File Folder JNL and File Folder Italic JNL are a pair of sans serif fonts with a square look.

Many typefaces are distinctive or attractive at the expense of legibility and versatility. Not so the Optima® family. Simultaneously standing out and fitting in, there are few projects or imaging environments outside of its range. Although Optima is almost always grouped with sans serif typefaces, it should be considered a serifless roman. True to its Roman heritage, Optima has wide, full-bodied characters – especially in the capitals. Only the E, F and L deviate with narrow forms. Consistent with other Zapf designs, the cap S in Optima appears slightly top-heavy with a slight tilt to the right. The M is splayed, and the N, like a serif design, has light vertical strokes. The lowercase a and g in Optima are high-legibility two-storied designs. Optima can be set within a wide choice of line spacing values – from very tight to very open. In fact, there are few limits to the amount of white space that can be added between lines of text. Optima also benefits from a wide range of letter spacing capability. It can be set quite tight, or even slightly open – especially the capitals. If there are any guidelines, Optima should be set more open than tight. It’s not that readability is affected that much when Optima is set on the snug side; it’s just that the unhurried elegance and light gray typographic color created by the face are disrupted when letters are set too tight. Optima is also about as gregarious as a typeface can be. It mixes well with virtually any serif design and a surprisingly large number of sans serif faces. The Optima family is available in six weights, from roman to extra black, each with an italic counterpart. In addition, the family is available as a suite of OpenType® Pro fonts, providing for the automatic insertion of small caps, ligatures and alternate characters, in addition to offering an extended character set supporting most Central European and many Eastern European languages. When you’re ready to find its perfect pairing, browse these fantastic matches: Monotype Century Old Style™, Dante®, Frutiger® Serif, Joanna® Nova, Malabar™, and Soho®.

Many typefaces are distinctive or attractive at the expense of legibility and versatility. Not so the Optima® family. Simultaneously standing out and fitting in, there are few projects or imaging environments outside of its range. Although Optima is almost always grouped with sans serif typefaces, it should be considered a serifless roman. True to its Roman heritage, Optima has wide, full-bodied characters – especially in the capitals. Only the E, F and L deviate with narrow forms. Consistent with other Zapf designs, the cap S in Optima appears slightly top-heavy with a slight tilt to the right. The M is splayed, and the N, like a serif design, has light vertical strokes. The lowercase a and g in Optima are high-legibility two-storied designs. Optima can be set within a wide choice of line spacing values – from very tight to very open. In fact, there are few limits to the amount of white space that can be added between lines of text. Optima also benefits from a wide range of letter spacing capability. It can be set quite tight, or even slightly open – especially the capitals. If there are any guidelines, Optima should be set more open than tight. It’s not that readability is affected that much when Optima is set on the snug side; it’s just that the unhurried elegance and light gray typographic color created by the face are disrupted when letters are set too tight. Optima is also about as gregarious as a typeface can be. It mixes well with virtually any serif design and a surprisingly large number of sans serif faces. The Optima family is available in six weights, from roman to extra black, each with an italic counterpart. In addition, the family is available as a suite of OpenType® Pro fonts, providing for the automatic insertion of small caps, ligatures and alternate characters, in addition to offering an extended character set supporting most Central European and many Eastern European languages. When you’re ready to find its perfect pairing, browse these fantastic matches: Monotype Century Old Style™, Dante®, Frutiger® Serif, Joanna® Nova, Malabar™ and Soho®.

Introducing Noble Serenity, where timeless beauty meets serene elegance. This exquisite serif font is a harmonious blend of sophistication and tranquility, designed to elevate your designs with a touch of refined grace. With its clean lines, delicate curves, and perfectly balanced proportions, Noble Serenity exudes an aura of understated charm and sophistication. Each letter is meticulously crafted, reflecting the meticulous attention to detail and craftsmanship of a bygone era. Whether you're designing wedding invitations, luxury branding, or editorial layouts, Noble Serenity brings an air of refined beauty to your projects. Discover the captivating allure of Noble Serenity and let your designs embrace the essence of timeless elegance. Elevate your typography to new heights with this font that whispers of tranquility and commands attention with its noble presence.

