The typeface was designed at the Polygraphmash type design bureau in 1940-56 (project headed by Anatoly Shchukin) based on Erbar-Grotesk typeface of Ludwig & Mayer company, 1929 by Jakob Erbar, and on Metro typeface of Mergenthaler Linotype, 1929 by William A. Dwiggins. A sans serif of geometric style. For use for text and display typography. In 2014 designer Olexa Volochay made some corrections in original digital data and extended character set. The family was rereleased in ParaType in 2014.

Lovina Script is our first font in 2019 and has a handwritten script style with a touch of natural rough from the shape of the brush. For Scripts, Lovina fonts have 2 choices namely "Lovina 1" and "Lovina 2" and in this font script there are many alternative choices of characters from Swash Lowercase, SS01 to SS06. Lovina Script is very worthy of being the newest collection in 2019 as a project design creation, social media quote, badges, logotype, fashion design etc.

Zagolovochnaya was based on the letterforms of Zagolovochnaya gazetnaya (Newspaper Display) type family of Polygraphmash in 1962 by Iraida Chepil et al. The face was a revival of Cyrillic version of Caslon designed in the late 1930s. The artworks of Zagolovochnaya gazetnaya were redrawn by Isay Slutsker (1924-2002) in the late 1990s. In spite of its name the font is useful both for display and text matter. The digital version was developed for ParaType in 2002 by Manvel Shmavonyan.

Decora Pro font family is designed by Naghi Naghashian. A modern interpretation of classic Roman characters in 1 weigh and 2 styles: Regular and Regular Italic. It is a Liaison between the classic Roman typeface and script style. The character set of this Font family supports most western languages including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili and Swedish. There are 17 additional symbol characters: euro, litre, estimated, omega, pi, partialdiff, delta, product, summation, radical, infinity, integral, approxequal, notequal, lessequal, greaterequal, and lozenge. It also includes the characters necessary to support the following central European languages: Croatian, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian and Turkish.

Anelo is about beauty with objectivity. A handmade sans serif with a humanist style. 889 Latin and Greek glyphs covering lots of Western and Eastern European alphabets. You can use Anelo from a LaTeX equation (there are 117 Greek/Coptic glyphs; please see image #6 in the gallery for an example of an Anelo/Computer Modern combination) to billboards and traffic signs. Its crisp, upright, handmade aspect takes communication to a direct and personal level. Anelo has some important OpenType features, like kerning, standard ligatures, old style/tabular/proportional figures and diagonal fractions. There are 25 currency symbols, including Euro ₠ €, Shekel ₪ and Bitcoin ₿. Each Anelo style has a condensed version, which gives room to many interesting combinations. For best results on screen, the Semibold Family is recommended.

Mira is a playful, decorative Art Nouveau font, released by Roos & Jung Foundry in Offenbach AM, Germany about 1902. The exaggerated serifs and the sharp contrast between the thick and thin strokes gives the page a whimsical “salt and pepper” look that is very distinctive. Mira uses our new encoding. The Euro symbol has been moved to position 128 and the Zcaron/zcaron have been added at positions 142/158 respectively. Otherwise, MIRA has our usual idiosyncratic glyph selection, with the German ch/ck instead of braces, Western European accented letters, lower case “o” and “u” with Hungarian umlaut and our usual Hand-in-Hand symbol. In addition, black-letter-style upper case “H” and “T” characters are included. Download the PDF Type Specimen for locations.

Roumi Pro is designed by Naghi Naghashian. It is a headline font, as modern interpretation of classic Roman characters in 1 weight: Regular. The naming is driven from the name of Rumi (the Roman), Persian philosopher and poet, 1207-1273. The character set of this Font family supports most western languages including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili and Swedish. There are 17 additional symbol characters: euro, litre, estimated, omega, pi, partialdiff, delta, product, summation, radical, infinity, integral, approxequal, notequal, lessequal, greaterequal, and lozenge. It also includes the characters necessary to support the following central European languages: Croatian, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian and Turkish.

Introducing 58 Rodeo: A Classic Redefined 58 Rodeo is based on several different woodtypes used primarily as display faces in the late 1800s/early 1900s. The difference with this version of a classic woodtype is the balance and legibility. 58 Rodeo has been redrawn to emphasize line and character uniformity. The goal is to create a eurostyle, square look in a western font designed for modern applications with wild west sensibility. Additional characters provide whimsy and flair to round out any layout on the fly. Stars and other sorts are included in this reinterpreted design. Egyptienne-style fonts possess a universal appeal and are spectacular for adding interest and legibility in a variety of applications. The extended character set includes the Euro, placed on the currency key.

