‹Exile› is a display stencil font inspired by music and iconic logo of The Rolling Stones. I thought it would be a great challenge to design bands' custom font for fun as my personal project. My idea was to design stencil typeface becouse of its utility. It needed to be bold and loud without compromises in design—it needed to be all caps. The contrast between swashy, soft tongue-like elements and sharp, heavy slab serifs give it unique look I was looking for. Its name comes from one of my favourite Stones' album ‹Exile On Main St.›

— Exile is designed by Bartłomiej Rózga of Google Fonts.

‹Unna› is a transitional typeface, with 4 weight variants, plus matching italics. Its visual character has a neoclassical vertical texture, but Unna shows its own tenderness, through delicate serifs and strong stems. Therefore it is great for literature books. It was designed by Jorge de Buen, who was inspired by his mother’s surname, and developed by the Omnibus Type team.

— Unna is designed by Jorge de Buen of Omnibus Type.

‹Combat› comes from an early XXth century anarchist newspaper published in Limoges, France, called ‹Le combat social›. Only the 10 letters of the title were created for printing. 100 years later, the font exists on its own.

— Combat is designed by Martin Desinde of Velvetyne.

‹Malebolge› is a typeface named after the eighth circle of Dante's hell, which is reserved for minor fraudsters, and which is divided in ditches (a bit like the edges of these letters). ‹Malebolge› is inspired by the dark times of 2020—global pandemics, despotism, poverty and inequality rising.

— Malebolge is designed by Ariel Martín Pérez of Tunera.

‹Bogam› features a bold typeface specifically crafted as a headline display font. With its unique and catchy form, it is perfectly suited as a wordmark for a band seeking a design that is bold and playful yet still assertive. The name ‹Bogam› is inspired by the capital letter ‹G› in the ‹Bogam› font. Its shape resembles a clenched fist as if poised to punch, an expression colloquially referred to as ‹Bogem› in everyday language, which was then playfully adapted into ‹Bogam› to sound more comfortable and fitting, as well as easier to pronounce for international customers.

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‹Bogam› memiliki bentuk font yang tebal, yang memang dibuat sebagai headline display font. Dengan bentuk yang unik dan catchy pas digunakan sebagai wordmark sebuah band yang menginginkan bentuk tebal dan lucu tapi tetap tegas. Nama ‹Bogam› terinspirasi dari huruf kapital ‹G› dalam font ‹Bogam›. Bentuknya seperti jari yang mengepal seperti sedang ingin meninju dan hal ini dalam bahasa sehari hari disebut ‹Bogem› dan diplesetkan menjadi ‹Bogam› agar lebih nyaman dan pas serta sesuai dengan pengucapan costumer dari luar negeri.

— Bogam is designed by Reza Rasenda and Riska Chandra Dewi of Bagerich.

Alisa Nowak’s ‹Excon› is a versatile six-weight family of sans serif fonts; it is also a tribute to the work of the master French designer Roger Excoffon (1910–1983). ‹Excon›’s letters are top-heavy, a rarely-explored idea in type design Excoffon himself experimented with decades ago. He was followed in this later by a few colleagues in The Netherlands. By referencing Excoffon’s style, ‹Excon›’s design drinks from the fountain of French-style sans serifs from the 1950s and 60s. ‹Excon› is an excellent choice for corporate identity and editorial design work.

The typeface’s letters include some stroke contrast—otherwise their top-heaviness would not be visible—and other typical mid-20th-century traits, like its mixing of a double-storey ‹a› with a single-storey ‹g›. The stroke contrast is dialled-down in the family’s lightest Thin weight, but by the Black, the contrast is quite pronounced in many characters. ‹Excon›’s lowercase has a tall x-height, paired with ascenders that are noticeably taller than the capital letters. Its numerals are proportionally-spaced, and drawn to be as tall as ‹Excon›’s caps.

— Excon is designed by Alisa Nowak of Fontshare.

The ‹Riks› stencils, completing Sindre Bremnes’ Telefon family, is in part based on the seven letters adorning the sides of the telephone kiosk by the same name, designed by architect Georg Fredrik Fasting in 1932. In Bremnes’ all-purpose Telefon typeface the original stencil ‹O› is relegated to a stylistic set—in ‹Riks› its stencil logic is applied to the entire character set.

Fasting submitted his drawings for the competition to design a new public phonebooth announced by Oslo Telefonanlegg in 1932. His winning design, ‹Riks›, would since become an icon of Scandinavian Functionalist architecture, following only two years after Svenska Slöjdföreningen’s influential 1930 Stockholm exhibition.

