Bourgeois Slab is built upon the framework of Bourgeois, our popular geometric type family. As with the sans-serif Bourgeois, Slab’s letter forms are thoroughly contemporary in look and feel. Echoing mid-century modernism in style, Slab’s overall look is friendly and businesslike, more expansive and expressive than Bourgeois’s pared-down asceticism. The slab-serif’s development and vigorous uptake during the early-Victorian-era Industrial Revolution, means that we endow slab-serif faces with characteristics of sturdiness, durability and trustworthiness. At the same time, we appreciate the slab-serif’s raison d’etre: They’re made to grab your attention. Bourgeois Slab and Slab Condensed when combined, offer 24 styles suited for text of all kinds and sizes. Both are particularly good for for text-heavy projects and for designers seeking a robust, authoritative-but-genial voice for branding and logo work.

Rebrand is all about geometry, a typography that boosts confidence. However, contrary to pure, cold mathematics, this font seeks a more jovial and friendly face. The goal with Rebrand is to offer a Geometric Sans Serif font that can work in various instances, from symbols and titles, to text, and everything in between. It also creates a whole lot of personality, ideal for branding. There are two versions: Display, which is more fluid and dynamic with nine programmed weights for a wide array of intensity. This version also has various alternative characters and swashes. Text, which has the same attitude as Display, but is a little more serious with seven programmed weights to provide distinctive extremes and subtle variations among the mid-tones. Both cover basic Cyrillic and come in small caps. Both create one phenomenal typography: Rebrand.

The Face2Face (F2F) series was inspired by the techno sound of the mid-1990s, personal computers and new font creation software. For years, Alexander Branczyk and his friends formed a unique type design collective, which churned out a substantial amount of fresh, new fonts, none of which complied with the traditional rules of typography. Many of these typefaces were used to create layouts for the leading German techno magazine of the 1990s, Frontpage. Branczyk and his fellows would even set in type at 6 points, in order to make it nearly unreadable. It was a pleasure for the kids to read and decrypt these messages! F2F Monako Stoned was inspired by the Apple system font Monaco, and is one of 41 Face2Face fonts included in the Take Type 5 collection from Linotype. Branczyk designed 16 of these himself."

Inspired by the most common grotesque heights and boxed sans serif typefaces, Luzern Typefaces was built with low-mid contrast sans serif and was designed in quite tall caps height and lower x-height which represents the flavor of the dynamic typefaces and is subtle for the display typefaces. The typefaces comes with five weights, from light to extra bold, plus matching italics in each weights. And Luzern Typefaces is loaded with OpenType features such as some stylistic alternates in uppercase, case-sensitive forms, fractions, and another numerals features such as super and subscript characters, tabular figures, numerator-denominator, etc. It’s highly usable for display text titles such as editorial magazine headline, websites heading, poster, advertising, logo, also it works well for medium body text. It comes with more 400+ glyph support including more latin european diacritics language.

1st Ave is the most experimental of my typefaces. I took a picture of a metal and neon sign in the East Village of New York City. These signs are slowly being replaced by LED and LCD displays, but if you look hard, you can still find quite a few in the city. The signs give a mid 20th century feel to the city. To design 1st Ave, I took a picture of the sign, scanned it and increased the contrast in Photoshop so that the photographic forms became line art. There weren't enough letterforms in the sign to create the whole alphabet, so I cut up the strokes and collaged them back together to finish the entire alphabet. Important Note: 1st Ave is an experimental typeface and is not compatible with certain software such as Microsoft Word.

Robeaugo is pronounced as “ro-bo-go”. The name is originated out of the 3 words: robo, beau (French) and go. It’s a mix of Art Deco with round shapes and is best used in headings and logos.

Chico was by designed by Javier Mariscal and Josema Urós specifically for the final roll of credits in the animated film Chico y Rita. The goal was to design a typeface with a good readability but that conveyed a strong script character and, in some way, tuned to the style of line used throughout the film. Using a modular sans-serif as a template, Javier Mariscal reinterpreted the forms freely, while maintaining gridlike proportions. Chico can be useful for comic-book lettering, editorial work and display applications.

Introducing our newest font Gerakent. What a fun font that brings a little sunshine to your day! Bring your next project to life with this retro-inspired typeface and create elegant typography that gives it a retro or vintage feel. You can use it for branding, product packaging, or even editorial work. It’s easy to use in any design program or even as a pre-cut vector and works best as text but you can also mix it with other fonts for added flair!

