Arial was designed for Monotype in 1982 by Robin Nicholas and Patricia Saunders. A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

We all love a good burger here at Vette Letters. We also love to prepare them ourselves. Grilling the patties, cutting the tomatoes and cucumber, nothing beats a home made hamburger. And the best and tastiest way to grill a burger is on a wood charcoal grill. So all in all we can safely say that burgers and wood are a pretty darn good combination. This made Donald Roos decide to design VLNL Woodburger, obviously based on 19th century American wood type alphabets. Donald decided to add cyrillic characters, as he strongly believed that Russians would be equally partial to home made burgers. VLNL Woodburger is not really polished font, it will give any design a rough sturdy edge.

Isidora Sans is a new version of the bestselling font Isidora (released a year ago). The absence of terminals gives this new typeface a cleaner and more geometric look, keeping the essence and structure of the classic sans fonts of the early 20th Century yet with a fresh, clean and contemporary appearance. Isidora Sans consists of two subfamilies of 7 weights, ranging from Thin to Black, with matching italics, giving a total of 28 fonts. Isidora Sans is the perfect font for publishing, titles, books, magazines and corporate design. Its Alt version is ideal for logotypes, branding, packaging, and use on web and Tv. The family contains a set of 416 characters supporting 207 different languages.

Brillo Typeface stems from the effort of combining the modern look of a grotesque sans serif font with the elegance of the calligraphic copperplate's swashes. The result is a typeface that is perfectly suitable for modern graphic applications, such as publishing, branding and web, but which has some ornamental features that differentiate it from all the other grotesque families. Brillo doesn't want to be a neutral typeface. It's a font with a strong personality, which can give outstanding aesthetic and conceptual relevance to the graphic projects which will be used in. Brillo is a typeface thought for titling rather than for texts. For this reason it works better with character sizes bigger than 16 points.

The Handel Gothic™ typeface has been a mainstay of graphic communication for over 40 years - all the while looking as current as tomorrow. Designed by Don Handel in the mid-1960s, and used in the 1973 United Airlines logo developed by Saul Bass, Handel Gothic was an instant success when released to the graphic design community. Its generous lowercase x-height, full-bodied counters and square proportions make the design highly readable at a wide range of sizes. Handel Gothic's slightly idiosyncratic character shapes gave the face a futuristic look 40 years ago that retains its power today. In addition, its Uncial-like lowercase is instantly identifiable - and unique among sans serif typestyles.

This family was inspired by the well-known Caslon typeface created by William Caslon, the English font designer, who was, with John Baskerville, the progenitor of English Transitional typeface classification in the mid-18th century (See also our 1776 Independence). We were inspired by a Caslon style set used by an unknown Flemish printer from Bruges, in the beginning of 1800s, a little before the revival of Caslon style in the 1840s. Our font covers all Western, Eastern and Central European languages (including Celtic diacritics) and the Turkish alphabet, with a complete small-caps set in each of the two styles. (Please note: The complete character set is available only in TTF and OTF “Pro” version.)

This modernized rustic Baroque Roman face paraphrases freely its model from the first half of the 18th century. The shape of the letters has been cleared from all unevenness and softness, but has retained its lively expression. It is deliberately rather cooler than the reverently digitized Baroque Roman type faces, since it was necessary to adjust it with regard to the visual experience of the contemporary reader. In addition, it has bold designs and aligning figures, which also considerably extends the range of its application. It is an entirely reliable text type face for the most demanding extensive works. Thanks to its calm expression and excellent legibility it is widely used when printing series of professional literature.

M Razor is so called ""neo Sung-style"" typefaces. Crossbars (橫) and stems (豎) are orthogonal and upright. Their entry and finial points are squarish, parallel without flare. Contrast of strokes is extremely high. This creates sharpness, stiffness in the midst of elegance of Sungti. Even distribution of space, careful positioning, size and proportion of radicals create a slightly expanded, opened and balanced construction. Zhonggong are slightly expanded, its relatively less inter-character spacing makes the line of text better coupled and aligned. Its features and construction create a feel of wholesome, elegance with contrasting sharpness and stiffness. It is best suited for casual, creative display eye-catching text, set upright (non-slanted), non-condensed.

Gerolinda has almost 1900 glyphs per weight; with its OpenType features it recreates the feeling of a mid-19th century Italian gentlewoman's handwriting. There are more than 1900 glyphs each weight with 250 variants covering all European accents and a broad choice of numbers: lined, tabular, ordinal, old style, etc. Also ligatures, discretional ligatures, contextual and stylistic alternates, smashes, contestual swashes, stylistic sets and ornaments. (la terminologia la do per buona!) This is a complete font for both editorial and graphic design. Gerolinda font is complemented by Gerolinda Design, dedicated exclusively to upper case letters: around 1,600 glyphs with all the accents. For best results, use of OpenType features is strongly recommend.

