A display style, with protuding bulb round ends at the serifs and mid-points, very bold, lower case originally not designed.

Chendolle is a bold display font, it has a fun and cute style and is perfect for creating playful kids designs.

A bold and arresting geometric font built from parallel stripes. Most effective in short headings or logos at larger, display sizes.

A bold sans serif typeface influenced by Ed Benguiat 's work for the 1968 movie poster for Planet of the Apes .

Knoo is a bold typeface with some pretty futuristic characters. This version has new additional characters compared to the previous version.

A quirky handwritten headline font with doodley artwork by Cultivated Mind. This font collection includes three weights (Regular, SemiBold, and Bold).

Queen Bella is a bold and bouncy handwritten script font. Use it for any design project that requires a personalized appearance!

Illustrious is an all caps, bold, sans serif font. It is ideal for headlines, titles, branding, and small blocks of text.

Ruthless Bold handmade Rough Brush Font with ligature and Multilanguage support. Best for halloween poster, horror poster, childrenbook, cartoon, comic etc.

Raphtalia is a fun and bold font with a unique vintage appeal! Designed with a distinct retro feel and lovely elements,

Nighthawk JNL is a clean, bold headline sans serif with a slight touch of Art Deco added for a nostalgic look.

BooRush is a display font with a childish touch. The bold shape makes this font very suitable for any playful heading!

Easy Living JNL is a bold Art Deco type face modeled from the name of a 1930s magazine entitled "Country Living".

Pudgie is an all caps, bold, sans serif font. It is ideal for headlines, titles, branding, and small blocks of text.

Tomi Haaparanta got the idea for the Tyke typeface family after using Cooper Black for a design project. He liked Cooper's chubby design, but longed for a wider range of weights. “I wanted a typeface that was cuddly and friendly,” recalls Haaparanta, “but also one that was readable at text sizes.” He started tinkering with the idea, and Tyke began to emerge. Even though Haaparanta knew his boldest weight would equal the heft of Cooper Black, he began drawing the Tyke family with the medium. His goal was to refine the characteristics of the design at this moderate weight, and then build on it to create the light and bold extremes. Haaparanta got the spark to design type in 1990, when he attended a workshop held by Phil Baines at the National College of Art and Design in Dublin. “I've been working and playing with type ever since,” Haaparanta recalls. He released his first commercial font in 1996, while working as an Art Director in Helsinki. After about two dozen more releases, he founded his own type studio, Suomi Type Foundry, early in 2004. At five weights plus corresponding italics, Tyke easily fulfills Haaparanta's goal of creating a wide range of distinctive, completely usable designs. The light through bold weights perform well at both large and small sizes, while the Black is an outstanding alternative to Cooper for display copy.

Back when shop window decoration was done with a brush, every window designer had his own style. In this vein the sans serif Altrincham was created. But even as a text font, it has stood the test of time, since it is very easy to read even in smaller point sizes, thanks to its relatively large x-height. With the Altrincham Condensed and Altrincham Wide Bold two other fonts have been created to perfectly complement the font family.