A smooth contemplative Antiqua with aspiring to the sky ascenders, inspired by the Quietism philosophy. Clarity of the mind is achieved by bringing the body into a state of calm and contemplation, and this is reflected in the design – the quiet horizontal serifs (body) are opposed to the peaky soaring ascenders (mind). The design also features four optical size subfamilies with different x-height and contrast, oldstyle diagonal stress, oldstyle figures by default, smooth details and slightly dark texture. Variable axes: Weight, Contrast, X-Height. Scripts: Latin, Greek, Cyrillic. Languages: 480+. The complete list of supported languages: michaelrafailyk.com/quietism Kerning: 4553 class-to-class pairs. Hinting: Not applied. Format: TTF – OpenType with TrueType outlines. Variable Font: Quietism Variable provides more options than static versions, and has three axes: Weight (Thin–Black), Contrast (Low-High), and X-Height (Low-High). Variable fonts includes thousands of styles that you can access using a sliders on graphic editor or via CSS on web browser. Mixing different axes gives you extra styles not represented by static fonts. Optical Size: The typeface is represented by four subfamilies: Text (low contrast, high x-height – for paragraph 10-20 pt), Deck (medium contrast, medium x-height – for subheading 20+ pt), Display (high contrast, medium x-height – for heading 72+ pt), Poster (high contrast, low x-height – for big size 120+ pt). Small Caps: Lowercase letters and Oldstyle Figures are replaced with Small Capitals forms. Capitals to Small Caps: Uppercase letters, all figures, and some punctuation are replaced with Small Capitals forms. Case Sensitive Forms: ()[]{}‹›«»-–—•·#%‰@ and Arrows are centered on capitals. Oldstyle figures are replaced with Lining figures. Oldstyle Figures: 0123456789 #%‰. Designed to work with lowercase letters. Used by default. Lining Figures: 0123456789 #%‰. Figures are the same height as uppercase letters (cap height). Proportional Figures: Lining, Oldstyle, Small Caps, Capitals to Small Caps. Tabular Figures: Lining, Oldstyle, Small Caps, Capitals to Small Caps. Ordinals: adehnorst. Superscript, Subscript, Numerator, Denominator: 0123456789. Fractions: ¼½¾⅐⅑⅒⅓⅔⅕⅖⅗⅘⅙⅚⅛⅜⅝⅞⅟ (precomposed). Any other fractions (even those typed through a slash) will also be displayed correctly, with the automatic replacement to Numerator + fraction + Denominator. Slashed Zero: All 0 figures. Contextual Alternates: Number sign character (#) before uppercase letters is replaced by its version centered on capitals. Hyphen character (-) between two uppercase letters is replaced by its version centered on capitals. First of two TT letters is replaced by its alternate form. Letters vwy before the letters fijmnprtuvwxy are replaced with an alternate shorter versions that fits better in the context. Contextual Alternates (Greek): ΆΈΉΊΌΎΏ. Greek uppercase accented characters lose their tonos accent and retain only dieresis in All Caps and Small Caps modes. Turned on by default. If you need tonos accents in All Caps then turn off Contextual Alternates (calt) feature. Stylistic Alternates: FTГТИЦЩцщ and their versions with diacritical marks. Stylistic Set 01 “Arrows”: Left <- Right -> Up Left Right <-> Up Down North West South East \> South West Stylistic Set 02 “Round-Square Cyrillic”: ДИЙЍЛФвгджзийѝклнптцчшщьъю characters are replaced with its Bulgarian or Russian forms. Stylistic Set 03 “Cyrillic Tse Shcha short tails”: ЦЩцщ characters are replaced with its alternate form with short tail. Stylistic Set 04 “Cyrillic I full serifs”: ИЙЍӢ characters are replaced with its alternate form with inner serifs. Stylistic Set 05 “FT bent inward serif”: FTГ characters and their versions with diacritical marks are replaced with its alternate form with right head serif that bent inside. Stylistic Set 06 “Small Caps centered on Capitals”: Small Caps are vertically centered on uppercase letters. Standard Ligatures: fi fl fb ff fh fj fk ffb ffh ffi ffj ffk ffl. Discretionary Ligatures: Th ct st. Localized Forms: 52 character substitutions for Azeri, Bulgarian, Catalan, Dutch, German, Kazakh, Macedonian, Moldavian, Polish, Romanian, Serbian, Tatar, Turkish. Glyph Composition/Decomposition (Diacritics): Full Latin and based Vietnamese set of diacritics (571 characters). Precomposed.

