Sybilla is a robust, but friendly, humanist slab serif well suitable for broad range of design projects. A true workhorse and superb text type family, Sybilla was especially designed with legibility in mind. Its soft almost cursive shapes and generous internal spaces define a slab serif that is easier on the reader’s eye and help establish a feeling of warmth and friendliness. The type family consists of eight weights with complimentary italics. While the Light, Book, Regular and Medium weights are great performers for body text, the Thin, Bold and Heavy weights make an excellent choice for headlines. Also there is the specially designed Ultra weight if extra punch is needed. Sybilla has extensive multilingual support and specially designed Cyrillic that works harmoniously with its Latin counterparts - a perfect choice for design projects that need both writing systems running side by side.

Baldufa is a charming typeface with strong personality, which looks very comfortable in text. There is a search to obtain complicated curves and detailed features, which gives the typeface a touch of beauty and elegance. However, this is also a self-conscious design that claims through the rounded serifs and irregular vertical stems appreciation for quirkiness and human imperfection. The letterforms are inspired by the slight distortions and idiosyncrasies that came with old printing methods. It has distinct, features such as rounded serifs, irregular vertical streams, ink traps and extremely thin junctions. In the Italic, serifs have been removed to enhance movement and expressivity. These experiments in form have not come at the cost of legibility: The typeface remains suitable for both small and display text. Baldufa Paneuropean covers Eastern and Western Latin, Greek and Cyrillic Extended.

Designed by the renowned Robert Hunter Middleton of Chicago’s Ludlow Typograph Company, this “serifless roman” was first introduced in 1929. Middleton has created a transitional face linking the traditional thick and thin serifs of the times with the new Futura and Kabel design imports. With its slightly flared main strokes, Stellar predates in many respects Hermann Zapf's Optima by thirty years. Highly effective where an elegant and warm feeling is desired. This typeface is faithful to the original letterforms of the Stellar design. Stellar Classic is also available in the OpenType Std format. Some new characters have been added as stylistic alternates in this new version. Stylistic alternates and other advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

We popped the Doohickey into the Framistat and out popped this Whatchamacallit! Is it fat? is it thin? Is it tall? Is it short? Is it light? Is it heavy? Is it condensed?! is it expanded?! Yes, yes, yes and yes -- It’s all of the above and more! Our resident mad scientist John “Mr. Fontastic” Roshell has developed a single contraption that can handle any design emergency, from crimelords to supervillain team-ups to alien invasions. Whatchamacallit is a friendly and readable sans-serif, inspired by some of our all-time favorites -- Gill Sans, Futura, Venus and Antique Olive. But, like its machinery-contraption namesakes Doohickey and Framistat, Whatchamacallit has a lively personality -- the strokes are a little wavy, the ends a bit bulbous, and the circles are like little loaves of bread, rising in the Whatchamacallit's oven... delicious!

Mandoul Script is a sharp, active calligraphy typeface. With extra attention to quick letterforms and sharp details, this modern typeface turns any graphic project into a strong and confident work. It is provided in six styles, and three thicknesses: Thin, Regular and Bold, and each weight as Italic. Use underscore _ anywhere in a word to create a swash. Example: Hand_script Use multiple underscores for different swashes. Example: Bea__utiful (Download required.) Mandoul 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 North 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.

Kairos Sans, designed by Terrance Weinzierl, is an octagonal sans serif influenced by 19th Century Grecians, with the weights and widths of a contemporary palette. The bold simplicity radiates in headlines and sub-heads, with suitable performance in text. Of course, it pairs perfectly with the slab serif companion, Kairos . Kairos Sans is available in 48 styles; 8 weights in 3 widths, all with matching italics. Condensed, Regular and Extended widths range from Thin to Black. There are 4 Rough styles as well, bringing the whole family to a total of 52 styles. It comes in Latin, Greek and Cyrillic scripts. It also comes with some extras and OpenType features: Small capitals, proportional and tabular figures, superscript and subscript figures, support for fractions, ornaments, arrows and Stylistic Alternates. It often looks athletic, industrial, and stern. Kairos Sans is stout, but has energy.

