Pragmatik is a carefully crafted Square Sans by Christopher Stahl, awarded with a Commendation at the Art Director's Club Germany Junior Competition 2011 and selected as Font of the Week 42.2011 by Typolution.de. The design is influenced by the heritage of German industrial typesets like DIN, yet the use of forms and proportions feels modern and fresh. The family consists of three weights with matching italics, thus making a total of six fonts. The high x-Height and the sturdy design provide a good legibility in body text, while in larger sizes the exciting details and alternates create headlines full of atmosphere. Features: - 350 glyphs supporting central and western European languages as of DIN 16518 - over 500 manually adjusted kerning classes and pairs - available in Open Type with a host of Open Type features, such as: - proportional lining, lining table and proportional oldstyle number figures - 7 default and 16 discretionary ligatures that especially cater the needs of the German and English language - a variety of stylistic alternate figures like a stencil like i and j or an old-style Eszett.

Georgia was originally designed in 1996 by Matthew Carter and hand-tuned for the screen by Tom Rickner. The Georgia family received a major update in 2011 by Monotype Imaging, The Font Bureau and Matthew Carter. Georgia is the serif companion to the sans serif screen font, Verdana. It was designed specifically to address the challenges of on-screen display with elegant yet sturdy and open forms. If you must have one serif face for reading on a computer, then you've found the best one right here. The original Georgia family included four fonts: regular, italic, bold and bold italic. The new and expanded Georgia Pro family contains 20 fonts in total. The Georgia Pro and Georgia Pro Condensed families each contain 10 fonts: Light, Regular, Semibold, Bold and Black (each with matching italic styles). Georgia Pro includes a variety of advanced typographic features including true small capitals, ligatures, fractions, old style figures, lining tabular figures and lining proportional figures. An OpenType-savvy application is required to access these typographic features.

Bo Berndal, the master Swedish typographer, is the eponymous designer of Berndal, a contemporary text family with five different styles. This family represents a new achievement for Bo Berndal, who has spent many years working to optimize text legibility in the printed media. Several small tricks make the Berndal family an interesting milestone in legibility. Berndal's letterforms contain large x-heights. Large x-heights open up the counterforms of letters, making text appear lighter on a page, but their correspondingly shorter ascenders and descenders can hinder legibility. This does not occur in Berndal at all! Coupled with this experiment, Berndal's various font weights display a certain softness and roundness. The letterforms themselves are relatively wide, with an overall consistency in width. The calligraphic nature of the strokes has been minimized, yet a contrast stroke-thickness is still to be noticed within the alphabet. Berndal's five styles offer almost everything that one could want from a good text family. The Regular weight may be paired with Small Caps, Italic, Bold, and Bold Italic. All styles ship in the OpenType format, and include tabular and old style figures. The two italic weights are made up of true italics, not obliques. The Berndal family is a part of the Take Type 5 collection from Linotype GmbH."

In parts of Africa, in the poorer, rural and peri-urban areas there are many small shops or convenience stores which are called "Spaza" shops. The owners of these shops often don't have access to commercial signwriting and write their signs themselves. The font "Spaza" is based on these hand-lettered signs. This lettering has a refreshing simplicity and spontaneity, yet retains great legibility. In the font "Spaza", there are three styles: - Spaza Regular - with normal upper and lower case; - Spaza Small Caps - in which the lower case is a true "small caps" and not a shrunken version of the upper case (generated by the operating system); - Spaza Double Caps - in which the lower case characters have been replaced by an alternate set of capital letters. The font thus contains two sets of differing upper case characters. You can use characters from both these sets to give a true feeling of randomness because if the same character occurs twice in a word, different versions of the character can be used. Spaza can be used with great effect in a great variety of applications such as advertisements, flyers, posters and in magazine pages. Spaza contains a full character set and has been carefully spaced and kerned.

