Altissimo is a display type family, derived from the Ample typeface, it has large x-height, optical mono linear and a bit squarish in nature. It has a smooth curve instead of sharp angles formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasise the message. It is graphically strong and commands viewer's attention. The overall appearance of this type is suitable in setting it as heading, title, headline, etc. The type family consists of seven weights viz. Thin, ExLight, Light, Regular, Medium, Bold and ExBold. Altissimo is designed by Aakash Soneri in a period between 2017 and 2018.

Tooting Sans is a well-crafted, contemporary humanist sans. Designed for the needs of editorial, advertising and signage, Tooting Sans is not only suitable for setting large amounts of text at small sizes, it also has a presence and robustness for powerful headlines. Tooting Sans has slightly condensed letters with clean lines, open forms and predominantly straight terminals, although some vertical strokes have angled terminals for variation. This helps to keep the flow of the copy alive whilst being economical with space and legible in both text and headline usage. Released as an OpenType font, Tooting Sans expands upon the standard sans serif character set to include Greek and Cyrillic glyphs, small caps, oldstyle figures, proportional figures, ligatures and improved support for Latin-based languages.

Makozin is a humanist typeface with a stylish appearance. Designed with a more fluid approach, makozin has more movement and curvature within stems, an angled stress and visible modulation. Together these features give a strong presence of the hand providing a comfortable read. Makozin's aesthetic dimensions both serve and enhance the design, making it the perfect tool for communicating in magazines; both in their print and online form, with attention grabbing headlines and easy to read body copy that follows. The true italics of this typeface are a real show stealer, they instantly create a sense of atmosphere, style and authority, complementing the uprights perfectly. Full details include 10 weights including italics, manually edited kerning and a range of OpenType features.

Sinkin Sans Narrow is a simple, pleasantly proportioned and easy to read sans-serif, available in all 9 standard web weights, 100 to 900, plus italics, so the face is a comprehensive illustration of the CSS web font numerical scale. Sinkin Sans fonts are designed with tiny, inconspicuous notches that sink into verticals at the intersections of strokes, adding highlights to congested corners. The incisions make right angles appear sharper and improve definition in more intricate characters. Sinkin Sans Narrow inherits the enviable clarity and readability of the luxuriously wide original family. The Narrow typeface, however, is designed to economise on space within busy web pages and has been sensitively condensed for maximum legibility. Each weight of Sinkin Sans Narrow is supplied with a free Italic.

Cell is a sturdy, geometric typeface with many potential applications. Though it is best suited to display sizes, its construction is simple enough for use in smaller settings. Its octagonal, almost mechanical design is softened by rounded corners. The face is characterized by a single thick stroke in each letter, lending it a unique appearance. It also features an oblique counterpart with several italic-style glyphs. Both members of the family also include small capitals mapped to the Private Use Area. Cell was designed to be at once simple and unique. Its grid-based structure is enhanced by slight adjustments for optical consistency. Glyphs which are normally round instead have 45-degree angles at the corners, sticking to the grid system without losing legibility.

Los Lana Pro is a handmade display typeface. Unlike other font families, this type has not a modular structure, that is, each character has been individually designed. The coherence of structure elements across different characters is given by irregular strokes. This curveless typeface is perceived as being curved because of its straight lines, which form different-size angles. Los Lana Pro is a rustic typeface that captures the stereotypical “Andean hippie” handmade aesthetics. Irregular shapes and broken lines give it a distinct personality. Los Lana Pro looks better in larger sizes. Includes many ligatures, two groups of alternate characters, and titling caps characters. Languages include: Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Romanian and Pan Africa Latin. Photos by Sergio Recabarren.

Compact sans, ideal for setting long texts in small or very small type sizes: for packaging, instruction booklets, drug information leaflets and anything else that has to be legible at very small sizes. Lean and rhythmical, designed ideally to be used at less than 8 points (Brevier was the old typefounders’ name for 8-point type), Brevier holds up well even under adverse printing conditions. The apparently geometric letterforms hide Renaissance characteristics, the x-height and openings are very generous and the strokes slightly modulated. In order to offset ink spread – which is inevitable when printing very small sizes of type – Brevier has large white spaces between the letters. All internal angles have deep ink traps and many connections have been left open.