Baldufa is a charming typeface with strong personality, which looks very comfortable in text. There is a search to obtain complicated curves and detailed features, which gives the typeface a touch of beauty and elegance. However, this is also a self-conscious design that claims through the rounded serifs and irregular vertical stems appreciation for quirkiness and human imperfection. The letterforms in the Latin are inspired by the slight distortions and idiosyncrasies that came with old printing methods. It has distinct, features such as rounded serifs, irregular vertical streams, ink traps and extremely thin junctions. In the Italic, serifs have been removed to enhance movement and expressivity. These experiments in form have not come at the cost of legibility: The typeface remains suitable for both small and display text. Baldufa Greek Ltn covers Greek and Latin.

Cormac is a humanist typeface characterized with it's large x-height and slightly flared stems. The word that best describes our ideas in the beginning of the project is "simple" - the idea behind it was to strip the letter forms of everything unnecessary, and yet keep the typeface interesting. The typeface is friendly without being too cheezy thanks to its humanistic character, flared ascenders and stems reminding of its calligraphic origin. The proportions are closer to the traditional old style typefaces. Cormac is open and readable typeface coming in 7 weights plus their matching 'true' italics - from Extra Thin to Bold. The family comes with Cyrillic support, great range of numerals, fractions, ligatures, alternates and a lot of special characters making Cormac a great solution for greate range of design work - branding, editorial, web, wayfinding, etc.

The Sacramento Pro family of typefaces was inspired by a monoline, semi-connected script from hand-lettering artist brochure work of the 1950's and 1960's. With its sophisticated upright stance, it stands on a thin line between formal and casual lettering styles, yet it has a commanding presence for headlines and titles. The Slim adds a fine pen-line style, while the Stout style expands the formal/casual dichotomy much further than the original weight. Opentype features include: - Contextual Alternates for initial and final forms. - Stylistic Alternates for an alternate lowercase t. - Discretionary Ligatures* for catch words like “and”, “at”, “by”, “for”, “of”, “or”, “the”, “to”, and “with”. - Full set of Inferiors and Superiors for limitless fractions. - Proportional and Oldstyle figure sets. * Discretionary Ligatures not included in the Stout style due to heavyweight nature.

Salish is a sans-serif typeface inspired by the art of the Salishan tribes in the Northwest Americas. It draws heavily on the concept of the ‘ovoid’, a wide ovular shape that is flat on the bottom and top heavy, that is central to the art style known as ‘Formline’. Designed by Aaron Bell of Saja Typeworks, Salish comes in 5 weights, from Thin to UltraBold. Language support includes some 200 Latin-based languages as well as the necessary orthographies for all Salishan languages, including: Comox, Sliammon, Klahoose, Pentlach, Sechelt, Squamish, Halkomelem, Nooksack, Straights Salish (Saanich), Lushootseed, S'Klallam, Quinault, Upper Chehalis, Lower Chehalis, Cowlitz, Bella Coola, Ditidaht, Tseshaht, Nuu-chah-nulth, Ehattesaht-Nuchatlaht, Kwak'wala, Shuswap, Lillooet, Thompson River Salish, Coeur d'Alene, Columbia-Moses, Colville, Okanagan, and Montana Salish. Haida (a non-Salishan language) is also supported.

“So-called Baskerville Old Face of the type foundry Stephenson Blake & Co. of Sheffield. The Script is probably not immediately linked to Baskerville, but it is very much influenced by it. It is one of the most beautiful types of which the mats still exist; it has an incomparably different spirit than the ‘streamlined’ re-cuts of today’s Baskerville. Even keeping the general restraint extremely expressive. According to Berthold Wolpe (‘Signatures’ No. 18), the punches were cut and shown in samples in 1776 by Isaac Moore, who came from Birmingham to Bristol.” – Jan Tschichold, “Meisterbuch der Schrift”, Notes On The Plates, Page 231 Publisher note: I wanted to improve the contrast between thick and thin, reduce some ink-traps and give stems, serifs and links a smoother overall feel. I have also added some alternative letters and old style numerals.