In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design of a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for books. A number of parameters needed to be considered, including the pressure of the printing presses and the quality of the thin newspaper ink that would have smothered any delicate strokes. Rough drafts of type designs for the competition were submitted by Vratislav Hejzl, Stanislav Marso, Frantisek Novak, Frantisek Panek, Jiri Petr, Jindrich Posekany, and the team of Stanislav Duda, Karel Misek and Josef Tyfa. The committee published its comments and corrections of the designs, and asked the designers to draw the final drafts. The winner was unambiguous — the members of the committee unanimously agreed to award Stanislav Marso’s design the first prize. His typeface was cast by Grafotechna (a state-owned enterprise) for setting with line-composing machines and also in larger sizes for hand-setting. Regular, bold, and bold condensed cuts were produced, and the face was named Public. In 2003 we decided to digitise the typeface. Drawings of the regular and italic cuts at the size of approximatively 3,5 cicero (43 pt) were used as templates for scanning. Those originals covered the complete set of caps except for the U, the lowercase, numerals, and sloped ampersand. The bold and condensed bold cuts were found in an original specimen book of the Rude Pravo newspaper printing press. These specimens included a dot, acute, colon, semicolon, hyphens, exclamation and question marks, asterisk, parentheses, square brackets, cross, section sign, and ampersand. After the regular cut was drafted, we began to modify it. All the uppercase letters were fine-tuned, the crossbar of the A was raised, E, F, and H were narrowed, L and R were significantly broadened, and the angle of the leg and arm of the K were adjusted. The vertex of the M now rests on the baseline, making the glyph broader. The apex of the N is narrower, resulting in a more regular glyph. The tail of Q was made more decorative; the uppercase S lost its implied serifs. The lowercase ascenders and descenders were slightly extended. Corrections on the lower case a were more significant, its waist being lowered in order to improve its colour and light. The top of the f was redrawn, the loop of lowercase g now has a squarer character. The diagonals of the lowercase k were harmonised with the uppercase K. The t has a more open and longer terminal, and the tail of the y matches its overall construction. Numerals are generally better proportioned. Italics have been thoroughly redrawn, and in general their slope is lessened by approximatively 2–3 degrees. The italic upper case is more consistent with the regular cut. Unlike the original, the tail of the K is not curved, and the Z is not calligraphic. The italic lower case is even further removed from the original. This concerns specifically the bottom finials of the c and e, the top of the f, the descender of the j, the serif of the k, a heavier ear on the r, a more open t, a broader v and w, a different x, and, again, a non-calligraphic z. Originally the bold cut conformed even more to the superellipse shape than the regular one, since all the glyphs had to be fitted to the same width. We have redrawn the bold cut to provide a better match with the regular. This means its shapes have become generally broader, also noticeably darker. Medium and Semibold weights were also interpolated, with a colour similar to the original bold cut. The condensed variants’ width is 85 percent of the original. The design of the Bold Condensed weights was optimised for the setting of headlines, while the lighter ones are suited for normal condensed settings. All the OpenType fonts include small caps, numerals, fractions, ligatures, and expert glyphs, conforming to the Suitcase Standard set. Over half a century of consistent quality ensures perfect legibility even in adverse printing conditions and on poor quality paper. RePublic is an exquisite newspaper and magazine type, which is equally well suited as a contemporary book face.

Postman is a typeface inspired by old documents, banknotes and leading product brands. It has cursive and elegant capital letters and its lowercase letters are actually small caps of geometric shapes as if they were made of metal and nailed with bolts. It is ideal for classic products that consider nobility and tradition among their virtues. It evokes classic products that lasted over time. Includes OpenType features, like ligatures, alternates, and more.

Mozsár, named after Mozsár Street in the downtown of Budapest (pronounced ‘mo-zhar’, meaning mortar in Hungarian.) Mozsár is a unicase display typeface with constructivist characteristics from the early 20th Century. It uses pure geometric shapes and purposefully departs from strict typographical rules to give a more friendly look. With Mozsár you can create really unique and awesome looking displays, titles and even name plates for your business. It works very well in big size. The central idea behind the design was that two variants of the typeface would randomly alternate as the user types. The typeface uses Contextual Alternates (CALT) created with the OpenType’s semi-random feature to mix the variants. The width and height of the letter shapes are generally equal, but I made some exceptions to lend the type a character of unexpectedness. The curves are identical in both versions of each letter, and the intersections of the axes are always perpendicular (with some evident exceptions).

