Clinch is a clean, contemporary, condensed sans serif font. It is ideal for headlines, titles, branding, and small blocks of text.

Pudgie is an all caps, bold, sans serif font. It is ideal for headlines, titles, branding, and small blocks of text.

Molor Font is a sans serif font with an amazing feel. It will turn any design idea into a stand out.

Denominary typeface is about precision, beauty, and refinement. It's crafted with care and attention to detail for professional creative people who value quality and distinction. The Denominary typeface has an advanced feature that sets it apart from others: auto-active contextual alternates. Our font engineer writes this feature to minimize kerning between characters automatically, making it very convenient and easy to use, especially for web purposes where minimal kerning means a smaller font size. The feature adjusts the kerning based on the specific characters being used, ensuring optimal spacing between letters. Contextual alternates will push your typography project to a balanced form. We designed the letterform by considering the white space and contrast to get a natural voice and fluid, and of course, this will happen in a legible and stylish. Denominary typeface offers extensive language support and stylistic variations, thanks to its 482 glyphs. It also has discretionary ligatures, case-sensitive forms, and slashed zeroes for added typographic options. The condensed style saves space, and seven weights will provide more options. Denominary typeface brings refinement, exclusivity, and sophistication to any design project. It's a typeface that tells a story of precision, beauty, and distinction. Go ahead with the game in terms of its advanced auto-active contextual alternates feature, giving you a competitive edge in the design field.

Torjus is so rigid and stiff typeface. While designing a more dry and stiff handwriting typeface, I tried to remove the Bezier curves. Rhythms were also created by dramatically simplifying the paths used in the Glyphs and emphasizing individual contrasts. 60 predefined Ligatures to bring your passion and inspire you to wonder. Ligatures : Ba, Be, Bo, Ca, Ce, Co, Da, De, Do, Ea, Fa, Fe, Fo, Ga, Ge, Go, Ha, He, Ho, Ja, Je, Jo, Ka, Ke, Ko, La, Le, Lo, Ma, Me, Mo, Na, Ne, No, Oa, Pa, Pe, Po, Ra, Re, Ro, Sa, Se, So, Ta, Te, To, Va, Ve, Vo, Wa, We, Wo, Ye, Yo, ee, ff, ll, oo, rr.

We want to create a different feel for the stencil font style. Usually stencil fonts are synonymous with military, retro and bold characters, but here we created the Cellga font with an elegant and attractive stencil style for a modern design, combined with a subtle swash. In addition to swash in the Cellga font, there are also many alternative character shapes and unique Discreationary ligatures. So the Cellga font is very worthy of being a font collection on your computer for projects with a unique and charming elegant concept. Sans Serif typefaces such as "Cellga" are very easy to apply to any design, especially those with an elegant, modern and classic, besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The "Cellga"contains 623 glyphs with many unique and interesting alternative options. In addition to the regular font, there is also an italic version of the Cellga font. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Cubio™ Mono is a new monospaced geometric sans serif inspired by the hexagonal silhouette of isometric cubes. We applied this angular form through all aspects of Cubio™ type design from the overall look of letters and icons down to the small details such as the end of each letter stem and hexagonal dotted lines. This font family comes in 3 weights/styles: 300 (Regular), 500 (Medium), and 700 (Bold). With over 1,500 glyphs, Cubio™ Mono not only supports most Latin-based languages, but also features an extensive set of UX/UI icons, and patterns. Cubio™ Mono is a versatile typeface for both digital and traditional designs. Perfect for packaging design, logo design, print design, store signages, UX/UI web & apps designs. Cubio™ Mono packed with features such as case-sensitive marks, punctuations and math symbols. It also comes with an extensive set of box/compartment drawing glyphs to help you create a unique modern design without even using the line tools. We designed the Cubio™ Mono font system with your convenience in mind. It comes with two sets of hexagonal dotted line and icon positions (Mid Cap Height and Mid X-Height ), so you don’t have to use the baseline shift command to set them to the perfect spots. To find out more about Cubio™ Mono Opentype features and type specimen, please visit www.r9typedesign.com

Axial Cut is a sans serif typeface (Latin Extended-A), a contemporary and rounded evolution of geometric fonts for screen, but this time the letters are built on an axial axis that results in trapezoidal counter-shapes, joints with reduced antlers and rounded corners that correct optical effects in small sizes to make the typography more legible, and at the same time, in large sizes it shows its original shapes. The Axial Cut typeface family is made up of four weights: Light, Regular, Medium and Bold, each with 785 characters. I have taken particular care with the metrics and dimensions of each letter or sign, with a very careful and precise kerning configuration to achieve the For maximum readability, these are fonts with slightly higher ascenders than capitals and short descenders to make it more compact. The editing possibilities and unique designs with these complex typefaces are very wide, the fonts have a complete set of uppercase letters and a lowercase set with alternative characters as well as lowercase letters and numbers in different positions (lowercase, denominators, numerals, and uppercase) that They also work as automatic fractions, they also incorporate small capital letters and three sets of alternative numbers (Normal, Old style numbers, Square numbers), etc. Discover other alternative signs, characters and Open Type functions in the PDF: Specimen & The Cheat Sheet.

