The Brazzari Pro AOE is an unusual but fun geometric typestyle design. It is the historical revival and elaboration of the "Bizarre" typeface created by MacKellar, Smiths, & Jordan Co. in 1884. What began as a basic character set of Capitals, lowercase, numerals, and a small handful of punctuation characters has been expanded to a full character set including unlimited fractionals, superiors & inferiors, ordinals, tabular & proportional figures, and an expanded language glyph set, all with a smallcaps and Caps to Smallcap set to match. Definitely a niché use typeface, however, it has some great appeal. The letterforms of Brazarri Pro AOE are easy to convert to paths and extend various stems, making this revival something you can really let your imagination run wild with for your designs. WHAT'S INCLUDED: Enable the Stylistic Alternates feature for standardized letterforms without the extensions. Extensive language support. Invocation has accented and special characters that support the following languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan Cornish, Corsican, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Irish, Indonesian, Italian, Kurdish, Leonese, Luxenbourgish, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Occitan, Oromo, Polish, Portuguese, Rhaeto-Romanic, Romanian, Scottish Gaelic, Scots, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, & Welsh. One of my guilty pleasures is in taking the time to recreate historical typefaces as digital fonts, and expand on their character sets to enable them to be used more widely than their limited originals. A lot of incredible historical typestyles created as wood or metal type with bare bones character sets have been lost or only exist as limited specimen proofs in old books. These typefaces may have more niché uses than modern typefaces, but I believe it is important nonetheless to preserve these typefaces for future generations. These typefaces, if nothing else, can often inspire new creations.

Zeneon is an extraordinary display font that combines the captivating allure of neon lights with an intriguing inline design. With its bold uppercase letterforms and electrifying neon style, this typeface creates a visually stunning and unforgettable impact. The defining feature of Zeneon lies in its mesmerizing neon-inspired design, enhanced by a distinctive inline element. Each letter is meticulously crafted to emanate the vibrant glow of neon lights, capturing the essence of urban energy. The inline detail adds an extra layer of visual interest, creating a dynamic and captivating composition. Inspired by the enchanting charm of neon signs, Zeneon infuses a sense of liveliness and modernity into each character. The font embodies the pulsating energy of neon lights, casting a radiant glow that demands attention. This neon style evokes a nostalgic urban atmosphere, adding a touch of excitement and intrigue to your designs. The uppercase letterforms of Zeneon are bold and assertive, making a powerful statement with their distinct design. The combination of the neon style and the intriguing inline element enhances the font's overall composition, creating a captivating visual impact. Zeneon is perfect for headlines, logos, signage, and any design project that seeks to command attention with a touch of neon-inspired flair. Enjoy the various features available in this font. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Zeneon fits for creating posters, branding materials, digital artwork, or anything in between, this font will elevate your project to new heights. It particularly shines in applications related to nightlife, entertainment, technology, and urban-themed designs, where it adds a futuristic edge. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Lust Sans is the penultimate exploration of producing a high-contrast sans wholly influenced by its bracketed ancestor. The aspect of this endeavor I enjoyed the most was finding sneaky ways to infuse warmth and whimsy into the letterforms when you least expect it. The result, however, is subtle and uniquely balances against Lust and Lust Didone without becoming cold and overbearing. To accomplish this, Lust Sans has 6 weights. What I found during development was, based on any setting where Lust or Lust Didone were in the same layout, the amount of contrast shown with Lust Sans needed to be adjusted. Expanding the weight offering, produces opportunities for Lust Sans to modulate the rhythm of the layout comfortably while keeping contrast—this is even more obvious with the Italics. I love those. You will too. If you don’t, you do not have a soul. Not sorry. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