I have named the font “Makonde” after an tribal group in southeast Tanzania and northern Mozambique that is well known for their intricate and semi-realistic wood carvings. The patterns that decorate the Makonde font remind me of the Makonde wood carvings. The Makonde font is a useful resource for anyone creating designs or producing text that has African look. Typified by a stark African angularity the characters reflect the ethos of Africa. Each Makonde font contains the full range of upper and lower case characters, all punctuation and special characters as well as the accented characters used in the major European languages. The Makonde tribal group is of historical interest because FRELIMO, the resistance movement which ended Portugese colonialism in East Africa, originated in the homeland of the Makonde. The character shapes in the Makonde font are very similar to those in a style of Umkhonto called Umkhonto Wide. Using Umkhonto together with Makonde gives the designer enormous flexibility.

Ponta Text is an incise semi-serif type family designed for editorial purposes. It includes 18 fonts – 9 weights and their respective italics – providing you with versatility and flexibility for many of your typographic needs. Designed for legibility and readability, Ponta Text is specifically intended for long-form texts such as in books and magazines, in both print or digital media. Its letterforms and fine-tuned spacing ensures comfortable reading experiences, while its subtle details and elegant sharp corners add a touch of sophistication to your designs. These features allow you to fine-tune your typographic settings and create stunning layouts with ease. All the fonts include an array of typographic features such as ligatures, contextual alternates, lining, oldstyle, and tabular figures, as well as superscript / subscript numerals and fractions. The entire family can be used both as static instances or variable fonts. All of them come together in the Complete Family package.

Blossomy is a pictographic font consisting of 72 plant and flower illustrations, designed by kapitza. The font explores the beauty of shapes and structures in nature. The illustrations are based on photographs which have been traced by hand and are the result of a long term interest in the organic and erratic lines of naturally growing plants. The idea for Blossomy originated several years ago via a series of paintings exploring forms and structures in nature. The outlines for those paintings were traced in Illustrator and then transferred onto canvas. The outcome was so simple and beautiful that the designers decided to keep working on new illustrations and combine them in a font. Blossomy can be used as individual illustrations or to create patterns. The font covers a wide variety of flora and fauna, including pot flowers, a bonsai trees, leaves, blooms and grasses, and gives creatives a wide variety of shapes to get inspired by and use in their work.

Known sometimes as “utopia”, “journey” other times, but also named with name´s place where one wants to go, “Ithaca” home of Ulysses. Typographic Cartesian coordinates are usually two, from the skeleton, the narrower, to the black, the widest. Nowadays, Maese Patau had traveled a road made by four Cartesian axes of typographic geography. A road from thick to thin, from expanded to condensed, to offer us a new family, a larger and extensive series than the traditional family. 48 “relatives” in a pure neo-grotesque font, with a large “eye” that makes it especially suitable for display. Solid hinting in small sizes due to it´s pure and simple basic forms. The jazzy cursive, available in all weights, looks as a simply slanted letter, but when works in conjunction with its regular version, generates an outstanding typographic game. As usual, Maese Patau offer us a extensive typeface in weights, extensive on supported languages, and all kind of OpenType´s capabilities.

There's nothing really disastrous (impending or not) going on in my life right now, but I have always liked the expression. I thought about it when I watched a news item about the recent storm we had in Europe. The news showed footage of a person narrowly escaping a huge falling tree. Impending Disaster font is certainly no disaster. I created it using my fantastic Chinese ink and a broken tapas skewer (I seemed to have run out of my regular satay skewers). The result is a slightly rough, comic book kinda font. It comes with two sets of alternates for the lower case letters (which cycle as you type), one set of stylistic alternates for the 'O' glyph (and all accented O's), an alternate ampersand, asterisk, question mark and exclamation mark and a set of alternate numerals. Impending Disaster comes with extensive language support, including Vietnamese, Greek and Sami - so don't come running and say you didn't have any options! ;-)

XXII CoolScript - The vibrant typeface with a ton of alternates MAJOR UPDATE This is a big update of XXII CoolScript. First of all, from now it’s a whole family with 7 new weights from ExtraThin to Black. It comes with more than hundred additional glyphs, some more alternates, ligatures, numerals and fitting opentype features for fractions and two extra ampersands. This lovely script font by Lecter Johnson is another, more soft and round one in the series of Doubletwo Studios’ script fonts (XXII YeahScript, XXII AwesomeScript). Its wonderfully designed letters, ligatures and alternates may bring a charming and individual handwritten look to your creation. This fonts are designed to easily create logos, headlines and text phrases within a blink of an eye. Just open your glyphs-palette* and simply chose, from up to 27 different alternates and variations per glyph, the one that fits best for your needs. *For further information visit the Behance Project.