Tilda Script Family is a clean and lining script with regular and non-connect versions in four weights. With this family you can craft solid logotypes with a unique look, set posters and ads, and even run longer lines of copy on packaging. Tilda Script is a versatile family with extensive language support and advanced typographic features including:Ligatures, Stylistic Alternates, Stylistic Sets.

Based in part on the hand-lettered title for a piece of vintage sheet music, Hayride JNL gets both its inspiration and name from Michael Todd's 1948 production "Mexican Hayride". The original design was in outline form, and the letters with straight-lined shapes had slight curves to them. For Hayride JNL, those lines were straightened and the letters made solid in appearance.

British type designer Tony Booth created this script FontFont in 1996. The family contains 4 weights: Light Italic, Regular, Medium Italic, and Bold Italic and is ideally suited for advertising and packaging and poster and billboards. FF Sale provides advanced typographical support with features such as ligatures, alternate characters, and case-sensitive forms. It comes with proportional lining and tabular lining figures.

Night Still Comes is a serif font in 4 weights, including italics, and includes over 550 glyphs for each font, including: - A-Z | a-z | 0-9 | Punctuation marks | Accents - Small caps - Ligatures - Old style & lining numbers - Superscript & subscript numbers and letters - Fractions - Swashes With classic and elegant lines, Night Still Comes is perfect for branding, magazines, resumes, and social media posts.

profonts Oxford was originally designed by Christine Lord in 1960 and digitally re-mastered by profonts in 2009. The font contains lower case characters only. It is a multi-line display design with a continuous connecting horizontal line that combines all characters. This combination makes it special and very sporty. profonts Oxford is ideal for any design of sporting character.

GaoYah Display Thin is a type in very thin line, GaoYah means Elegance in Mandarin, some characters build in unique shapes can make a good memory. This font is suitable for huge titles display, in which way the line and detail shows elegance. It will make good performance in dark background as well. Including Basic English and Western Europe languages.

Dutch type designer Just van Rossum created this script FontFont in 1991. The family has 20 weights and is ideally suited for advertising and packaging, book text, film and tv, editorial and publishing as well as logo, branding and creative industries. FF Schulschrift provides advanced typographical support with features such as alternate characters. It comes with tabular lining and proportional lining figures.

Barrage Display Font Barrage presents a modern take on typeface design, merging cheerful boldness with artistic touches. Each letter is meticulously shaped, striking a balance between confidence and elegance. The box-like lines provide a sturdy foundation, while the subtle curves add a delightful creative flair. With its lively boldness and delicate lines, Barrage conveys courage and a positive personality.

Stone skipping creates water ripples. This font expands by the same principle. A small, narrow base growing to the top, right, bottom and left until it reaches the shores. In this case: from the mean line to the baseline and caps height with a max. of three lines. WBP Ripples is a beautiful, friendly looking and playful display font for everyday use.