AS HAREF is a contemporary geometric Arabic font, drawn and constructed carefully Font design is inspired by the ARABIC calligraphic style. AS HAREF Its structure is equal and visually controlled. Character forms are a combination of vertical straight lines that integrate visually with soft angles in some areas. This makes it a line of nature suitable for today's technological and visual development. The variations and weights of this font are suitable to use companies in their names and appearance, and also suitable with the titles and logos and is also used in all the requirements of advertising and long texts, use in headlines, logotypes, branding, books, magazines, motion graphics, web and Tv. AS HAREF consists of 7-weight versions from Thin to Heavy.

“Redzone” is a versatile display family developed as the workhorse typeface for the “Ultimate Football League”, a fictional football league passion project. With a strong focus on the sports branding industry, “Redzone” has a voice that is competitive and sophisticated, its letterforms featuring angled terminals and sharp serifs across 5 weights and widths. Its generous x-height and overall build makes it especially capable for headlines, thought it serves well for shortened body type as well. The “Redzone” name was debuted in October of 2017 as a titlecase font (later refined and renamed “Redzone Classic”), redesigned in November of 2018 with sheared and stenciled styles, and is now presented in the most streamlined version yet with the same charming fearlessness still present. Enjoy!

Lucifer Sans is a modern sans serif font rooted in Scandinavian geometry and minimalism, mixed with a healthy dose of black metal and irreverent attitude. Harsh vertical cuts and angles throughout the font creates a very strict and hard look, that can either be amplified or loosened up through its stylistic sets. Lucifer Sans family contains 162 font, 9 different weights and width, plus italics. In addition there are 3 different stylistic sets. This creates substantially diverse set of characters for contrasting against another and makes it a versatile font for different formats. Style 01 takes on an almost hand drawn style, while Style 02 enhances the geometric aspects of the font further. Style 03 uses only the rounded letter 01 without the hand drawn variations.

The origin of Ruskin was a commission for Michael Harvey to design a signage font for the Dean Gallery in Edinburgh. The style of the letterforms was to complement the period of the building which was originally an orphanage built in 1839. Only uppercase letters were created at first with the lowercase letters—and other characters necessary for a font—added later. With elegant and slightly extended letterforms, Ruskin fulfilled its rôle well as a signage font. It also functioned extremely well as a general display font. It is particularly suited to item descriptions and placards in galleries and museums which are frequently read from an angle, as well as head-on. The fonts have both proportionally and monospaced numerals.

Analogia is a digital interpretation of types used in the mid-18th century in books printed at Leuven by Martin van Overbeke. It is intended primarily for use in running text. The roman is businesslike, yet with a distinct personality; it has a generous x-height and is slightly condensed, though without appearing cramped. It is complemented by a more lively italic, which retains some irregularities in the angle of slant that are characteristic of the original. Analogia provides wide support for west, central, and east European languages that use the roman alphabet. Among its OpenType features are ligatures, small caps, several sets of numerals, contextual alternates, intelligent implementation of long ‘s’, and fractions. For more detail, please see the pdf available in the Gallery.

Rock Road is a racing theme font with sharp and consistent angles combined with a hard and strong style. So it looks very fast and powerful. So I made it a display font. Rock Road has an uppercase and lowercase version that doesn’t have a recing feel, so you can be more creative. In addition, Rock Road has a sans ligature feature that makes the great look. Rock Road would be perfect for Logo, title, logotype, cover, headline, apparel, comic, cover books, cards, posters, or anything that requires a horror or scarylook! Rock Road is also support multi language. To access the alternate glyphs, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw.

Ample is a display type family, optical mono linear and a bit squarish in nature. It has a smooth curve instead of sharp angles formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasise the message. It is graphically strong and commands viewer’s attention. The overall appearance of type is suitable in setting it as heading, title, headline, etc. The type family consists of six weights viz. Thin, ExLight, Light, Regular, Medium and Bold. Considering the nature of this type family, italics have been excluded. Ample is designed by Aakash Soneri in a period between 2013 and 2014.

