caps, ligatures and alternate characters. Pro fonts also offer an extended character set supporting most Central European and many Eastern European languages. And new Paneuropean versions introduce support for Cyrillic and Greek.

Sagarana is an elegant display typeface rooted in the style of romantic or didones letterforms; however, it is a sans serif with a cleaner appearance. The contrast and the vertical stress maintain the modern style, while the terminals, the finials, the proportions and the narrow look enhance its stylish personality. It could be suitable for editorial projects such as magazines, books or even for sophisticated environments, let’s say, fashion, department store, perfumes, cosmetics and so on. Sagarana was initially inspired by a Brazilian book cover from 50’s. The name itself combines the words “saga” (as in the English sense of “story”) and “rana,” a Tupi word (Indigenous language) that roughly means “showing similarities”.

Welcome to the new Romantic script font, Shelline. This is a modern script with a delicious flow, snap-perfect characters and start & end swash. With its alternative character, you will immediately get an original handmade look. Become the perfect professional in a minute and start creating modern designs such as advertising, sales, logos, branding, posters, social media text overlays today!

Introducing a new romantic and a beautiful handwritting script font called "Lovely Couple". Come with open type feature with a lot of alternates, its help you to make great lettering. Lovely Couple best uses for invitation, wedding, heading,cover, poster, logos, quotes, product packaging, header, merchandise, social media & greeting cards and many more. This font is also support multi language.

WIP Sugar Baby depicts the handwriting of a young woman with opulent curves that spread juvenile charm and warms the hearts of all of us. The (lower case) characters are joined as it is usual in German speaking countries. Originally designed in 1995 the font has been extended by a lot of new characters such as accented characters, punctuation, symbols and currency symbols.

Meet my new font Sarebbe Bellissimo – a romantic delicate signature font with its poetic flow, wich simulates natural handwriting. Great for logo creating, wedding stationery, packaging, for your Instagram and other social media posts. The font includes: Uppercase and lowercase Standard punctuation & numerals Special letters for most of the European languages 47 ligatures (pair combinations, which help the font to look more natural)

Many foundries had versions of Concave ‹ wide, narrow, extra condensed, some with lowercase, some without. A good general utility style for Victorian typography.

Step into the beauty of Belda’s elegant form and discover the richness flowing from both its historic influence and its strong elements. At its heart, Belda's graceful style embodies the classical calligraphy of the Roman capital, best known from such Roman monuments as Trajan's Column. To lessen the possibility for error, the builders of these defining structures brushed their templates onto the marble before taking their first cuts from the expensive stone. These simple strokes now mark a simple but wonderful path full of life and mystery. Beyond a copy of the past, Belda has grown from its roots to offer a brave, new world of potential through its still-simple structure. The new design strongly contrasts thickness and stroke. Its delicate shape, curves and sharp serifs provide a unique style of harmony and beauty. The resulting balance? The lighter weight design remains subtle and elegant, while the combination in its bolder counterparts provides an intense luster and sparkle, pulling the reader’s eye to the font’s captivating features. A quick look beyond its surface of standard forms also reveals Belda has more layers to discover with OpenType small capitals, titling capitals and more. With a wealth of weights and many widths beside, the font is capable of serving as both text and titling. While especially strong as a movie title or poster font, it’s also great for book jackets, advertising, and packaging. So start your journey with Belda. The possibilities to explore on this path are practically endless. Production assistance from Lucas Azevedo and ikern.

Bernhard Cursive ExtraBold is one of Lucian Bernhard's most expressive fonts which are worth to get preserved for now and times to come. An ideal font face for advertisements, posters, flyers, titles and subtitles.

Polyphonic is a highly versatile slab serif typeface comprising 60 fonts across 6 weights and 5 widths. It is a no-nonsense, clear and legible type family whose multiple voices will suit numerous typographic applications. Its overall personality is polite, understated and formal – there are no frills with this typeface, it conveys messages simply and efficiently without hyperbole. Polyphonic’s lighter weights are great for body text and its heavier weights the perfect complement for branding, titles, headings and logotype options. Small Caps are included with each font and available with one click, as are Old Style Figures, there is extensive language support too – European/Latin only. Key features: • 6 Weights in Roman and Italic • 5 Widths – Condensed, Narrow, Regular, Wide, Extended • Small Caps • Old Style Figures • European Language Support (Latin) • 600 glyphs per font. See more detailed examples at the Polyphonic microsite.

