Ultima Pro is a geometric sans serif typeface family of eight styles – light, regular, bold and black in roman and italic respectably. Ultima Pro typeface is an upgrade addition to Ultima family (2010). All glyphs have gone through shape refinements, and the amount of glyphs was significantly extended, which enabled support of more Latin languages as well as full support of Cyrillic. Fonts released in OpenType format with some opentype features. The typeface is ideal for use in display sizes though is quite legible in text.

Hoppa is a clean geometric typeface with a fun twist. It was carefully designed to the modern standards like big x-height and short descenders. With its smooth curves and loop-alike shapes, Hoppa will add a fresh and lively feel to your designs. Although it has been created to be used as a display face, it performs well in longer texts. Thanks to alternate glyphs, font gets more legible, neutral look. Hoppa supports most of Latin and Cyrillic languages and includes range of OT features.

Introducing Nevermine - Nineties Type, created by ikiiko. Is a solid & raw condensed typeface with unique shape of 90's era. This typeface is perfect for an event poster, magazine cover, hipster fashion brand, t-shirt, tote bag, quotes, or stylish text overlay to any background image. What's included? Uppercase & Lowercase Number & Punctuation Multilingual Support Works on PC & Mac Get also a good offer & FREEBIE at our site : www.ikiiko.com Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Grillmaster is a nice clean sans serif that you'll find many uses for with eight widths and eight weights in each width set plus italics. It’s always grillin' season with Grillmaster; at 128 font files strong Grillmaster is ready to serve large crowds and dinner parties. So put on some cheap shades and cutoff jeans, then fire up the grill and turn up that perfect song on the radio: the Grillmaster is here to satisfy your appetite; I guarantee you won't go home hungry.

Hi! I am Black Square! Probably the most famous square in the world. Thanks to my godfather Kazimir Malevich, who created me in 1915, this year I am celebrating 100th anniversary. Let me tell you what a great gift I just got! It`s a family of almost 300 letters and symbols suprematic as suprematic can be - shapes, form attacks, booms and even hashtags! All under the name of Malevich Font. Isn`t it a great present for my anniversary? Thank You BBDO Ukraine

Easy to use, but hard to miss. That’s dT Delicatta. An elegant script face that adds a special touch to any message. Script typefaces usually come packed with endless features and, more often then not, all those possibilities take their toll on the designer or art director. With usability in mind, we kept dT Delicatta simple and straightforward to use while delivering refined shapes that enhance your or your client’s communication. dT Delicatta is a revised, improved and virtually new font of our old classic Delicatta

Transitional serif font inspired by the italian’s lettering tradition, in particular by the street sign letters you can find around Florence. All elements are designed to be elegant and easy-to-read, even in a long blocks of text. -- The HT Fera Text is freely inspired by the typographical tradition of Florence's municipality and its streets. Letters shape, contrasts, junctions, stems, teardrops, they are all the result of careful research carried out on the Dante's streets, redesigned in a contemporary mood. -- hype-type.com / kidstudio.it

BB Strata™ (Pro) is the first font with only octagon angles (±45°), polyspacing (same width in every weight), optical shape and monoline variants for any type of use. The ideographic system was created for an exhibition in 2015 to visualize the process and results of scientific investigations in a historical and contemporary context. ● 9 Variants (incl. SS19, SS20) ● 37 Opentype-Features/Style ● 60 Stylistic Sets (20/Variant) ● 90 Styles (incl. SS19, SS20) ● 40 OT-Features/Style ● 97 Languages Support ● 31,920 Glyphs (1064/Style)

Restrict is a san serif font that we design with a wide selection of beautiful characters and strong characteristics. Having a distinctive shape that is attractive to the eye and easy to read when you make it as a sentence is our main goal in designing this font. Not limited to that, the bold calligraphy font is designed to keep paying attention to the beauty of each letter, there are alternate options for the letters which are certainly easy for you to access, so you can automatically customize the letters you want to enhance the visual appearance of your design project. This charming font also offers the beauty of abstract typography harmony for a wide variety of design projects, including digital natural handwriting for designs, quote designs, for social media business designs, advertisements, trademarks, food and beverage promotion banners, text, posters, a signature, and all designs require handwriting or whatever design you want. What’s Included : File font Web Fonts Standard glyphs Ligature Works on PC & Mac Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support for; Afrikaans, Albanian, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish Thank you for your purchase! Hope you enjoy our font!

