Created with the needs of branding design in mind, Jan Hendrik Weber's Unitext is a crisp, clean typeface that functions well across print and online use. It blends humanist and grotesque qualities, adopting a style that the designer describes as “neo grotesque”. Narrow spacing is what sets this typeface apart, however it also uses open counters and angled details to boost readability. “The ideal font should work at every touchpoint,” says Weber. “And designers shouldn’t need an introduction or a set of rules on how to handle this typeface. Unitext allows designers to work without explanation.” The Unitext family includes 7 weights, spread across 14 fonts with extensive Western, Central and Eastern European language support. Unitext Variables are font files which are featuring one axis and have 14 names instances: Hairline, Hairline Italic, Extralight, Extralight Italic, Light, Light Italic, Regular, Italic, Semibold, Semibold Italic, Bold, Bold Italic, Black, Black Italic

DUAL is a full width sans-serif typeface with an experimental side. Its straight lines and 90 degree angles give it a very geometric feel without hindering its legibility. It’s now available in 6 weights, ranging from 100 to 600. The idea behind DUAL has been brewing for quite some time, and though there has been many “experimental” released in the past, it does have its unique features. For starters, it is a fully usable and legible font in its original state. Also, its 251 alternate glyphs and 10 stylistic sets are, of course, its main attraction making DUAL a very versatile typeface for any user, from the casual designer to the hardcore artist. Finally, it has extensive additional language support for the Americas and parts of Europe. With its 563 glyphs, It’s actually two fonts in one, and thus the name DUAL. Enjoy!

The typeface No Culture No Soul is designed from 2021–2022 for the font foundry Typo Graphic Design by Luise Herke × Manuel Viergutz as a project for support the culture. Special THX to Michael Rütten of soulpatrol.de The display font with 254 glyphs incl. numbers, punctation, marks & symbols is inspired in the past and present. Extras like OpenType-features and 7 sylistic sets. For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: No Culture No Soul ■ Font Styles: 1 (Rough) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Glyph Set: 254 glyphs incl. extras like icons (decorative extras like dingbats, emojis, symbols) ■ Design Date: 2021–2022 ■ Type Desi­gner: Luise Herke, Manuel Viergutz, THX to Michael Rütten (Soulpatrol)

Lakone is a modern serif font that brings a touch of sophistication to your designs. With its narrow character and sleek aesthetics, Lakone is the perfect choice for titles and headlines that demand attention. But Lakone offers more than just good looks. With its extensive set of Opentype features, including dozens of ligatures, swashes, and alternatives, this font empowers you to unleash your creativity and elevate your typography game. These features provide you with endless possibilities to customize your designs and add that extra touch of elegance. Stand out from the crowd with Lakone. Whether you're designing a magazine cover, a logo, or a website, this font will captivate your audience and leave a lasting impression. Don't settle for ordinary typography when you can have the allure and versatility of Lakone. Get ready to elevate your design projects and make a bold statement with this modern serif font.

George Ryan's ITC Migrate is a highly condensed sans serif display face that effectively complements ITC Adderville. Migrate represents what Ryan calls a “more highly evolved version” of a typeface he designed for Bitstream in 1991 called Oz Handicraft. “Both faces,“ says Ryan, “are based on designs of the popular early 20th-century type designer Oswald Cooper.” His inspiration came from drawing samples found in the Book of Oz Cooper, published in 1949 by the Society of Typographic Arts in Chicago. “Oz worked extensively with the sans serif form long before it became popular in the States, eschewing a popular belief of the time that sans serifs were only skeletons of letters.” Where Oz Handicraft was informal and quirky, ITC Migrate has a more restrained feel. “The uppercase characters and figures, in particular, have been reworked,” says Ryan, ”resulting in a more formal and traditional, compressed sans serif typeface.”

Neuzeit Grotesk was originally designed by Wilhelm Pischner (1904-1989) and was released by the font foundry D. Stempel in 1928-1939. In 1970, the German Standards Committee advised the standard use of Neuzeit-Grotesk for official signage and traffic directional systems, and the abbreviation DIN was added to the name of the font. DIN" stands for Deutsches Institut für Normung (The German Institute for Industrial Standards). Neuzeit Grotesk was also once the standard in the German printing industry. It has been seen as a straightforward and utilitarian typeface, with no unusual or distracting features. Like other typefaces from the 1920s, it reflects the philosophy of those times, "Form is Function." Today, however, because of its familiarity and practicality, Neuzeit™ Grotesk has acquired an almost cheerful and reassuring aura. Try it out for signage, magazine headlines, or flyers. See also Neuzeit S for text weights of Neuzeit Grotesk.