Etruscan was the language of the Etruscan civilization, in Italy, in the ancient region of Etruria (modern Tuscany, western Umbria, northern Latium, Emilia-Romagna, Veneto, Lombardy and Campania). Etruscan influenced Latin but was eventually completely superseded by it. The Etruscans left around 13,000 inscriptions that have been found so far, only a small minority of which are of significant length; some bilingual inscriptions with texts also in Latin, Greek, or Phoenician; and a few dozen loanwords. Attested from 700 BC to AD 50, the relation of Etruscan to other languages has been a source of long-running speculation and study, with its being referred to at times as an isolate, one of the Tyrsenian languages, and a number of other less well-known theories. The consensus among linguists and Etruscologists is that Etruscan was a Pre–Indo-European,and a Paleo-European language and is closely related to the Raetic language spoken in the Alps, and to the Lemnian language, attested in a few inscriptions on Lemnos. Grammatically, the language is agglutinating, with nouns and verbs showing suffixed inflectional endings and gradation of vowels. Nouns show five cases, singular and plural numbers, with a gender distinction between animate and inanimate in pronouns. Etruscan appears to have had a cross-linguistically common phonological system, with four phonemic vowels and an apparent contrast between aspirated and unaspirated stops. The records of the language suggest that phonetic change took place over time, with the loss and then re-establishment of word-internal vowels, possibly due to the effect of Etruscan's word-initial stress. Etruscan religion influenced that of the Romans, and many of the few surviving Etruscan language artifacts are of votive or religious significance.

Albireo is a typeface for those times when you have more to say than space to say it. It also looks fantastic spread out across the page as though space doesn’t matter. Expertly crafted with a high level of attention to detail, Albireo is an immensely practical and flexible typeface that’s neutral enough to be used almost anywhere a highly condensed, sans-serif face is needed. Despite its down-to-earth functionality, this is a typeface that definitely isn’t lacking in style. It really shines when used for headlines or subheadings in magazines, brochures, posters, newspapers, flyers or on the web. With 42 weights, widths and italics, there’s enough flexibility to make every word fit perfectly. You may buy one font at a time or save money by purchasing packages consisting of the 14 fonts in each width (Extra Condensed, Condensed or Semi Condensed). Save even more by purchasing the entire collection and, in addition to the 42 separate fonts, you'll receive two variable fonts (upright and italic) that cover all the weights, widths and everything in between. So where does the name come from? Well, look upwards at night. Albireo is a binary star in the constellation Cygnus. Through a backyard telescope, Albireo (the star) resolves into two brilliant component stars — one orange and one blue. The beginnings of the typeface were the result of me needing a newspaper feature headline about space exploration. I couldn’t find the right typeface, so I drew my own letters and eventually expanded it out into an entire mega-family. Given its origins, naming it after my favorite star seemed totally appropriate. Check it out. I think you’ll love it. Albireo deserves its place as a shining star in everyone’s font collection. It’s that good — really.

Conrad X. 'Cobb' Shinn (Sept. 4, 1887- Jan. 28, 1951) was a Fillmore, Indiana-born post card illustrator who sold a series of successful novelty postcard lines which included (among others) Charlie Chaplin, automobiles and the Dutch culture in the beginning years of the 20th Century. After serving in World War I, Shinn found the market for novelty postcards dwindling, and he also lent his artistic skills to cartoon features and illustrating many children's books [including his own, under the nickname 'Uncle Cobb'] which taught easy step-by-step drawing methods. Some time in the 1920s, he eventually migrated into the field of supplying electrotypes and stereotypes of 'stock cuts' of photos and line art to the printing trade. In the days of letterpress printing, this was the forerunner of paper clip art and its successor, electronic clip art. Purchasing many of his designs from 'journeyman' artists of the time, the diversity of Cobb Shinn's stock cuts library grew with the passing years, reflecting changing times, styles and topics. Some of the illustrators whose signed works were presented in Shinn's 'CUTalogs' [as he called his stock cuts catalogs] include Mary Clemmitt, Louis H. Hippe, E.C. Klinge, Nelson White, Harvey Fuller, Bess Livings, Lois Head, Harvey Peake and Van Tuyl. Upon his passing in 1951, it's not known how long the Indianapolis-based company existed before finally closing its doors. One of the more popular series of cartoons were the line illustrations of men and women affectionately called 'little big head guys' by many modern fans of these cuts because the heads of the characters were drawn somewhat larger than the rest of their bodies. Shinn Kickers JNL is a collection twenty-six of these illustrations, and just like a kick in the shin (as the pun in the name implies), these charming cartoons get your attention.

