An elegant family designed to be legible while saving maximum row space.

A collection of 174 corner deco, geometric, fan, palm and arc designs.

A decorative font design of many borders, ornaments and frame like illustrations.

An innovative font from Oporto Design, Indice is clean, modern and urban.

Based on the S. H. de Roos design, Amsterdam Foundry circa 1923.

An inline shadowed Clarendon designed in 1973 for VGC by Ernst Volker.

FleurAloha are flowery embellishments Hawaiian style! Your very "Aloha" designer, Gert Wiescher

Fiendstar Shaded has been designed to complement the Fiendstar family of fonts.

Based on the popular VGC typeface designed by Ronald Arnholm in 1972.

Pavane is based on the calligraphy of Art Nouveau designer Rudolph Koch.

Apollo13 is a custom decorative typeface for any type of graphic design.

Niju was designed and published by Mikaele Biana. Niju contains 1 style.

Outlined techno font designed on the 1990s. Perfect for true expressive artworks

Rudolfo is based on the calligraphy of Art Nouveau designer Rudolph Koch.

A set of figures designed at ParaType in 1992 by Elvira Slysh.

This font will help the beginner designer create their own wedding invitations.

Contains 21 isometric designs with six variations of each totaling 126 ornaments.

An original Freehand script designed for Mergenthaler in 1965 by Matthew Carter.

Fiendstar Cameo has been designed to complement the Fiendstar family of fonts.

Pure romantic and personal with lots of grace and tender designed curves.

A collection of 174 flower designs based on '50s and '60s textiles.

Make your designs stand out with a fresh and clearly crafted handwriting.

Transactive JNL is a simple dot matrix font design from Jeff Levine.

Eiger, a great display font by Intellecta Design. Contain only capital letters.

An original design based on Progreso from the Gans foundry circa 1923.

Contains 16 number ornament designs from 0 through 9 totaling 160 ornaments.

Each style is a collection of 174 illustrative and printer cut designs.

A Swiss Sanserif designed for FotoStar with traditionally straight elements deliberately curved.

Based on ‘Players,’ a typeface from English designer Adrian Williams, circa 1976.

Fiendstar Outline has been designed to complement the Fiendstar family of fonts.

Morris Fuller Benton’s 1931 design, reworking the model of Memphis for ATF.

Campi, a great display font by Intellecta Design. Contains only capital letters.

Tripper is a rock-hard display font family. The six styles – from Light to Black – of this robust stencil typeface will assure your text grabs all the attention it can get. Instead of settings large amount of texts, just use this font for a small amount of words. Or even better: just one word. But most importantly: make it really, really, really big. The lightest weight is pretty condensed, and slowly expands when the weight increases. The bridges – essential to a stencil font – have the same width across all styles, so you can safely apply all styles in the same size without the risk of stencils falling apart. Due to the absence of curves throughout the whole family, Tripper is suitable for more limited, industrial applications too. Tripper comes in several flavours. Next to the basic flavour, there is a stencil family which automatically creates borders around every letter, word or line. Then there is Tripper Rough, a textured version with that intelligent random, grungy look. Together with the previously released multi-colour font Tripper Tricolor, the complete family consists of 24 styles. Tripper is equipped with a bunch of OpenType features, like different figure styles, fractions, superiors, etc. But if all the OpenType ding-dong is not enough for you, just try the ornaments. The separate ornament font comes with icons, indicators, manicules, banderoles and patterns.

The Yorkten family of fonts is back with another satisfying addition to its clean style. The rhythmic, new Yorkten Slab expands Yorkten’s basic, contemporary form of geometric and simple lines and adds a level of self-confidence and elegance to your work. Slab's basic structure is compact. It’s more condensed than most slabs, so you can save space yet still have clear, consistent readability. The added serifs create a fresh text color, too, that syncs well with the new font’s inherited features. Like its predecessor, Yorkten Slab offers its natural, simple structure with more than fifty fonts in the family and three different widths - extended, normal or condensed. Each group has eight weights from a lean thin to tough looking black, giving Yorkten Slab plenty of bragging rights among its peers. And like Yorkten, too, Yorkten Slab’s greatest value is the ability of its members to work easily and well together and with a variety of other fonts. Yorkten Slab ensures that you have the necessary tools for any challenge. In combination with its superior functionality and excellent readability, this versatile font can be effectively used for many print and screen operations: e-books, applications, headlines, banners, posters and websites to name a few options. Don’t wait any longer. Start tapping the possibilities that Yorkten Slab offers your work.

Rufolo is a family of fonts that can be considered both aesthetic and utilitarian. It has an apparent serif, barely hinted at, whose clear past reference is a beautiful epigraphic script on the marble plate placed at the southern entrance of the Roman amphitheatre, in Pompeii. Perhaps its origin dates back to Ugarit's cuneiform writing (as Morrison suggests as the origin of the serif in "Politics and Scripts") whose characteristic triangular-shaped incision footprint produces a powerful trait that not only gives character to the writing but also facilitates its support and visual compensation of sizes with neighboring signs. Other clear inspirational references have been Robert Hunter Middleton's Stellar (1929); Albertus (1932) by William A. Dwiggins; Optima (1952) by Hermann Zapf; And more recently RRollie (2016) by our foundry. Rufolo collects the attractive characteristic of the stroke endings but the proportions of its structure becomes much more regular, the capitals are in line with a constant square module, while the above references retain the proportions of the Roman Trajan. Some endings strokes have slightly baroque reminiscence with the intention of giving it greater plasticity and aesthetic enrichment, but absolutely controlled, taking special care of the aspects of readability and expressive neutrality. Rufolo Family comes in four weight: Light, Regular, Bold and Black, accompanied by its corresponding Italic versions.