It was used in parts of Transylvania until the 1850s, although it was banned by Istvan, the first Christian king of the Hungarians (Szekel), in line with an order to "destroy all pre-Christian inscriptions". Hungarian runic script was usually written on wood-stone pieces in the bustrofedon style. In this method, the writing was written consecutively from right to left and from left to right. This article is available in Bosnian, Carpathian and Glozel editions. Whenever possible, I will present the fonts in these versions.

After Bird Script's ballet, Sproviero comes with these fast strokes, resulting in a font full of life and a youthful spirit. The aim of Live was again to see how far calligraphy & lettering could dive into the world of type-design. The font is perfect for logos, posters, magazines, perfumes and all pieces of design related to music, and the feminine world. You can also have a lot of fun with Live More, which contains a set of pre-designed catch words and lovely ornaments.

Prop-a-ganda offers retro-flavored fonts inspired by lettering on retro propaganda posters, retro advertising posters, retro packages all the world over. This is perfect font for your retrospective project. PAG Karogs is geometric, art-deco font that had been used for a match box. The bowls of this font is based on a positive circle. The contrast of a circle and straight line effective in producing brisk structural rhythms. This is great for branding, packaging and posters or any other kind of display use.

Step better font Inspired by street graffiti markings, Urban Tag comes with the iconic round tip markers, this style is often used by several graffiti artists around the world because of its very unique style, very fun to write on markers. Perfect if you want a realistic street art or hip hop style for your designs, posters, props, etc. Features : All Caps numbers and punctuation multilingual Swash / Ornament PUA encoded Please contact us if you have any questions. Enjoy Crafting and thanks for supporting us! :) Thank you

Charles W. "Plot" Plotner was a cartoonist who had developed a template-based cartooning set for kids circa 1952 called "Plot-O". A companion set was called "Plot-O the Clown". "Plot-O" consisted of two plastic templates with pre-cut and numbered cartoon shapes. By following the simple directions and tracing the corresponding parts, any youngster could create basic cartoons of people and finish them off with their own details. The hand-lettered instruction booklet provided the design inspiration for Cartoon Panel JNL.

Kwersity is a boxy, geometric, slab-serifed typeface with strokes of uniform weight. Its circular elements are almost rectangular. The narrower style has a high x-height. Both the narrower and wider variants come in three weights, regular, semi-bold, and bold. (In its original, pre-2020 form, what is now semi-bold was bold. What is now bold is new as of 2020.) There is also a shadow version; Kwersity-semibold can be layered on top of it to color the interior of the letters.

Developed over several years by the late Otl Aicher and first released in the late 1980s, the Rotis® typeface has become a timeless classic. ROTIS II SANS HISTORY Aicher was a renowned German designer and corporate image consultant. He created the four basic designs of Rotis – sans serif, semi sans, semi seif and serif – within an extended typeface family concept, wherein all designs share a common cap height, lowercase x-height, basic stem weight and general proportions. While each version is part of the large, integrated family, each was also designed to function on its own as a distinctive typestyle. The result is that all members of the Rotis family combine smoothly with each other. Aicher, however, did not design the Rotis family with the weights and proportions normal for more contemporary releases. Rotis Sans Serif, for example, was drawn with just six weights and only two italics. Starting in 2010, Robin Nicholas, senior designer for Monotype Imaging in the UK, and freelance designer Alice Savoie collaborated to bring Rotis Sans Serif up to current standards. The result is Rotis II Sans, a completely new addition to the Rotis family. “We devised our approach together,” recalls Savoie, “deciding which weights to start with, what kind of alterations to make to the original Rotis, etc. I went to work on the typefaces, regularly submitting proofs to Robin. We would then decide in tandem on the next steps to take.” Nicholas elaborates, “We revisited the range of weights and added matching italics so that the new additions to the family offer increased versatility. We optimized the outlines, corrected the weight of several letters and re-examined overall spacing and kerning. In addition to a new set of numerals, with a height similar to the capitals, we also drew case-sensitive punctuation.” ROTIS II SANS USAGE The new Rotis II Sans suite comprises 14 typefaces: seven weights, ranging from extra light to black, each with a companion italic. The designs are available as OpenType® Pro fonts, allowing for automatic insertion of ligatures and fractions. Pro fonts also offer an extended character set supporting most Central European and many Eastern European languages. Aicher’s original Rotis designs were widely used for branding and advertising. With the addition of Rotis II Sans, the family is again poised to become a powerful communicator.