Meila Arabic is sibling of Meila with the addition of Arabic glyphs, for Arabic, Urdu, and Farsi. Still carrying a childish character with a cheerful font, visually featuring bold and cute characters. Meila has smooth lines on each side, especially on the outside, almost no sharp corners. On the inside there is only one line that functions as a counter space.

Introducing Springsteel, a new display sans serif with an unusual construction: curved lines on the outside with only a few straight lines on the inside. The resulting typeface shows a great deal of tension and dynamics. Preferably, it should be used at larger sizes, at smaller sizes only for special effects. It was spaced and kerned by Igino Marini/iKern.

Introducing military label font named Militarist. This font has a cyrillic and multilungual characters support (check out all available characters on previews). The font family has eight styles: Regular, Stencil, Lines, Texture, Texture FX, Rough, Stencil Rough and Lines Rough. This font will look good on any military or serious styled designs like a poster, T-shirt, label, logo, etc.

ArchiLogo is not a regular outline-font. It has a stencil element to it and it’s a kind of indirect, because the font is basically the space between the lines. You have to read between the lines, so to speak. It’s like one of the key elements in architecture: the space between the walls. Here’s where type design meets architecture! The new version, ArchiLogo 3.0, has been improved slightly and 13 glyphs have been added to a total of 85 characters. It is still a free font. Because of the popularity of this font I decided to introduce ArchiLogo Pro. Indeed, the pro version of ArchiLogo. Besides the basic Macintosh Character Set the supported languages are Latin 1, Latin 2: Eastern Europe, Turkish, Windows Baltic. It grew to over 300 glyphs.

Quarkwell™ by The Typeworks is a line based typeface ideal for use in designs that require a modern and highly legible appearance whilst still retaining a classic feel. The Quarkwell font family is inspired by lettering from twentieth-century pantograph engraving machines. The letterforms give a nod to the signature copy sets used on many computer mechanical keyboard keycaps and vintage typewriters, plotter engraved plastics signage fonts and others using modified Gorton lettering. Quarkwell font faces include many stylistic alternates for its uppercase and symbols characters sets. Need a different "Q" design? Use access all alternates or insert symbol to select a different "Q" form! Vector lines for plotting machines are also available to purchase on request at TheTypeworks.com So take Quarkwell home today! It's a perfect fit for all sorts of projects.

Boho is inspired by a bohemian girl who is a free soul and creative spirit. She is a city girl, but she loves spending a lot of time outdoors and being close to nature. She loves art and going to the antiques and organic food markets. She is a wild and free spirit who knows no bounds. Boho is Coto Mendoza’s first Script font family, which is based on gestual calligraphy with Cola pen. A first exposure to gestual strokes applied to font design can be seen in her previous work, Macarons. Boho consists of 4 subfamilies: Script, Line, Sans and Serif. Each subfamily comes in 4 weights: Regular, Bold, Italic and Bold Italic. Script and Line versions include a teardrop terminal variant. Dingbats and ornaments are also included. Boho. Love and creative spirit!

Hastina is a beautiful handwritten font with a flowing and elegant style. It features a varying baseline, smooth lines, and stunning alternates. Hastina is perfect for creating a personal and inviting touch to your designs, such as wedding invitations, thank you cards, quotes, greeting cards, logos, business cards, and more. Here are some of the key features of the Hastina font: Handwritten style with a flowing and elegant look Varying baseline Smooth lines Stunning alternates Versatile and can be used for a variety of purposes Hastina is a great choice for: Wedding invitations Thank you cards Quotes Greeting cards Logos Business cards Other designs that need a handwritten touch Overall, Hastina is a beautiful and versatile handwritten font that is perfect for creating a personal and inviting touch to your designs.