Tabac Big can satisfy all expressionists desiring idiosyncratic colouring in setting because it provides black weights. But at the same time it offers solutions for orthodox environmentalists who like to save ink and toner — all the fragile hair styles are intended just for them. Less clearly-defined typographers can then choose from the six other weights, from Thin through Light, Regular, Medium, Semibold and Bold, including true italics. Tabac Big is a first and universal choice where we look for pronounced display type as a complement to text type. Its modern drawing, made up of precise arcs, sharp lines and seemingly simple segments, gives a clear and unmistakeable impression every time. And yet the typeface knows how to intrigue — especially in shaping the italics, which fully expresses the typeface’s unique details, such as its large bulbous instrokes and outstrokes and heavy wedge serifs.

Like a bright star shimmering on a still and quiet summer night, Arched Gothic Condensed is a glowing example of Victorian type. Thin in the middle with clumpy wedges on top and bottom, it truly bears the spirit of a bygone era. Originally known as Concave Extra Condensed, this typeface has shed its waist-high spur notches and gained new figures and lowercase letters. Developed around 1885 by the James Conners & Son Foundry (New York), Arched Gothic Condensed is a marvel of sparkle and glitter in nineteenth century typeface design. Arched Gothic Condensed is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Slovenian type designer Mitja Miklavcic created this sans FontFont in 2011. The family has 14 weights, ranging from Thin to Black (including italics) and is ideally suited for advertising and packaging, book text, festive occasions, editorial and publishing, logo, branding and creative industries, poster and billboards, wayfinding and signage as well as web and screen design. FF Tisa Sans provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. In 2013, FF Tisa Sans received the CommArts award and was also selected as one of Typographica’s favorite typefaces of 2012. This FontFont is a member of the FF Tisa super family, which also includes FF Tisa.

German type designer Erik Spiekermann, American type designer Christian Schwartz, and New Zealand type designer Kris Sowersby created this slab FontFont in 2009. The family has 14 weights, ranging from Thin to Ultra (including italics) and is ideally suited for editorial and publishing, logo, branding and creative industries as well as web and screen design. FF Unit Slab provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic and Greek writing systems. This FontFont is a member of the FF Unit super family, which also includes FF Unit and FF Unit Rounded.

Compasse is a semi-condensed sans-serif family designed by Ryoichi Tsunekawa and the whole family consists of 12 style: six weights from Thin to ExtraBold and their matching Italics. The range of styles provides flexibility for title, headline and body text. And the large x-heights increases legibility and readability. The basic skeleton of their letterform was not designed over-modularly but moderately semi-modularly (adjusted by designer's experience). Therefore the typical artificiality and unnaturalness which come from module-design does not exist in this family. The sophisticated letterform and its universal, neutral, and standard design make it possible to be used across a wide range of applications in all medias, all purposes. Compasse supports almost all european languages: Western, Central, South Eastern Europeans and afrikaans. And superior figures, inferior figures, denominators, numerators and fraction can be accessed by using OpenType features.

Alfina Notte is a chancery typeface that shows a modern temperament, but is inspired by the eponymous town of Torre Alfina, one of the most beautiful medieval villages of Italy, situated on the edge of the plateau Alfina, a few miles from of Orvieto. The place where is the castle is steeped in history. Its roots date back to the Lombard kingdom (seventh century); later it was under the rule of Monaldeschi (1200-1700) and more recently (1880) the property of the rich French banker Count Edoardo Cahen of Antwerp, who was responsible for the present aspect of the Castle. Alfina Notte is the bold version of Alfina, a type with soft lines, very slender upper cases and thin overlapping strokes; The stylistic alternates are particularly important, and the type is enriched by many, different OpenType features.