A sans serif with a dynamic look for complex typographic work. Rival Sans is a sans serif font family possessing many strengths. Its 32 fonts and 2 styles, make Rival Sans a very versatile family and suitable for many graphic design projects such as branding, signage, editorial creation, advertising, packaging, broadcasting or logo creation. With the endings cut at 10 degrees and sharp cuts on the top of the stems of certain characters (like the l, b or the d) Rival Sans gives dynamism and readability to the lengthiest of editorial content. This beveled font design also gives rhythm to a text's sentences as well as a very functional look. All these design details give this new font family a modern, energetic and humanistic look. Rival Sans also has many powerful OpenType features such as case sensitivite forms, small capitals, old style and tabular figures, slashed zero, ligatures, fractions,and alternative characters to give personality to graphic design projects. Designed also for complex editorial content, this typeface has a powerful home kerning system called "Pro Kerning". With more than 2500 pairs of glyphs and many languages, Pro Kerning optimizes headlines, subtitles, texts as well as long paragraphs in real time. In addition to these extended features, the italic styles of this fonts family have been drawn as fully-fledged styles with different designs from their regular version so that the italic texts look like calligraphic phrases. Rival Sans has an extended character set with over 930 glyphs. This family covers over 130 languages from Western Europe, Eastern Europe and Central Europe. In addition to all the features of its kind, Rival Sans is part of a very complete "type system" with style variants such as the serif version Rival Serif or the slab version Rival Slab. With all these typefaces, you have 62 styles to make your own vibrant and professional graphics or web creations while maintaining consistency in your creations.

Grava is Neil Summerour’s injection of warmth within the geometric sans font category. Historically, geometric sans families have been based on primal shapes — triangle, circle, square — and the more closely they held to those rigid rules, the more internal inconsistencies they showed. Angles won’t match up correctly, letters will lean, overshoots complicate clean typesetting, and idealized circles become grotesque and unwieldy in some weights. Because of issues like these, geometric sans fonts have a reputation of being cold, austere, even a bit “off”. Grava was made to hold a T-square and triangle in one hand while giving a welcoming handshake with the other. The Grava font family comes in two styles (a normal and a Display), each with 20 weights (Thin to Ultra) and paired with italics. Its design allowed the three scripts of Latin, Cyrillic, and Greek to emerge seamlessly, ensuring Grava will find its home in multilingual publications. Even better, each character in the three scripts is spaced with every other character for a beautifully matched fit, and it’s a buy-one-get-all-three deal since they are all packaged together. The normal style’s large x-height won’t let you down in paragraphs, headings, and any call-out text. And have you seen the angles on those numerals? Pairing Grava’s numerals on a jersey is sure to catch some eyes, just sayin'. Grava Display is purposefully quirky and sharp, and made for poster sizes, book and album covers, and those websites with a well-defined character — somewhere between playfully self-aware and overtly vintage. Flat edges are abandoned to make way for sharp points and conspicuousness, for geometrical attitude and respectful expressiveness. Corporate reports use Grava Display to take on a professional and current look. The optional ligatures (N–T, L–L, G–A, C–O, almost anywhere an ‘A’ is placed, and more) in both the normal and Display styles invoke a midcentury modernist and high art feel. Now that introductions are done, you can let go of Grava’s hand and put it to work for you.

Type designers have been integrating the design of sans serifs with serifed forms since the 1920s. Early examples are Edward Johnston's design for the London Underground, and Eric Gill's Gill Sans. These were followed by Jan van Krimpen's Romulus Sans, Frederic Goudy's ITC Goudy Sans, Hermann Zapf's Optima, Hans Meier's Syntax and Adrian Frutiger's Frutiger. Now, ITC Stone Humanist joins this tradition. It is a careful blend of traditional sans serif shapes and classical serifed letterforms. ITC Stone Humanist grew out an experiment with the medium weight of ITC Stone Sans, a design that already showed a relationship to these sans serif-serif hybrids. ITC Stone Sans has proportions based on those of ITC Stone Serif, and its thick-and-thin stroke contrast suggests the bloodline of humanistic sans serif typefaces. But other aspects of ITC Stone Sans are more closely aligned to the gothics and grotesques, a tradition that accounts for the largest portion of sans serif designs. Enter ITC Stone Humanist. During his experiments with the earlier design, Sumner Stone recalls, I was actually quite surprised at how seemingly subtle changes transformed the face," moving the design firmly into the humanist tradition. "The form of the 'g,' 'l,' 'M,' 'W,' and more subtly the 'a' and 'e' are part of the restructuring of the family," he explains. The top endings of vertical lower case strokes have been cropped on an angle, as have the ascender and descender stroke endings. ITC Stone Humanist is a full-fledged member of the ITC Stone family. It has been produced with the same complement of weights, and the x-heights, proportions, and underlying character shapes are completely compatible with the three original designs. The original ITC Stone Sans is a popular typeface, in part because of its notable versatility. ITC Stone Humanist shares this virtue, and can be used successfully at very small sizes, in long passages of text copy, and even as billboard-sized display type."