HWT Konop is a monospaced (fixed-width) typeface that is also square! Designed by Mark Simonson (Proxima Nova) as square characters that can be arranged vertically or horizontally and in any orientation. To a traditional letterpress job printer, a font like this wouldn’t make much sense. But to a modern letterpress printer it is an unusual and creative design toolkit. The bold gothic style is reminiscent of gothic wood types but more geometric. Since the characters are meant to be used in any orientation, the usual optical adjustments, such as making verticals thicker than horizontals and making tops smaller than bottoms are set aside. This results in a quirky but charming design. To provide more design options, Simonson came up with a modular system consisting of three sizes: 12-line, 8-line, and 6-line. These three sizes can be used together like Lego® bricks, with endless arrangements possible. And the sidebearing match so that characters always align when different sizes are used together. The digital version of Konop replicates the wood type version as much as possible, including the three different size designs. It includes OpenType stylistic sets that allow most characters to be rotated in place, 90° left, 90° right, or 180°, just like the wood type version. Extra characters not available in the wood type version are included with the digital fonts. The set of 3 is priced just $5 more than one single font, so order via "Package Options" HWT Konop is named for Don Konop, a retired Hamilton Manufacturing employee, who worked from 1959 to 2003. In addition to serving on the Two Rivers Historical Society Board from 2004 to present-day, he was also instrumental as a volunteer in helping with the museum’s move to its current home in 2013.

Note: The Advantage Lined style is no longer available due its complexity and the resulting memory and performance issues.

Vektori family comes from those Atari games that had those distinct vector graphics with thin and precise straight lines.

Head­line Font / Dis­play Font / Techno Fat Font Hea­vy­Loun­dEdge with 4 styles (regu­lar, bold, light, line) & 304 gly­phs, including accents & €.

Give your documents a sense of history. The study of the ancient Egyptian Hieroglyphics has been an ongoing fascination by scholars and Egyptology buffs for literally centuries. The discovery of the Rosetta stone in 1799 provided an incredible breakthrough in deciphering the hieroglyphs, however there continues to be conflicting opinions on the literal translation of both the phonetic and ideographic symbols. As such, the interpretation provided in this manual represents an assembly of the most popular transcriptions. This series contains 62 assorted gods and deities as well as a few well known kings or pharaoh's from the New Dynasty. It is important to note that most of the gods and deities were represented in many different forms throughout the centuries and regions of Ancient Egypt, and these are but some of these representations. NOTE: this font comes with an interpretation guide in pdf format.

Qubo, a new forcefully drawn monoline face. Its clear graphics create its appeal and give it distinctive characteristics. The slightly squared round elements make for an open and elegant look; subtle details refer to humanistic models. Qubo is a neutral, cool and very versatile typeface. It works superbly both in print and on the web. Qubo is well-equipped for ambitious typography. The Qubo family consists of 14 styles, comes in OpenType format with extended language support for more than 40 languages. All weights contain ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals.

Askan Slim has the same design features as Askan , cap-height, x-height, descenders and ascenders. It is a moderately condensed version of Askan and works superbly as an addition to Askan or as independently for space saving applications. It is the perfect complement of the Askan family. Like Askan, Askan Slim consists of 18 styles and is well equipped for advanced typography. It comes in OpenType format with extended language support. All weights contain small caps, ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternate characters.

Meila is a cheerful font, visually featuring bold and cute characters. Meila has smooth lines on each side, especially on the outside, almost no sharp corners. On the inside there is only one line that functions as a counter space. We made as little sidebaring as possible on each letter character, so that each character letter would intersect and that made "Meila" look solid, fat but still soft and huggable. Meila consists of several style variants and thickness variants, namely; Lines, Strokes and Solids. Meila is very suitable for children's themed designs or others such as; T-Shirt Designs, Birthday invitations, Product packaging, Logos etc.

Epoca-Classic, designed in 2012, is the contrasted sister of Epoca, also suited for text and display. As is the case with Epoca, Epoca-classic has economical proportions, a neutral appearance and a discreet elegance. It is fresh, crisp and distinguished. Its well-balanced proportions result in an even text flow which allows for pleasant reading even with large amounts of text. Epoca-Classic comes in twelve weights, in OpenType format and with extended language support for more than 40 languages. All weights contain small caps, standard ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals.

