Aprex Mono is a Mono spaced stylized industrial version of the Aprex Sans typeface, with multilingual support. The font is inspired by a basic sans serif glyphs structure, concerning the balance and optimization that bring a clean typeface, versatile for both display and body text use ideal for adding a touch of style to your creations and layouts!​​​​​​​

"Switzal Font" speaks a universal language of happiness and optimism. It transcends age, culture, and borders, making it perfect for projects that aim to connect with a wide audience. Let your imagination run wild as you create eye-catching headlines, captivating slogans, or playful branding. "Switzal" font is your ticket to infuse a dose of happiness into your designs.

ITC Syndor is the work of Swiss designer Hans Eduard Meier, a font which is almost, but not quite, a sans serif. The beginnings and endings of strokes display a hint of the calligrapher's hand and these tiny serifs optimize legibility. This legibility and the typeface's simple forms make ITC Syndor an excellent choice for business and presentation graphics.

Eco Coding is a sans-serif monospaced font, especially designed for programmers. This font is optimized for programming (coding) environment. Eco Coding's neutral and open shapes will make your eyes comfortable to read any source codes and text on screen. The appearance of Eco Coding is neutral, but it has distinctive shapes enhance legibility and readability on screen.

La Rose is Display Sans, designed to look modern & minimal in any setting. Designed for optimal readability, its clean geometric look is perfect for things like fashion, magazine, logo, branding, headers, titles, corporate brochure designs. Typeface also supports Latin-based languages. Other details include 4 font weights, 290 characters, manually edited kerning and an Opentype alternative feature.

Riga Screen is designed to work particularly well on screen. Especially responsive websites or office applications will appreciate its economic proportions. Riga has been specially engineered and optimized for exceptional readability in small sizes on all current computer monitors, including tablets and smartphones. This small family of four weights is the perfect companion for the Riga type family.

The condensed version of Hans van Maanen's Aragon is a headline star. The elements that made Aragon a popular "Dutch Garamond" text repeat here, with the slight stress shifts and tapering stems optimized for headline use. Aragon Condensed also comes in bold and italic variations. All three fonts contain extended language support, superiors and inferiors, and class-based kerning.

Adlery is a brush typeface designed by Cosimo Lorenzo Pancini for display use. It has a handmade feel and it’s optimized for maximum readability at medium sizes. The typeface comes in three styles: Basic, Swash and Blockletter Uppercase and has a double set of lowercase alphabets that alternate in writing, so that no double letters are the same.

Krone is a clean, bold contemporary semi-serif font characterized by its flared semi-serifs and graceful curves. Well-suited for all graphic design challenges such as dynamic display headlines, logos, posters, cover/titles and much more. Its optimized kerning enables it to work well in a variety of text uses for both web and desktop.

URW Geometric® is a sans serif typeface inspired by the German geometric typefaces of the 1920s but designed for modern usability. The character shapes have optimized proportions and an improved balance, the x-height is increased, ascenders and descenders are decreased. Special glyphs, which are often designed afterwards for the original geometric typefaces from the 1920s, are perfectly integrated in the URW Geometric® . These design characteristics increase the usability and legibility tremendously. With its 10 weights ranging from Thin to Black, plus 10 additional oblique styles, it has a great versatility in mind. The extreme light styles shine bright in large sizes, the middle weights are perfect for body copy and the bolder variants for the use of emphasis information or bring a strong impact to headlines and information. The optically balanced styles are designed to work in perfect harmony together. URW Geometric® is functional, strong, simple and harmonized in form, and at a glance appears as a modern variant of its predecessors. Apart from the basic characters the design has an extra focus on the special glyphs. These are designed for todays needs. For example: the email glyph looks modern and unique, including a perfectly balanced spacing. The numero sign, in modern use called “hashtag”, is space saving and optically balanced for body text. Additionally, various extra and alternate glyphs are designed to provide a friendly usability. Including a wide Latin language support and character sets, URW Geometric® is perfectly designed for today’s requirements. Please have a look at the URW Geometric® Type Specimen (PDF) for further information.

Ocean View is a beautiful handwriting lettering. This script typeface is cute and feminine, optimized for a modern signature logotype with a genuine craft style. Its monolined strokes and hand drawn letterforms emits optimism and lightheartedness. Use underscore _ to make a swash. Example: Cle_arly Use multiple underscores to make different swashes. Example: Super__________star (Download required.) The Ocean View family consists of five high-quality cursive fonts: Thin, Light, Regular, Bold and Black 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.