The purpose of the original DIN 1451 standard was to lay down a style of lettering which is timeless and easily legible. Unfortunately, these early letters lacked elegance and were not properly designed for typographic applications. Ever since its first publication in the 1930’s, several type foundries adopted the original designs for digital photocomposition. By early 2000, it became apparent that the existing DIN-based fonts did not fulfil the ever-increasing demand for a diverse set of weights and additional support for non-Latin languages. Parachute® was set out to fill this gap by introducing the PF DIN series which has become ever since the most comprehensive and sophisticated set of DIN typefaces. It was based on the original standards but was specifically designed to fit typographic requirements. Its letterforms divert from the stiff geometric structure of the original and introduce instead elements which are familiar, softer and easier to read. The first set of fonts was completed in 2002 as a group of 3 families which included condensed and compressed versions. With its vast array of weights, the extended language support, but most of all its meticulous and elaborate design, it has proved itself valuable to numerous design agencies around the world. Ever since its first release, it has been used in diverse editorials, packaging, branding and advertising campaigns as well as a great number of websites. It was quoted by Publish magazine as being “an overkill series for complex corporate identity projects”. The whole PF DIN Text type system (with normal, condensed and compressed styles) includes 45 weights from Hairline to Extra Black including true-italics. Additionally, every font in the Pro series is powered by 270 very useful symbols for packaging, environmental graphics, signage, transportation, computing, fabric care. There are 2 versions to choose from: The PRO version is the most powerful. All weights support Latin, Cyrillic, Greek, Central/Eastern European, Romanian, Baltic and Turkish, with 20 advanced opentype features including small caps. The standard STD version is more economic. All weights support Latin, Central/Eastern European, Romanian, Baltic and Turkish, with 18 advanced opentype features including small caps. In 2010 Parachute® released 4 new families DIN Monospace, DIN Stencil, DIN Text Arabic and DIN Text Universal. All these are complemented by the popular DIN Display version. Altogether the Parachute DIN series is a set of 8 superfamilies with a total of 96 weights.

Unlike its predecessor, Andes Neue contains a larger character set of 759 glyphs which support 219 Latin-based languages from 212 countries. The font comes in 4 variants that provide a wide stylistic range. Andes Neue is the most similar to the original Andes design. The Alt1 character set bears some similarity to the old Andes's (yet cleaner); Alt2 uses the alternates in the font as default glyphs; and Alt3 is a mixture of the other three variants that offers a balanced set of characters. Andes Neue also includes new accents and glyphs for a wider language support, and a set of small caps (in each variant). All of these features give the font a strong personality that helps make text look more appealing. Andes Neue varied weights work well with both short and mid-length text sections, providing a wide range of choices for any design project.

Beriot is a sans serif whose basics are condensed in Regular (Normal) weight, getting a lot of form inspiration from the topic also known as Steile Futura which is a letterform that Paul Renner himself explored in the mid-1950s, where shapes are constructed with little stress on modular squares but there are changes in certain parts so they become less modular. The Beriot family is available in 42 weights with matching slanted cuts, divided into 3 subfamilies: Condensed, Normal and Expanded. Each has been designed for a range of text sizes each, and already variable, allowing you to choose and make your own type of weight you like. OpenType Features are available in each of these font styles, including alternative characters, different numbers set and case-sensitive and there are additional symbols that make it the perfect choice for professional types of branding, digital design and editorial.

Feel how the tones mesmerize you - say HELLO to "Ropers" - a Bold Serif Typeface with agile and alive ligatures and alternates. Designed to use in mid-tones harmonic, the stark contrast of the bold & wondrous uppercase of the regular serif balances calmly to mix matches your works More unique with the ligatures and alternates shape stream will make your typography truly eccentric Ropers are easy to pair with other fonts and no special software is required to type out the standard characters of the Typeface. To access the Opentype Ligatures and Alternates you will need software that supports Opentype features in fonts. super match with various types of works such as promotional themes, greetings, products cover, brands logo, and much more. No need to worry, Ropers are also available in multi-language usage, which makes your work easier. Thank you and have a nice day

ALERT: Comicraft's Mad Font Scientist John Roshell and Lead Lab Assistant Drewes McFarling have applied an Unstoppable Force to our Immovable Font ULTIMATUM, successfully splitting it into a family of three fonts! Here’s the secret formula: ULTIMATUM MASS retains the dynamic details of the original with flat, angled corners; ULTIMATUM FORCE cooperates with your demands for a vertical slice of the action; and ULTIMATUM VELOCITY got tired of waiting for a compromise and cut across its horizontals. The complete family features three styles of eight weights for a total of 24 fonts, each with support for 221 languages including Western & Central Europe, Vietnamese & Cyrillic. Three Variable Fonts provide precise control of Weight & Italic slant. ULTIMATUM MASS FORCE VELOCITY is ideal for high performance car & truck branding, sports uniforms, video game graphics, college & university apparel, and any time you want to convey industrial strength and technological innovation.