There is a certain irony to Georg Fredrik Fasting’s story. While his fellow countrymen embraced ‹Riks›, he himself could not use his own creation—he was born without ears. Coming from a family of workers and smallholders in Bergen, Georg entered this world a shy and secluded character. This changed in 1959, when the 56 year old Fasting’s diary contains a remarkable entry: «I CAN HEAR!» The designer of a beloved telephone kiosk was the world’s first person to have ear canals surgically constructed and eardrums fitted.

The ‹Riks› stencil fonts are available in two styles: Normal and Negativ. The latter offers master drawings for producing typographical stencil letters capable of reproducing any text. Why is ‹Riks› free? There are two reasons: Firstly, we want more people to notice our work, and ‹Riks›, being a relatively simple production (or so we thought) derived from an older design, seemed fitting for such a giveaway. Secondly, we consider these letterforms a piece of Norwegian cultural heritage and thus only fair to offer free-of-charge to the general public.

— Riks is designed by Sindre Bremnes and Frode Helland of Monokrom.

The ‹No Tears› font is based off of the letterforms taught in the «Handwriting Without Tears™» handwriting program. This makes it ideal for worksheets and other educational material. The font comes complete with uppercase and lowercase forms as well as numbers and some punctuation. It also comes with the ability to create dotted writing template by typing the number symbol.

— No Tears is designed by Owen Earl of Indestructible Type.

‹Tangerine› is a calligraphic typeface inspired by many Italian chancery hands from the 16th and 17th centuries such as Giovanni Francesco Cresci. Its tall ascender, the most distinct characteristic of this type, takes a wide line space between lines and gives a graceful texture. Use ‹Tangerine› for titles or short texts at large sizes.

I was just off my university and started making this typeface as my first script. I regularly posted the progress to Typophile, the most active online forum on typography back then. This is where my design got picked up by Google which was about to launch a new service called web fonts. It was 2009 and web font was a revolutionary new technology.

It wasn’t particularly made for on-screen purpose, but perhaps that is why it was chosen as a good example to demonstrate the visual distinction web fonts can make. It was a great honour for me to be among the first 10 offerings. As an answer to the frequently asked question, Google Web Fonts including mine are open-source and entirely free to use for commercial purposes. Outside of the web uses, I frequently see it used in books, cafes and similarly individually owned shops.

I made it for a woman after whom the typeface was named, and I say no more :)

— Tangerine is designed by Toshi Omagari of Google Fonts.

‹Chivo› (‹goat› in Spanish) is the first Omnibus Type neo-grotesque typeface family. It has 7 weight variants, plus matching italics. Its solidness and balanced strokes give ‹Chivo› both elegance and practicality. ‹Chivo› Regular works perfectly in long-reading texts, while ‹Chivo› Black is ideal for headlines, banners and highlights.

— Chivo is designed by Héctor Gatti of Omnibus Type.

The ‹VG5000› takes its name from the homonymous computer manufactured by Phillips, released in 1984. Its video processor displays bitmap characters built in a common matrix of 8x10 dots. The modern ‹VG5000› is built on a grid 4 times more detailed, allowing more freedom and imagination of curves, where there were only right angles. The superposition of the new drawing onto the starting matrix sometimes reveals unexpected mixtures. Some right angles have been deliberately preserved as vestiges of the first digital fonts, offering a hybrid final shape. One of the inherited features is the accents that are always placed at the same height, forcing some letters to crash. Many glyphs and pictograms complete the ‹VG5000›'s original set, including references to ‹VG5000› games and the history of emoji.

— VG5000 is designed by Justin Bihan of Velvetyne.

‹Manosque› is a typeface inspired by lettering found in the train station of ‹Manosque› (a city in the south of France). It’s also based on other letterforms used in public signs and transportation during the late 19th century and the early 20th century in France. During the process of studying those designs, the designer found that drawing them with a flat brush was a good way to harmonise the shapes coming from its different sources, so that’s how ‹Manosque› in its present form was born.

— Manosque is designed by Ariel Martín Pérez of Tunera.

‹Kuga› font is a futuristic typeface developed from practice materials by vocational high school (SMK) students interning at Bagerich. The font intentionally has a simple form, making it easy to use as learning material for students who want to learn how to create fonts. The name ‹Kuga› is actually an abbreviation of ‹Kurang Tenaga›, as the font was created effortlessly, with the sole purpose of helping students easily follow basic training in designing simple fonts as part of their internship activities at Bagerich.