Hi there, thanks for looking at my first typeface. It began as one of my original sketches back in 2019 as a freelance graphic designer trying to create unique letterforms that I could use for posters or websites with other possible use cases in mind for commercial use. The sketches were then passed on to and worked on with Vladimir Tsagolov who has more experience in creating professional typefaces, the experience for me was invaluable, and I have many more typefaces I'm now working on. Shiny Ink Display is a collection of hand drawn fonts based on the flow of reflective viscous ink with 7 styles, some styles can be interchangeable and used on top of each other. For example, Shiny Ink Display Plain, can be used with Shiny Ink Display Plain Lined to create shadows underneath it, at angles not available with the Shadow styles you'll see in the font collection. Shiny Ink Display has various use cases, maybe even infinite, but more specifically for posters or websites with large text, though it bodes quite well at smaller sizes, and is visually appealing to its viewers as long as it's at a legible font size. When it comes to font pairing, Shiny Ink Display works especially well with Monospace and sans-serif fonts. You can check the poster examples on this page to help you imagine what you could do with the font styles. I also had in mind manufactured products, but I could leave that to you to create your ideas with the available font styles. In regards to languages or typing on a keyboard, most of the English/European latin or cyrillic language keys are supported, so you'll have lots of glyph characters to play with for a number of ideas you may have. All the best with your projects using my fonts, if there are any issues, don't hesitate to contact me for support: lloyddaviddesigns.co.uk - Lloyd David

Times with a Human Face: In my article of the same name which appeared in the magazine Font, volume 2000 I described the long and trying story of an order for a typeface for the Czech periodical Lidové noviny (People’s Newspaper). My task was to design a modification of the existing Times. The work, however, finally resulted in the complete re-drawing of the typeface. The assignment, which was on the whole wisely formulated, was to design a typeface which would enable “a smooth flow of information in the reader’s eye”, therefore a typeface without any artistic ambitions, from which everything which obstructs legibility would be eliminated. A year later Lidové noviny had a different manager who in the spring of 2001 decided to resume the cooperation. The typeface itself definitely profited from this; I simplified everything which could be simplified, but it still was not “it”, because the other, and obviously more important, requirement of the investor held: “the typeface must look like Times”. And that is why the above-mentioned daily will continue to be printed by a system version of Times, negligently adjusted to local conditions, which is unfortunately a far cry from the original Times New Roman of Stanley Morison. When I was designing Lido, the cooperation with the head of production of Lidové noviny was of great use to me. Many tests were carried out directly on the newspaper rotary press during which numerous weak points of the earliest versions were revealed. The printing tests have proved that the basic design of this typeface is even more legible and economical than that of Times. The final appearance of Lido STF was, however, tuned up without regard to the original assignment – the merrier-looking italics and the more daring modelling of bold lower case letters have been retained. The typeface is suitable for all periodicals wishing to abandon inconspicuously the hideous system typefaces with their even more hideous accents and to change over to the contemporary level of graphic design. It is also most convenient for everyday work in text editors and office applications. It has a fairly large x-height of lower case letters, shortened serifs and simplified endings of rounded strokes. This is typical of the typefaces designed for use in small sizes. Our typeface, however, can sustain enlargement even to the size appropriate for a poster, an information table or a billboard, as it is not trite and at the same time is moderate in expression. Its three supplementary condensed designs correspond to approximately 80% compression and have been, of course, drawn quite separately. The intention to create condensed italics was abandoned; in the case of serif typefaces they always seem to be slightly strained. I named the typeface dutifully "Lido" (after the name of the newspaper) and included it in the retail catalog of my type foundry. In order to prevent being suspected of additionally turning a rejected work into cash, Lido STF in six designs is available free of charge. I should not like it if the issuing of this typeface were understood as an “act out of spite” aimed against the venerable Times. It is rather meant as a reminder that there really are now alternatives to all fonts in all price categories.