A sanserif with human touch in 6 fonts Angie Sans is a low contrast incised sans serif sharing some similarities with Optima by Hermann Zapf and Pascal by José Mendoza, both created at the end of the 50’s. The later, feature an italic not published by the initial foundry who launched Pascal. Angie Sans follow same path with its italic based on Chancery forms from the Renaissance, narrower than the roman shapes. With its capitals based on Roman proportions, lowercases featuring open counters, strong horizontals, Angie Sans is a legible typeface. The manual gesture is present in Angie Sans, which offer the plastic qualities such as warmth, craftmanship and humanity. Angie Sans is an Incised Garalde who works well for display as text settings. Available in 6 series, with matching italics, Angie Sans will work well in design projects where delicate and human touch is required. Angie Sans Morisawa Awards 1990

About family “SpathePro” Spathe(Sword) the guy… There are many versions of the expression spathe, some of them are: A guy who says things by name we say is a sword, is correct in explaining a situation or an event. Sometimes we say again that a woman is beautiful and has a body like a sword!! It is one of the four versions of the pack of cards for example "ace sword". We also say of someone that he won a case with his sword (his sword), with transparency and knowledge of the case. It is also one of the oldest weapons used by humans in wars, sometimes used by the defendants to resolve their differences or for reasons of honor. While even today it is an Olympic game as fencing. This is a font as sharp as a swordfish… This series is composed and includes ten fonts with 630 glyphs each, with true italics, true Sloping and supports of course: Latin, Greek & Cyrillic.

Pop Manta delivers the perfect punch when impact is needed. Useful on everything from boxes of bubble gum to pro wrestling posters. Pop Manta has been described as "Morris Fuller Benton meets Roy Lichtenstein". Benton's 1903 neo-grotesque letter shapes set to a Pop Art beat. With over 650 glyphs, characters, symbols and ornaments, Pop Manta is a complete design kit in one font. A full range of accents and extras allows Pop Manta to speak well over 70 languages. Including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili, Swedish, Croatian (Latin), Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian, Turkish, Afar, Azerbaijani, Belarusian (Latin), Chichewa, Croatian (Latin), Gikuyu, Greenlandic, Guarani, Igo/Igbo, Kuskokwim, Luba (Ciluba), Malay, isiNdebele, Oromo, Pilipino/Tagalog, Setswana, Sidamo, Somali, Sotho (Northern and Southern), Swazi, XiTsonga, Tuareg, Uzbek (Latin), Vietnamese, Welsh, isiXhosa, Yoruba, and isiZulu.

A creative context 2003. Fontsmith was sharing a small, cold, whitewashed studio space in Northburgh Street, Clerkenwell. But things were on the up following prestigious custom type commissions for The Post Office and E4. “Slab serifs were on the brink of another revival, we could feel it,” says Jason Smith. “All we wanted to do was have a play with these slabs, go as far as we could within what was acceptable and readable.” “It wasn’t initially clear what was happening,” recalls Phil Garnham. “We were becoming very influenced by our surroundings, outside the studio space. We absorbed the essence and the designer grime of where we were.” Process Jason began by drawing stems on-screen. “The key aspect of the font is the upward bend of the leading shoulder serif, the way it kind of ramps up and then plummets back down the stem. “The regular and light characters are quite narrow – great for text but the bold is quite wide and chunky – better for headlines. I think ‘y’ is quite different for a slab design. We call it the Fontsmith ‘y’.” Promotion Fontsmith were determined to get FS Clerkenwell noticed. To launch the font, Ian Whalley, a designer friend of Fontsmith, captured words heard on the streets of Clerkenwell, set them in the new font and crafted a small book of typographic conversations. It was a first for Fontsmith. “I think that’s part of why this font has been so successful,” says Phil. “It really does embody the spirit of the area, as a special place for design, arts and crafts. And designers love that.” Contemporary twist FS Clerkenwell, based on influences in and around this part of London with a rich tradition of printing and design, mixes tradition with creation. Old-fashioned values meet new-school trends. Its quirky, contemporary character lends an edge to headlines, logotypes and any large-size text.