Dederon Serif has been specifically designed for book setting. Preliminary sketches were drawn in 2004. Its inspiration – particularly its weight and width proportions – can be traced to the Liberta typeface from the TypoArt type foundry in former Eastern Germany. After a careful study of the model, the design of Dederon branched off into its own direction, finding its distinctive voice and becoming a wholly original type family. Dederon Serif kept most of the elements typical for the Old Style Roman lettering, such as the angle of the stress, the medium x-height, and lower contrast. In large sizes, the typical shapes of the letters stand out – the calligraphic feel characteristic for the Czech typefaces by Oldrich Menhart, the unusual serifs hinting at the angle of the pen, the shapes of the stems, or the terminals of dots and ears. Upon finishing the serif version, a Serif-serif variant called Dederon Serif was added. The construction principles are also derived from the Old Style Roman model, which lends the lettering its open, humanist feel. Yet the design also conforms to the rules of the modern Serif serif. Most characteristics of Dederon Serif match the serif version – the weight of individual cuts, the width proportions, x-height, ascenders' and descenders' length, and the slope of the italics. Each version of Dederon Open Type Std contains the standard Western Latin character set and the Central European characters; a number of basic and accented ligatures, small caps; old style, small caps and caps, table, fraction and superscript numerals; expert glyphs and alternative characters. This brings the total to a comfortable 820 glyphs per weight, permitting truly professional use in the most demanding projects.

Dederon Serif has been specifically designed for book setting. Preliminary sketches were drawn in 2004. Its inspiration — particularly its weight and width proportions — can be traced to the Liberta typeface from the TypoArt type foundry in former Eastern Germany. After a careful study of the model, the design of Dederon branched off into its own direction, finding its distinctive voice and becoming a wholly original type family. Dederon Serif kept most of the elements typical for the Old Style Roman lettering, such as the angle of the stress, the medium x-height, and lower contrast. In large sizes, the typical shapes of the letters stand out — the calligraphic feel characteristic for the Czech typefaces by Oldrich Menhart, the unusual serifs hinting at the angle of the pen, the shapes of the stems, or the terminals of dots and ears. Upon finishing the serif version, a sans-serif variant called Dederon Sans was added. The construction principles are also derived from the Old Style Roman model, which lends the lettering its open, humanist feel. Yet the design also conforms to the rules of the modern sans serif. Most characteristics of Dederon Sans match the serif version — the weight of individual cuts, the width proportions, x-height, ascenders' and descenders' length, and the slope of the italics. Each version of Dederon Open Type Std contains the standard Western Latin character set and the Central European characters; a number of basic and accented ligatures, small caps; old style, small caps and caps, table, fraction and superscript numerals; expert glyphs and alternative characters. This brings the total to a comfortable 820 glyphs per weight

LOVE angelo is a beautiful Font Duo that's perfect for branding, wedding invitations, and other romantic projects. Font Features: -Lowercase beginning and end swash -lowercase swash up and down -ligature -1 multilingual Serif font. All the features and special characters of this font are included in one file. So that it is easily accessible by using programs or software that support opentype such as Microsoft Word, Excel, Adobe Illustrator, Adobe Photosop, and Adobe Indesign). This font is also very easy to use as it is compatible for all software even for supported non-opentypes. Are you wondering how to find out a special feature or character? Dont worry. You will get a guide with the file if you download this font. Please send a message if you have any questions or concerns, and feel free to say hi on Instagram: https://www.instagram.com/slex_studio/

Hollywood Revue JNL gets its design inspiration and name from a vintage movie poster for "The Hollywood Revue of 1929". The letter style shows early Art Deco influences, yet the hand lettering was done in the late 1920s toward the end of the Art Nouveau period. MGM produced this early "talkie" all-star musical with a cast that included Jack Benny, John Gilbert, Conrad Nagel, Laurel and Hardy, Buster Keaton, Joan Crawford, Norma Shearer, Polly Moran and many others. This is the motion picture where Cliff ("Ukelele Ike") Edwards introduced "Singin' in the Rain" (composed by Arthur Freed and Nacio Herb Brown). Years later, Freed was a producer at MGM and gathered up many of the songs he and Brown wrote during the 1920s to form the musical core of the 1952 Gene Kelly-Debbie Reynolds-Donald O'Conner musical "Singin' in the Rain".