Assemblage Designed by Daniel Hernández, Alfonso García, Bruno Jara Ahumada and Luciano Vergara. Thanks to Pedro González for his contribution in the initial stage of the design process. Assemblage is a typeface-inspired by Roman square capitals-that comes in 6 different weights and ranging from Thin to Black. The background of the typeface makes it well-suited for branding, short text, titles and complex compositions, thanks to its italic version. Contrary to some conservative fonts, Assemblage includes an italic version with a look based on Elzeverian and Dutch Barroque typefaces, what gives the font an extra dash of elegance, resulting in a very enjoyable design. The family was specially created for labelling wine bottles and general packaging. Assemblage is a font collection consisting of a Sans Serif plus an Italic version of classic features. The family comes in 6 weights and includes ligatures, caps and small caps plus 3 sets of smaller small caps for different kinds of composition. The Italic version-with strong decorative features-comes with swashes. Assemblage also includes a set of dingbats, especially designed for packaging as well as for publishing or branding. The Sans contains 979 characters and the Italic version 620 characters. Assemblage supports 212 different languages and its OpenType features include ligatures, semi oldstyle figures, 3 sets of ornamental small caps (in the Sans version), swashes, ending forms and alternates in the Italic version.

VLNL Boulangerie was originally an incomplete set of early 20th century wood type letters, that Donald Roos found in a dust covered carton box stashed away somewhere at the Royal Academy in The Hague. Charmed by the letter forms Donald decided to print them on paper with a printing press. Next he digitised the prints as they came out, including small imperfections and damages. The missing characters were composed and added digitally to complete the alphabet. (See if you can spot those!?) We think VLNL Boulangerie is a little French in appearance (hence the name), it's joyful, warm, a little crunchy and round-ish. It defenitely has that ‘je-ne-sais-quoi’ that seperates it from most wood type grotesques. It can be perfect for lettering on a storefront window of – let's say a bread shop or a lunchroom. Or a logo for a downtown hipster café. VLNL Boulangerie hardly has any limitations actually.

In older American slang, a "bum steer" is a bad tip, some bad advice or being sent in the wrong direction (to name a few examples). Bum Steer JNL was modeled from some playful hand lettering found on a piece of early 20th Century sheet music entitled "When Uncle Joe Plays a Rag on His Old Banjo". It's very possible that "Hobo" (a popular type design of the time) was a strong influence on the sheet music's style of title lettering. It seems that songwriters in those bygone days were prone to cramming as many words from a line of their song into the title itself. Another such example of a wordy song title which coincidently is in keeping with the theme of a "bum steer" (pun intended) is a novelty number from 1915: "Cows May Come and Cows May Go but the Bull Goes on Forever" (words by Vincent Bryan, music by Harry Von Tilzer). [It's kind of self-descriptive, don't you think?]

Hipster Script is another of my habitual attempts at trying to reduce the divide between manual and digital. In this case, I try to articulate brush lettering, try to get the computer to emulate continuous painting. The process wasn't that different from my work with Feel Script's shot at computerized commercial lettering, though here we have a more casual contrast, rather than the high seriousness of the Copperplate script. Swashes, alternates, ligatures — too many of them, all trying to make the interplay between the tool’s two extreme widths remain faithful to hand movement subtleties. I also toyed with ligatures containing apostrophes, something I've never seen before. With this typeface I think I've become more balanced in uniting the spontaneity of post-war ad lettering with the current trends in illustration and design. Hipster Script received a Judge’s choice Certificate of Excellence at the Type Directors of New York and was selected to be part of the Bienal Tipos Latinos 2012.

Jeanne Moderno is a revisionary type family. A synthesis of Bodoni Italic and 19th Century Ultra-Bold "Fat Faces"—distilled with personality taken from early 20th Century Modernists; the Futurists, Dadaists, Suprematists, Constructivists. Historically, Jeanne Moderno could have appeared on the scene around 1918—after the First World War—when new cultural movements, manifestos, theories and countertheories shaped art, industry and society. Spatter in a few later influences—from De Stijl, the Bauhaus, the types of Herbert Bayer, Josef Albers, Paul Renner—plus a twist of Art Deco and High Fashion—Jeanne Moderno is a remanifestation of 19th + 20th Century Modernist thinking; traditional + revisionist, raw and elegant! Jeanne Moderno can best be used for magazines, advertising, posters, flyers, fashion reports, letterpress experiments, silkscreen endeavors, exhibitions, DMV signage, paper money, revolutionary political statements as well as formal declarations of peace or war. Jeanne Moderno is about the future, the past. The Avant-Garde. Humanist geometry + vintage footwear. Form, function, style, art and life.