Curwen Sans is a monoline sans-serif dating from the early twentieth century. Though contemporary with Johnston’s Underground and Gill Sans, and emerging from the same artistic milieu, Curwen Sans was created solely for in-house use at the Curwen Press in London so never achieved a wide audience or recognition. The original face was cut only in a Medium weight, but the new digital family consists of four weights, each with an optically corrected Oblique, and all containing a full complement of Latin Extended-A characters. K-Type Curwen Sans comprises three packages: • Basic Family (Regular, Oblique, Bold, and Bold Oblique) • Light (Light and Light Oblique) • Medium (Medium and Medium Oblique)

Bureau Grot is now accepted as the essence of tooth and character in an English 19th-century sans. The current family was first developed by David Berlow in 1989 from original specimens of the grotesques released by Stephenson Blake in Sheffield. These met with immediate success at the Tribune Companies and Newsweek, who had commissioned custom versions at the behest of Roger Black. Further weights were designed by Berlow for the launches of Entertainment Weekly and the Madrid daily El Sol, bringing the total to twelve styles by 1993. Jill Pichotta, Christian Schwartz, and Richard Lipton expanded the styles further, at which point the family name was shortened from Bureau Grotesque to Bureau Grot; FB 1989–2006

Tafel is Sudtipos’ contemporary take on early- to mid-century geometric fonts; it has the intrinsic qualities of a geometric without following the strict rules they customarily employ. Tafel is notable for its versatility as it works well in both small and display sizes; its sophisticated elegance and refined simplicity make it ideal for corporate identities, street signage, fashion brands, luxury packaging and much more. From Thin to Black, Tafel is comprised of 8 weights, 3 sets of Small Caps with different x-heights (Big Caps, Small Caps and Petite Caps), many alternative glyphs and a complete range of figures including old-style figures with matching italics. The extended character set supports Central, Western and Eastern European languages.

Who made this mess! Material is quintessential paint brush font fun. A little bit grunge, little bit 80s chic. Material is rated R for adult content and violence, violence to the american alphabet. This font soars just like KITT in Knight Rider. Part virtuoso part New Kid On The Block. Feels like you’re painting those letters on yr’ own self! Anytime you need to make a little mess and really express yourself choose Material. This font will really give your designs some distressed authenticity. Material is great for billboards, t shirts or video productions. It’s full of smudgy love, it’s loud and is likely to offend but what better way to give your designs that highly sought after ‘edge’.

«fj Trance™» is the first colaborative display typography of frncojonastype this 2020. «fj Trance™» is a display typography that characterizes. For having reverse contrast and play with the exaggeration of shapes and counterforms from the same typography. Conceptualized and designed originally by Jorge Morales Salas, produced by Franco Jonas Hernandez, collaborating Valentina Pino Faúndes and Rodrigo Araya Salas. Also, Greek and shadow variable version has been designed only available by his distributor of favorite typefaces :) • To exclusive licenses and to follow the develop of this project please visit frncojonas.com Learn about upcoming releases, work in progress and get to know us better! WB: frncojonas.com BE: beh.net/frncojonas TW: @frncojonas ING: @frnco.jonas

Hieronymus Andreae or latter in life Hieronymus Formenschneider as he proudly took a new surname to proclaim his success in the printing industry as the man who introduced the Fraktur script to the world of print. This project was undertaken at the orders of Emperor Maximilian I. One of Fraktur’s first appearances was in a joint venture with the great Albrecht Dürer. This font was based on a later work, Andreae’s magnus opus in the music field, the Coralis Constantini by Henry Isaac. Andreae worked as woodblock cutter and then became a publisher in the city of Nuremberg until his death in 1565. We at PLTF are proud to revive this enormously influential typeface.

Modeled on the writings chiseled in stone in the second century B.C., Syntax™ Lapidar is an energetic, spirited typeface designed by Hans Eduard Meier in 2000. Linotype Syntax Lapidar Text and Linotype Syntax Lapidar Serif Text have five weights each, with both cap and lowercase letterforms. Lapidar Display and Lapidar Serif Display also have five weights each, with mostly all cap letterforms and many alternates. It's a terrifically fun and inventive family, and if you look closely, you can see the resemblance to the more modern and restrained Syntax™ relatives. Great for menus, artist books, travelogues, or advertising - and if used very sparingly, it could add just the right element of lapidary significance to corporate documents.