A modern neo-grotesque typeface. Having grown up in Sheffield and been completely immersed in the work of The Designers Republic I became very drawn to their treatment of Helvetica, especially the close tracking of the letter space. This visual investigation led me to the study of the font Hass Unica, a so called improvement to Helvetica. In order not to replicate and become a clone of Unica I redrew all the characters from scratch improving optical appearance, developing subtle corrections and reshaping individual letterforms. The result is a remixed neo-grotesque font that has strong general optical balance with great rhythm under close tracking. Details include 10 weights, an extended European character set, true italic, manually edited kerning and Euro symbol.

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

Clio, Clio XS and Clio Condensed is a big family of 72 fonts. They were designed by Gabriel de Souza in 2012. They are simple and stylish and they have the ideal appearance to your work. Furthermore, features such as italics, obliques, great language support and flexibility. They can be applied in many differents form but their primary use is indicated to display use and luxurious trade mark creation and also available for Clio Icons.

Clio, Clio XS and Clio Condensed is a big family of 72 fonts. They were designed by Gabriel de Souza in 2012. They are simple and stylish and they have the ideal appearance to your work. Furthermore, features such as italics, obliques, great language support and flexibility. They can be applied in many different forms but their primary use is indicated to display use and luxurious trade mark creation and also available for Clio Icons.

Mensura font family has been designed for Graviton Font Foundry by Pablo Balcells in 2012. It is a modular, geometric typeface with subtle rounded angles that provides a soft, pleasent appearence. It has been conceived to be primarily a display typeface, but given its clarity it can also be used for composing short and intermediate length texts. Mensura consists of 8 styles and 4 weights plus italics. Each containing small caps and several alternate characters.

FP Dancer Tango is a humanist-influenced techno-like font, designed 2012-14 by Morten Rostgaard Olsen & Ole Søndergaard. FP Dancer Tango will be a useful tool, helping you to create wonderful headlines and text-columns in magazines and so. The font is surprisingly readable, even in small point sizes. Among other things as a result of the smooth transitions between the angular shapes. In addition, the condensed shapes saves a lot of space.

Solo is a renovation of an Arabic font designed by Sultan Maqtari in 2012 Solo is distinguished by its single and unconnected letters, as is the case with other Arabic fonts. Its letters are contemporary and do not dispense with the features of Arabic letters that are clear, legible and simple. But it gives user different creative possibilities, This font can be used in all artistic and creative projects in print and screen.

Bely is the first design by French newcomer Roxane Gataud. Too many typefaces are either governed by fear and never accomplish what they could, or are unrestrained which results in their frenetic dangling like a leaf caught in a spider’s web. Bely’s strength is that it has both restraint and freedom throughout the text weights and into the unique display weight. There is no fear in this type family, but only great respect for both the tradition of reading and the opportunity to make an impression. Bely is a high-class throwback containing four text weights which were built upon classical proportions to capitalise on reading familiarity. Bely Text features balanced capitals and a play between large, triangular serifs at the top and thick, bracketed, rectangular serifs at the bottom. The family is capped by a radical, expressive French-style display weight which pushes the rules of the text weights to their logical extreme. Bely Display, truly daring with its monstrous and angled contrast, exploits the features which make an impression at larger sizes. In the end, Bely Display is adventurous when used in packaging, identities, and headlines with attitude, while Bely Text’s calm baseline and piercing ascenders give paragraphs texture and familiarity. Bely covers the Latin A Extended glyph set and brings its sense of confidence to your projects with its two text weights, matching italics, and unique display style. Bely’s satisfying OpenType features allow for the implementation of typographic niceties such as small caps, both tabular and proportional lining and oldstyle figures, ligatures, alternate characters, case-sensitive variants, and fractions. The complete Bely family, along with our entire catalogue, has been optimised for today’s varied screen uses. Awards – Selected for TypeTogether’s Typeface Publishing Incentive Programme scholarship in 2014. – Selected by French magazine Étapes for the 2014 Diploma Issue. – Selected for the 2014 exhibition “TransFormations” at Centre Pompidou. — Received the SOTA catalyst Award 2016

Tenso Slab is a versatile and playful Slab Serif based on the -in 2013 released- Tenso, which is a an economic running sans serif with a lot of character.