Introducing Hunsleitta! It is a typeface easy to read and so comfortable to wear. Hunsleitta is perfect for branding projects, homeware designs, and product packaging. You can use it in a logo, badge, insignia, packaging, headline, poster, t-shirt/apparel, greeting card, business card, and wedding invitation, or simply as a stylish text overlay to any background image and more. The flowing characters are ideal to make an attractive messages to your taste. Ligatures are also available for several lowercase characters (double-letters which flow more naturally). These are only accessible via software with OpenType capability or a glyphs panel, e.g. Photoshop/Illustrator. That's it! I really hope you enjoy it - please do let me know what you think, feedback is always hugely welcomed and appreciated. More importantly, please don't hesitate to drop me a message if you have any issues or queries. Now enough of reading this, get out there and make it happen :)

Crown Jewels is a massive Super Pro font like no other. This must be one of the most complex font ideas ever imagined. Based on an original font by George Williams, Crown Jewels takes that original idea to a whole new level. Containing thousands of glyphs, it has the size and complexity for any fancy job. This font is like hundreds of fonts in one. Many OpenType features and sub-styles to give you hundreds of different looks. Every single capital letter has been hand-sculpted into a unique complex shape like no other. Multi-language support for numerous countries including Greece and Russia. It also has advanced Open Type features like converting numbers to Roman Numerals automatically for your art projects. Numbers from 1 to 3,999,999,999 can be converted automatically to two different Roman Numeral styles. This font also comes with a nice large pdf manual explaining every function so please read it in its entirety so you can use this font successfully. There is a optional add-on font of Flourishes containing over 800 complex glyphs that can be used with this font or any font you already own. It will bring your fonts and art projects to life. It also has numerous OpenType features programmed so that each feature simply outputs 94 flourishes at a time to your keyboard. There is also a complete color-coded pdf directory of each and every one so you can find the shape you want fast. Every single one is available in recent versions of Photoshop and InDesign by simply turning on a OpenType feature and hitting a key on the keyboard. There is also a separately programmed ligature feature in case that is the only OpenType feature you have and just with that feature every single glyph can be placed into your documents easily. Crown Jewels is priced so you don't have to lay siege to the tower to afford it. It has a very low cost per glyph and is actually one of the best values here. This font took over nine years to make and it’s still just pennies a glyph. Usage: Photoshop styles, InDesign, Promotion Logos, Monograms & Signatures....That’s where it shines and it’s made for art, cards, fancy documents, really super fancy labels & even notes to Mom. If you have a fancy art project that needs doing this is the font to use.

Neo Contact is the typeface used on the packaging of Marlboro cigarettes (Marlboro “Reds,” the main line of the brand). The typeface is bold and condensed, designed in the Egyptienne style. Egyptienne types were first designed in the 1800s, as type founders - especially in the westward-expanding United States - began to dream up newer, bolder styles of letters for advertising usage. During the 1800s, it became increasingly important for businesses to set themselves, and their products, apart from competitors. This desire has remained with corporations, as well as with advertisers and designers, into the 21st century. In addition to cigarette packaging, Neo Contact (as part of Marlboro’s branding efforts) can be seen on numerous items, including Ferrari’s F1 racers, and at Formula 1 race tracks. The letters in Neo Contact are filled with personality. Their forms display two distinct weights of line, and the serifs are made up of tiny, strict slabs. Ball terminals round out the design. Neo Contact is a complete font, with a complete western character set. Typefaces in the Egyptienne style preceded the development and distribution of larger, crazier wood typefaces, but also share many similarities with these descendents. More traditional, text faces in the Egyptienne manner are also available from Linotype GmbH (e.g., Adrian Frutiger’s Egyptienne F). On the opposite end of the spectrum, we offer interesting, personality-filled wood display types, like Ponderosa as well.