This font is the condensed version of Queulat, but keeping the same features as the original typeface. Queulat Cnd is a hybrid typeface that combines different styles, reflecting charm, freshness and, especially, a strong personality.. Since it is a condensed font, it is well-suited for publishing and subheadings. The font is inspired by Modern and Grotesk styles. The former is shown in some characteristic features such as teardrop terminals, which give the typeface an attractive unique look, making it an ideal choice for logotypes and labelling. The latter, with its rationality, makes Queulat Cnd a stable and strong face for headings and subheadings. The combination of styles can be clearly seen by comparing the Regular with the Alt version. The Regular version is more simple than the Alt one. Differently, the alternative version possesses more features of the Modern style, like teardrop terminals in ‘k’ and ‘v’.

A typeface for telling stories. After seven years through which Rodrigo Saiani worked on Dupincel, Plau’s team still had months of dedication until found a good way of summing up this typeface. All this effort was rewarded, though, when we came up with a motif that gave Dupincel the grandiosity it deserves. Telling stories is this typeface’s gift because it has the emotion for it, resources for it and the breadth for it. Like all that wasn’t enough, it has the scale for it: optical sizes Small, Medium and Large make Dupincel optimized for stories of every length. From short stories displayed big or long stories on small letters. We don’t want to dictate the types of stories either, anything goes. But if ornaments make a good fit with that story, we will be even more thrilled. In the end, Dupincel makes us want to find new stories to tell.

Naïve Inline Sans is a layered sans serif handwritten font designed by Fanny Coulez and Julien Saurin in Paris. Our goal was to draw a font with finely irregular lines that give a human and whimsical feeling. We designed three weights to assure a good readability whatever the size. They can be enhanced with five different interior patterns and three shadows to improve your designs and bring a charming and unusual feeling. To do so, you can simply superimpose the layers with a compatible software like Photoshop, the weight above and the pattern(s) below, then choose a color for each. This font is part of our Naïve superfamily that contains lot of variations: Line, Inline, Serif, Sans Serif, and a special Art Deco one. Just click on our foundry name to see them all! We hope you will enjoy our work. Merci beaucoup!

Dharma Gothic Rounded is an antiqued sans serif designed inspired by 1800s-style wood type. All glyphs had been designed carefully to be retro-looking of the old time and to fill all with nostalgia. There is Dharma Gothic Family that is not rounded. This condensed font family with 42 styles will be the best solution for posters, titles and anywhere you need impact. To complete your work perfectly, Gothic Extras Family is ready for free. They include borders, ornaments and frames designed using vintage catalog of Hamilton in 1800s as a model. g, r and y have alternative glyphs that are available with the OpenType salt feature and tabular figures are available with tnum feature. Be sure to check out the slab serif style of this Dharma series named Dharma Slab and Distress version Dharma Gothic P. When you need more modern gothic, please try our Kaneda Gothic and Fairweather.

Nearly a hundred human heads, in three dingbat files. The whole series comes from the sketchbook: the original ink drawings were then digitized and refined to create vector outlines. Rather than perfectly smooth, geometrical shapes, the Entestats, like their close relatives in the Capsbats series, the Entestats retain a handmade look and feel. The Entestats are ready-made illustrations, though of course they will appreciate being enriched with colours, textures, an imaginative layout... and use them for a variety of projects. Use them small, as spot illustrations or as big as a whole page or page spread. The Entestats and their kin, the Capsbats, are a terrific resource for presentations, packaging, logos, brochures and advertisements, to name a few applications. The book 1000 Heads is a compendium of the drawings featured in the Capsbats and Entestats and it gives a glimpse of the limitless applications of this collection.

Double Nines JNL is a dingbat font containing fifty-five glyphs for the tiles found in the second level of domino games. Sets of dominoes can be of either double six, double nine or double twelve. In this font, the double blank tile is located on the zero keystroke, while the one/blank and 1/1 tiles are on the 1 and 2 keystrokes. The rest of the tiles (in numerical order through 9/9) are located on the A-Z and a-z keystrokes respectively. To use any or all of the images contained in Double Nines JNL in any manufactured products or services, please refer to the software license agreement provided when purchasing this font. A separate royalty license must be secured from Jeffrey N. Levine for such purposes. The images are NOT licensed for use in proprietary logos or service marks.