Jazm is an Arabetic typeface design with connected glyphs. Jazm was the earliest, pre-Islamic, script style of the modern Arabic script, before branching into Kufi and Naskh styles. The initial script had a lot less, position-dependent shapes and ligatures, and was not strictly connected. It occasionally included minuscule dots to distinguish identical shapes. This font family design is a modern visualization by the designer of the historical Jazm letter shapes following the guidelines of the Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in Unicode Standards, and one additional final form glyph for each Arabic letter that can connect with other letters from both sides in traditional cursive Arabic strings. Jazm employs variable x-height values. It includes all required Lam-Alif ligatures and selected marks. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form, if desired. Keying Tatweel before Alif Lam Lam Ha will display the Allah ligature. Jazm typeface family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, in addition to Standard English keyboard punctuations and major currency symbols. Jazm is available in regular, bold, black, and corresponding italic (slated to the left) styles.

A stylish retro script where I have completely redone the spacing to make the text look more even. All of the diacritics have been redone, too - and the character set expanded in our usual fashion. So now this little gem from Nick Curtis is ready for the big time! Nick Curtis says: “This font is basically a design exercise, influenced by a number of contemporary fonts, but unique in its own way. The gentle, fluid motion reminded me of diner lettering from the 30s and 40s, hence the name.” ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

I noticed this font for its versatile techno look - it makes wonderful logotype word images. Every letter combination is perfectly kerned so that the letters fit together nicely... Also includes some alternate letterforms, but only in their basic forms (not made in combinations with diacritics). These alternates are available via your programs' glyph palette or using the OpenType functions "Stylistic Alternates"/"ss02" and "Swash"/"ss01". Technique BRK Pro is the perfect companion for Technique Outline BRK Pro (it exactly fills the "holes") but also a nice techno font in its own right. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

A collection of DIN Mittelschrift variants with a slightly sinister and scary appearance - perfect for that Halloween ad, brochure or article. The Plain font is included if you buy the family pack, and can be mixed in. The DINfun Pro fonts are special versions of the classic DIN 1451 Mittelschrift, far removed from the original typeface's serious and no-nonsense roots. I have made them as companions to the classic, with some some very different expressions, complete with a large multilingual character set. Time to spice up that DIN profile! :) ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Fantastic ML is an exuberant Art Nouveau font. It was originally released as “Modern Style” by Fonderie G. Peignot & Fils, Paris, France sometime before 1903. Since “Le style moderne” was the generic French name for Art Nouveau, it is possible that someone decided a less generic name was needed. The typeface became known as Fantastic. Compared to conventional text letters, it is just that. Fantastic has a whimsical, architectural feel. The typeface reminds me of a cross between Hoffmann’s Palais Stoclet in Brussels and Gaudi’s Sagrada Familia church in Barcelona. The letterforms themselves are similar to those by Ludwig von Zumbusch on the cover of “Jugend” in March, 1896, but with the addition of serifs. Fantastic ML is a decorative, all-cap font intended for display use and functions best at 18 points or larger. There are a total of 306 glyphs. In addition to the standard 1252 Western Europe Code Page with character slots up to decimal position 255, there are glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. However, some older applications may only be able to access the Western Europe character set (1252). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS format and a TTF version which is in Open TT format. Use whichever works best for your applications.

8bit darling is digital taste font. I think digital fonts are bitmap fonts generally, but dared to make digital fonts that are not bitmap fonts and made it. The name "8bit darling" borrowed a name from my favorite song. I made it consciously that it is a digital style but not so much inorganic. It contains hiragana, katakana, alphanumeric characters, some symbols. Horizontal writing only, vertical writing is not possible. Although it is slightly unique, I think choose a scene to use too much. I would be pleased if it could help you. ＜「エイトビットダーリン」紹介文＞ カクカクしたデジタル風のフォントです。 デジタル風のフォントといえばビットマップフォントかと一般的には思うのですが、敢えてビットマップフォントではないデジタル風のフォントを作りたいと思って作りました。 「エイトビットダーリン」という名前は私の好きな曲から名前を拝借しました。 デジタル風ではあるけれどもあまり無機質にならないように、と意識して作りました。 収録文字はひらがな、カタカナ、英数字、一部記号です。横書き専用、縦書きはできません。 ちょっと個性的ですがあまり使う場面を選ばないかと思います。 みなさまのお役に立てれば幸いです。 ＜スタイルカテゴリー＞ 角ゴシック