Agatized Formal is a chunky stencil typeface with slightly condensed letterforms and tight spacing. Designed primarily for display use, it’s ideal for posters, logos, advertising, book cover designs or small chunks of text such as pull-out quotes. It exudes authority without taking itself seriously, like a plump jolly uncle in charge of a brass band. Agatized Formal is a big, bold typeface with a charismatic presence that commands attention – in a friendly way, of course. But what really makes this typeface come alive is its arsenal of alternative characters and ligatures. There is a saying: Use sparingly. Whoa! Not here, no, no, no. Make your Glyphs palette earn its money. Flex your OpenType muscles: get stylized, contextualized, indulge in some ligaddiction. This typeface is a peacock that likes to put on a show, spread its plumage and strut around in all its blazing glory. Agatized, according to Wiktionary, means: A living thing converted into the form of agate; fossilized. I felt the name suited the solid, almost rock-like letterforms, but most of all I just wanted a typeface name that began with the letter A. Although Agatized Formal is a single-weight typeface it has a sibling, Agatized Informal, an older, more casual brother, rougher round the edges with craggy good looks and an altogether more jaunty style.

ABOUT FAMILY: What makes "Alaturka" elegant, friendly and contemporary is its very rounded curves with very open terminals. "Alaturka" has been designed with a higher "x-height" than other fonts in its class to make tiny readability more obvious in any use situation. It will be ideal for use in small sizes such as business cards or mobile applications. This typeface is also equipped with powerful OpenType features to satisfy the most demanding professionals. It has solid features like case sensitivity, small, true capitals, full ligatures, tabular figures for tables, old-style figures to elegantly insert numbers into your sentences, and more alternative characters to give personality to your projects. FEATURE SUMMARY: - 2 style: 1From 1923 To 2023 - 8 weights: Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, and Black. - 3widths: Normal, Narrow, and Condensed. - Matching italics (12º) for all weights and widths. - Matching small caps for all weights and widths. - Lining and old-style figures (proportional and tabular). - Some alternate characters - Unlimited fractions. - Automatic ordinals (1st, 2nd, 3rd, etc.). - Extended language support: Most Latin-based scripts - Extended currency support. You can enjoy using it.

Core Sans N SC is the Small Caps version of the Core Sans N that is a part of the Core Sans Series (Core Sans N SC, Core Sans N Rounded, Core Sans M, and Core Sans G). Letters in the Core Sans N SC Family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans N SC Family consists of 3 widths (Condensed, Normal, Extended), 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black), and Italics for each format. It also supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans N SC Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

The Core Sans NR Family is a part of the Core Sans Series, such as Core Sans N, Core Sans N SC, Core Sans M, and Core Sans G. This family is the rounded version of Core Sans N family. Letters in the Core Sans NR Family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans NR Family consists of 3 widths (Condensed, Normal, Extended), 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black), and Italics for each format. It also supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans NR Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

Kamui is a font designed by Carlos Fabian Camargo G. and used to write headlines. Its strategy makes it ideal for covers and advertisements with Japanese-style manga comics requiring latin style. Precisely its purpose was inspired by typographical classics such as Mistral by R. Excoffon and Zapfino by H. Zapf that then were diluted by separate strokes as blackletter calligraphy. However, high doses of miscegenation and lettering untimely torn between 50% esthetic and 50% legibility. That way his radical expression is highly profitable for composing and designing words and phrases with Eastern look. And more importantly, the writing seems drawn quickly with thin-tipped brush staining over a rough surface, from that process comes the idea of corroded outlines and changes in contrast. In conclusion, some diagonal strokes, horizontal, curved and vertical stand or hide from their simulation of scarcity or abundance of ink clots. That way each stroke seems inconsistent, footprint of the 423 brush drawing glyphs in Regular Kamuy. In that sense, the OpenType features included are: Standard Ligatures, Contextual Alternates, discretionary ligatures, swash, stylistic alternates, alternatives for titles, ordinals, fractions. And to end the Variable “Kamuy Dingbats” has is 52 fictitious drawings and zamurais.