Pyke's Peak is a spirit type descended from Paeleoflex: The Angel of the Odd. Wraith-like forms mix Roman inscriptional letters with an ar'deco theme for an ethereal graphic art effect. Suitable for magazines and editorial design, book jackets & interiors, posters & broadsides, art & craft objects and other things needing a touch of the extraordinary. Over 500 extra characters give Pyke's Peak unusual range and ability. Mirror capitals, phantom forms, dot phantoms, "superposed" (overlapping) ligatures, capitalized ligatures and fitted pairs for hours of trippy rub-down arcadian magic. Includes hanging numerals, lining numerals, full punctuation, standard math & monetary symbols. Accented characters for Latin 1 and Latin 2 cover the following languages: Albanian, Catalan, Danish, Dutch, English, Estonian, Finnish, French, German, Icelandic, Italian, Norwegian, Spanish and Swedish. Available in OpenType format only. Pykes Peak comes in two versions: (1) Pyke's Peak the full-blown OpenType version with over 500 extra characters, (2) Pyke's Peak Zero, the zero cost version with full Latin 1 & 2 character set but no extra characters. Pyke's Peak Zero is free to download, is licensed for commercial and personal (non-profit) use, and may be embedded on webpages using the CSS @font-face property. This typeface is dedicated to Australian musician James "Jock" Paull, who is a free spirit.

Isard is a very agile typeface, honoring its name, which is the name of a type of mountain goat from the Catalan Pyrenees. It is a multipurpose sans serif typeface with a down-to-earht elegance, thought for information design as well as branding. Isard is warm and friendly which also makes it suitable for advertising, packaging, and magazine. It has a contemporary feel to it with its squarish curves, it has being built with legibility in mind, bearing a considerably large x-height. The family covers two scripts, Hebrew and Latin. It has seven weights, from the very sturdy Black to the delicacy of the Thin, with its italics.

The Waratah flower is the the emblem of the State of New South Wales, Australia and is unique in its color and design. So too is this new contemporary sans serif typeface that bears its name. With a warmth and friendliness that echoes its origin Waratah Gothic is at home in both text and display and has potential to become a font family with a variety of weights and italics. For corporate, packaging or simple one-line display settings Waratah Gothic is sure to please. Waratah Gothic features a generous x-height and subtle rounding on alternate terminals providing a softness that makes for easy reading.

Replay is a pure hymn to the classic typeface Caslon originally made by William Caslon (1692–1766). The typeface that bears his name, was made between 1720 and 1726. In 1739 he founded the Caslon Foundry which later become a property of Stephenson, Blake & Co., but remained an independent foundry until 1937. The typeface have been popular ever since it was made and still stand proud as a classic text face. MRF made detailed research, including versions from Adobe and Justin Howes. The end result is leaning more towards the original. Some minor »imperfections« are also incorporated in order to make the typeface more lively and old fashioned.

Isard is a very agile typeface, honoring its name, which is the name of a type of mountain goat from the Catalan Pyrenees. It is a multipurpose sans serif typeface with a down-to-earht elegance, thought for information design as well as branding. Isard is warm and friendly which also makes it suitable for advertising, packaging, and magazine. It has a contemporary feel to it with its squarish curves, it has being built with legibility in mind, bearing a considerably large x-height. The family covers two scripts, Hebrew and Latin. It has seven weights, from the very sturdy Black to the delicacy of the Thin, with its italics.

Isard is a very agile typeface, honoring its name, which is the name of a type of mountain goat from the Catalan Pyrenees. It is a multipurpose sans serif typeface with a down-to-earht elegance, thought for information design as well as branding. Isard is warm and friendly which also makes it suitable for advertising, packaging, and magazine. It has a contemporary feel to it with its squarish curves, it has being built with legibility in mind, bearing a considerably large x-height. The family covers two scripts, Hebrew and Latin. It has seven weights, from the very sturdy Black to the delicacy of the Thin, with its italics.

After the death of Uther Pendragon, long before Arthur was King of the Britons and before Galahad was destined to find the Holy Grail, the mighty sword Excalibur appeared, thrust into a Stone bearing the inscription; “Whosoever Pulleth Out This Sword of this Stone and Anvil, is Rightwise King Born of England!” While no champion worthy of becoming king was able to pull the sword, England was plunged into the Dark Ages... the legend on the stone aged, and became cracked and weathered... much as one might find on your stone tablet, ipad or mobile device. See the families related to Excalibur Stone: Excalibur Sword.

Winnie the Hoop is a bold, friendly and round display family inspired by a certain well known teddy bear. The family consists of three styles; Roman, Italic and Script, which are designed to be combined together. You can use any of the three styles as your main style and use the others to create multilayered typography that all share the same aesthetic. The typeface is well suited for branding and packaging design, advertisements, posters and even editorial design as a headline style. The Script is packed with ligatures and has Swash alternates that make it easy to customise your design. All styles include two sets of numerals.