Another typical Art Deco font from Nick Curtis. Uppercase only, but with alternate letterforms in the lowercase positions. I have completely redesigned all the diacritics (which were way too flimsy for this robust design) before expanding the character set in the usual fashion. Nick Curtis says: "Back in the Olden Days of Graphic Design B.C. (before computers), type freaks used to wait in anxious anticipation for each new release of the Letraset catalog. The inspiration for this font, Premiere Lightline, was one such release, and probably help spur my interest in Deco designs. The original font was VERY light indeed, suitable only for use in large sizes. My version is beefier, and includes an entire lower case of alternate letterforms, making this (at least) two fonts in one. The name is the 40’s hep talk equivalent of “Cool!”". ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

The front page of a late-1940s sales catalog for the [now defunct] Duro Decal Company of Chicago had its company name hand-lettered in a tall, condensed chamfered sans serif type design. Although chamfered lettering had been popular for decades, the way the "R" was shaped gave the letters a bit of an Art Deco influence, and this influence was carried through in the creation of Durable JNL.

FF Neuwelt™, from Jens Gehlhaar, is open, inviting, highly legible, and strikingly handsome. Combining the straightforward clarity of a geometric sans with a welcoming warmth, FF Neuwelt’s eight display and text weights, vast range of alternates and extended character set, make for a family with few limitations. While grounded in a solid geometric sans serif foundation, Gehlhaar has drawn a large suite of alternate characters that infuses FF Neuwelt with softened, and ultimately easy on the eyes, humanistic shapes and proportions. Alternative cursive italic forms and a choice of round or square punctuation are also available at the click of a mouse. FF Neuwelt is spaced for sizes larger than 16 point, while FF Neuwelt Text has more open letterspacing to set perfectly at sizes smaller than 16 point. In addition, five key lowercase characters were drawn with more legible shapes. The result is that FF Neuwelt adapts from text to larger sizes and one stylistic mien to another with ease and grace. FF Neuwelt is a natural for interactive design, performing well on both large digital displays and small screens. Counters are generous and apertures are open, making them a perfect choice when setting text as microcopy or in short blocks where quick and accurate comprehension is the goal. Even the heaviest weights translate well to on-screen reading. FF Neuwelt also speaks with authority in large sizes on big screens. Equally at home in print environments, FF Neuwelt is a perfect choice for long-form text, captions, editorial, packaging, point-of-purchase design – as well as extensive branding projects. Its many choices of alternative characters make for a design that draws the reader in, without overpowering the message. Although he has drawn typefaces in addition to FF Neuwelt, Gehlhaar is primarily a filmmaker. Directing commercials with style and grace, his work includes spots for Nissan, Apple, Emirates Airlines and Microsoft. As a creative director, Gehlhaar has worked on a broad range of projects for Coca-Cola, MTV, EPSN, Volkswagen and more.

Introducing the September Spirit Font Duo! A hyper-realistic handwritten font duo, which utilises a large range of ligatures (uniquely designed letter combinations), and alternate characters—all taken from real handwritten words—to achieve an incredibly natural handwritten style. As well as the fast-flowing handwriting font, September Spirit also include an all-caps version, great for combining with the regular font for adding emphasis to words, or even as it's own standalone font. Not only that, a bonus font of extra circles, underlines & arrows is included to add even more emphasis and an additional hand-crafted aesthetic. The September Spirit family includes; September Spirit • A fast-flowing handwritten font containing upper & lowercase characters, numerals, and a large range of punctuation. September Spirit Alt • This is a second version of September Spirit, with a completely new set of both upper and lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. September Spirit All Caps • An uppercase-only font, perfect for pairing with the regular September Spirit fonts to add emphasis to words or phrases. September Spirit Extras • A bonus font containing 19 hand-drawn arrows, cirlces and underlines. Ideal for adding to your September Spirit text for extra emphasis. Language Support • September Spirit supports the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

Introducing Echowarp is an unusual COLORED font family. Main idea of ​​this font is that a colored echo spreads and fades from minimalistic letters to the sides. Distorted letters give the effect of temporary refraction. The originality of this family is primarily suitable for a bold design. And if you add a random distortion in a graphics program to the finished heading written in this font, the inscription will turn into an absolutely unique and inimitable one. Futuristic set has 23 fonts in the family! Do not limit your imagination, because the font opens up a huge space for creative experiments. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Free Demo font to check it works Letters with color echo & distortion 23 OTF SVG color fonts in the family Gradient and hologram fonts Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf - Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