Upon numerous demands of highly esteemed users of our fonts I decided to supplement the Walbaum type family by display and poster cuts. Because I obviously cannot compete with world’s renowned type foundries which already offer a number of renderings of forenamed typeface, I thought proper to decline a bit from the original Walbaum’s design, strictly speaking, from the apprehension we commonly keep about this typeface. Therefore I didn’t set forth the way of modernizing (shame!), but rather the opposite direction: towards an analysis of the original neo-classical intention. I took the 10-point character, magnified it enormously and cut off progressively all the optically thickened bobbles which raised by small-size correction. I ended up at the size of about 120 points, where it became obvious that any further thinning would lead to an undesired manneristic fragility. Resulting 8-member family Walbaum 120 is naturally usable in variety of sizes, as well as cuts marked “10” you can use, say, from 6 to 30 points. I only hope that mister Justus Erich won’t pull me by the ear when we’ll meet on the other side...

The retro-inspired design of Aviano Copper Variable echos the bold style of America’s Gilded Age. Inspired by the copper-inscribed intaglio printing designs of the early 20th century, the powerful, wide character shape of this font walks softly across your page while carrying a big stick. To create the right balance, small wedge serifs were added onto Aviano Sans, giving you a sophisticated style that looks and acts like it belongs nowhere short of Boardwalk. Developed to a new level of excellence, this design offers a wide range of weights from thin to black. There's full multilingual support of all Latin-based languages and five stylistic sets, swash designs, and 1000 glyphs per weight, including some unique ligatures. Number options include old style figures, tabular figures, and superscripts. Unique median spur alternates, swashes, and ligatures will help you customize every single design. The feel of last century’s personal and business correspondence is waiting for you in this member of the Aviano family. While ideal for headings, displays, logos, and short texts, Aviano Copper’s use for everything from letterhead to wine labels may just give you the monopoly you’re looking for.

Klein PDF Specimen Klein is Zetafonts love letter to the grandmother of all geometric sans typefaces, Futura. Starting from a dialogue with Paul Renner’s iconic letterforms and proportions, Francesco Canovaro and Andrea Tartarelli decided to depart from its distinctive modernist shapes with slight humanist touches and grotesque solutions - with some design choices evoking the softness of humanist sans serifs like Gill Sans. The end result is a workhorse superfamily of 54 fonts with full multilingual capabilities and coverage of over two hundred languages using latin, cyrillic and greek alphabets. The original display-oriented family, developed in nine weights with matching italics (from the hairline thin to the sturdy black), has been paired with a text version (with slightly higher x-height, better readability and maximum legibility at small point size) and with a condensed version, to be used for space-saving display solutions in editorial and advertising formats. With a name that is both a nod to its humble functionality and an homage to french nouveau realiste artist Yves Klein, this typeface aims to become your next trusted companion in all your adventures in print, digital and motion design.

A little-known design by Futura designer Paul Renner gets a long overdue update by Linda Hintz and Toshi Omagari, in this reliable and impactful industrial sans serif. Neue Plak offers more weights and widths than the original 1928 design, extending its use for branding, editorial, logos and UIs. The pair based their updated and extended version on the original Plak wood type, uncovering lost details and incorporating them as alternates – including the choice between open or strikethrough counters. Neue Plak's outwardly stubborn personality is counteracted by unexpected details, which make for an unusual juxtaposition of severe and playful. “It felt like we should pay Paul Renner more tribute,” says Hintz, who spent time researching the typeface in Hamburg's Museum der Arbeit. “The forms themselves are partly quirky, partly really fun, but with a German stiffness that makes for a strange mix.” Neue Plak offers 60 weights, including a new text version that pairs well with the display weights, and allows the design to function in print and digital environments, and for a wide range of uses. Neue Plak Text Variables are font files which are featuring one axis and have a preset instance from Thin to Black.