Sunshine is the unlikely alphabet collision of Gobbler and Liquorstore. Chank's napkin scrawl smashed into the letters commonly found on signage at the neighborhood liquor store. Gobbler's blotchy textures fragmented Liquorstore's uniform stroke. It began as a hideous lumpy thing with random vector points everywhere. Chank came to the rescue with his Alphabetician's first aid kit. He smoothed the blunt corners with a few hammer blows. He wrapped the font in extra strokes, in a sans serif Roman style, to increase its contrast. His industrial influence helped stabilize Gobbler's gloppy qualities and his grunge aesthetic softened Liquor store's checkerboard rigidity. The end result is a font with a solid structure and a painterly wiggle that creates a dirty display or a slightly clumsy text face. Because of its many detailed strokes, it tends to look a little better in print than on the web. All organic. Earthy.

ITC Flora is the work of Dutch designer Gerard Unger, and is named for his daughter. He started by doing calligraphy experiments with felt-tip and ballpoint pens, and developed these drawings into a formalized script typeface. Swiss typographer Max Caflisch advised the Dr.-Ing Rudolf Hell GmbH technology firm to add a new round-nibbed script face to their Digiset type library, and in 1984, Flora was released by Hell. Unger used a chancery cursive skeleton in this design, which imparts grace and movement. Flora was also intentionally designed to be simple and sturdy, and with its minimal variation in thick/thin stroke ratio, it worked well on the early digital typesetting machines. In 1989, the International Typeface Corporation released the font. ITC Flora continues to work well on current printers and typesetters, and it has an enduring popularity for uses that range from short text passages to display headlines.

Bertholina is a beautiful modern calligraphy script font that is suitable for branding, wedding invitations, greeting cards, posters, name card, quotes, blog header, logo, fashion, apparel, letter, stationery and other projects. The font has PUA Unicode (Private Use Areas - font specific code). That all the alternative characters (with flourishes and swirly lines) can be easily accessed in full through Windows and Mac and you can load them into applications such as Cricut Design Space and Silhouette Studio. To access all OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator, Adobe Photoshop, CorelDraw and Microsoft word. If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows). If you have any question, don't hesitate to contact me Thanks for your visit.

Organika is a hand drawn type family of six fonts. It includes upright and italic brush script, sans and serif fonts. Because of the uneven edges, loose forms and bouncing letters Organika has an organic, friendly and casual feeling. The script has lots of alternates that gives you possibility to build your text almost like handwriting with all the charming imperfections and variations that a real handwriting has. If you enable Discretionary Ligatures OpenType feature (dlig) it replaces automatically lower case letters with an alternate when the letter is repeated. So there are never two letters next to each other that are just the same. The script also has a few neat underlines to choose from to give your design the final touch. With the Organika sans and serif fonts you can add some variety and contrast to your design with the matching casual hand written feeling.

Roisty – A Black Display Sans Serif Typeface Roisty, a sleek and contemporary black display sans-serif typeface, exudes sophistication and modernity in its design. With clean lines and a bold, assertive presence, Roisty commands attention while maintaining readability. The sharp contrast between its thick strokes and thin lines creates a visually striking appearance, making it an ideal choice for headlines, logos, and other display purposes. The typeface’s timeless elegance, combined with its versatile nature, ensures that Roisty stands out in both digital and print mediums, embodying a perfect blend of classic refinement and cutting-edge aesthetics. Roisty is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

CA Oskar came into being as a custom typeface for the international Traumzeit music festival. As a substantial part of the new corporate identity, it had to be characteristic, but also flexible in use. Starting with the design of compressed caps for headlines, the typeface was soon expanded by a condensed weight for setting of text and further developed into a fully functional font with two widths and two weights. Both weights are very space-efficient, which was -- apart from aesthetic considerations -- an important issue in the process of the design. CA Oskar is a mixture of industrial harshness and friendly round forms, reflecting the spirit of fusion, which is basically what the whole festival is about. Its very slim proportions in two widths make it an attractive alternative to fonts like Alternate Gothic, but CA Oskar adds an extra portion of personality and a coherent choice of weights.