LiebeDoni is pure Italian art. A contemporary nod to Italian typographic heritage, LiebeDoni’s warm and friendly style is perfect for—literally—bold headlines and impressive invitations. Take a seat on LiebeDoni’s Vespa and enjoy the sweet curves of dolce far niente. But don’t let the relaxed hand-crafted appearance fool you: You’re dealing with a solid quality typeface that has received painstaking attention to detail. Round like the Colosseum, some lines are as colloquial as the Tower of Pisa—but all this with almost Teutonic obsession for technical perfection. Feature-wise, we went the full quattro stagioni: Variations and alternatives for many letters, swashy initials and swirly ligatures—plus language support that goes way beyond English and Italiano. Double-o ligature, anyone? Two different www ligatures? Check. (Please make sure your software supports OpenType if you wish to use the advanced features.) Get both the outline and the filled version and go crazy on creative layering and endless possibilities. Each font contains over 600 glyphs and both contain the full character set. Make a bold move to italy—treat yourself with this font. If you like LiebeDoni, you may also like its perfectly matching sisters LiebeErika and LiebeOrnaments—or any of our other 100% compatible LiebeFonts.

Delightful is a whimsical and cheerful handwritten font family of varying weights and widths. This typeface is like if Comic Sans had a cousin who studied abroad one summer and now wears scarves to look more grown up, even though inside she's still the same, sweet marshmallow she always was. The letters were inspired by my handwriting on a good day - slowed down, legible, and intentionally drawn. I even threw in some of my favorite doodles as alt characters because the set wouldn't be complete without them. And the name was inspired purely by how it feels when I see it - and by my word of the year, delight. Delightful is ideal for anyone who wants to include a bit more warmth and a personal touch with their messaging. It's friendly and non-threatening, and will enhance personal projects or professional ones alike - whether you're a designer, an Instagram influencer, or you need to create some flyers for the local Mom 'n Pop Shop. There are two versions of this font. The original style is slightly more rounded and gets chubbier as you increase its boldness, and the stretched style is like a condensed version, except it's been stretched taller rather than squished narrower. I hope you delight in it as much as I do!

Many street nameplates in Britain use versions of Kindersley serif capitals designed by David Kindersley in the 1950s. K-Type Kindersley Sans is an unfussy alternative to the signage stalwart, perfectly suited to newer environments and more contemporary tastes. Kindersley Sans is a humanist sans-serif that conserves the Gill-inspired character and some of the calligraphic qualities of Kindersley’s lettering, it retains the Roman proportions and its Britishness, but traditional prettiness and intricacy are discarded in favour of a clean modernity. For purposes where Transport (MOT) is considered too formal and Kindersley too old-fashioned, Kindersley Sans offers an open and amiable up-to-date alternative. The typeface is comfortably spaced and carefully kerned to deliver beautiful results with ease, and although designed with nameplates in mind, it excels as an all-purpose text face in print and on screen. The tail of the uppercase Q has minimal descent to avoid constriction. Kindersley Sans includes a lowercase designed for signage with short descenders to prevent unsightly congestion. A generous x-height assists legibility, and characters are designed for easy reading and distinctiveness. The curved foot of the lowercase L distinguishes it from the uppercase i. The six fonts contain a full complement of Latin Extended-A characters, Welsh diacritics and Irish dotted consonants, so European language nameplates need not be a source of frustration. The ascent and descent of accented characters has been kept to an acceptable minimum.

Aqua Lagoon is a strong and sharp script typeface with alternative characters that inspired from beach and lagoon.

BillieBob was made by cramping straight shapes into squares. Somewhat reminds me of pre cold-war Russian type.