LaFarge is a typeface primarily inspired by the historic mosaic titling capitals found in the New York City Subway, designed by architect Squire J. Vickers and his staff between 1915-1927. These elegant but industrial signs are characteristic of early-20th century American architectural lettering, and show an evolution of the classical Roman capitals to lower contrast, bolder serifs, and more regular character widths. The majority of this lettering still remains in subway stations today, and though elements of the style vary from sign to sign, many carry the unique features that are reflected in LaFarge: high-waisted crossbars with angled serifs, elegantly curved “R” leg, and distinctive trapezoidal serifs. LaFarge expands this style into a lower case, taking cues from contemporary typefaces like Bookman, Cheltenham, and Della Robbia. A number of typographic features are included, such as small caps, ordinal indicators / superscript letters, arrows, and a set of borders inspired by early subway tile. The result is a fashionable, architecturally-minded typeface that is just as at home on the façade of a grand public building as it is on packaging, magazines, or the web. LaFarge works well in both text and display settings, remaining readable at small sizes but showing off its elegant details in larger uses. LaFarge has received the Communication Arts Typography Award, the ADC Annual Merit Award, is included in the 2020 STA 100, and was part of designer Greg Shutters’ winning portfolio in the 2019 Type Directors Club Ascender Awards. You can download a PDF specimen of LaFarge, and also view a video of LaFarge in action.

The term “Surf Bum” was a slang phrase used to casually describe anyone who spent as much of their time as possible at the beach catching waves in the 1960s. The Revell Company was a well-established maker of plastic model kits such as military airplanes, monsters from Universal horror films and other such items when it hooked up with custom car designer Ed “Big Daddy” Roth to develop a model kit line capitalizing on the surfing fad that was sweeping the West Coast at the time. A number of crazy-looking hot rods, dune buggies and what-have-you were turned out, and one such kit (“Surfite”, with Figure) featured a futuristic one-person dune buggy. It was on the box for the model that the words “with Figure” appear in a casual, brush design type face. Those few letters were the inspiration for creating a new retro type face entitled Surf Bum JNL, which is available in both regular and oblique versions.

In 2014 I made a font called Whatnot. I think I made with with a roller ball pen, but I am not sure, as it was a long timer ago. I have always liked Whatnot font and I think it deserves a second lease on life, so I made a new (and improved) version of it, called Whatnot 22. Not Catch 22... It now comes with better kerning, multilingual support (including Vietnamese, Sami and Greek) and a cool set of contextual alternates that cycles as you type.

I used to be a tour guide and spent a lot of time in Asia. One thing that I really liked, was having noodles, ANY kind of noodles, for breakfast! Breakfast Noodles is a very uncomplicated headline font: I made it while seriously renovating our ‘new’ home (a fixer upper farm), which means that this particular font was made over a period of almost 3 months… It wasn’t exactly a letter at a time, but close. I will try and make the next font in, say, under two months… Hopefully! In the meantime, enjoy this one!

Telephone Extended is a geometric semi-slab family with block serifs positioned to assist wordflow. The typeface evolved from an italic wordmark designed in 1966 for the British GPO by the Banks & Miles agency to publicize all-figure telephone dialling (all-number calling), and the new fonts retain that italic spirit, even in the upright romans. The squarish glyphs, with a mix of rounded and angular corners, have a post-modern feel suggesting technological advance, innovation and vitality. A normal width family, Telephone, is also available.

Telephone is a geometric semi-slab family with block serifs positioned to assist wordflow. The typeface evolved from an italic wordmark designed in 1966 for the British GPO by the Banks & Miles agency to publicize all-figure telephone dialling (all-number calling), and the new fonts retain that italic spirit, even in the upright romans. The squarish glyphs, with a mix of rounded and angular corners, have a post-modern feel suggesting technological advance, innovation and vitality. A wide version, Telephone Extended, is also available.

Meet Pamplemousse, a display font that's part fun, casual script and part elegant typeface! Pamplemousse is most decidedly a fellow who enjoys lazy Sunday mornings spent sipping mimosas or bloody marys over a plate of eggs benedict and the New York Times crossword puzzle. He enjoys dressing up for use in branding and headlines (he looks particularly dashing in all caps) and also sitting back and composing a casual note to a dear friend. Pamplemousse is mostly sweet and just a little sophisticated, and he likes being just as he is. Pamplemousse started out as a typeface based on the lettering of Gustav Klimt in his poster for the first exhibition of the Vienna Secession movement (Art Nouveau). This drifted into an homage to Rea Irvin's iconic masthead typeface for the New Yorker magazine. Finally, with the addition of a lowercase (absent from Irvin's typeface), a significant revision away from both Klimt and Irvin into a more casual space, Pamplemousse was born! Oh — why "pamplemousse?" "Pamplemousse" is French for grapefruit. What goes better in your Sunday gin and tonic than an aromatic slice of pamplemousse? Say it a few times. Preferably after a couple of those g & t's. You'll see how fun he can be...

The Burin family of typefaces consists of Roman and Sans variations. Burin Roman has very distinct lowercase characters b, c, d, g and y with a quirky use of tapered strokes and hairlines. Burin Sans is a light display face with an extended tail on the lowercase y.