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‹Kuga› font futuristic hasil dari bahan praktek anak SMK yang magang di Bagerich. Jadi font itu memang memilik bentuk yang simple, mudah untuk dijadikan bahan anak-anak sekolah yang ingin belajar membuat font. Nama ‹Kuga› sebenarnya adalah singkatan dari ‹Kurang Tenaga› karena memang pengerjaan font-nya yang effortless hanya bertujuan untuk memudahkan anak-anak mengikuti pelatihan dasar membuat font simple sebagai bahan magang mereka di Bagerich.

— Kuga is designed by Reza Rasenda and Riska Chandra Dewi of Bagerich.

Boldonse is one of our creations inspired by the form of gym equipment, specifically the barbell, centered on the fusion of a bold, massive visual presence with modern functionality. The name Boldonse is a blend of Bold and Condense.

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Boldonse adalah salah satu karya kami yang terinspirasi dari bentuk alat peraga gym, yaitu barbell, berfokus pada perpaduan antara kekuatan visual yang masif dengan fungsionalitas modern. Penamaan Boldonse adalah singkatan dari Bold dan Condense.

— Boldonse is designed by Ahmad Muzayyin Syarkawi, Muhammad Aswar and Andi Syahdan of Universitype.

‹Segment› is an LCD-style display font from Frode Helland, an Oslo based designer. True to its name, all of the letterforms in the font are constructed out of segments. This is a perfect choice for use in poster design, as well as for identity work for small businesses inside of cities with good public transit systems. The font would also work well in headlines for articles that touch on digital subjects.

Despite the late-twentieth century technology whose style this font is based on, ‹Segment›’s design language is actually older and more eclectic. To begin with, for an experimental display font, ‹Segment› is most unusual because its letters have serifs. Its old-fashioned style is also particularly apparent in the top-half of the ‹7›, which approximates a wavy horizontal stroke, as well as on the bottom of the ‹2› and in the Pound Sterling currency symbol. The capital ‹R› has a long, sweeping diagonal tail.

As you would expect from a classic electronic display font, ‹Segment›’s characters are monospaced. All of its glyphs share a common width. The font is also caps-only; the lowercase slots are filled with duplicates of the uppercase letters. None of the base letters like ‹J› or ‹Q› have descenders, but the design leaves ample room above and below for the diacritic marks required by various European languages.

There are five glyphs in ‹Segment› representing the base grids on which either all, or some, of the ‹segments› in the font have been designed. The character set also contains over a dozen different currency symbols and two OpenType Stylistic Sets, which each offer alternate forms for the font’s range of punctuation marks.

— Segment is designed by Frode Helland of Fontshare.

In my childhood there were still lots of bits and pieces left of Interbellum Norway, at least visually: Tobacco logos and sweets wrappers, hand lettering, road signs and train stations, even mastheads on newspapers and magazines—it took quite a while before 30’s functionalism left Norway, never to be seen again. Those letter shapes formed my idea of how letters are supposed to look.

‹Telefon› started with a Christmas gift from my daughter: A book on the original, iconic Norwegian telephone booths, with good pictures, but sadly set in Helvetica. The original lettering was different from that on the remaining ones—someone filed down those gorgeous ‹N› spikes and neutralised the ‹E› and ‹F› crossbars, probably in the 60’s. But my memories of the weird geometry of those six letters ‹TELEFON› (I deliberately didn’t look at them while drawing) became the inspiration for what eventually turned into a typeface.

When drawing type, I never make any sketches. I start drawing directly in the font editing program I use, often not having much of an idea what I am going to draw. ‹Telefon› was actually the result of me teaching myself how to construct a geometric typeface.

A good share of Norwegian street signs are still of that old variety; the typeface a weird cross between the DIN types and more geometric shapes, to some degree resembling Jakob Erbar’s eponymous typeface. The new ones are of course vastly inferior in all respects, since hardly anyone knows typography in Norway anymore.

‹Telefon› is my first completed design, which probably makes me a member of the not-so-exclusive club of type designers who choose some kind of geometric sans serif as their first typeface. However, it is easy to underestimate the challenge of making a geometric typeface readable, attractive and interesting. In fact, it is very hard. I’ve tried redeeming ‹Telefon› by making it friendlier than Futura: the proportions are less severe, the corners are soft, the two-storey ‹a› and the rather loose spacing makes it useful for more than display typography. You could even set a book in ‹Telefon›; it would actually be the perfect choice the next time someone writes a book on the Norwegian telephone booth.

— Telefon is designed by Sindre Bremnes of Monokrom.