Drummer is a large futuristic font family inspired by the Expansion TV series, old science fiction book covers and Honda Prelude and Porsche logos. The family contains a large number of styles and a lot of language support. 54 styles, 6 in width (Ultra Condensed, Condensed, Normal, Expanded, Extra Expanded, Ultra Expanded) and 9 in weight (Thin, Extra Light, Light, Regular, Medium, Semi Bold, Bold, ExtraBold, Black). The font also has a variable version. 573 glyphs, including 40 alternate characters. A lot of work has been done on the font. The fillets on the symbols have been well worked out and tested for a better visual and practical experience. The font combines the monospacing of many characters combined with kerning, which makes it very convenient for many purposes, such as vertical typography. The font is good in all sizes, both small and large, which makes it possible to use it anywhere. Branding, logos, titles, posters, texts, covers, merch, prints, web, titles, banners, games and design in games and much more. In the near future, it is planned to add another axis of variability - the slant. Consequently, the family itself will increase. It is also planned to add a small case (capital). If you want to say something about the font or get a font in other formats, then write to the mail: bunineugene@gmail.com .

Le Havre. It's a family with no lack of characters diverse, yet none are as deep or tested in their appearance as the weathered, hand-drawn texture of Le Havre Hand. Tall and lean, the well-aged face carries with it the stories of a thousand miles. Starting with a sans as its origin, this handwritten font's layered structure has been shaped through time and trial, ultimately capturing the simple beauty of a wise, experienced character. This layer-based font family includes style variations and new layering solutions. Le Havre Hand includes 21 font files. It also includes an outline, crosshatched versions and five inline variations, several extruded variants including a unique wireframe options. There are two extruded fonts and two drop shadow fonts. For users that have Opentype programs, such as Adobe Illustrator, Photoshop, InDesign, Microsoft Publisher and Quark, each font also comes with an established set of art deco alternatives. Le Havre Hand's alternate characters come together to exhibit a clear sensitivity to the art deco style. Use them on their own or increase your options by using them with any of the other members of the Le Havre family. Take time to look deep into the soul of Le Havre Hand. It's often the tested, weathered hand that is most reliable to guide you to success.

Brinca is an intrepid ‘full spectrum’ typeface with emotional range and a dynamic heart. Morphing sharp tight pleats that relax into office ready neutral sans, then plump into joyful bouncy letters with mesmerizing fluency, Brinca is ready to adapt to a wide variety of expressive needs. Named after its jumping extremes of the type’s styles; from coiled spring to stuffed and bouncy, Brinca is also a leap into new possibilities for display type design. Because of its chameleon-like range of styles, Brinca is a versatile workhorse. It’s a great choice for brand identities ready to embrace expressive range, and it’s perfect for fine-tuned packaging, events promotions, merch, product lines, and much more. WIth its very wide spectrum of options, It’s a single typeface that can be used to design a library’s worth of book covers. (We put it to the test!) About Brinca was designed by Alexander Wright and Rodrigo Fuenzalida with Michu Benaim Steiner for In-House Int’l foundry, the type foundry of brand consultancy In-House International. It was developed by Rodrigo Fuenzalida at FragType, and available through YouWorkForThem. In-House foundry offers bold, fearless, and expressive, display typefaces that tell a story. Its previous releases have been featured on Design Milk, DesignBoom, Slanted, PAGE. They’ve also been used to create standout work by designers around the world, and even won some awards.