The Burin family of typefaces consists of Roman and Sans variations. Burin Roman has very distinct lowercase characters b, c, d, g and y with a quirky use of tapered strokes and hairlines. Burin Sans is a light display face with an extended tail on the lowercase y.

Andovai, a modern Roman cursive family, fast and slightly aggressive as today's Rome, deriving its name in Roman dialect of the phrase "Ma 'ndo vai...", the meaning of which in Italian is "Dove vai?" (Where are you going?) ... in a game to define a current and irreverent gestural typography.

Stockholm is a contemporary roman typeface designed by Paul Shaw in collaboration with Garrett Boge in 1998. Its strong yet refined roman character shapes were inspired by twentieth century Swedish lettering. The face is appropriate for both text and display settings. Stockholm is part of the LetterPerfect Swedish Set

New versions of FP København Sans family now available: FP København CS. CS for Condensed Sans, or Condensed City.

Artz is a highly stylized sans serif with a Deco look in Narrow, Plain and Wide. It has oldstyle numbers and many special characters.

Pasquinade is a blackletter/roman hybrid. The general look, feel and graphical styling of Pasquinade is that of a blackletter font, however, the underlying letter construction is of a traditional serifed roman. This produces a font with that familiar 'gothic' feel but has the inherent legibility of a roman, due, in part, to the discrete openness of the characters. The presence of roman serifs also lends to this legibility without detracting from the blackletter appearence because of their particular construction. When used in a text setting the font produces an eminently readable, even texture. However, it is when used as a titling font, that the letters reveal themselves to have a contemporary, geometrically calligraphic, blackletter appearance that makes it suitable for any and all uses.

Fatum™ is a new original ultrablack slab serif typeface that was initiated by the impression of the TDC 2011 exhibition. Redundant stem thickness and closed character shapes make a feeling that counterspaces are the narrow slits cut in massive character bodies. Fatum can be used in large sizes in placards, playbills, in the headings of magazines, newspapers and Web-pages, as initials in book setting, for typographic illustrations and compositions. Ultrablack weight also gives a possibility to insert pictures, ornaments or other decorations into the contours of letters. This typeface was designed by Sveta Morozova and released by ParaType in 2013.

High Fidelity is our funky new variable font that was inspired by an incredible vintage poster we saw at the NYPL (sadly, the designer wasn't credited.) First we developed the ultra wide top-heavy style. Then, unable to resist the dynamics of variable type, we added the narrow width and violà our first variable font was born. We then added "drip" and "stretch" axes so you can play around and customize it to your heart's content. We think it works for anything from album covers, posters, social media, apparel - really anywhere you need a fun, expressive look.

Originally published by OurType, Dan Milne’s Tasman has found a new home at Retype. Milne first conceived Tasman as a typeface for newspapers. This influenced the proportions and look of the face considerably: the goal was to keep the personality as warm and playful as possible without losing the credible tone required to deliver all kinds of news. A sturdy, warm type family that is neither mechanical nor fragile. It borrows its name from Abel Janszoon Tasman (1603–1659), a Dutch seafarer, explorer, and merchant who mapped parts of Australia in 1642, including Van Diemen’s Land (now known as Tasmania). Tasman’s primary purpose is an unbiased presentation of information; it strives for neutrality over elegance. Its characters are sturdy and unambiguous, sporting strong serifs, punctuation, and diacritics, as well as generously sized small caps and hybrid figures. Rationalized letterforms give the face enough robustness to withstand the stress of screen applications and laser printing. The figures’ three-quarter x-height makes them considerably larger than traditional oldstyle numerals, yet they still integrate with the lowercase much better than lining figures do. Although initially intended for newspapers, Tasman’s somewhat corporate, objective appearance also makes it an excellent candidate for digital and print magazines, websites, annual reports, and corporate identities. Tasman is a suite of feature-rich OpenType fonts fully equipped to tackle complex, professional typography. The character set includes small caps, fractions, case-sensitive forms, bullets, arrows, special quotes, and nine sets of numerals. Besides standard Latin, its extensive character set supports Central European, Baltic, and Turkish languages.

The name of the font Titla emphasizes it heading and display functionality. At the same time low contrast, narrow proportions, wide variety of weights and clear glyph constructions make it possible to use it for long texts as well. Combination of modern serifs with flexing stems (see n, p,…) brings to the font fresh, informal and noticeable appearance. The character set includes alternative variations and specific 'vertical ligatures' for paired letters that are built with the help of diacritical forms of letters placed above basic ones. This feature also was reflected in the name of the font as Greek 'titlos' means diacritical mark. The font was designed by Oleg Karpinsky and released by ParaType in 2009.

Izmir is a modern, geometric font family. Izmir font family consists of 44 fonts in two widths, normal and narrow where each width consists of regular and italic styles in 11 weights. Each weight is equipped with useful OpenType features. A local ampersand has been added to use in Turkish in normal weights and italics. The combination of normal and narrow weights can be an excellent choice for any graphic design and display use.