Inoxida is Oxida's softer and more graceful sister. While Oxida has become quite the common sighting on the packaging of vegetables and organic foods, Inoxida now comes to fit the bill for food packaging that can benefit from more sophisticated script lettering. Inoxida is not just a softening of Oxida’s slightly rough edges. It is a complete reworking of the way its letters were constructed, and the introduction of a smoother size relationship between uppercase and lowercase. Designed by Koziupa and digitized by Ale Paul.

The design for Titulata was based on the need for a titles of extreme weight, dynamics and soft morphology. Strong and clear, it takes graceful form in the line and is legible even in small bodies. The script variable is softer and features some punch-line touches, providing another vision and incorporating traits of manual writing. One important feature is that both styles have the same rendering in text box, reason why signs can be combined without other alteration that the form of the printed word.

Van Dijk was designed by Peter O'Donnell in 1986 and is a zigzag typeface with a printed handwritten character. Angular forms and an emphasized slant to the right make it seem energetic and forward-reaching. The s forms with their rounded and softer forms contrast all the better with the rest of the alphabet. The strong figures of Van Dijk are reminiscent of advertisements of the 1940s. Van Dijk is best used for headlines or short texts in point sizes of 12 or larger.

Update November 2022: ULGA Grid now features an oblique variant. It’s also been expanded into a family of different but related designs with the addition of ULGA Grid Solid and ULGA Grid Rounded typeface families. All variants and new designs are monospaced, sharing the same width as the original ULGA Grid font and matching character sets. The character set has also been enlarged and now supports Western Europe, Vietnamese, Central/Eastern Europe, Baltic, Turkish and Romanian. ULGA Grid is a modular, monospaced typeface reminiscent of the old Letraset LCD & Quartz typefaces from the 1970/80s with lots of alternative characters and ornaments to bring a fresh twist to the genre. The idea’s seed germinated while I was going through a phase of binge watching my favourite 1980/90s sci-fi movies (classics such as Terminator, Total Recall and RoboCop). However, perception and reality don’t always align. Thirty years later, when compared to today’s technology, some visual elements look kind of outdated, almost Retro Futuristic. The initial design process started out in Adobe Illustrator when I constructed letters from a few geometric shapes within a square block. Just playing around with different shapes was so engrossing that it wasn’t long before there were enough characters for a basic typeface. The project grew again as I experimented with designs within the shapes and set paragraphs of text in patterns, resulting in over a hundred alternative characters and ornaments, some of which double up as border designs. This typeface may be square but it’s anything but boring. What it lacks in legibility ULGA Grid makes up for in style and the end result is a surprisingly versatile typeface that you'll have fun using for a wide range of display purposes including CD covers, posters, packaging, advertising, brochures and film titles. Ironically, the fixed grid structure frees the characters to create patterns of text not possible with variable widths.

It's been a while... more than three months we developed our brand new font. We call them "Meastro". Fun fact though, we want to call it "Maestro", but you know... we were afraid of the copyright thing. Meastro Script is a fun, bold, luscious, retro display script font. We crafted this font very carefully and make them very smoothly attach to each other. Especially, on the script version. You can see every character's tail beautifully connected one to another without using ligatures' help. This font takes full advantage of the Open Type format with several automatic ligatures that occur as you type for your preferred design. Moreover, the manual stylistic alternates allow you to choose the letters you prefer. Alternates occur automatically as you type in supported programs when you have "Ligatures" or "Stylistic Alternates" turned on. Meastro is Created with a ton of stylistic alternates, swashes, and ligatures, and also comes with layerable fonts to recreate the effect without uncomfortable overlaps of the extruded shadow effect. On this pro pack, you will also get the Meastro Display font! On this font you will meet the unique blocky and squared design, making your design feel classic and retro-like. Combine them and “boom”, you will be the “Maestro” of the vintage design! This retro typeface is perfect for logotypes, t-shirts, vintage badges, retro quotes, branding, packaging, posters, signboards, social media needs, etc. ——— Meastro features: A full set of uppercase and lowercase characters Layered Style Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features +553 Total Glyphs (Script) +235 Total Glyphs (Display) +238 Stylistic Alternates +30 Ligatures +69 Swashes and more (Shiny and Graffiti Spray Effect 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. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac), or a software program such as Pop Char (for Windows and Mac).

Originally completed in 2002, this font was lost in a hard disk failure. A later perusal of old disks unearthed an early version and this set was created from that.

Franklin Gothic EF is a font family from the Elsner+Flake Library. It had its debut in 2000. In 2016 it was renovated and an additional weight "Italic“ was added.

Habanero is a hot, bold and happy typeface.  The font was created by Måns Grebäck in 2016, and it contains contextual alternates and ligatures to make your type stand out.