- Unique Modernist Look - 590+ characters per font - Standard & Discretionary Ligatures - Multiple Stylistic Sets - Old Style Figures - Case-Sensitive Punctuation - Multilingual - Cyrillic Included - Uppercase + Lowercase Porte is an elegant sans serif font inspired by stone carving and modernist typefaces of early 20th century. While at its core Porte is a display font, it can also be used for larger bodies of text and in a variety of projects. Thanks to its unique proportions and feel Porte is reminiscent of early 20th century type, wherein aesthetic qualities often overweighed matters of practicality and applicability. Porte is at once delicate and sturdy, subtle and unyielding. Porte is very OpenType friendly, boasting an awesome selection of useful OpenType features, precise and exhaustive kerning (around 1000 pairs) and lots of discretionary ligatures to make your designs look amazing. A selection of wider and narrower alternate glyphs allow the designer to modify the rhythm of the typeface, extending its application and impact. With 590+ characters on board, Porte supports all major Latin based languages as well as a number of Cyrillic languages. Porte received its first major update in fall 2022. Not only was the character set expanded considerably, but also some glyphs were re-drawn to fix visual inconsistencies, and a large number of stylistic alternates was added. The kerning, too, was re-done to accommodate new letterforms. Trials available upon request.

Broadside Text is a companion to Broadside, and is optimised for use at smaller sizes. More open counters, more generous letter-spacing and additional fractions increase legibility. The original Broadside family is suitable for headlines and larger sizes, and also comes with condensed and extended versions. Broadside is a versatile, authoritative and functional family inspired by the sans serifs seen on ’40s and ’50s patriotic posters and period advertising. It is available in seven weights across condensed, normal and extended widths, each with reweighed italics. The type from this period was very often hand-drawn, and so differs considerably from poster to poster. Many American examples of this period use a Photo-Lettering style called Murray Hill and its derivatives, although their UK counterparts, designed by such luminaries as Abram Games or Tom Eckersley, are more stylistically diverse. Even though no single model is available to base a digitisation on, there are certain recurring stylistic quirks that give the type its unique flavour, and so the most interesting examples from several sources were be combined for the final family. Alternate short descenders, allowing for tighter line spacing, can be toggled on or off in the Opentype panel of Indesign or Illustrator. Tabular and lining numerals and a single-story ‘a’ are also available in all weights and styles.

The Wingdings™ 1 font was designed by Kris Holmes and Charles Bigelow in 1990 and 1991. Wingdings 1 originally named Lucida Icons, Arrows, and Stars to complement the Lucida text font family by the same designers. Renamed, reorganized, and released in 1992 as Microsoft Wingdings(TM), the three fonts provide a harmoniously designed set of icons representing the common components of personal computer systems and the elements of graphical user interfaces. There are icons for PC, monitor, keyboard, mouse, trackball, hard drive, diskette, tape cassette, printer, fax, etc., as well as icons for file folders, documents, mail, mailboxes, windows, clipboard, and wastebasket. In addition, Wingdings includes icons with both traditional and computer significance, such as writing tools and hands, reading glasses, clipping scissors, bell, bomb, check boxes, as well as more traditional images such as weather signs, religious symbols, astrological signs, encircled numerals, a selection of ampersands and interrobangs, plus elegant flowers and flourishes. Pointing and indicating are frequent functions in graphical interfaces, so in addition to a wide selection of pointing hands, the Wingdings fonts also offer arrows in careful gradations of weight and different directions and styles. For variety and impact as bullets, asterisks, and ornaments, Windings 1 also offers a varied set of geometric circles, squares, polygons, targets, and stars. Character Set: Picture/Symbol

Say hello to Xutwef, a superhero-style display font that will emphasize the strong and bold message of your projects. Whether in the world of film, gaming, or design, Xutwef is the perfect solution for creating extraordinary and eye-catching looks. With tough and bold characters, Xutwef presents a strong and eye-catching theme. Each letter is filled with inspiring power, taking your project to another level and creating an unforgettable impression on the audience. Xutwef offers not only a bold style but also special features that enhance your creativity. With the available ligatures and alternative characters, you can explore a variety of unique and interesting typography combinations. Apart from that, this font also supports multiple languages, allowing you to present a strong message to an international audience. Join the greatness of Xutwef and let your projects shine. With its incredible superhero style and superior features, this font will amplify your message and create an unforgettable impression. Don’t miss the chance to own Xutwef and turn your every design into an inspiring and impressive masterpiece. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Ariata™, from Malou Verlomme, is three typefaces in one. Like phases of the moon, they gracefully meld from one to the other. The “Text” weights are sturdy designs that perform as well in blocks of copy as they do in the occasional headline. The “Display” versions of Ariata are delicate but confident designs that shine in large sizes, while the “Stencil” typefaces are eye-catching and provocative. Each version is available in four weights, from a forthright regular to a robust black, making for a family that is comfortable taking on a wide variety of tasks. The individual designs can be combined with each other to create a distinctive, yet cohesive typographic statement, or stand on their own as confident communication tools. If you want a little more variety, Ariata’s solid glyphic shapes will serve as a dynamic counterpoint to just about any Humanistic sans. Space economical and distinctly original, Ariata easily creates commanding headlines, pull-quotes and subheads. Packaging, game branding, posters, book jackets and advertising design are all also within its comfort zone. While primarily intended for print applications, Ariata’s full-bodied x-heights, generous counters and clear apertures make for a design that is also at home in many digital environments. Verlomme is an award-winning Senior Type Designer at Monotype. He has a degree in graphic design from l'École Duperré in Paris, and an MA in Typeface Design from the University of Reading. He taught type design at several universities in Paris and still occasionally lectures and gives workshops. His typeface Camille has the honor of being part of the collection at France’s Centre National des Arts Plastiques (CNAP). Verlomme also designed Placard® Next, Madera™ and Johnston100, London’s new underground branding typeface. Click here to see all of https://www.monotype.com/studio/malou-verlomme Malou Verlomme’s typeface designs.