Creatives understand the compulsion to make something of worth. And each creative person has a toolbox they grab from often. Letterboard Lite is the narrow geometric sans that can headline or support whatever project is next on your list — the one unfussy tool you’ll use time and again. ‍ With its geometric shapes, Letterboard is a ground-floor sans that stabilizes the foundation upon which everything else will be built. It cements the context unobtrusively without begging to be acknowledged. Pair Letterboard with any script typeface and it will highlight that script’s qualities, whether capricious or elegant. Pair it with a serif or slab serif for an obvious change of tone: With a modern slab, trends will be respected, but it will act more coy with an old-school chunky slab. Letterboard’s geometry is easily subsumed as a partner to a range of serifs, from classics to the latest releases. These qualities and its narrowness make it easy for Letterboard to be used as a large display font in headlines or branding applications. ‍ Letterboard comes with 270 characters necessary for setting over 150 Latin-based languages: A–Z with diacritics, lining numerals, and the most common punctuation and symbols.

Some time ago, I found myself in a clinic with my wife: at the time she was 20 weeks pregnant and had to do an ultrasound. To pass the time, I leafed through some (ladies') magazines which were lying around. Most of them tackled big issues like which shoes to wear and what type of foundation to plaster on, but one glossy featured a photo shoot. The photographer had found an old building with a beautiful art deco tile mural and had placed his skinny model in front of it. Fortunately for me, the mural featured a lot of text in a beautiful frilly style. I re-created the font I saw and it became "Jubileum" - which just means Jubilee in Dutch.

Based on the logotype font of the Saturday Evening Post from the 20s, Saturday Morning Toast is warm, cuddly and endearing in its quirky charm. All versions of this font contain the complete Unicode Latin A character complement, with support for the Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavan, Norwegian, Polish, Portuguese, Provençal, Rhaeto-Romanic, Romanian, Romany, Sámi, Samoan, Scottish Gaelic, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish and Welsh languages, as well as discretionary ligatures and extended fractions.

An enchanting design by Otto Hupp for Gebr. Klingspor in 1909 provided the pattern for this timeless classic, which gracefully and seamlessly combines medieval inspiration with Art Nouveau flair. All versions of this font contain the complete Unicode Latin A character complement, with support for the Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavan, Norwegian, Polish, Portuguese, Provençal, Rhaeto-Romanic, Romanian, Romany, Sámi, Samoan, Scottish Gaelic, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish and Welsh languages, as well as discretionary ligatures and extended fractions.

ITC Legacy¿ was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and character. As Jenson did not include a companion italic, Arnholm turned to the sixteenth-century types of Claude Garamond for inspiration for the italics of ITC Legacy. Arnholm was so taken by the strength and integrity of these oldstyle seriffed forms that he used their essential skeletal structures to develop a full set of sans serif faces. ITC Legacy includes a complete family of weights from book to ultra, with Old style Figures and small caps, making this a good choice for detailed book typography or multi-faceted graphic design projects. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e."" Featured in: Best Fonts for Logos

ITC Legacy¿ was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and character. As Jenson did not include a companion italic, Arnholm turned to the sixteenth-century types of Claude Garamond for inspiration for the italics of ITC Legacy. Arnholm was so taken by the strength and integrity of these oldstyle seriffed forms that he used their essential skeletal structures to develop a full set of sans serif faces. ITC Legacy includes a complete family of weights from book to ultra, with Old style Figures and small caps, making this a good choice for detailed book typography or multi-faceted graphic design projects. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e."" ITC Legacy® Sans font field guide including best practices, font pairings and alternatives.

“Innovation” best describes Naghi Naghashian’s new Decora Two font. It is a “Liaison amoureuse” between the Sans Serif typeface and English manuscript style. Decora Two is the second of a series of typeface that enables graphic arts professionals the flexibility to use modern initials. It enables, moreover, the use of this typeface for decorative headlines and is a boon for manipulations of both vector-based and pixel-based graphic programs. Typographers worldwide, whose alphabets derive from the Roman one, depend on such innovations in order to meet increased demands of modern communication. This typeface enriches the possibilities for typographical design, which in turn increases the delight in such design. It gives me great pleasure to present this series of new typefaces to my creative colleagues worldwide!

Wataha (in polish - wolf pack) is a sharp, robust uppercase family of 3 fonts: Bold, Heavy and Black. Perfect for posters, headlines and logotypes. With a range of OpenType features you have access to alternative letter shapes, fractions, arrows etc. Wataha supports most Latin-based languages and few others.

Disclaimer JNL is a narrow, ultra-compact sans serif design that's perfect for fine print clauses or anywhere space is limited - but word copy isn't.