Hopeless Diamond is a contemporary display typeface inspired by the sculptural muscle of 19th century carved lettering and the radical forms of the B-2 Spirit stealth bomber and the F-117 Nighthawk stealth strike aircraft. The typeface itself contains three different styles, each with an italic and an alternate character set that can be used to generate a number of interesting permutations. The name was taken from the derisive term that test pilots used for Have Blue, a late '70s stealth demonstration aircraft –and early prototype for the F-117— designed and built by Lockheed's Skunkworks division. Due to its unusual shape and departure from received aerodynamic wisdom, Have Blue was referred to as the ‘Hopeless Diamond’.

The typeface family Triump is a simple sans serif with 6 weights from Thin, ideal for use as an epigraph, to Black for head titles of special impact. Excellent for applying in graphic design as logos, trademarks, posters, editorial and web design. Inspired by the classic types of the late twentieth century with rounded corners that give the typography a smooth appearance with rounded ends, with a horizontal stroke that exceeds the vertical in the letters A, E, F, H, J and K which gives a distinct personality. Triump comes with a Black weight in normal and italic Line both upper and lowercase letters, especially to give a vintage look to the designs.

These six faces are interpreted from examples shown in Rob Roy Kelly's "American Wood Types" They are not merely scanned copies, but have been redrawn from scratch with various optical adjustments. Kelly points out that the true glory of the American Wood Types are the negative spaces, which are, in their dynamic active forms, the antithesis of the anemic flimsy letters produced by type foundries in the 19th century. The Alphabets Wood Types are designed with digital manipulation in mind. Stretch, curve and distort at will! These designs were released prior to similar revivals from Adobe. Each font has two full alphabets (one full height, one smaller) and numerals. However, certain points and accents will not be found.

Ribera is a contemporary sans serif typeface including three styles. The Ribera characters have smooth curved spins and little contrast combined with a big x-height and big counters. These characteristics make Ribera ideal for almost any type of graphic design. Its unique look is well suited for corporate identity, its precise drawing for branding and poster design, the fresh look for advertising and the clear appearance for sign posting. But also editorial design benefits from Ribera. It expresses a modern look in headlines and stays highly legible in small sizes. As part of the URW++ SelecType collection, Ribera meets very high quality standards. The character set includes various OpenType features and a broad language support.

Inspired by the « lettres bastardes », Arthas is a modern interpretation of ancient letterforms dating far back, before type even existed. It has been subtly adapted for better readability in 2020. The sharpness of the design creates an elegant contrast between old and new, ancient and futuristic, and will add an ominous, regal mood to your graphic design projects. This typeface is meant mostly for display use, but we can’t wait to receive a picture of someone using it for introductory text, at the start of a book…. Maybe that’s you? As all of our releases, it will be updated at time goes on. Those updates will always be free for people having already purchased the font(s).

Kwalett is a sans serif typeface family with low contrast and a high x-height. Kwalett has two widths, each with five weights and each weight has an italics. The family is derived from the thinnest member of the Qualettee family. As members of that family get bolder, their contrast increases. As members of the Kwalett family get bolder, their contrast remains very low. Kwalett is designed to work better as text than the Qualettee family. The family has two ways to get fractions. A few fractions are preformed and are accessed with the OpenType discretionary ligatures feature. The OpenType fraction feature uses the superscript and subscript numbers to create any fraction.

Egon is a contemporary Slab-Serif typeface family built in ten styles—extra-light, light, regular, bold and black weights in roman and italic respectably. This is a refreshed (second) edition of Egon Serif, originally designed in 2008. The typeface has been updated—four new styles in ExtraLight and Black weights were added to the family and minor adjustments to glyph shapes (mostly italics) have been made.The typeface is designed with industrial and architectural flavor, as homage to Egon Eiermann, one of Germany’s great architects of 20th century. Egon is ideal as text and display font for publication use. Egon is released as OpenType single master with a Western CP1252 character set.