Rossanova is a complete semi-serif font family. Its consist of 36 fonts; 2 optical sizes, 8 weight from thin to black with each matching italics. Rossanova is enriched with beautiful personality, it's shaped in high contrast strokes for the normal optical style and moderate contrast strokes for the text styles which fit for reading. Contains more than 470 glyphs with some OpenType features e.g, stylistic alternates, ligature, discretionary ligature, old number, variation of figures etc.

Express 18 is a sans-serif with open forms and optically balanced noticeable contrast. typeface is designed for universal use. supports extended latin and open type function.

Full of life Hispanic Didot in 2 optical sizes Retiro is a daring interpretation of Spanish typography. Severe, austere and yet, full of life, Retiro is a vernacular version of Castilian and Andalusian in a typical Didot. Named after a lovely park in Madrid, Retiro started life as a a bespoke typeface designed to give a unique voice to the magazine Madriz. In 2006, the founder of Madriz was looking for a Didot for his new magazine. The Didot is the archetypal typeface used in high-end magazines. Retiro is a synthesis of these high contrast styles mixed with an Hispanic mind. Result is then, after 2-3 years of work, a typeface with countless variations to establish typographic shades adapted to different sections and pages of the Madriz. In 2014, it was necessary to further revise the typeface before its launch at Typofonderie. In order to keep its originality, the unique weight was retained, but complemented with optical size variants to set highly contrasted headlines into various sizes, visually balanced. How to use Retiro optical sizes? Each font provided in Retiro family is named according to the scale of body size: 24 pt and 64 pt. Of course, these names are referring to the body sizes used in typographic design. In the “glorious old days,” the letterpress period, it was customary to cut punches directly to the size at which typefaces would be used. The punchcutter had to visually adapt his design to the engraving size. The aim was to optimize the best contrast and general weight, but also to respect both design’s and reader’s needs. In Retiro’s case, intended for large titling sizes, it’s an adaptation of this ancient practice for our contemporary uses. Although each font is named by a typographic point size, do not feel obliged to use this font at this precise size, but why not, in larger or smaller. It’s rather the concept of gradients that must be preserved in layouts, rather than strictly size numbers. It’s up to the designer to select the right font size for his own designs. Granshan Awards 2012 Creative Review Type Annual 2011 Designpreis 2011 Club des directeurs artistiques, 41e palmarès Type Directors Club 2010 Certificate of Type design Excellence

Franko Luin, Odense's designer, on this typeface: With Odense I entered the field where Optima reigns in royal majesty. The first question I received was, in fact, why I designed another Optima. Look closely: Odense has as much in common with Optima as Garamond with Baskerville. Am I right? Odense Neon is a special variant that can be used for logos or single words. I had the idea for it when I noticed that the neon tubes in a sign over a store only partially followed the characters. The name comes from the Danish town Odense, the town of the famous storyteller Hans Christian Andersen, author of, e.g., 'The Little Mermaid.' Odense is also the place where the first book in the Nordic countries was printed, the 'Breviarium Ottoniense', in 1482.

DeVinne Ornamental is a display typeface from the famous Parisian typefoundry Deberny & Peignot, developed around 1900. Its style has become synonymous with the Art Noveau period, which was raging internationally when DeVinne Ornamental's letters were first drawn. The typeface is named after the renowned American printer Theodore Low DeVinne (1828-1914). Optimal uses for DeVinne Ornamental include headlines in magazines and newsletters.

Cycles was designed for use in books and other publications with lengthy texts and/or complex typography using different sizes of type. Different versions of Cycles have been designed which are optimized for setting at specific point sizes as was the practice in the days of metal type. Together with Stone Print, SFPL, and Arepo it makes up a superfamily of typefaces.