Eckhardt Poster Text JNL continues Jeff Levine's series of sign painter-oriented fonts, named in honor of his good friend Albert Eckhardt, Jr. (who ran Allied signs in Miami, Florida from 1959 until his passing). Sign painters are the true heroes of lettering, for they make the alphabet and style fit the job. Printers and layout artists were constricted by metal and wood type; that is until photo lettering, then digital type opened up unexplored territories in design possibilities. There is a unique charm (and nowadays pretty much a lost art) to hand-lettering word copy in a way that draws the eye like an arrow to a target. Even a simple sanserif such as Eckhardt Poster Text JNL can have the effect of that hand lettering when applied to posters and pages with plenty of white space and matching type designs of the period.

Senpai Coder is a family of typewrighter-style monospaced font for developing, programming, coding, and table layout. Some desirable features in monospaced fonts are listed below. 1.Easy to distinguish 2.Easy to identify 3.Easy to read Senpai Coder has very distinguishing letterforms for confusable letters such as Zero&Oh, One&I, and Two&Z. A lot of ingenuity makes this family very distinguishable. Italics have somewhat large inclination angle to be distinguished from their Roman. For the same reason, Italics are slightly lighter than Romans. Italic is not cursive Italic. It is near the slanted Roman. This is an intentional design to identify Italic letters. Cursive is not suitable for programming font. Typewriter letterform (serif) is good for reading. Common elements for each letterform makes harmony and a sense of unity. Senpai Coder supports almost all Latin languages. Try this all-new experiment.

Chapman is the result of spending too many hours staring at the often all-capital engraver typefaces from long-gone foundries. The wide serifs, high contrast, and various widths seem to have so much character but also remain so neutral. From these references, Chapman began to emerge. It seemed natural that the lowercase would be based on a Scotch Roman model, much like the original all-capital faces. Chapman does not pull directly from any one source but from the genres themselves. It was, from the beginning, the goal to create a typeface that would be relatively neutral but not boring; an adaptable solution that works anywhere and, depending on the chosen width, can be squeezed or stretched to fit anywhere. The idiosyncrasies of the original designs are tamed in some places and turned up in others. The result is something familiar but unique and contemporary.

Dorica is a serif font family optimized for small sizes. It is very sober and simple, with a classic appearance at first sight but the curves and details like the serifs make it very different. The name is inspired by Doric, the simplest of the three orders of organizational systems of ancient Greece. The large x-height makes it perfect for use in magazines and every context which calls for text in small sizes. Dorica comprises 14 styles, from Thin to Black with their corresponding italics. Each font includes small caps, very useful for books, plus OpenType features such as proportional figures, stylistic alternates, tabular figures, numerators, superscript, denominators, scientific inferiors, subscript, ordinals, fractions and many ligatures. The extended character set supports Central, Eastern and Western European languages. The range of styles provides great flexibility for both text and titling, and the ligatures make for an original and creative appearance.

When I released Halogen, I asked ‘Who doesn't want or need an expansive contemporary extended sans that has a sense of style and swagger… what if it had a lowercase, small caps and various numeral options… how could you say no?’ Go, click on the Halogen link and read on, if you're interested. Halogen was well-received, so I decided to take it further with Halogen Flare (the name kinda tips you off as to what kind of typeface it is, don't ya think?). As always, I prefer not to take short cuts and provide an anemic offering of glyphs — a modern typeface offered today must provide more than just the basics and this one does — lowercase, smallcaps, old style numerals, tabular forms, stylistic and titling alternates, fractions, case-sensitive features, and even an alternate uppercase ordinal set is included. Now, go make cool print and digital things with it.

Some time ago, I started to think about the idea of combining my passionate hobby cooking with my profession as a graphic designer. While browsing through cooking books, cooking magazines and graphic publications I noticed that there were no symbols and drawings easily recognizable for interested cooks (hobby or professional). So I decided to create symbols for all the classical cooking paraphernalia still found in grand mother’s kitchen cabinet. René Menue Symbol contains 99 kitchen symbols of classical design and quality. To complement the symbols typographically, there is René Menue, a fitting linear Sans Serif typeface with plenty of extra characters such as ligatures, figures etc. René Menue is a modern, slightly condensed and economic design with round shapes, very modern but classical at the same time. These features make it perfectly usable in many different publications, not necessarily restricted to cooking… A successful cooking and enjoy your meal!

