Tango Alternatives

ITC Cushing has a long history. The typeface was originally designed by J. Stearns Cushing, a Boston-based book printer, and famous American type designer Frederic Goudy expanded it to include an italic weight. Under a special license from the American Type Founders, Vincent Pacella modified the design for ITC and added some additional weights. ITC Cushing is slightly condensed with large,... Read More

Nick Belshaw designed Belshaw in 1980 as a nostalgic tribute to Jugendstil mixed with a 1980s feel. Belshaw is a headline font and should not be used with a smaller point size than 12. It is a good font for initials in magazines or on posters as well as for very short texts. It combines well with sans serif fonts. Belshaw gives a strong and lively feel to any text.

Italia font is the work of Colin Brignall, a refreshingly different serif typeface. At first glance, Italia might seem comparable to any other square serif typeface, but it has a distinctive pattern all its own. Italia font can be used as either a display or text font and will give any text a unique look.

Just as the camera adds weight to human faces, serifs can add weight to typographic faces. Rod McDonald trimmed and adjusted his new Egyptian Slate design as it emerged from its sans serif predecessor, the Slate typeface family. Slate is a great sans serif design, and the addition of his Egyptian Slate to your typeface library will make it even more versatile.Egyptian Slate is a solid and... Read More

Amasis is a slab serif design which has been drawn with a humanist approach, rather than the traditional geometric construction associated with this style of letter. The result is a typeface that has an affinity with the Ionics, although in character it belongs to the latter decades of the twentieth century. The Amasis italic fonts, rather than being sloped roman or cursive in nature, are... Read More

Because of its linear nature and relative loose fit, FF Alega may be used in a variety of circumstances, producing headlines or even for setting text. When Rückel designed FF Alega, he did not consider adding a serif version. But following the typeface’s release, he experimented with the idea and decided that the effort was worthwhile. FF Alega Serif has a technical look, but is very readable.... Read More

These days, it’s easy to find typefaces with multiple widths and weights, but they’re nearly all sans serifs. Large serif families are... Read More

FF Atma Serif is an extensive text family that offers designers small caps in three different sizes, along with matching figures and punctuation. The design is rather timeless, with neoclassical qualities like vertical stress, but with less contrast and greater legibility than more romantic types – e.g. those based on the work of Bodoni, Didot, Fournier, or Walbaum. The three sizes of small... Read More

The first cuts of Kabel appeared in 1927, released by the German foundry Gebr. Klingspor. Like many of the typefaces that Rudolf Koch... Read More

Xavier Dupré’s FF Absara is a work of French proportions, but its shapes take influence from the Dutch style: less polished, and more direct. Its casualness refers to humanist written forms. FF Absara’s rough cut makes it interesting at display sizes, but thanks to its generous x-height and firm serifs, FF Absara works equally well setting text. The typeface’s idiosyncratic italic creates a... Read More

Koufiya is designed by Nadine Chahine in 2003 as part of her MA project at the University of Reading, UK and later released by Linotype in 2007. It is the first typeface to include a matching Arabic and Latin designed by the same designer at the same time with the intention of creating a harmonious balance between the two scripts. The Arabic part is based on the Early Kufi style popular in the... Read More

Brighton was designed by Alan Bright with a feeling of warmth in the design. Its charm lies in the simple construction of its letterforms which makes it suitable for nearly any typographic requirement.

Rudolph Ruzicka designed his font Fairfield as a legible text font. His philosophy: "The reader expects optical assistance with reading. He does not want to be distracted while interpreting and understanding the ideas of a text." Fairfield font is based on the forms of Venecian Old Face fonts as well as on the designs and details of Art Deco, giving the font a distinctive appearance

Worcester is a typeface from the rural english and anglo american life in the late 1920th.

Pacella was designed by Vincent Pacella and fashioned in the tradiation of Century Schoolbook, Corona and Nimrod. Pacella maintains high legibilty and exhibits a character and personality all its own.