Macha shares the same DNA as its sibling Anago, but is a completely different species than the former or any of my other sans serifs (Aaux Next, Air, Akagi Pro or Wasabi). It's no-nonsense construction bears many influences from Gill Sans and Frutiger while stubbornly blending my own humanist touch. The focus on developing Macha was just to get to the point with each letterform and discard the rest. Macha takes a little but gives a lot. A fully-loaded character set includes: Small Caps, Proportional Lining and Oldstyle Numerals, Tabular Lining and Oldstyle Numerals, Fractions, Ordinals, Inferiors, Superiors, Stylistic Alternates, Ligatures, Case-sensitive, and more.

The seventeenth century Dutch old faces have a distinct character of their own, and were the source for eighteenth century English type designs, such as Caslon. Christoffel van Dijck was one of the great Dutch typefounders, although this face, which bears his name, may not have been cut by him, it is nevertheless representative of the best designs from that period. The Van Dijck italic, for which original punches survive, is almost certainly the work of van Dijck. Drawn at Monotype under the supervision of Jan van Krimpen. The Van Dijck font is a graceful typeface, best used for setting books, quality magazines and articles.

Adrian Frutiger came up with this unusually purposeful and strong design in 1981 for Linotype. Early humanistic typefaces of the sixteenth century, especially Jenson, served as models for Breughel. The right sides of the stems are vertical and at right angles to the baseline while the left sides of the stem curve into the serifs, making the typeface look as though it slants to the right, and giving it a sense of movement and liveliness. The ductus of the broad-edged pen is reflected in the flow, rhythm, and texture of text set in Breughel, but at the same time this design has a regularity of form that is typographically solid. Breughel is an ideal typeface for the designer with skill and vision. Use it to create innovative publications, posters, and advertisements.

Document is an easy-to-read sans serif with large lower-case letters, but with one difference - it is slightly slanted to the right, but a lot less than a conventional italic angle. This is intended to give it a more informal and modern look than a perfectly upright font would be, and which also contributes extra dynamism while reading. It's a sort of in-between font, for situations where a boring old upright typeface is too formal and staid but where the italic version is too slanted and obvious. There are six weights, giving adequate representation for most jobs, from large bodies of text to headlines. The zip package contains both OTF and TTF versions - install either OTF or TTF, not both versions of a font on the same machine.

Ador is a humanist sans serif especially designed for contemporary typography and comes up with 8 weights from ultralight to black plus true italics and 343 ligatures. A large x-height not only creates space in the letters for extra-bold styles, but also lends Ador an open and generous character in the more narrow and semi-bold versions. The nice balance between sharp ink trapped and soft, dynamic shapes helps to work in small sizes. Diagonal stress, angled finials and the 4 degree true italic styles give Ador a dynamic look. The font contains 981 glyphs including small caps, tabular, old style, fractions … and a wide range of flexibility for Latin language support for every typographical needs. Ador is a contemporary sans serif typeface, special for logotypes, brands, magazines and editorial.

Meccanica is pretty unique and difficult to describe, suffice to say that it’s a geometric sans typeface with some hexagonal DNA. Meccanica’s defining features include soft, chamfered edges, angular bowls and shoulders, angled/hexagonal terminals, and semi-hexagonal ink traps (in a nutshell). View the microsite for full info: http://meccanica.info Meccanica was inspired by the mechanics of engineering – the humble nut and bolt in particular – it is a versatile typeface that will give your own typography a distinctive voice. Initially designed as a display typeface (for headlines, logotype, branding and short runs of text), Meccanica also reads well as body copy – particularly at smaller point sizes. Key features: • 9 weights in Roman and Oblique • Small Caps and Alternates • Full European character set (Latin) • 640+ glyphs per font.

Meloso is an easygoing typeface. It has a playful and organic feel that has its own hand-drawn charm while still being incredibly legible due to its simple shapes and high x-height. It has the unique ability to stand alone as a title text or work in small paragraph form. It's the perfect way to bring the friendly feel of an "imperfect" and slightly rounded font into your next project. Meloso is a variable font with 6 set weights. If you're using a program that supports variable fonts, you'll be able to choose any point between the "Extra Thin" and "Extra Bold" weights to get the perfect thickness and adjust the italic to the angle you need. You can also use the standard OTF files to have the 6 set weights.