German type designer Ingo Preuss created this sans Super-family between 2010 and 2015. The family has 84 weights, ranging from Light to Ultra in Normal, Compact, Condensed and Compressed (including italics). It comes in OpenType format with extended language support. All weights contain ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and matching arrows. The “Adora PRO family” is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design.

Shandon Slab adds a new colour to the prominent family of serif-dominant typefaces. A distinctive look with its slightly flowing characteristics sets it apart from most members of the category. The contrasting italic styles add a vivid accent. Shandon Slab is predestined for editorials, headlines, and eye-catching text applications. The Shandon Slab family consists of 18 styles. It comes in OpenType format with extended language support for more than 40 languages. All weights contain standard and discretionary ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternative characters.

German type designer Ingo Preuss created this sans Super-family between 2010 and 2015. The family has 84 weights, ranging from Light to Ultra in Normal, Compact, Condensed and Compressed (including italics). It comes in OpenType format with extended language support. All weights contain ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and matching arrows. The “Adora PRO family” is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design.

Quant is a contrasted typeface with a fresh and well-reasoned appearance. It owes allegiance to classical structure but is a free design and does not refer to any historical model. Although it has strong qualities as a reading type, its distinct and powerful ductus makes it superb for headlines and in display sizes. Quant is well-equipped for ambitious typography. The Quant family consists of 8 styles, comes in OpenType format with extended language support for more than 40 languages. All weights contain small caps, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction and scientific numerals.

Contane Text Condensed is the text optimized version of Contane Condensed. More solid, more robust, it embodies the power addition to the more delicate members of the Contane Condensed family. Stronger hairlines and stronger serifs also make it appropriate for smaller text size applications. Contane Text Condensed supports up to 80 languages and it’s OpenType format allows a wide range of typographic applications. 20 styles offer fine graduation of the weights. All weights contain small caps, ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternate characters.

Madigan Text is the text optimized version of the Madigan family. More solid, more robust, it repesents the more stabil version to the more delicate Contane family. Stronger hairlines, solid serifs, and slightly wider proportions make it appropriate for bold headlines, as well as for small text sizes. Madigan supports up to 80 languages and it’s OpenType format allows a wide range of typographic applications. 18 styles offer fine graduation of the weights. All weights contain small caps, ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternate characters.

German type designer Ingo Preuss created this sans Super-family between 2010 and 2015. The family has 84 weights, ranging from Light to Ultra in Normal, Compact, Condensed and Compressed (including italics). It comes in OpenType format with extended language support. All weights contain ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and matching arrows. The “Adora PRO family” is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design.

Capita, a serif-dominated face in a new style. Strong in appearance, with controlled motion of the contour, vivid and warm, with gentle flow – it avoids any harshness of many slab serifs. Well-balanced proportions make it qualified as reading type, yet with its puissant qualities ideal for headlines and subheads. Capita is well equipped for ambitious typography. The Capita family consists of 12 styles, comes in OpenType format with extended language support for more than 40 languages. All weights contain small caps, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fractions and scientific numerals.

German type designer Ingo Preuss created this sans Super-family between 2010 and 2015. The family has 84 weights, ranging from Light to Ultra in Normal, Compact, Condensed and Compressed (including italics). It comes in OpenType format with extended language support. All weights contain ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and matching arrows. The "Adora PRO family" is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design.

Frygia is inspired by the astonishing mythology along with a new method and approach of type design. As an example, the construction of the lowercase g; the line structure which is slightly curved helps to aid the optical illusion and the integration of Industrial San Serif style making Frygia extremely compatible and ready for every usage on the layout. Frygia Family consisted of 20 styles and 10 weights, ranging from the thinnest Hairline to the boldest Black and a Semi Rounded corner to suit the concept of the typeface.