The name “Bicyclette” was chosen because this typeface is all about balance and elegance. The idea was to create a highly contrasted sans-serif family carefully balanced between gentle curves and sharp angles, with large capitals opposing uncommonly short lower case, through six distinctive weights. The letters are wide, and the capitals pop up in headlines while the lower case leaves a lot of white space between the text lines because of its small x-height. The edges are rounded (but not so much for the family to be called rounded), just enough to make the text feel slightly softer, gentler, while retaining some of that technical sans sharpness. The Bicyclette character set supports Western and Central European languages, and includes an extended set of monetary symbols. Each weight includes small caps, ligatures, proportional lining and oldstyle numbers, tabular figures, fractions and scientific superior/inferior figures.

The M XiangHe Hei Simplified Chinese typeface merges traditional brush strokes with modern letterforms to carefully balance traditional calligraphy with humanist design. Named for the smooth movements of a flying crane, the M XiangHe Hei typeface is designed to glide across the page, and features strokes that are partly derived from the Kaishu calligraphic style – an everyday script which dates back hundreds of years. M XiangHe Hei SC features Neue Frutiger for its Latin glyphs, and works harmoniously Neue Frutiger World and Monotype’s CJK typefaces: Tazugane Gothic (Japanese) and Seol Sans (Korean). M XiangHe Hei SC is a great choice for global brands using sans serif Latin typefaces looking to maintain their visual identity, and communicate with a consistent tone of voice with Simplified Chinese. The M XiangHe Hei SC Std fonts have over 8,000 glyphs, and support the GB2312 character set for Simplified Chinese.

Demiela Script is a beautiful modern calligraphy script font that is suitable for branding, wedding invitations, greeting cards, posters, name card, quotes, blog header, logo, fashion, apparel, letter, stationery and other projects. The font has PUA Unicode (Private Use Areas - font specific code). That all the alternative characters (with flourishes and swirly lines) can be easily accessed in full through Windows and Mac and you can load them into applications such as Cricut Design Space and Silhouette Studio. To access all OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator, Adobe Photoshop, CorelDraw and Microsoft word. If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows). If you have any question, don't hesitate to contact me. Thanks for your visit.

Chemre is a serif font filled with a modern and classy atmosphere. This font is complementedwith a mix of all caps. which is the same height and allows for unlimited combinations to give a unique style to your typography. The high contrast between thick and thin strokes gives Chemre a luxurious look. This font comes in two styles, Regular and Italic Version. Chemre is suitable for posters, packaging, branding, logotypes, headlines, titles and editorial designs. Features: 48 Ligatures - Standard Multi-Language Support Alternative Characters A, C, S, T, V, W, Y Unicode PUA Encoded This type of family has become a work of true love, making it as easy and enjoyable as possible. I really hope you enjoy it! I can't wait to see what you do with CHEMRE! Feel free to use the #Dora Typefoundry tag and the # Logo CHEMRE font to show what you've been up to!

The inspiration for the Okaytext family came from seeing so many fun, highly individualized special-use fonts. Alongside this massive selection, the choice of simple, plain & readable typefaces is relatively spartan. As a newly established foundry, we feel it a "must" to contribute our very best work to this important but oft-neglected genre of fonts. So the construction of the Okaytext family began. We feel that a rounded, sans serif font should be easily read, and very clean looking. It does not need to tire the eyes with any needless twists or silly quirks. So is Okaytext, it exists simply to be read, and hopes that it is a pleasant read. Okaytext is perhaps our most versatile font yet, its ultra-simplicity makes it adaptable to the demands of almost any typeset environment. Okaytext is extended, containing the complete West European diacritics & ligatures, making it suitable for multilingual environments & publications.

This late 19th century design conjures up early 20th century Dutch DeStijl lettering with a mostly strict adherence to right angles and minimal stroke modulation. Geometric began its life as a metal typeface from the Central Type Foundry, circa 1884. Soon after, this design was officially licensed to Morgans & Wilcox and was shown in their 1890 catalog in Regular, Light and Condensed Light variations. After acquiring Morgans & Wilcox, Hamilton Manufacturing offered Geometric Light Face Condensed as their own No 3020 and the Geometric Light Face as No 3021. HWT Geometric has been expanded digitally to include a Regular Condensed version. A heavier wood type specimen was found from an unknown manufacturer and digitized as it was found, resulting in the HWT Geometric Shopworn and Shopworn Inked variations. These digital versions all include a full Western and Central European character set of over 380 glyphs.