AmpleAlt is a alternate version derived from Ample type family. AmpleAlt is a display type family, optical mono linear and a bit squarish in nature. It has smooth curve instead of sharp angle formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasis the message. It is graphically strong and command viewer's attention. The overall appearance of type is suitable in setting it as heading, title, headline, etc. The type family consists of six weights viz. Thin, ExLight, Light, Regular, Medium and Bold. Considering the nature of this type family, italics have been excluded. AmpleAlt is designed by Aakash Soneri in the year 2014.

A grungy, blocky, sans-serif font, Soto has one goal: get the message across. Saying it plain and simple, in a way that no-one can misunderstand, Soto’s very slight angles and thick style carry a weight and impact that make it stand out. With the textured finish it even jumps out from the backgrounds it’s placed on, so you can make use of the contrast to draw people in. Soto is best used in headlines and announcements that want to get their message across in an interesting and quick way. Stand out from the crowd and make people want to read what you’re writing by using a font like Soho to shout it out. If you like Soto but you're not feeling the grunge texture, then check out Ebisu.

Millie is a stressed, geometric script who spends her days as industrial lettering and her nights paired with blackletter on the patches of motorcycle gangs. Millie was weighted by the conventions of broad nib calligraphy, inspired by the Milwaukee Tools logo, and finds herself best used in logos and titles. She was designed to be used on about a 20 degree angle, though she looks just fine on a level plane. By using opentype, many ligatures, and two sets of stylistic alternates, Millie was developed to look great with any string of letters. Access the first stylistic set for a disconnected script look, and the second set for even more connections and fluid script than standard. Millie Round takes the edge off a bit, giving the entire set a more approachable and versatile feel.

Bralwood is a font that seamlessly blends modern sensibilities with classic vintage nuances. With a commanding display style, the font exudes elegance while retaining a nostalgic touch. Its letters boast bold and creative shapes, adorned with details that evoke the alluring essence of retro eras. What sets Bralwood apart is its delicate yet robust lines and sharp angles, lending visual strength to each character. Ideal for logo branding seeking to emphasize retro or vintage vibes, Bralwood imparts an exclusive and sophisticated feel to various design ventures. From posters to product labels and packaging, Bralwood adds a distinctive touch that captivates attention. With its ability to create enticing and captivating impressions, Bralwood stands as the perfect choice for designers aiming to convey powerful messages with a classic yet modern flair.

AmpleSoft is a softer version derived from Ample type family. AmpleSoft is a display type family, optical mono linear and a bit squarish in nature. It has smooth curve instead of sharp angle formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasis the message. It is graphically strong and command viewerís attention. The overall appearance of type is suitable in setting it as heading, title, headline, etc. The type family consists of six weights viz. Thin, ExLight, Light, Regular, Medium and Bold. Considering the nature of this type family, italics have been excluded. AmpleSoft is designed by Aakash Soneri in the year 2014.

Elioth is a humanist font with angled terminals as a identity of this product. Comes with a modern look, this font suitable for display and body text. Elioth is perfect for advertising, packaging, logo, editorial and publishing, branding and other creative industries. This family of 9 weights from Thin to Heavy along with italics contain several OpenType features: Stylistic Alternates and Figures Variation (circled number, fraction, tabular lining, numerator, denominator). With over 752 glyphs per style, Elioth supports around 150+ languages in Latin and Cyrillic script. Family overview: 9 weights (from Thin to Heavy) + italics Extended Latin Cyrillic 752 glyphs Variable Font 150+ languages OpenType Features: Localized Forms Subscript and scientific inferiors Superscript (Superiors) Numerators and Denominators Fractions Lining Figures Tabular Figures Oldstyle Figures Circled Number Case-Sensitive Forms Standard and Discretionary Ligatures Stylistic Alternates

AmpleSoft Pro is an extended version of AmpleSoft type family. AmpleSoft Pro Includes Extended Languages Character Set for following: Azerbaijan, Belarus, Bulgaria, Czech Republic, Kazakhstan, Latvia, Lithuania, Polish, Romania, Russia, Slovakia, Ukraine, Uzbekistan, Vietnam. AmpleSoft Pro is a display type family, optical mono linear and a bit squarish in nature. It has smooth curve instead of sharp angle formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasis the message. It is graphically strong and command viewer's attention. The overall appearance of type is suitable in setting it as heading, title, headline, etc. The type family consists of six weights: Thin, ExLight, Light, Regular, Medium and Bold.