Bigfoot is the fattest font ever made. It began as a simple exercise given to students in a design course: Most people don't appreciate type because they don't really know what it actually is. One way to understand it is looking at it like a combination of sculptures that have to work together to achieve a certain harmony, where each letter form is one of those sculptures. Most people understand and appreciate that a sculpture starts from a rock of an incomprehensible form, which is manipulated by someone into becoming the recognizable or abstract work of art it eventually is. Consider type design a kind of two-dimensional sculpting. You have a rectangle. Take away as a little as possible from it until it is recognizable as the letter A. Repeat to get the letter B, and so on. After all 26 minimal letters are made, do they actually function as an alphabet to build words and sentences that are recognizable to the human eye? This exercise can trigger thoughts and theories about the overall subjective nature of identifying abstract yet somewhat familiar shapes. It can go into the psyche of art in general. But one thing for certain, this exercise has so far helped a few people find a new appreciation for finely crafted typefaces. If you are a design educator, your students' typographical perspective and arguments would benefit from it. And if you are a designer, well, fat faces are all the rage these days, and this is as fat as it can get. Please note that that this typeface, due to its minimalistic nature, does not include accented characters. It does however support the full C0 Controls and Basic Latin Unicode set. All proceeds from this font go to support the Type Club of Toronto.

The Maiandra family of typefaces were inspired by an early example of Oswald Cooper's hand-lettering, as seen in an advertisement for a book on home furnishing, circa 1909. Although many of Oz Cooper's letterform designs were cast in metal type, this particular one was not. Cooper's design itself was inspired by examples of letterforms he had admired in his study of Greek epigraphy (inscriptions). Cooper combined those ancient forms with the flair characteristic of design styles of his time. The result was an attractive design possessing subtle, purposeful irregularities, or "meanders" in his skilled brushwork. The Cooper design exhibits a unique warmth and harmony in text, while presenting a compelling rhythm, color and texture on the page. "Realizing the presence of this uniform warmth and readability," notes Dennis, "I decided to expand the design into a family of three weights with companion italics." The weights for the Maiandra family were selected for their versatility in usage over a broad range of output device resolutions. Indeed, "the consideration of eventual display resolutions, be they for screen or printer, provided the greatest challenge in the design of this typeface family," explains Dennis. Creating shapes that conform to the rigors of digital letterforms and modern rendering environments, without losing the unique characteristics of Oz Cooper's original design, is what Dennis has accomplished with his tribute to this great designer of the past. Maiandra, whose name derives from the Greek 'maiandros', meaning 'meander,' is intended for extended text use, as well as for informal subject matter, such as business correspondence, brochures and broadsides. "An example of a good use for Maiandra," notes Dennis, "is in printed matter relating to the turn-of-the-century art period known as the Arts and Crafts Movement. It can stand alone or be used with designs that complement its shape and color."

The Bauer Typefoundry first released the Beton family of types in 1936. Created by the German type designer Heinrich Jost, the present digital version of the Beton family consists of six slab serif typefaces. First developed during the early 1800s, by the 1930s slab serif faces had become one of many stock styles of type developed by foundries all over the world. Because of their distance from pen-drawn forms and their industrial appearance, they were seen as “modern” typefaces. (Their serifs kept them from being too modern.) The first slab serif typefaces were outgrowths of didone style text faces (e.g., Walbaum). As newspapers and advertising grew in importance in the western world (especially in “Wild West” America), type founders and printers began to create bigger, bolder typefaces, which would set large headlines apart from text, and each other. Through display tactics, businesses and industry could begin to visually differentiate their products from one another. This craze eventually led to the development of monster sized wood type, among other things. By the 20th Century, the typographic establishment had begun to tame, categorize, and codify 19th Century type styles. It was in the wake of this environment that Jost developed Beton. The Beton family is a type “family” in a pre-1950s sense of the word. Although six styles of type are available, only four of them fit in logical progression with each other (Beton Light, Beton Demi Bold, Beton Bold, and Beton Extra Bold). The other two members of the family, Beton Bold Condensed and Beton Bold Compressed, are more like distant cousins. They function better as single headlines to text set in Beton Light or Beton Demi Bold, of as companions to totally separate typefaces.