German type designer Felix Braden created this sans FontFont in 2012. The family has 16 weights, ranging from Thin to Black (including italics) and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, wayfinding and signage as well as web and screen design. FF Scuba provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.In 2013, FF Scuba received the CommArts award and was also selected as one of Typographica’s favorite typefaces of 2012.

This is a version of the Bergsland Fashion stylized sans serif font family that is very high-waisted and sleek with rounded terminals called Bergsland Round. Round is my favorite out of the group as it is looser and friendlier. This four-font set has a Regular and a Black plus the italics. The stroke is only slightly modulated. The letterforms are higher, with a more open aperture, and sprinkled with breaks to add light and sparkle. This an attempt at a readable sans serif for text. It has many OpenType features and 465 characters per font: Caps, lower case, small caps, old style figures, numerators, denominators, accents characters and so on.

Basilisk is a futuristic and retro-inspired typeface that works well in any sci-fi space thriller. This one is for you if you like futuristic fonts. The different weights give you a lot of flexibility when it comes to choosing the right typographic color for your project. The available Ligatures and Italic styles offer a wide range of characters to give your project design an unique design. 5 Weights (Light, Regular, Semibold, Bold, Black) 2 Styles (Regular and Italic) Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Ligatures and Alternate glyps Multilingual Support for ä ö ü Ä Ö Ü ... Free updates and feature additions Thanks for looking, and I hope you enjoy it.

Caros Family is a modern sans-serif typeface that is clean, simple and highly readable. Letters in this type family are designed with geometric shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Caros is a versatile type family of 18 fonts. Caros family consists of 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy & Black) with their corresponding italics. The Open Type fonts contain complete Latin 1252, Cyrillic, Central European 1250, Turkish 1254 character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.

Bellmore is a beautiful serif font family with a classic feel to it. The elegant design is the result of combining modern and vintage elements. The different weights give you a lot of flexibility when it comes to choosing the right typographic color for your project. The available Ligatures and Italic styles offer a wide range of characters to give your project design an unique design. 5 Weights (Light, Regular, Semibold, Bold, Black) 2 Styles (Regular and Italic) Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Ligatures and Alternate glyps Multilingual Support for ä ö ü Ä Ö Ü ... OTF file format Free updates and feature additions Thanks for looking, and I hope you enjoy it.

Carnac, a minimalistic monoline face follows the same linear structure as its earlier released, rounded counterpart Carnas. Carnac, however, appears crisp and fresh because of its squared edges and angular contours. It is a clean, contemporary face with a wide range of styles from Thin to Black. Designed to be ideal for shorter and longer text applications and also for headlines and signage. The Carnac family consists of 16 styles and is well suited for ambitious typography. It comes in OpenType format with extended language support. All weights contain ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and matching arrows.

German type designer Verena Gerlach created this display and sans FontFont between 1999 and 2011. The family has 10 weights, ranging from Light to Black (including italics) and is ideally suited for advertising and packaging, editorial and publishing as well as logo, branding and creative industries. FF Karbid Display provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Karbid super family, which also includes FF Karbid, FF Karbid Slab, and FF Karbid Text.

Draetha is the 6-font companion to Biblia and Biblia Serif. But it is definitely designed to be used with Biblia Serif for book design and production. It is a nearly monoline sans with a clean style which contrast beautifully with Biblia serif. The Black versions push monoline to the extreme of boldness. It has the same font metrics as Biblia and Biblia Serif. The only compromise is that Ultra is too extreme to be able to provide small caps or oldstyle figures. It is designed with text spacing, to work in text with Biblia and Biblia Serif. For heads and subheads, you will need to adjust the tracking. But it tracks well.