GR Altosa is a very cool typeface for headline designs with a bold and bold theme. With a strong display and clean nodes make text in the design become more character and great. Inspired by headline trends in a poster or magazine today. So that with a firm and a very modern style makes your design better! This font is formed from the headline display font of a very careful title. Suitable for all graphic design projects, prints, logos, posters, t-shirts, packaging, website, ticket and applies to several types of graphic design. Especially for the use of a title! Very suitable! GR Read is compatible with any software without pain, especially in headlines with GR Altosa pairing

Zebrawood font is a joint work of the typeface designers K.B. Chansler, C. Crossgrove and C. Twombly, who also designed Rosewood, Ponderose and Pepperwood together. Like its relatives, Zebrawood also displays a kind of Wild West character. Its style can be traced back to the Toscanienne typefaces which appeared in advertisements and on signs at the end of the 19th century. Typical of this capital alphabet are the split serifs and robust base forms, which emphasize the typeface's decorative character. Zebrawood is, like Rosewood and Schwennel, meant as a bicolor font, meaning that the weight Zebrawood fill complements the inner spaces of Zebrawood regular. When used carefully in headlines, Zebrawood font will be sure to attract attention.

Pontina is the name of a multilingual didone typeface. Its elegant character is built up of playful and lively strokes combined with high ascenders and high capital letters, that gives the classical forms a modern individual touch. It combines both: legibility and an ornamental curvy look for display purposes. The typeface provides true italic fonts for each weight, which fit harmoniously to the regular fonts. Pontina can be used for headlines and also works well in smaller text sizes. The text styles have slightly lower capitals and ascenders for better legibility. Also the font comes along with a set of different ligatures as well as swash letters and all necessary open-type features.

Wouldn’t it be nice to have a pack of Instant Harmony in your cupboard? Just add water and *poof* - all strive and struggle have gone, having been replaced by peace and quiet. The grass seems greener, the sky bluer and the air smells like a fresh mowed lawn. Ahhhh! Zap! Back to reality. There is no instant harmony, don’t go looking for it in your local supermarket! If you want a taste of something resembling instant harmony, then add this super-duper font family to your collection and use it for your designs. You may find that your creativity levels are up, your morning coffee tastes better and your designs look exactly like you had in mind. Pinky promise!

Kamerik 105 Text is the text specific variation of stablemate, Kamerik 105. With a shallower x-height and longer ascenders and descenders, its more traditional proportions make it more economical with space and better suited to continuous text. It's a well-balanced, versatile, modern sans, highly legible as a text font and with a clean, elegant look as a display font at larger sizes. The Kamerik 105 Text family comprises of four weights and includes old style non-aligning (lower case) numbers, both proportional and tabular as well as accented characters for Central European languages. It is closely related to Kamerik 205 Text, which offers variations in some characters, most notably a two-storey lower case a and g.

Tiblisi is a font designed to emulate the feel of modern Georgian Script, which is called Mkhedruli. In earlier periods of her history, the Georgian language had several other alphabets, notably the Asomtavruli alphabet and the Nuskha-khucuri alphabet. The first printed material in the Georgian language, in the Mkhedruli alphabet, was published in 1669. Since then the alphabet has changed very little, though a few letters were added in the 18th century, and 5 letters were dropped in the 1860s. The font was named Tiblisi in honor of the nation's captial city. Tiblisi comes with full punctuation, a complete character set for most Western European languages that are based on the Latin Alphabet, and full kerning.

The Modesto Text Family is text in name only. It’s called Text because it has a Lower Case, and also to distinguish it from the rest of the Modesto clan. Modesto is a loose-knit family based on a signpainters lettering style popular in the late-19th and early-20th centuries. It evolved from the lettering I used for the Ringling Bros. and Barnum & Baily Circus Logo. The Modesto family was not planned. It just happened, a few fonts at a time over about fifteen years. In 2014 seven new Italic fonts and two Chromatic families were added. There is a downloadable MODESTO USER MANUAL PDF in the Gallery section for this family.

Cut by Monotype between 1900 and 1902, the Monotype Modern font family was based on Miller & Richards News 23 and 28; slightly condensed news text types of the 1890s. Monotype Modern is a lively typeface, with long, fine hairlines and well rounded letterforms, representing the best of nineteenth century modern face design. A classic text face, and typical of the moderns that were produced in the United Kingdom at that time, being less extreme in its rendering than some of the models of purer form being produced elsewhere. Monotype Modern is an excellent text face for magazines, newspapers and books, the heavier and more condensed versions are useful in headlines and display.