Peragat is the perfect embodiment of the harmony between classical elegance and a modern touch. Designed to meet the diverse needs of design, this serif font offers a combination of sophistication and contemporary flair, creating a captivating and professional atmosphere. Key Features: Classic Beauty: With a set of gentle serifs and balanced proportions, Peragat creates classical beauty that enriches your designs with an elegant touch. Optimal Readability: Each letter is meticulously crafted to ensure optimal readability, even at small sizes, making it the perfect choice for various graphic design and print projects. Global Flexibility: Peragat is designed with diversity and inclusivity in mind. With full support for multiple languages worldwide, this font seamlessly integrates into international projects. Design Applications: This font is suitable for various design purposes, including but not limited to: Brand identity design Marketing and promotional materials Print and digital publications Web design Business presentations

Zeitung is a sans serif family which works equally well on print and web. First of all: Zeitung is a sans serif made according to contemporary standards: 8 weights, romans and italics, all equipped with small caps. Lots of OpenType features, like uppercase punctuation or 5 figure styles to make sure any of your mathematical or financial charts, tables and diagrams look cool. Zeitung’s typographic palette focuses on utility and legibility, but in the farthest corners you’ll discover a rich array of flavours: punchy black weights, fashionable thin styles, carefully hand crafted true italics, distinct small caps. But Zeitung has more to offer. Its optical sizes offer the best style for each size of your text. Zeitung fonts are devided to two optical families: Zeitung Standard and Zeitung Micro. Zeitung Standard works great in most sizes, while Zeitung Micro fonts are specially made for very small sizes in print and web. Zeitung Micro fonts are perfectly legible in web, where the same technical font styles have to survive in many environments, from older browsers to most up to date mobile screens. Next to that: the lightest weights also function as grades, because they share the same metrics. This can be very handy for selecting the optimal weight for your specific situation, especially on screens or when type is printed by a newspaper press. Letters are rendered in many various ways on different screens. Maybe the interface of your next app requires a different grade than your latest website? Zeitung allows you to change the weight of your text without any further consequence for the design. That is a welcome relief during the design process. Zeitung will help to bring your message across in many different circumstances, from large text in print to small type on screens.

URW Geometric Condensed is the matching complement for the URW Geometric. Including 20 additional condensed styles the URW Geometric Condensed is the space-saving alternative in the URW Geometric family. URW Geometric is a sans serif typeface inspired by the German geometric typefaces of the 1920s but designed for modern usability. The character shapes have optimized proportions and an improved balance, the x-height is increased, ascenders and descenders are decreased. Special glyphs, which are often designed afterwards for the original geometric typefaces from the 1920s, are perfectly integrated in the URW Geometric. These design characteristics increase the usability and legibility tremendously. With its 10 weights ranging from Thin to Black, plus 10 additional oblique styles, it has a great versatility in mind. The extreme light styles shine bright in large sizes, the middle weights are perfect for body copy and the bolder variants for the use of emphasis information or bring a strong impact to headlines and information. The optically balanced styles are designed to work in perfect harmony together. URW Geometric is functional, strong, simple and harmonized in form, and at a glance appears as a modern variant of its predecessors. Apart from the basic characters the design has an extra focus on the special glyphs. These are designed for today’s needs. For example: the email glyph looks modern and unique, including a perfectly balanced spacing. The number sign, in modern use called “hashtag”, is space saving and optically balanced for body text. Additionally, various extra and alternate glyphs are designed to provide a friendly usability. Including a wide Latin language support and character sets, URW Geometric is perfectly designed for today’s requirements. Please have a look at the URW Geometric Type Specimen (PDF) for further information.

The Symcaps Vario X1 typeface is a monospaced design created to give optically symmetrical message forms. This all-caps alphabet provides two styles of capital letters plus numbers 1-0.

Rolish Font is a Cheerful Child Look Font, designed for Titles, Headings, Texts and more at your project. It is ready with its unique style. The Rolish font is an ideal type for display, game titles, text, print, branding, signage as well as for user interfaces, mobile devices, especially web design creation, with the optimal set of characters for your designs in any layout.

Searching for the Exceptional Designing Tapir was driven by the search for a display typeface which is doing something different than the rounded and bouncy fun faces – the letterforms should stand out with a slight touch of weirdness, creating attention and recognizabilty. A big character set, optimized spacing & kerning and lots of features make Tapir a good choice for professional usage between games, toys and skateboards.

Skyline Hotel is a brand new hand painted font from Dathan Boardman of Open Window. It utilizes Art Deco structures but is greatly amplified by organic paint brush strokes. The font would be best used in designs that require an organic degraded look and feel. Skyline Hotel… optimal for back alley graffiti mural or a poster to begin a political revolution. Geometric essentials betrayed by fluid expression.

Xaver Handwriting is in the sweet spot between authentic handwriting and very readable script. The original handwriting template was vectorized and optimized by hand. It contains lowercase and uppercase letters and can be used as a mixed flow text font as well as a capital font. It also offers language support for the entire European region, as well as for North & South America and Oceania.