Robofan is a vintage Open Type font based on the logo of reconfigurable robots (toys and characters) from the mid 1980s. The typeface was conceived when looking at the author’s own collection of Transformers, he noticed many basic drawing and spacing problems, missing characters, incorrect accent shapes and a lack of proper rhythm in the typeface used in the newest toy’s packaging, mistakes that didn't happen in the toys back in the 80s. These mistakes were so evident that the author decided to look back at the original lettering from the 80s to capture the original spirit of the Transformers. Robofan contains true small caps and has full support for Cyrillic scripts and Central European languages. The full character set consists of more than 700 glyphs. Robofan is ideal for computer & video games, merchandising and all kinds of products related to science fiction, robots, cyborgs, aliens and everything else.

Designed by Daniel Hernández and Paula Nazal. Corrections and review by Alfonso García and Rodrigo Fuenzalida. Trenda is a geometric sans-serif typeface based on the uppercase of Trend —a Latinotype font, released in 2013, that was very well received. This new typeface comes with a wider character set that offers a complete family of uppercase and lowercase in different weights. Trenda is a versatile easy-to-use functional display font with a strong personality, especially its uppercase, which makes the designer’s work easier. Trenda’s lightest and heaviest variants are ideal for display use while its middle weights work well with short and mid-length texts. This typeface has been designed especially for corporate projects, logotypes and publishing. Trenda comes in 8 weights, ranging from Thin to Heavy, and includes matching italics as well as small caps and alternates. The family contains a 634-character set that supports 206 different languages.

Here's a posh serif typeface and its matching italic. Glowing with elegance, Cosmetiqa can go head to head with classic evergreens like Bodoni, Didot, or Century. And just like those go-to favorites, Cosmetiqa really shines at the huge, layout-dominating sizes which have been a staple of top-shelf fashion branding and magazine design since at least the mid-1980s. You'll also find this font to be a great workhorse at much smaller sizes and in extended text passages, as the hairline serifs don't disappear in the smaller size ranges. As its title suggests, Cosmetiqa's unique look works perfectly in cosmetics and fashion branding, but also try it with 1990s-style message forward ad headline applications if you're after a retro look with a hint of a modern twist. The semi-condensed proportions and tall x-height make it great for pull quotes, page banners, and logo design.

Behance presentation https://www.behance.net/gallery/51305239/Geometrica Geometrica is a low contrast rounded geometric Sans with a mid 19th/early 20th century simplicity air yet modern and minimalist. The font was inspired by the idea of creating a typeface with uppercase/lowercase characters and small caps having the same proportion. The result is a font with a moderate width, generous x-height, and short ascenders and descenders, giving it a compact and clean look. Geometrica comes in 10 weights plus italics—each variant with 589 glyphs—and contains a number of OpenType features that allow you to create very ‘good looking’ designs. Geometrica provides a wide range of choices for any design project and it is especially recommended for UI/UX and app design, branding and corporate design, in 2017 it was selected as one of the 10 best Sans of the year by FontShop.

Eurostile Next is Linotype's redrawn and expanded version of Aldo Novarese's 1962 design. This new version refers back to the original metal types and to its mid-century modern aesthetic of squarish characters and subtle curves. Eurostile Next brings back the gentle curves, which were lost in other digital versions, therefore regaining the spirit of the original design and its somewhat softer demeanor. The family has been greatly expanded, now consisting of five different weights: ultra light, light, regular, semibold, and bold. Along with the regular width, all weights also have extended and condensed versions. Stylistically, Eurostile Next is well suited for designs in the fashion of the 50's and 60's, yet it still has a remarkably new and contemporary feeling. Its numerous variations and typographic features are invaluable for projects ranging from extensive corporate branding to one-off posters and from large signage to small print text.

Eurostile Next is Linotype's redrawn and expanded version of Aldo Novarese's 1962 design. This new version refers back to the original metal types and to its mid-century modern aesthetic of squarish characters and subtle curves. Eurostile Next brings back the gentle curves, which were lost in other digital versions, therefore regaining the spirit of the original design and its somewhat softer demeanor. The family has been greatly expanded, now consisting of five different weights: ultra light, light, regular, semibold, and bold. Along with the regular width, all weights also have extended and condensed versions. Stylistically, Eurostile Next is well suited for designs in the fashion of the 50's and 60's, yet it still has a remarkably new and contemporary feeling. Its numerous variations and typographic features are invaluable for projects ranging from extensive corporate branding to one-off posters and from large signage to small print text.