Looking for something new for setting powerful headlines? Need a font that can create logos with ease? How about something masculine, a design with authority and panache? Then ITC’s newest typeface, ITC Sportbet™, may be the perfect choice. ITC Sportbet is a design that should be set tight, creating an arresting graphic image as well as words. Although a capital-only typeface, it benefits from a large suite of alternate characters that enable individual words and headlines to be customized with a distinctive personality. In addition to the obvious power of ITC Sportbet’s square-jawed character shapes, it’s fun to use. Exchange one or two letters with their alternative designs and a brand new headline or logo appears. ITC Sportbet was designed by Dane Wilson, the principal of the London-based design firm of Dane Design. Although this is his first commercial typeface design, Wilson has ample experience creating logos and custom typefaces for corporate branding. In fact, Sportbet grew out of such a project. “The idea initially came from wanting to provide a client with a stylish, modern and graphically impactful corporate identity logo font,” recalls Wilson. “Although the first sketches looked promising as a typeface, because of time and budget constraints, developing an entire alphabet would be overambitious.” Not to be deterred, Wilson continued to work on the design when time permitted. He eventually completed the font and started final application tests. The results looked good to Wilson, but he felt that the design was missing something. “I hit upon the idea of breaking out the left side of all the closed counters,” Wilson wrote about the design. “This simple device gave Sportbet the kick it needed.” Although one weight and a capital-only typeface, Wilson’s ITC Sportbet should prove to be a powerful and versatile communicator.

The original sketch of Joker was drawn by Viktor Kharyk in 1978 as experiment on creation type by a method of subtraction. In 2000 the font was digitized, modified and Hebrew, Greek, Georgian, Armenian and Arabi? alphabets and outline style were added. As a display face, Joker allows the creation of decorative compositions, easily combining a vertical and horizontal arrangement of words. Its characters are easy for filling with images. In line the face creates ornamental effect very appropriate for logotype design. The font is good to set small expressive advertising texts also. Joker type family received the third prize at TypeArt 2001 Cyrillic type design competition in Moscow.

Afronaut PRO (New version of typeface published in 2019) was inspired by vernacular Latin & Arabic typography in St. Louis (on Senegal-Mauretania Border, Africa). Geometric forms working well and contrasting with smooth, round elements. After reading "Afronautics – from Zambia to the Moon" by Bartek Sabela (about Zambian conquest of space) a breif was set to create typeface that looks like mix between: vernacular Arabic script, futuristic typography and some special lettering that I found in Africa during my travels to Guinée, Bissau, Gambia, Senegal, Mauritania and West Sahara. Afronaut has seven weights, also many letters have 3 different forms. Afronaut PRO can work as regular version of my Yalla Typeface.

The first version of the Zapanese font has been published since 2019 under the name Zapan Script, and can be downloaded for free on the dafont website. At first this font was just a learning project from the 3rd type font and because we saw the enthusiasm of the downloaders, we developed it into a duo font with extra japanese elements. 2 versions Support Glyphs Basic Hiragana & Basic Katakana PUA Encode Characters, fully accessible without additional design software. Includes a range of multilingual characters. Zapanese is suitable typeface for various purposes like logotype, signage, label, poster, dropcap, titles, letterhead, book cover and etc. Thank you!

Epoca-Classic, designed in 2012, is the contrasted sister of Epoca, also suited for text and display. As is the case with Epoca, Epoca-classic has economical proportions, a neutral appearance and a discreet elegance. It is fresh, crisp and distinguished. Its well-balanced proportions result in an even text flow which allows for pleasant reading even with large amounts of text. Epoca-Classic comes in twelve weights, in OpenType format and with extended language support for more than 40 languages. All weights contain small caps, standard ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals.

Sabang Script is a new modern script font with an irregular baseline. Trendy and feminine style. Sabang Script looks lovely on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and more. Perfect for using in ink or watercolour. Including initial and terminal letters, alternates, ligatures and multiple language support. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac).

Bernandes is a new modern script font with an irregular base line. Trendy and feminine style. Bernandes looks beautiful in wedding invitations, thank you cards, quotes, greeting cards, logos, business cards, and more. Perfect for use in ink or watercolors. Includes initial and terminal letters, alternatives and support for many languages. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer versions. There are additional ways to access alternatives / swashes, using Character Maps (Windows), Nexus Fonts (Windows), Font Books (Mac) or software programs such as PopChar (for Windows and Mac).

Mekon is a modern heavyweight typeface digitised and expanded from Peter Steiners Black Body (1973). Retro style Pacman shapes are combined with small keyhole counters to create a bold and witty font ideal for apparel, books, t-shirts and posters. Mekon is now available as version 2.0 (2021); the remastered version meets higher technical standards that modern-day users demand. Included in the font are over 460 characters, four unique styles, with a free gradient option. Opentype features consist of digital numerals, lining figures, fractions and alternate a, c, e, f, i, k, m, n, r, M and S with language support covering Western, South and Central Europe.