Our new Hamburger font is based on the old classic Brush Script design with many new additions. We've added many alternates to the design including lowercase swash tail letters, swash underscores and a few alternate uppercase letters. Upright scripts are popular these day so new to this old type design is a near upright script version, a lot of hand work went into producing it. One of the biggest problems with the old Brush Script font is that people use it as all caps, which doesn't look good because of the extended swash on the top left side of the caps letters. We've fixed that problem by making an all caps version where the caps in the lowercase position have the top left swash tucked in to help the letters display better as an all caps font. We've also created a small caps version, again the small caps lowercase have all the top left swashes tucked in to bring the letters closer together for a better display. Also new to this font are two higher x-height versions that are ideal for signage. The first is Hamburger X which stands for extra x-height and the second is Hamburger SPX which stands for super x-height. Both of these higher x-height fonts are suitable for signage on a building, billboard and vehicle lettering where you're looking for faster readability from moving traffic. We've designed a new lowercase b and moved the original to an alternate position. We've also redesigned the uppercase C bringing the bottom up to the baseline and moved the original C to an alternate position. The original lowercase g was open at the top, we've closed it and we're not offering the original g as an alternate.

The new sans-serif Franzi typeface family – as neutral as can be, but at the same time individual and striking. Its unmistakable character lies in the detail, with no effect pushing itself to the fore. As a wide-running typeface with a relatively large x-height, the typeface family is perfectly suited to small text sizes but, with its elegant details, it leaves nothing to be desired in display applications either. Originally designed with constructed, often rectangular elements, Franzi has gradually been rounded during the development process and is now less hard in order to guarantee optimal legibility. A total of 20 well-developed fonts are available: 10 line thicknesses from hairline to black, each of which can be upright and italic. The italics are softly and elegantly drawn, while the upright characters appear much more severe. The design appeal reveals itself in the two-storey ‘a’ – a tribute to legibility in body copy; however, for those who prefer the geometric in applications, an alternative single-storey ‘a’ is also available. All styles have small caps, superscript and subscript lowercase letters, lining, non-lining and small caps figures, fractions as well as several ligatures, alternative fonts, symbols and arrows. The Latin uppercase letters are also available as discreet swash variants. In addition to the extended Latin alphabet, the typeface family also includes the complete Greek, Cyrillic and International Phonetic Alphabet IPA. Franzi was created as a further development of an order to produce a sign for a therapy practice in Vienna’s Franz-Hochedlinger-Gasse – hence the name, which is more common as an abbreviation for Franziska than as a diminutive for the male name Franz: Franzi is therefore a hybrid typeface name which has female tendencies.

Monarda™ is Terrance Weinzierl’s take on the loud and splashy brush scripts of the 1950s. It’s energetic, playful, and equally at home in hardcopy headlines as it is in interactive banners. In addition to the basic alphabet, OpenType® fonts of Monarda are also awash in super-sized swash caps, contextual alternate characters and ligatures. Pair Monarda with a mid-century structural sans like Trade Gothic® or a sturdy slab serif like Egyptian Slate™ to create typographic counterpoint that’s confident, compelling and memorable! Named for a riotous bright red flower that attracts butterflies and humming birds, Monarda is a rare combination of flamboyance and effortless beauty. Weinzierl describes it as “casual yet precise: a stiff denim jacket or perfectly white sneakers at a formal event.” Monarda clearly stands out – and always fits in. Well, almost always. Drawn for print, the design’s robust x-height, open counters and wide apertures also make Monarda screen-friendly. Monarda can be perfect for a wide variety of food and lifestyle applications as well as travel, stationery and packaging projects. Advertising campaigns and product branding are also well within its reach. Monarda works best when used large – but economically. Two or three words are its sweet spot. Think: product name, print headline or the lettering on the side of a truck. It could easily become your go-to design for projects that call for a script with a bright personality and fearless demeanor. The excellence of Weinzierl’s work has been recognized by the Type Directors Club and Print Magazine. When not working on creating new typefaces, he augments his professional practice through calligraphy, lettering, and letterpress printing. Monarda is another winner from Weinzierl’s creative mind and talented hand.