Fazeta is a type family that uses the optical sections. It is a modern static antiqua (it has not obliqued axis, serifs without slopes) but distant from ceremonious and rigid look of this type category. Inspiration was typeproduction from Czechoslovakia 60’s - J. Týfa, V. Preissig, J. Linzboth or A. Krátky. Common factor of this typefaces is vivid and sharp design with stable serifs, tend to rational construction rather than calligraphy and some sophisticated small details vitalized general impression. In this case are facetted asymmetrical arches (some abbreviation). Specific of this typeface is a short arch of glyph “f” that allows comfortable typesetting without ligatures obligation. In character set are besides classical ligatures discretionary ligatures for special occasions. Another surprising element is that all vertical strokes are slightly expanded upwards. These details become invisible in small text but in larger sizes impressed the eye and fix attention to headline. For traditional text feeling are here alternative glyphs “a, c, f, j, k, r, y, K, R” terminated with typical serif. Typeface is graded by optical size into 3 variants - caption (robust structure with low contrast, suitable for size 6 - 9 pt), text (medium contrast, suitable for ordinary text about 10 pt) and display (high contrast and subtle details for 20 pt and higher). Every variant has 5 weights (light, regular, medium, bold and black) with italics. Typeface is with their naked cold expression suitable for neutral text without emotional feelings. In contrast with most antique typefaces this is intended for modern glossy white paper where crisp details can excelled. Every font contains 1140 glyphs, between them original small capitals, various digits, fractions, indexes, matematical symbols, arrows, borders and many alternative glyphs. To see more please check the PDF specimen.

PMN Caecilia™ is the premiere work of the Dutch designer Peter Matthias Noordzij. He made the first sketches for this slab serif design in 1983 during his third year of study in The Hague, and the full font family was released by Linotype in 1990. The PMN prefix represents the designer's initials, and Caecilia is his wife's name. This font has subtle variations of stroke thickness, a tall x-height, open counters, and vivacious true italics. Noordzij combined classical ductus with his own contemporary expression to create a friendly and versatile slab serif family. With numerous weights from light to heavy, and styles including small caps, Old style figures, and Central European characters, PMN Caecilia has all the elements necessary for rich typographic expression. eText fonts - the optimum of on-screen text quality With our new eText fonts that have been optimised for on-screen use, you can ensure that your texts remain readily legible when displayed on smartphones, tablets or e-readers. The poor resolution of many digital display systems represents a major challenge when it comes to presenting text. It is necessary to make considerable compromises, particularly in the case of text in smaller point sizes, in order to adapt characters designed in detail using vector graphics to the relatively crude pixel grid. So-called 'font hinting' can help with this process. This, for example, provides the system with information on which lines are to be displayed in a particular thickness, i.e. using a specific number of pixels. As font hinting is a largely manual and thus very complex technique, many typefaces come with only the most necessary information. What is unimportant for a text printed in high resolution can result in a poor quality image when the same text is displayed on a screen, so that reading it rapidly becomes a demanding activity. Specially optimised eText fonts can help overcome this problem. An extremely refined and elaborate font hinting system makes sure that these fonts are optimally displayed on screens. Monotype has not only adopted font hinting for this purpose but has also thoroughly reworked the fonts to hone them for display in low resolution environments. For example, the open counters present in the letters C, c, e, S, s, g etc. have been slightly expanded so that these retain their character even in small point sizes. Also with a view to enhancing appearance in smaller point sizes, line thickness has been discreetly increased and x-height carefully adjusted. Kerning has also been modified. Don't leave the on-screen appearance of your creations to chance. Play it safe and use eText fonts to achieve perfect results on modern display devices. Many typefaces, including many popular classics, are already available as eText fonts and new ones are continually being published. The eText font you can purchase here are available for use as Desktop Fonts or Web Fonts. Should they be used in Mobile Devices such as smartphones, tablets or eReaders, please contact our OEM specialists at sales-eu@monotype.com.

ITC Lubalin Graph® was initially designed by Herb Lubalin and drawn to fit the requirements of typographic reproduction by Tony DiSpigna and Joe Sundwall in 1974. Its underlying forms are those of Lubalin's previously released ITC Avant Garde Gothic, but its shapes were modified to accommodate large slab serifs. Its condensed weights, which include small caps and oldstyle figures, were later additions by Helga Jörgenson and Sigrid Engelmann in 1992. The family, with its generous x-height and overall tight fit has come to represent the typographic style of American graphic design in the 1970s. The typeface is at home when paired with mid-century modern design and spare sanses or more traditional text faces from the period. ITC Lubalin Graph covers four weights in its condensed width from Book to Bold, and five weights in its normal width.

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.

Arbour Soft is the cheeky version of it's big brother, Arbour. The soft version creates a smooth finish that flows perfectly across screens and print. Arbour Soft comes in 7 weights, from a delicate extra-light to a soft, strong black, with matching soft italics for each upright. The soft black weights are perfect for your new brand or article headlines, and the light weights are great for calling out text. The mid weights are perfect for longer texts.