The Core Sans NR Family is a part of the Core Sans Series, such as Core Sans N, Core Sans N SC, Core Sans M, and Core Sans G. This family is the rounded version of Core Sans N family. Letters in the Core Sans NR Family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans NR Family consists of 3 widths (Condensed, Normal, Extended), 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black), and Italics for each format. It also supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans NR Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

Thermal is an exploration of balance and contrast. Combining the elegance of classical typography with the sharpness of contemporary design. It was conceived to be a variable font with two axes: weight & optical size, providing a wide range of options for texts & display applications. The regular and italic text weights breathe a warm atmosphere, their design inspiration is a relaxed interpretation of the work of 16th-century French type designer Robert Granjon, evoking a comforting rhythm and a sense of familiarity that makes reading enjoyable. On the other end of Thermal's design spectrum lie the extreme weights – thin and heavy –, specifically designed for larger sizes. These weights borrow stylistic cues from several distinct influences: the characteristic woodtype from the 19th century, the sharp lettering styles from the 70s, and the bold work of Oscar Ogg. One of Thermal's disctint features is its italic's 20° inclination, an significant inclination by all standards, this design choice finds its roots in the "Ascendonica Cursive" of 1571, but is a contemporary interpretation that generates a captivating contrast with the regular version. Thermal studies the past and analyzes the present to create a unique blend, bringing a dictint dichotomic identity.

The Core Sans NR Family is a part of the Core Sans Series, such as Core Sans N, Core Sans N SC, Core Sans M, and Core Sans G. This family is the rounded version of Core Sans N family. Letters in the Core Sans NR Family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans NR Family consists of 3 widths (Condensed, Normal, Extended), 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black), and Italics for each format. It also supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans NR Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

Extenda is a variable width sans serif type family designed by Francesco Canovaro with Andrea Tartarelli and Cosimo Lorenzo Pancini.It been created to provide designers with a powerful but flexible tool to create strong headlines, logos, and display text with tight spacing and maximum space coverage. Rather than providing a family of weights, it gives you a fine-grained range of widths to choose from, allowing maximum control in display editorial uses, and proportional size variation in logo design, keeping consistent appearance and readability. From the vertical, ultra-condensed and thin Pica, Nano and Micro weights to the wide and ultra-bold Peta, Exa and Yotta weights, all Extenda fonts include an extended character set covering Latin languages as well as ones using Cyrillic and Greek for a coverage of 200+ languages. Full Open Type features are included, from small caps to stylistic alternates, positional number forms and discretionary & standard ligatures. The 11-weights family is complemented by the Extendable special weight, that uses Open Type scripts to create a dynamically scaling typeface where each letter becomes automatically tighter or wider than the previous one.

The retro-inspired design of Aviano Copper echos the bold style of America’s Gilded Age. Inspired by the copper-inscribed intaglio printing designs of the early 20th century, the powerful, wide character shape of this font walks softly across your page while carrying a big stick. To create the right balance, small wedge serifs were added onto Aviano Sans, giving you a sophisticated style that looks and acts like it belongs nowhere short of Boardwalk. Developed to a new level of excellence, this design offers a wide range of weights from thin to black. There's full multilingual support of all Latin-based languages and five stylistic sets, swash designs, and 1000 glyphs per weight, including some unique ligatures. Number options include old style figures, tabular figures, and superscripts. Unique median spur alternates, swashes, and ligatures will help you customize every single design. The feel of last century’s personal and business correspondence is waiting for you in this member of the Aviano family. While ideal for headings, displays, logos, and short texts, Aviano Copper’s use for everything from letterhead to wine labels may just give you the monopoly you’re looking for.

Gidget is an elegant script with a contemporary atmosphere and impeccable form, inspired by timeless classic calligraphy. Not too thin and not too thick, balanced and varied, born to luxury and beauty. Hand-drawn design elements allow you to create many beautiful typographic designs in an instant such as branding, web and editorial design, prints, crafts, quotes, It's great for logos, wedding invitations, romantic cards, labels, packaging, name spelling and more. Gidget includes an alternative to OpenType styles, ligatures, and International support for most Western Languages. To enable the OpenType Stylistic alternative, you need a program that supports Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Gidget is coded with a Unicode PUA, which allows full access to all additional characters without having to design any special software. Mac users can use Font Book, and Windows users can use Character Map to view and copy any additional characters for pasting into your favorite text editor / application. How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Designer: khaidir