Lowres Pixel is an adorable and charming pixelate font that evokes a sense of playful nostalgia. Drawing inspiration from retro video games and pixel art, each letter in Lower Pixel is intricately crafted with pixelated precision. With its blocky and endearing appearance, this typeface brings a sense of whimsy and innocence to any design. Whether used for digital artwork, game interfaces, or quirky branding, Lower Pixel injects a delightful pixelated vibe that instantly captures attention and exudes a sense of cuteness. Its unique aesthetic transports us to the pixelated landscapes of classic games, making it a perfect choice for projects that seek to infuse a touch of vintage charm and childlike wonder

German type designer Yanone created this sans FontFont in 2010. The family has 14 weights, ranging from Thin to Black (including italics) and is ideally suited for advertising and packaging, logo, branding and creative industries as well as poster and billboards. FF Amman 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. As well as Latin-based languages, the typeface family also supports the Arabic writing system. This FontFont is a member of the FF Amman super family, which also includes FF Amman Serif.

Janek is a semi-serif typeface inspired by old Polish signage. Rather then mimic specific style, it synthesises various inspirations. It is named after an Author of a classic Polish manual, that kickstarted this project, „Techniques of Lettering“ by Jan Wojeński. Large character set and style selection allows for richness of expression. Pointy upright and slightly decorative italic bring unique blend of aesthetics. It works well in rich text and as a striking display. Janek consists of seven italic and seven upright styles ranging from Light, to Black. With extensive language support and wide selection of features, it is suited for range of latin use cases. Janek is a contemporary throwback to the past.

Has a serif foundation shape with minimal contrast. Campinas is designed to carry an expressive and engaging character making this font very suitable for casual and fun themed designs. With a complete set of discretionary ligatures and a complete set of alternates on the uppercase further confirms that Campinas is indeed made to attract people's attention, equipped with various weights ranging from regular to bold and decorative black. This font is very well used for design needs including Posters, Logos, Branding, Magazines, Album Covers, Web UI, Clothing, Social Media Posts, and various other applied designs. Campinas has supported multilingual support for most of Europe, each containing more than 700 glyphs in it.

Bapalopa is inspired by classic graffiti "blockbuster" letter forms. These letters are made to look as big and as wide as possible. Bapalopa's linework is kept very loose & relaxed, mostly smooth with some distressed edges. Viewed up-close, there is lots of texture from the individual pen strokes which gives Bapalopa it's cool freehand drawn look. Use "Bapalopa" and "Bapalopa Pa" together to create eye catching designs. To make it extra fun, a handful of the largely useless alternates, (like that dumb "currency" symbol) were replaced with big blocky hearts, stars, and arrows. Check it out! Bapalopa is extended, containing the full West European diacritics & a full set of ligatures, making it suitable for multilingual environments & publications.

Quat is a sans serif type family designed by Ani Dimitrova. The family comes in 22 weights, ranging from Hairline to Black with extra drawn italics and small caps versions, and each style contains more than 700 glyphs. The Regular and Medium weights are perfect for body text while the extra drawn Italic gives an interesting texture to the text. The lightest weights work well in subtle headlines while the heaviest ones are perfect for posters, short texts, web, branding and screen design. All weights contain ligatures, proportional figures, tabular figures, old style figure, numerals and arrows, matching currency symbols and fraction. The range of styles give a good flexibility to this family.

Cagke is a font that offers a captivating classic and retro style. With nine weights ranging from thin to Black, Cagke provides flexibility for various design needs. The main advantage of Cagke is its ability to support multiple languages, making it easily usable worldwide. With the provided OpenType features, Cagke offers additional variations and sensitivity when designing with this font. Cagke is highly suitable for designs with classic, retro, vintage, modern, or elegant aesthetics. In various projects, including posters, books, magazines, advertisements, and even films, Cagke will provide the perfect touch. Another advantage of Cagke is its ease of development to meet various design requirements. Classic and retro styles, this font will enrich every design creation you make.