Designed and built in London by TypeUnion, Silo soft is a fluid sans serif typeface embodying energetic curves and a clean, functional structure. The Silo Soft Family is made up of 6 weights, which range from a delicate Extra-Light, all the way through to a punchy, loud Extra-bold and each carry a versatility for multiple applications and uses. Silo soft features open type alternate characters, and extensive language support to provide a flexible, substantial user experience.

Designed and built in London by TypeUnion, Karlsen Round is a structured, functional typeface which embraces harmony, flow and versatility, but with a cheeky twist. The Karlsen Round Family is made up of 14 styles, which range from a delicate thin, all the way through to a substantial extra-bold and each carry a versatility for multiple applications and uses. Karlsen Round provides extensive language support to provide a flexible, substantial user experience. Please also see our Karlsen family.

Pescadero Pro is named for the valley in California's rugged central coast. Early Spanish settlers called the area Pescadero (fishing place) as they observed it was a favorite fishing spot for the local natives. Designed by Steve Matteson, Pescadero is delicate and detailed for attractive documents but robust enough for serious reports and titles. The design is based heavily on calligraphic inscriptional lettering. Pescadero Pro's OpenType features include proportional figures, tabular figures, old style figures and initial swash caps.

Girona is a contrasting sans serif typeface which comes in 5 weights from light to bold. Large inktraps and many playful details create a modern typeface with a distinctive look. Girona offers many discretionary and standard ligatures. With different stylistic sets you can change the feel of your design from more delicate to more bold. It’s a perfect typeface for branding, editorial design, logo design and many others. Girona works best in larger sizes or headlines.

Inspired by the elegance and sophistication of Hollywood's Golden Era, Oscar is a lyrical nod to the pinnacle of cinema achievements, the Academy Awards. Its slim, graceful features are accentuated by undulating triple waves. Delicate yet study, it will handily support messages both solemn and joyful. Use Oscar when you wish to convey a sense of celebration and prestige, a reference to the era of Art Deco and the 1920s or, a feeling of grace and ceremony.

The history of Able’s connection with the Harry Potter phenomenon is really up in the air. It’s a catch-22 in this business - you either promote your own work and negotiate expensive exclusive licenses, or you work with a promoter and sell your designs to anyone and everyone. It could have been an in-house designer at Rowling’s publisher, Scholastic, or a freelancer who proposed Able for the headings and such. The responsible party licensed it from T26, and JK Rowling’s storytelling made it a star. (I suppose it’s ironic that there’s a whole lot of unwritten history in the typography business.) Able’s rise to fame really is a classic love story between reading and type design. If the books weren’t so popular, Able might still be waiting for some Mexican fast food chain to pick it up for packaging design. The movie deal certainly made the font all the more recognizable, what with its merchandising campaign. Popularity can also cripple a great decorative face. It’s always being recognized as “The Harry Potter Font.” It might just have to wait a few decades for the Potter phenomenon to subside to be freed from the “Chamber of Pigeonholed Fonts.” In the meantime, I’m sure that a lot of fledgling graphic design apprentices are reading their new Potter books, being charmed by the idea of type design when they’re not turning the pages too fast to notice.

Pebl is inspired by the naturally simplified and smoothed shapes of beach pebbles. The result is a bold, super-rounded display typeface. It's pared back to just the most basic, smooth outlines without counters, for a friendly and organic look. It’s ideal for logos, branding, headlines or just abstract type shapes in print, in displays, on the web, on T-shirts, wherever. Enjoy.

Cerebri Sans is a design inspired by early geometric and grotesque typefaces. Subtle humanist details provide an undercurrent of warmth that simmers just beneath the bones of its contemporary simplicity. Cerebri Sans’ concept involved the development of a hybrid appearance. Its soft elegance and finely-tuned legibility make it appropriate for a vast range of applications including headlines, editorials, publishing, advertising, corporate communications, white papers, educational texts, web content, and mobile applications. Cerebri Sans' multilingual support is extensive, covering Basic Latin, Western European, Euro, Baltic, Turkish, Central European, Romanian, Vietnamese, Pan African Latin, Pinyin and Igbo Onwu for global accessibility.

ITC Kulukundis is the work of designer Daniel Pelavin, a square, connecting script which looks as though it could have been cast in shiny chrome for the side of a 1950s American roadster. Pelavin based his design very loosely on a vertical French script but the overall look is all his own. Unlike calligraphic scripts, the lower case letters all connect in exactly the same way and the straight diagonal junctures give the typeface its broad, spacious character and keep it locked into a continuous line. ITC Kulukundis could also be used to create a decorative border for special occasions.