Inspired by the 18th - 19th century of Penmanship specimens archive from Europe and America, carefully crafted with precise mood, technique, and visual touch to bring back your design works into that specific era. It comes with a collection of 3 fonts that match well with each other. Also a set of wide features such as Ligatures and alternative swashes. Lasttown will be a great choice for your classy and formal visual looks such as certificate design, vintage label, commercial lettering works, sign painting, glass gilding, logo type projects, liquor store branding, wine packaging, anytime you need a classic visual touch, please, be our guest. What you get : Standard & Discretionary Ligatures Stylistic set Numerals & Punctuation

This is of Novecento Sans, a font family inspired by European typographic trends between the second half of 19th century and first half of the 20th. It looks rational and geometric. However, it is optically corrected and balanced. NEWS: you can add a layered effect with Novecento Carved as top layer. This font face is designed to be used mostly for headlines, visual identities or short sentences, both in big and small sizes. Lighter faces provide a more contemporary and design look and feel, while the bolder ones definitely look retro. Novecento Sans family comes in 32 styles, speaks 76 latin based languages, has 590 glyphs and 16 stylistic opentype features for advanced typography.

Omerta Blackletter Font Blackletter fonts have letters that are very bold and ornate. It is a Western calligraphy style that was used in Europe from 1100s to the 1600s. Blackletter is also known as Old English or Gothic script. During the 20th century, blackletter type styles were adopted by new audiences and came to be associated with punk, street art, and heavy metal. Omerta Blackletter Font Specifically developed to be suitable for perfect for tattoos clothing, labels and packaging, branding, or any Gothic-themed projects. Omerta Blackletter Font are great for Classic Calligraphic type projects and convey a sense of what’s to come. This font can be used with all software that can read standard fonts.

The Steampunk font is inspired on sixties hand lettered French movie poster of Charles Bronson. This style of type is instantly associated with advertising and design for high-end products with a touch of Arts & Crafts. Steampunk is carefully drawn for quality and readability. Steampunk is great for display, logos, branding, packaging, advertising, food, sports, titles, film, tv, and more. Steampunk comes in 2 styles witch match perfectly together. Steampunk is a great display family with roots in the past century advertising and sign painting industry, and no wits but smooth polished wit hall the features a good designer needs. Steampunk is designed by Coert De Decker in 2018 and published by Kustomtype Font Foundry.

When I created Face Your Fears some years ago, it was an instant hit. I have seen it on Gangsta Rap albums, metal albums, books and on movie posters. It has been used for T-shirts, websites and, believe it or not, for a beer label as well. I have always toyed with the idea of redoing the original font, as some of the glyphs were a bit off. Face Your Fears II is similar in nature to the original font, but comes with a lot of improvements, has slightly altered glyphs and (probably) better kerning. But maybe, just maybe, it isn't your cup o' tea. In that case, you can always just go for the original!

“Latino Gothic” is the result of two years of hard work by the Latinotype design team under the artistic direction of Alfonso García. We are really proud to present a superfamily with the magnitude and characteristics of "Latino Gothic". A very complete typographic font made up of no less than 90 styles. "Latino Gothic" offers a new interpretation of the original design totally focused on the needs of visual communication of the 21st century. «Latino Gothic» is designed to respond to the most varied communication needs thanks to its 5 widths and 9 weights, with their respective italics. 90 different styles make it the most versatile and complete gothic family on the market!

The Eixample project is inspired by modernist signage of various examples found in the Eixample neighbourhood in Barcelona. The name of each subfamily is related to its location or to specific elements of the original sign. Villa is the abbreviation for Carrer Villarroel (Villarroel Street), where the Villarroel Pharmacy has been displaying this sign since the first quarter of the twentieth century. The Eixample Villa typeface system consists of sturdy letters free of ornaments with an industrial aspect. Only the treatment of the curves borrows modernist features. Like the rest of the families in the Eixample series, Villa shows its origin as a display font, but it has been engineered to give good results at small sizes as well.

The English stone carver, artist, and typographer Eric Gill conceived the Joanna typeface as a personal design for use in books printed at his Joanna Press."" Gill saw his press work there as a continuation of the British Arts and Crafts Movement, pioneered in the 19th Century by William Morris. Joanna is notable for its almost vertical ""upright"" italics, and the unusally small size of its italic characters. Joanna is versatile and extremely legible. The letterforms are a bit narrow, so the face is very economic as well. A lot of text may be packed densely together onto a page with Joanna. Joanna mixes very well with other typefaces designed by Eric Gill; especially Gill Sans.

Cut by Monotype between 1900 and 1902, the Monotype Modern font family was based on Miller & Richards News 23 and 28; slightly condensed news text types of the 1890s. Monotype Modern is a lively typeface, with long, fine hairlines and well rounded letterforms, representing the best of nineteenth century modern face design. A classic text face, and typical of the moderns that were produced in the United Kingdom at that time, being less extreme in its rendering than some of the models of purer form being produced elsewhere. Monotype Modern is an excellent text face for magazines, newspapers and books, the heavier and more condensed versions are useful in headlines and display.