Lagu Serif blends a geometric inspiration with warm humanist elements, making it the perfect choice for when you need a fresh, contemporary serif typeface. Alessio Laiso has designed Lagu Serif in 18 styles: 9 weights ranging from Thin to Black, with matching, beautiful italics. The companion Lagu Sans makes the Lagu family a real workhorse for any use, including web, digital, print, branding and signage. Lagu Serif has a large x-height and open counterforms, making it easily readable. It comes with powerful OpenType features, including ligatures, alternative glyphs, small caps, fractions, tabular figures, old-style figures, and more. The Lagu family supports 219 languages, covering 100% of the Latin Plus character set.

1913 Typewriter Carbon is the bold version of GLC foundry's 1913 Typewriter. It is available in two styles: Normal, and Underlined (Bold). It is a complete alphabetic font. It is used as variously as web-site titles, posters design or books editing. It may be preferable, if possible, when printing, to choose a pale color - dark grey instead of heavy black, for exemple - to give a good appearance, just like the real one, and still benefit from the full details. With inkjet printers, it may be used the economic or draft option with a good result too. The old typewriter characters size is 11 or 12 points, but this font supports easily enlargement.

The Alamia type family is a sans serif in 20 weights, ranging from Hair Line to Black with matching italics. Each style contains more than 900 glyphs. Alamia comes with an extended coverage of the Latin and Cyrillic Script. All weights of this family are equipped for complex, professional typography with OpenType Features including: Small Caps, Ligatures, Discretionary Ligatures, Superscript, Subscript, Tabular Figures, Old-Style Figures, Circled Figures, Arrows, Matching currency symbols and fraction.The construction of the characters combines clean grotesque style with modern, that gives the font an organic, warm and friendly touch. The Alamia font family is a perfect choice for body text, branding design, web design, editorial design and more.

Lab Slab Pro is a geometric slab typeface with a technological and minimalist look and is suitable for use in large sizes. It has eight versatile weights, (from Thin to Black) including true italics for each one, and a wide range of stylish alternate characters to improve its use in different graphic contexts. The name of this typeface was inspired by an experiment, mixing a structure with calligraphic influences and completely geometrical and structured drawings. Lab Slab Pro has a wide range of OpenType® features such as: small caps, old style/titling and small caps figures, fractions, superior and inferior scripts, scientific components and ligatures. Lab Slab Pro is Lab's best and most powerful mutation designed by Tiponautas.

CamingoMono is a modern monospaced typeface family of seven weights with matching italics, from ExtraLight to Black. Predominantly humanist in character, the typeface also has a technical feel thanks to the fixed proportions, while its semi-condensed width means CamingoMono is a great space saver in long passages of text. The default figures are noticeably lower than the uppercase letters, making them clearly distinguishable from one another. The typeface’s additional features include three different figure sets, slashed zeros and currency symbols, arrows and a handful of stylistic alternates. It is ideal for any technically-flavored text where an individual touch is desired, from advertising to corporate design. With CamingoMono, private and commercial correspondence alike will look neat and credible.

Barnet Sans is a humanist typeface with a grotesque-inspired personality. Lively stroke-endings of several characters give this design its distinctive style, as well as a friendly and approachable presence. Created for use in both print and screen settings, Barnet Sans delivers a hint of flavour in large sizes, while being subdued enough to work in smaller text-driven settings. Details include; seven weights ranging from thin to black with matching italics, 665 characters per font, and support for all Western and Central European languages. Barnet Sans also comes equipped with many opentype features including; small caps, case-sensitive forms, arbitrary fractions, numerators and denominators, slashed zero, stylistic alternates and ligatures.