Anza is a tall condensed sans serif display font with exaggerated ink trap stylings. This typeface could be perfect for use in large titles, headlines, branding projects, editorial layouts & so much more! It includes a handful of alternate characters as well as some ligatures to optimize the appearance in awkward pairings. You'll get the regular & oblique styles, each with a full set of multilingual characters.

Mid-century California was a magical place. Post-war optimism fueled the popularity of everything from Hollywood to roadside diners. Palm Canyon Drive is a monoline script inspired by retro matchbook covers, travel postcards, Tiki bars and Hollywood. With a classy yet unpretentious tone Palm Canyon Drive is as comfortable on a Tiki bar matchbook cover as it is on a Hollywood movie poster.

Acta Variable is a clean and fresh type system that remains conservative enough for newspaper setting. The complete Acta Variable allows the possibility to modify the Weight and Optical size axis.

Rima is a stencil display face with imposing slab serifs, designed to suggest strength, confidence, expertise and efficiency. Regular and Bold weights are included along with two handy italics (optically corrected obliques).

Jalal is a modern Arabic text typeface with two weights: Jalal Light and Jalal Bold. Both of the fonts ship in the OpenType format, and include Latin glyphs (from Optima Demi Bold and Optima Bold) inside the font files, allowing a single font to set text in both most Western European and Arabic languages. The Jalal fonts incorporate the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

VASARELY has famous roots, its name is related to optical arts own Victor Vasarely. Dropping the field of Op-Art, you already know where we have been aiming at. The REGULAR and LIGHT cuts of VASARELY are quite ordinary, rectangular, but legible typefaces, but with the BOLD and EXTRABOLD versions you will be able to build diverse illusive type illustrations and layouts. Being build on a strict grid with same dimensions, the eye-affecting black-and-white contrast should trigger different optical effects. As an extra we build an EXTRUDED version as well. Have fun!

Bethari Font Display is Deco's inspired font with swashes combinations, comes with 2 versions, fill and outlined, also 3 optional optical contrast. The font was created with fully crafted and smooth curve swashes.

An original design by Richard Isbell for ATF; in exaggerating the tapered stroke introduced eleven years earlier in Hermann Zapf’s Optima, Isbell created the first flareserif to achieve popularity in the United States.

A space-age headline font, Telstar explores a computer-readable sci-fi aesthetic based on an obround lozenge pierced with off-centre holes; the left-right weight switch derives from early optical recognition typefaces.

The DUALIS, aka the serif-detesting Garamond, combines specifics of 2 typeclasses: Sans Serif & Antiqua. When the Garamond is too old fashioned and the Optima is worn out, the Dualis will fit the gap.

Didot LP is a very elegant rendition of the 18th-century French typeface -- Didot. This design took the earlier Italian neo-classical model (Bodoni) to a new level of refinement, with fully rationalized shapes and delicate hairlines. Didot LP accentuates these qualities, providing a classical text face with a clear and modern voice. The companion face -- Didot LP Display -- optimizes the proportions, spacing and hairlines for use at very large sizes.

Stara Sans Serif Font is a sans serif font that combines simplicity with elegance. With its clean design and balanced proportions, this font gives off a modern and professional feel. Each letter is carefully designed to ensure optimal clarity and legibility. Stara Sans Serif Font is suitable for use in various design projects, such as logos, titles, paragraphs and digital displays, with its ability to give a fresh and elegant look.

KD Hachure is a display, geometric font with layering possibilities. Combine the two layers to achieve different color combinations or use them separately to achieve a completely different look. Kerning is optimized so that all latin letters are connected. With the default leading 120%, descenders connect with the top of accents. Set the leading to 100% manually if you want to connect descenders with the top of uppercase or ascender letters.

Inspired by the work of Hendrik van den Keere, Tobias Frere-Jones and David Berlow designed a family of typefaces focused on the challenges of newsprint publishing. This version of the family is part of the Reading Edge series of fonts specifically designed for small text onscreen, having been adjusted to provide more generous proportions and roomier spacing, and having been hinted in TrueType for optimal rendering in low resolution environments.

Sagasti is a font family that contains two weights: Regular and Bold, with their corresponding Italics style. These fonts are characterized by a straight and generous serif that provides consistent stability. We have focused on controlling vertical, horizontal and oblique strokes thicknesses, as well as curved strokes. All glyphs were carefully drawn and precise kerning control has been made, providing optimal readability for texts and the beauty of the headlines.