This is my first fontrelease in 2021, and it's one of those "things will get better soon" kinda fonts (Here I am thinking about 2020, which was a year I am glad we just left!) Anyway, the first thing I ate in 2021 (not counting the "kransekage" after midnight) was a delicious and lovely tuna sandwich - or as I called it: Party Toast! Heh-heh! :) Well, it is a playful font with it's jumpy and slightly quirky letters. I've added 5 different versions of each letter and they automatically cycles as you type. I cross my fingers for a 2021 where everything gets back to normal!

German type designer Ludwig Übele created this serif FontFont in 2011. The family has 12 weights, ranging from Extra Light to Bold (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, music and nightlife as well as small text. FF Tundra provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. In 2011, FF Tundra received the TDC2 award. The typeface was also selected as one of Typographica’s favorite typefaces of 2011.

A classical 20-th century's (1900s to 1980s) typewriter font for both text and large display usage, titles, signage... A new thicker version of Selectric (2016), as if typed using not a thin carbon ribbon but a coarse fabric one. Both are available on a different models of Selectrics. Made after rare enough samples of the same style used during 1980s in the USSR. Based on the actual letter proportions of the original typewriter Selectric (2016) (Cyrillic ball). This time not monospaced as before, but proportional. The single known so far previous typewriter vector typeface with this 'ink blotting' effect (similarly expanded serifs) as in Dodo (2008) is ITC American Typewriter (1974; by Joel Kaden and Tony Stan) and all its hand drawn analogs from 1980s (and perhaps before). Which, in turn, is resembling ATF Bulletin Typewriter's (1925, 1933; by Morris Fuller Benton) overall proportions, geometry, and even had some natural ink expands in its paper sample (but not by design, as I see it).

Czech Tales font is a fantasy curly typeface inspired by the traditional Czech fairy tales. With a wide range of accented characters it supports the Basic Latin and the Western, Central and Eastern European groups of languages. It also includes some Open Type features such as alternates and over 100 ligatures. Designed in the Czech Republic at the end of 2012.

Berto is a variable monoline font face. With two stylistic sets it is flexible in usage either for display or for reading matters. It was specially drawn for a corporate design in 2011, and since then has been continuously rebuilt and extended to a font family with five weights and a variable font.

Angel Koziupa's familiar brush goes upright and narrow with Pinguino. Koziupa's approach to condensed brush fonts makes use of the same elements that have always distinguished his calligraphy from any other. With Pinguino, however, we see him softening his corners and adding a distinctly feminine touch to his exotic brush. Pinguino would feel at home on sobering coffee packaging just as it would on a bouncy mixed-fruit juice bottle. Try Pinguino for your next packaging project, and tell your client an Angel told you to use it.

Basim Marah is an Arabic display typeface and is useful for titles and graphic projects. The font is based on the simple lines of free style calligraphy. A collaborative effort, Basim Marah was designed and drawn by Basim Salem Al Mahdi from Iraq and then digitalized as a typeface by Hasan Abu Afash from Palestine. In November, 2008, Basim Marah was upgraded by working with Mirjam Somers an award-winning Arabic type designer to the DecoType font format for use in WinSoft Tasmeem which is now bundled with InDesign CS4.