Hey guys! Do you know this guys from ancient America? I'm happy to present you Aztec Initials Colored font! Each uppercase character made with unique illustration. Native American symbols with warrior, conqueror, skull, vulture, and leopard faces. Perfect for ethnic labels, sport emblem, tattoo design and tribal identity, etc. What you will get: * Colored and regular style * Uppercase only (lowercase glyphs are same) I hope you enjoy this font. Follow my shop to receive updates of products and the very hottest news! If you have any question or issue, please contact me: kaer.pro@gmail.com Please request to add additional characters and glyphs if you need! Thank you! --- *You can use color fonts in PS since CC 2017, AI since CC 2018, ID since CC 2019, QuarkXPress since 2018, Pixelmator, Sketch, Affinity Designer Since macOS 10.14 Mojave, Paint.NET Windows only.* *Please note that the Canva do not support color fonts!*

Beardman is a condensed sans-serif font designed specifically for bold and powerful headlines and titles. With four variants available: regular, italic, regular outline, and italic outline, this font allows you to express yourself with a style that suits your design project. The name "Beardman" is inspired by the meaning of a man who is masculine but has a soft heart, and it is reflected in the font's design. With strong and sturdy letterforms, the font also has a gentle and smooth touch that gives an elegant and modern impression. With its strong and expressive appearance, "Beardman" is suitable for use in graphic design projects such as posters, brochures, magazines, websites, and much more. Add a touch of masculine yet gentle to your design with the "Beardman" font. What did you get? Regular, Italic, Regular Outline & Italic Outline Alternates & Ligatures Numbers & Punctuation Multilingual Support Works on PC & Mac Simple Installations

Introducing Vipnagorgialla, the typeface with a bold, industrial edge. Its wide, square letterforms were influenced by the iconic Dodge/Plymouth logotype from the late 1960s. But Vipnagorgialla isn’t just a copycat. It’s been pared down to give your message a unique, late retro/industrial vibe that’s sure to make an impact. With Vipnagorgialla, you can take your design to the next level. Its progressive style gives your message a sleek, authoritative look that demands attention. And with five different weights and obliques to choose from, you can find the perfect combination to suit your needs. Whether you’re creating a poster, a logo, or a website, Vipnagorgialla is the typeface that will set your design apart. So why settle for boring, run-of-the-mill typography? Choose Vipnagorgialla and make a statement that’s brave, powerful, and unforgettable. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

The Adelle family continues its stylistic expansion with the release of Adelle Mono and Adelle Mono Flex by Veronika Burian and José Scaglione. Monospaced typefaces are the default choice for developers and programmers and are also an aesthetic choice for many designers and communicators. The Adelle Mono font family has two widths to serve both breeds and a variable font for the flexible spectrum in between. Monospaced typefaces are born of necessity rather than purely aesthetic values. Each glyph is constrained to a strict box, making the naturally smaller ones the same width as the naturally wider ones. While this serves the functional purpose of keeping text aligned in vertical and horizontal rows, it is completely unnatural in terms of readability. A monospaced ‘l, i’ are overblown compromises while ‘m, w’ become compressed mutations. The Adelle Mono family was therefore designed with both the developer and the aesthete in mind. Adelle Mono respects its necessary constraints while still being visually appealing and easily read. Activate it for use in Sublime, Swift, Terminal, or your IDE of choice and see how well it performs. Clarity will lead to less developer mistakes, and its aesthetic appeal will make your work enjoyable. Adelle Mono Flex is the proportional width version that works for any kind of normal text reading or a design intended to invoke “system or information aesthetics”. Opposite the demands of the monospace family, Flex is reader friendly and intended for branding, annual reports, paragraphs, UI, logos, posters, screens, tables, captions, and more. Employ the Mono version where monospace is needed and the Flex version where reading or coherence is priority. Adelle Mono’s experimental 20-style design explores the space between proportional and monospaced types. It boosts creativity and coherence by providing flexible options in the same family, including italics and the variable font format with an axis of weight and a spectrum axis between multi-width and monospaced characters. Combining Adelle Mono with either Adelle or Adelle Sans adds more layers and adaptability to your work.