Kari Display is the product of a long standing idea I had to give the well-received Positype typeface, Kari, plastic surgery. Just referring to giving a typeface plastic surgery, or letter lipo, stuck in the back of my head until I was able to pick the project up. The ultimate objective was to refine Kari Display to a point where each glyph was expressed as simple as possible... and in that simplicity a sexiness would appear. Kari is a beautiful script, but it is very 'controlled' and orderly and I wanted Kari Display to break that mold with much more movement, curviness, greater modulation and a more elegant feel on the page. I did not want to take it too far, limiting the use of the typeface, but rather opted for a delicate balance of thick and thin against the added movement of the glyphs. The wealth of sketches and proposed variants during the concepting phase was encouraging and I really pushed to add as many alternate characters, ligatures, swashes (and more) as I possibly could. Just about every character has at least one or more alternates AND the complete offering of alternates completely covers a wide range of Latin-based language groups including Central European diacritics. If you are using any type of OpenType enabled application, then the Kari Display Pro typefaces are the way to go. They include everything found in the 3 separate variants for each style as well as entirely expanding offering of additional swash and ligature sets.

"LFT Etica, the moralist type family by Leftloft, began at the end of 2000, but its development is ongoing as it expands to fill the astute designer’s needs. The starting point was the common, cold grotesque sans typefaces — ubiquitous and often badly applied in their everyday visual environment. The challenge was to obtain the same force, versatility, and colour, but with a much warmer feel. LFT Etica resides aesthetically somewhere between a grotesque and a humanist sans serif, resulting from a design of soft strokes with open counters and terminals. LFT Etica successfully combines forcefulness and delicacy, wrapping both with sober charm. Milan-based Leftloft studio teamed up with Octavio Pardo to develop 24 additional styles for the very successful LFT Etica type family. This expansion is a direct response to type users’ requests who found in LFT Etica a de facto choice for web design. The new styles come in two series — 12 condensed widths and 12 compressed ones — and have proven versatile in applications where the ratio between information and space becomes an important challenge. Each letter was scrutinised to ensure durability throughout time and adaptability within circumstance, so LFT Etica meets the challenge of balance head-on. With its wide current range of 40 styles and many OpenType features (four sets of numerals, fractions, arrows, and dingbats, as well as stylistic alternates), LFT Etica is a versatile typeface suitable for corporate or casual use, for printed publications as well as web design. The complete LFT Etica family, along with our entire catalogue, has been optimised for today’s varied screen uses."

The Buum typeface evolved from the explosive lettering originally designed as part of a house style for an interactive science centre for kids. Beside its usual application as a strong display font in print and on screen, the bold angular shapes of glyphs are adapted for negative machine- or laser-cutting into structural materials such as iron sheets, plywood, or stone ... and for creating tactile expressive surfaces and 3D objects. This pictogrammic and dazzling font remotely echoes the morphology of the lettering of futurism and constructivism, when avant-garde typography was once an exciting adventure. It is a lettering building kit with a number of stylistic alternatives of glyphs that enable a user to shape the same word differently each time. Buum is recommended by nine out of ten old school futurists, favored by steampunk CNC operators and respected by the majority of infantile anarchists.