Gotlen Say, I hope you are interested in this font, if you want to use it for your work This font can be used easily and simply because there are many features in it it contains a complete set of lowercase and uppercase letters, various types punctuation, numbers, and multilingual support. Fonts also contain several Binder and Device Style Style for those of you who have software it can work. Any question? Send me a message! I'm ready to answer any pre-sale or post-purchase questions you may have about this product!

The roots of this font go back to 1967. A book title in trendy letters was created in a completely ingenuous way as a film prop for a Super 8 fun film. I drew the letters with felt-tip pen and poster paint without thinking too much about it. It wasn't until a good 50 years later that I realized, this was a first awkward typeface draft. The flower power vibe was captured here subconsciously. In 2019 I completed the few glyphs and created variants that I would not have thought of at the time.

Bridget I hope you are interested in this font, if you want to use it for your work. This font can be used easily and simply because there are many features in it contains a complete set of lowercase and uppercase letters, various types punctuation, numbers, and multilingual support. Fonts also contain several Binder and Device Style Style for those of you who have software it can work. Any question? Send me a message! I'm ready to answer any pre-sale or post-purchase questions you may have about this product! Enjoy! Regards,

PT Reforma Grotesk was designed for ParaType in 1999 by Albert Kapitonov based on the letterforms of Russian pre-revolutionary hand composition typefaces: Uzky Tonky Grotesk («Condensed Thin Sans»), Poluzhirny Knizhny Grotesk («Semibold Book Sans») and Reforma, of H. Berthold and O. Lehmann foundries (St.- Petersburg). This extra compressed sans serif with distinctive letter shapes is typical for display fonts of the late 19th and early 20th centuries. For use in advertising and display typography. The face got 'Galina' prize at Kirillitsa'99 International Type Design Competition in Moscow.

Although the Art Deco movement is generally attributed to the 1930s and 1940s, a number of design influences were showing up during the late 1920s in what is referred to as the Art Nouveau period. The Dutch illustrator Anton Kurvers’ hand lettering on the front cover of the (1927) magazine “Het Vlaamsche Volstooneel” clearly shows the clean lines and Avant Garde geometrics that foreshadow Art Deco. This attractive pre-Deco lettering has been recreated digitally as Dutch Deco JNL, and is available in both regular and oblique versions.

Remember back in the day when medals where for The Beatles and foreign dictators only? No more! Psychophante is a 64 pixel medal-building dingbat. Make fresh pixly medals (like the 'I Really Like Your 'fro medal' and the 'Best Hotel Booker medal') for yourself and/or for friends who deserve them. Each medal is made up of three interchangable parts: - Uppercase consonants are the top of the medal. - Vowels are the middle. - Lowercase consonants are the dangly bit. Numerals are special characters, to be followed by a lowercase consonant

The roots of this font go back to 1967. A book title in trendy letters was created in a completely ingenuous way as a film prop for a Super 8 fun film. I drew the letters with felt-tip pen and poster paint without thinking too much about it. It wasn't until a good 50 years later that I realized, this was a first awkward typeface draft. The flower power vibe was captured here subconsciously. In 2019 I completed the few glyphs and created variants that I would not have thought of at the time.

Prop-a-ganda offers retro-flavored fonts inspired by lettering on retro propaganda posters, retro advertising posters, retro packages all the world over. This is perfect font for your retrospective project. Almost all the letters of PAG Trust are drawn by bold line, but some bars are very thin line and counters are extremely small. With this font, regular typed text transformed into unique typography. We can’t decide the impression of PAG Trust, depending on how to use it, it can be cute package, retro book cover or propaganda poster of Cuba.

Cora is a sans serif with an experimental bent, offering a large x-height, some contrast of stroke weight, and capitals inspired by classical lettering. The large x-height gives it a voice with a little more volume so that those in the back of the room have no trouble hearing. Because the letters seem slightly large, Cora remains clear at smaller point sizes. It is a typeface intended to perform well on screen without losing its attraction in print and the nature of its shapes allows for condensation or expansion without becoming severely distorted. The uppercase exhibits classical proportions found in ancient Roman inscriptions, which provides opportunities for setting titles in all caps. Cora Opentype Pro has a full range of numerals for every use, small caps, the most common open type features and supports many languages that use the latin extended alphabet. It is available in a range of three weights plus Italics. CoraBasic is a reduced version of Cora. It is still an OT-font but without any particular features except of a set of ligatures, class-kerning and language support including CE and Baltic.