Fruitygreen is Indonesian designer Andi AW. Masry's second typeface following Coomeec™. Idiosyncratic but appealing forms are the signature feature of Fruitygreen™ and provide this new typeface with its truly distinctive character that you can utilize for your projects - and not just in headlines. The unique forms of fruits are not only individually fascinating, but are just as captivating when they are brought together, for example as decoration on a dining table. For Masry, these can be compared with an alphabet whose letters spell out in combination different words and with this as his inspiration, he based his designs for Fruitygreen on the versatile forms of fruits. However, it was not the whole fruits as such but rather small sections of their curves and ends that he decided to use. It is not only because of the characteristic line terminals that the rounded characters of Fruitygreen seem at first glance reminiscent of a brush-written calligraphic typeface; these are traces of the creation process, in which Masry used a digital brush. At the same time, Fruitygreen is by no means simply a brush font. Its dynamic characters reference biological forms and there is definitely something amoeba-like about them, particularly in the bolder variants, and they exude the same serenity and harmony that is inherent to organic structures. The many unconventionally shaped characters also provide for optical contrast. There is, for example, the very scaled down g", the open "q" and the lowercase "r", which has the form of the capital letter. Other letters, such as the sinuous "k" and the rounded uppercase "F" impart an exotic touch to Fruitygreen. Similarly remarkable is the "@", that has only a semi-circle. Available to the designer are other characters that can be used to accentuate a design, such as swash capitals and numerous ligatures. And, last but not least, there are also various numeral sets with oldstyle and lining figures for setting proportional text and table columns together with a selection of symbols, such as arrows and, appropriately, fruits. "

Barbou was originally cut in 1925 by Monotype as a counterpart to Fournier, siblings that were different in design but both based on the work of Pierre-Simon Fournier. Whether by choice, accident or oversight, Fournier was preserved digitally, and Barbou was lost to history. Barbou was notably used by Stanley Morrison, in particular as the face of The Fleuron. I fell in love with Barbou when I saw it, and knew that I wanted to bring it to a new generation of designers and readers. This is a revival of Barbou, a faithful recutting with new weights, characters and many of the best features that modern font technology brings. Particular attention was paid to the original Monotype Barbou 178 specimen sheet. Originally only available in a single weight, Barbou has been recut with a variable weight, providing a large degree of flexibility between Regular and Bold. Barbou excels as a comfortable reading face for books, and the variable weight allows you to fine tune the darkness and texture of the page in a way never before possible. Barbou has a distinctive softness, and this revival of Barbou preserves much of the effect the medium of metal type had on the letterforms. This results in a subtly rounded yet defined type, elegant not worn, with the utmost attention and respect to the smallest of details. Barbou was originally cut with disparate x-heights for roman and italic, and this revival of Barbou features both the original italic, as well as a new italic redesigned at the same height as the roman. In Fournier’s time, roman and italic would not be mixed on the same line, but the type must change to meet the needs of a new generation. Barbou also features unique ligatures and alternates, old style numbers, small caps and a full Greek alphabet. Barbou is perfect for books and anywhere a comfortable reading face is required, and excels in flexibility.

Anglecia Pro is an exquisite and versatile system of three transitional serif typefaces designed to work together in editorial design. Sharing the same skeleton, vertical axis, and trapezoidal uncurved serifs, each of these faces bears different key dimensions and different contrast typical for three different type epochs. Anglecia Pro Text is a typeface designed for general typesetting in average reading sizes. Although it features a vertical axis, its soft skeleton, relatively small x-height and prominent ascenders and descenders give the typesetting a traditional warm texture with a slight contemporary touch. Anglecia Pro Title incorporates proportions of familiar transitional serif typefaces but exposes higher-than-average vertical contrast which makes it useful for setting captions, pull quotes or general purpose text in sizes of 12 pt and above. Anglecia Pro Display, still having non-rectangular serifs and the same soft skeleton as the rest of Anglecia Pro system, features extreme contrast, much thinner serifs and exaggerated ball terminals typical for Didone modern serif families. Its large x-height and tighter letter spacing suggests larger text sizes e.g. in decorative headlines, extra large pull quotes or logos. Altogether these three typefaces form 36 styles – each supporting numerous Latin-based languages as well as major Cyrillic languages. In roman styles the Cyrillic script comes in two flavours accessible via OpenType alternates – to choose either more traditional and curvy (default) or more formal and rigid type texture. In italics this feature affects uppercase and small caps. Also, each style is packed with OpenType features: ligatures, small caps, six sets of digits, superiors and inferiors, fractions, ordinals, and respective punctuation varieties including all-cap punctuation. There are also language-specific alternates for Polish kreska, Romanian Ș/ș, Catalan punt volat, and correct small-cap versions for Turkish/Azerbaijani i/ı. Some of the styles of Anglecia Pro can be found in Mint Type Editorial Bundle together with other fonts which make some great pairs. Check it out!