Margit Variable is the single font file of the type family Margit. Containing two-axis, one for setting the weight and another for the italic, this convenient single font file allows you to explore and mix endless typesetting combinations. You can now precisely choose a unique combination using the two-axis sliders, fitting your exact needs. The complete family is included in Margit Variable, containing all the characters and features in Margit, including Latin and Cyrillic scripts, supporting over 200 languages. Margit's letterforms have a contemporary style with pointy edges and friendly curves inspired by old wood-type specimens. Its bold and unapologetic design will be great to use in poster design, giving the content a stronger voice. This font family can bring a unique look to your packaging projects and modern branding solutions. Explore the extensive range of styles and weights that make this typeface ultra-versatile.

With the printing of the Futurist poem “Zang Tumb Tuuum” in 1914, modern art had taken a typographic twist: “words in freedom” (parole in libertà) were now a major part of the art world. The avant garde followed suit. Niedermann Grotesk is based on the everyday type that appeared in early modernist collages, journals and manifestos. It is a peculiar style of lettering—which was originally inspired by the Sachplakat (object poster) work of Lucian Bernhard—and adapted for hot metal in 1908 by Heinz Hoffmann. 100 years ago, the style became a workhorse of the German printing industry. Niedermann Grotesk is an updated variant, referencing the original poster art, each letter carefully drawn with an old brush. Bumpy, bold and blunt—with a suite of alternate characters and a few dingbats—Niedermann Grotesk is perfect for advertising, packaging, poetry, art, protests and retro homage.

Introducing Electric—a typeface that’s as distinctive as the legendary Gibson custom electric guitars of the 1960s. This unique typeface was sparked by the custom nameplates that were used to cover the bolt holes left behind when dealers swapped out standard stoptails for the Bigsby vibrato tailpiece. Crafted using an oddball zig-zag pattern font and engraved with a pantograph router, the original nameplates featured a pair of starburst symbols that were as striking as the guitars they adorned. Now, you can recreate these iconic symbols using the lozenge symbol ◊ and add a touch of vintage cool to your designs. Whether you’re creating an album cover, a concert poster, or a logo for your band, Electric is the perfect way to convey your message in a bold and distinctive manner. So why settle for a bland, generic font when you can have one that’s inspired by the most iconic guitars in music history? Plug into the Electric typeface today and take your designs to the next level. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Scoreboard JNL emulates illuminated scoreboards and is based on an alphabet found in an old clip art book of sports-themed alphabets.

Based on the early original Monotype design, you can definitely see the influence of Italian Old Style, Jenson and Morris’ Golden Type.

This design is based on custom design work by DTP Types Limited in 1990 with associated Small Capitals and Old Style Figures.

Drakoni Sans is a bold and rounded font that exudes a strict and angular aesthetic. Its clean lines and subtle curves give it a humanist touch, making it perfect for a wide range of designs. Designed with a vision of comic book headlines, Drakoni Sans is both playful and professional. Its bold and powerful presence commands attention, while its rounded edges and angled cuts add a touch of personality and charm. Available in four styles - Regular, Italic, Bold, and Bold Italic - Drakoni Sans offers versatility and flexibility for any project. Its clean and clear letterforms make it ideal for logos, headlines, and other display purposes. Whether you're looking to add a touch of softness to your designs or to create a bold and commanding presence, Drakoni Sans is the font for you. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Treatise was born in a notebook at the back of a boring lecture on immunology with the simple thought of “How can I make a serif more fun?” When writing a scientific treatise, there are not many options for making it enjoyable. However, some little quirks and fun features in the font can take the serious edge off the writing.... Treatise is a light and open serif with some design quirks, which give it a slightly calligraphic feel; a single -storey “a” and “g,” a visible stroke mark on the “o,” and a curved arm on the “k.” These features are subtle enough to fit into a paragraph of text but bold enough to give a title some character. The Treatise family includes a true italic and a heavy-struck style bold, and several OpenType features; standard and discretional ligatures, contextual alternatives, and different figure styles. The character coverage includes Basic Latin, Latin-1 Supplement, and Latin Extended-A and will support most Latin-alphabet languages, including languages with more exotic characters such as Icelandic and Maltese.