Over the Sunday Signature Font is signature style font with stunning characters, including Regular and Slant. This font is casual and pretty with swashes. Can used for various purposes. such as logo, product packaging, wedding invitations, branding, headlines, signage, labels, signature, book covers, posters, quotes and more. Over the Sunday Signature Font features OpenType stylistic alternates, ligatures and International support for most Western Languages is included. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions.How to access all alternative characters using Adobe Illustrator:

TG Aqsa Grotesque Pro is the latest version of the font that was previously released in 2017, TG Aqsa Grotesque. In this latest version there are several optical fixes on each glyphs. In this latest version also added 2 new weights namely black and ultra black so that TG Aqsa Grotesque Pro has 6 fonts of different weights. Still maintaining the sans serif grotesque style coupled with the improvement of the letter form make TG Aqsa Grotesque Pro have a good level of readability when applied as a body text. And this version also has extended latin which will support more than 90+ different languages.

Designed in 2012 by Olivier Gourvat, this font family is inspired by the euskaran (basque language) font. Redesigned with modernism, this new font respects the traditional euskara language with lowercase addition. These nuances give Kara a traditional appearance for both text and headlines, but can be used for many more applications such as titles, decoration, posters, cartoons... Kara Text & Display support a wide range of languages, with more than 500 glyphs and OpenType features like case-sensitive forms, contextual alternatives, stylistic alternates, fractions, proportional and tabular figures. With its 2 fonts, Kara is an ideal font family for text, brand identity, signage, print and web design.

Découpé Based on a French children’s play from 1906. In a car boot sale André Toet found a funny looking box containing a lot of cut out cardboard figures, in fact it looked a bit like a geometric puzzle! He played around a bit and succeeded to create a workable typeface with it ! The interesting thing about this particular font is, that in fact it’s organized chaos. The 26 letters of the alphabet are a mix between caps and lowercases, so within one word caps and lowercases will be used next to each other. It’s a very useful font for different projects. Concept/Art Direction/Design: André Toet © 2017

Created by Olivier Gourvat in early 2013, Metronic Pro is a sans-serif typeface with a technological and minimalist look for text and headlines. It has six versatile weights from Air to Black with an alternative glyph set to improve its use in different graphic contexts. Metronic Pro has a wide range of OpenType features such as: old style and proportional figures, ligatures, case sensitive forms, fractions, stylistic alternates, arrows and an icons/ornaments set. This set of 60 icons, directly inspired from the typeface improves the OpenType features and can be quickly and easily use in your web design, GUI design, graphic design or any other graphic work.

Mode is a typographic experiment exploring how same sans serif form adapts to different circumstances and what are the possibilities in variations of Thin / Black, Contrast / Negative contrast. Two main groups are Mode 0 (with rounded shapes) and Mode 1 (with angular shapes). Each of them varies from Thin to Black in six cuts, in the same manner it varies from contrast shapes to negative contrast. Mode comes in total of 72 cuts regular and italic, it speaks majority of Latin based languages and is equipped with smcp, c2sc, Old style and all caps numerals. Mode is made by DAGGERtypo during a period of 2019/2020

As the name, Clarina Sans is sans serif type family with two weight plus matching italics. Clarina Sans was desinged in 2018/19, influenced by geometrics typeface from handbook and newspapers in 80's during studying that have a good legibility. Clarina sans with medium to high x-heigh and geometric correction and smoothed corner has more elegant visibility, readable, and save space altogether. Its perfect for book, newspaper, web, logos, magazines, posters, and most other design. Equiped with more than 700 glyphs for eachs cut (latin plus, greek, cyrillic), ligatures, kerning, case sensitive for diacritical mark modifier, Clarina Sans has wide range languages coverage.

Mollis Gothic is inspired by medieval gothic calligraphy. The gothic calligraphy is classical and traditional, I want to add something modern to it. So the letters are simplified as lines and without the handwriting feel, just like a sans font. Meanwhile, the gothic calligraphy visual look remained. It expands the usage area because of the modern feel of this font, such as the package, titles, logo, poster design, etc. In September 2021, we created the thin weight. Although Mollis Gothic Thin is from the font family, the kerning set and capital letters’ height are not as same as the regular weight for suiting the thin font’s usage situation.