Compote is a fashionable sans serif font that is both retro and sophisticated. The sans serif font pays homage to tradition, while the smooth curves evoke a 70s groovy vibe. Compote is the ideal complement to vintage bringing it up and logos. There are numbers, punctuation, and multilingual letters, as well as a distinct lower and uppercase. The ligature and italic fonts will be useful for anything your imagination can dream up! 5 Weights (Light, Regular, Semibold, Bold and Black) 2 Styles (Regular and Italic) Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Ligatures Multilingual Support for ä ö ü Ä Ö Ü ... Free updates and feature additions Thanks for looking, and I hope you enjoy it.

Clara is a set of alphabets of interconnected serif and sans serif fonts. The connection is not only in the intensity of the strokes, i.e. in the identical brightness of the typesetting, but also in the drawing principles of both alphabets. The typeface aims to offer a sense of calmness for a reader even in smaller scales of the typesetting. In large scales it builds on the purity of the image without additional decorations. The Clara system includes maximum equipment of a Latin font from Thin to Black in all versions of marking fonts, italics, capital letters and four kinds of numbers. The typeface allows typesetting of the vast majority of cultural languages of the world.

This font family is based on the alphabet designed by Frank Lloyd Wright for the "Eaglerock" project in 1922. The Eaglefeather Pro family features expanded OpenType font options. It contains 15 pro styles and 20 basic styles in 5 weights- Hairline, Light, Regular, Bold, and Black. In addition to small caps, italics, and a unique "informal" version (an upright italic.) There is coverage for Cyrllic, Greek and European Latin languages. Opentype features include automatic fractions, optimized kerning, and localized language features. Alternate forms of capitals A,H,N, & S are also included for added flexibility. The full range of weights and styles allows for expanded typographic possibilities in a wide variety of uses.

Vinho De Amora is a truly vintage serif font. Drawn by Mans Greback between 2019 and 2021, this font is created with inspiration from wine cellars, painted typography and genuine quality produce. It has a distinct sharp character, steady legs and a bold and wide appearance. The Vinho De Amora family consists of three styles: Black, White and Stencil; each one geometrically consistent and complimenting, perfect for stacking on top of each other to create more variations. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality. It has extensive lingual support, covering all European Latin-based languages. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Neumatic compressed has a super compressed character set, increased cap height and tight kerning that combine to give you the ability to create large, beautiful and effective headlines and copy for your artwork. Neumatic Compressed packs punch when it comes to large copy lines and is perfect for posters, display copy, headlines in printed materials like magazines and books . The family comes in 8 weights from extra light to Black so it's versatile. Its extra light weight can give you some great height due to how narrow it is. Play around with the opentype Superscript with an underline or the Opentype stylistic sets which turns the default squared dots on i's, j's and punctuation to round dots.

Sagan was designed as an alternate to Ramsey ; you could call them brothers. It was drawn, redrawn, and expanded on, to put it lightly. It boasts 770 glyphs in each weight, covering all European languages, and also contains an extended Cyrillic. Sagan provides advanced typographical support with features such as case-sensitive forms, old style numerals, fractions, and many alternate glyphs. Like all of our typefaces, Sagan is fun to use. Sagan has 7 weights, with accompanying italics for each weight, ranging from Extra Light to Black. It is ideally suited for branding, editorials, advertising, packaging, posters, billboards and digital screen design. Sagan will work hard for your brand or project. Make a statement that demands notice.

Introducing Roby Soho Typeface The Roby Soho font is inspired by today's simple styles, the Roby Soho font is a serif typeface with alternative support that can make your designs more interesting and unique than others. In addition, the Roby Soho font also has multi-language that is easy to use. This is a versatile font that works great in both small and large sizes, for body text or header text. The Roby Soho font is also supported with a variety of families from thin version to Black version. It is suitable for editorial design projects, logo designs, branding, product packaging, magazine covers, Instagram posts, social media text stories, and so on.

German type designer Jörg Hemker created this sans FontFont in 2011. The family has 16 weights, ranging from Extra Thin to Black (including italics) and is ideally suited for advertising and packaging, editorial and publishing, logo, branding, wayfinding and signage as well as web and screen design. FF Sero 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. In 2011, FF Sero received the CommArts award.