Controller is a geometric rounded sans serif including 5 weights and corresponding obliques and their extended style are ready. Originally, the designer was inspired by a mixture of techno and organic design in the end of 20th century around the West Coast. The letterforms of this font are designed geometric but are also slightly rounded to make a natural, warm and organic impression. Uppercase N has its alternative glyph that can be accessed by using OpenType stylistic feature. Controller is a versatile and useful family for a wide range of projects. We released 4 big Sci-Fi families in 2013. Check it out! Clonoid Controller Geom Graphic Space Colony

Validity Script is a cute, outlined handwriting font family. The typeface was drawn and developed by Måns Grebäck and Misti Hammers during 2019. With swirly letters and charming wilderness it is perfect for a crafty project or an invitation with a personal touch. It comes in three weights and each weight as Italic, totaling in six styles: Thin, Thin Italic, Regular, Regular Italic, Bold, Bold Italic. Each font of this family is of high-quality and contains OpenType features. The fonts have extensive ranges of glyphs; they support all Latin-based European languages, contain numbers as well as all symbols and characters you'll ever need.

Hand Of Sean was created from the designer's own handwriting in 2008 for a personal project, but was made available to the public and quickly became very popular. The font was updated in 2013 with redrawn glyphs, improved spacing, better kerning and OpenType features. NEW OpenType features: if you type two of the same letter, the font will automatically substitute with two slightly different characters to make the font look more natural. This also happens with words containing the same vowel either side of a consonant, such as ‘solo’ or ‘data’. Please note that OpenType features are only available in programs that support them, such as Illustrator, Indesign, Quark or Photoshop.

Esttoria Handwritten Script is a modern irregular baseline handwritten script font. Stylish and feminine. Esttoria looks beautiful in wedding invitations, thank you cards, quotes, greeting cards, logos, business cards, and more. Perfect for use in ink or watercolor. Includes initial and terminal letters, alternative and multiple language support. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. There are additional ways to alternate / swash, using the Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program like PopChar (for Windows and Mac).

I created the »EXEC« sans font during the years 2018 to mid 2020. The »EXEC«-Corners-family is a very special, unusual design. »EXEC«-Corners has 7 weights, ranging from Thin to Bold (plus 7 italics). This exceptional font is suited for editorial, book text, advertising and packaging, logo, branding, small text as well as web and screen design. »EXEC«-Corners has advanced typographical support including ligatures, small caps, alternate characters, case-sensitive forms, fractions, super- and subscript characters. »EXEC«-Corners comes with a range of figures—oldstyle and lining figures, each in tabular and proportional widths. »EXEC«-Corners supports Basic-, Western-, and Central-European Latin-based languages including Turkish.

Isidora Soft is a new version of Isidora —a 2016 MyFonts Bestseller. Its rounded, soft terminals give it a friendly and expressive look, and its modern and contemporary style, small x-height and classic proportions make it an excellent choice for headlines, logotypes, branding, books, magazines, motion graphics, and use on web and Tv. Isidora Soft consists of two 7-weight versions: one regular and one alternative which is more expressive and playful compared to its counterpart. Both versions include matching italics, resulting in a total of 28 styles. Isidora Soft contains a set of 452 characters that support over 200 Latin-based languages.

Gerücht Typeface is a family of digital fonts designed in 2019 by Gabriele Bellanca for Rumors Foundry in three different weights and their corresponding slanted versions. All rights reserved. Gerücht (in English rumor) is the name of the font-family: today the name of a font is part of the graphic design itself, unlike in the past, where it usually consisted of a simple retrospective description (such as in the case of Gothic Condensed No.2) of its characteristics. It's a "one-word advertising slogan", writes Tobias Frere-Jones, which serves to build an idea and a charm to associate with that type of character.

Hello Font Lovers... Introducing my latest font "Hello Crystal Script"! Hello Crystal Script is a modern calligraphy font that features a varying baseline, smooth line, classic and elegant touch. Can be used for various purposes.such as headings, signature, logos, wedding invitation, t-shirt, letterhead, signage, labels, news, posters, badges etc. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions.There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac).

June was first published in 2019 but it got a redesign and upgrade in the character set. It now supports Latin Extended and Vietnamese. It also has OpenType features such as stylistic alternates, case sensitive punctuation, small figures, arrows, superscript, subscript, fractions, and many more. June Pro was inspired by the work of Adrian Frutiger and his exploration into font design and legibility. June Pro is a modern sans-serif family in 10 weights ranging from Thin to Heavy with true italics. It was designed with legibility in mind. It is a versatile and distinctive font that makes it useful for various applications like editorial, web design, or branding.