The history of Aerolite, from Jan Paul: "The Aerolite fonts are essentially stripped down versions of a complex outline typeface I designed for the first Midnight Oil album in 1978, affectionately known as "The Blue Meanie". Many years later I saw the font "powderworks" and asked Brian Kent if he would be interested in digitizing Aerolite. Brian is a font (!) of knowledge and was of invaluable help by getting Aerolite to where it is today. Special care was taken in keeping the distinct character while as Aerolite Regular also providing a legible, thouroughly kerned body type which can be used in all sizes for large volume text." For the Pro version the kerning has been tweaked further, and the character set completed and expanded - and the alternate uppercase A (also with accents) is available as OpenType stylistic alternates. It is now ready for your next international science or sci-fi project. 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.

Back to the basics. In the last ten years, type design has been confronting chaotic scene. The font market is flooded with a mixture of wheat and chaff and typography becomes increasingly complex. But one golden straight path exists. The path began from the industrial revolution, passing through swiss style, now we walk along the path as a matter of course. It is sans-serif. The decades from the Swiss style, namely "less is more age" to the contemporary basic style "Less, but better age", we call it golden decades. In those decades, type design met modernism. Go back to a theory in the golden decades, we redesigned new geometric, minimal sans-serif. Less is more and better. We added cool and calm spices to the modernism in the golden decades. As a result, letterform has a contemporary, sharp, and neutral atmosphere, and geometric rounded bowls and counters create a nice rhythm. Golden Decades consists of 8 weights and their matching Italics for a wide range of usages. Farther, Golden Decades is supporting international Latin languages and basic Cyrillic languages including Basic Latin, Western Europe, Central and South-Eastern Europe. Also, Golden Decades covers Mac Roman, Windows1252, Adobe1 to 3. This wide range of international characters expands the capability of your works. Lowercase "a" has OpenType stylistic alternate for advanced typography.

Fragua Pro is a family of 14 fonts (Latin Extended-A and the Cyrillic alphabet) Condensed Sans Serif of geometric construction inspired by the Russian constructivism of the mid-20th century; the typography has a rounded finish in all corners to avoid the coldness of the rectilinear fonts and providing warmth and docility, the ascending and descending short and a high height of the x make it very compact, all this results in a unique typeface with maximum readability due to the careful configuration of metrics and Kerning. The cursive styles have an inclination of 8 degrees and a narrower proportion than the regular ones, they also have their own letters and meticulous optical corrections to compensate for the deformations produced by the inclination. Fragua Sans has Advanced Open Type functions, several alternative letters, full support for numbers, monetary symbols and crypto currencies and more. 681 glyphs. This typography is specially designed for advertising and editorial composition, behaving correctly in both short and medium texts and headlines where horizontal space saving is needed, being an ideal typographic system for signage, editorial or corporate design. This typography is dedicated to the memory of my grandfather C·ndido (Pa), the blacksmith of my town. THE COMPLETE 14 FONTS PACKAGE INCLUDES THE REGULAR VERSION IN "VARIABLE FONT" FORMAT, compatible with Adobe CC 2018.

Introducing Black Bass Display, a captivating and unique sans serif font that combines modern aesthetics with a touch of brush script elegance. With its bold and distinctive letterforms, this font is perfect for making a statement in your designs, whether it's for logos, headlines, posters, or branding projects. The combination of uppercase and lowercase letters in Black Bass Display allows for versatile typography exploration, giving you the freedom to create eye-catching compositions and play with different design elements. Its unique style adds a sense of personality and creativity to your work, making it stand out from the crowd. Black Bass Display doesn't just look great, it also offers functionality. It supports numbers and punctuations, ensuring seamless integration of these elements into your designs. Additionally, its multilingual support enables you to communicate your message in various languages, expanding your reach to a global audience. With PUA encoding, Black Bass Display provides easy access to additional characters and glyphs, allowing you to add flourishes and embellishments to your designs effortlessly. This feature enhances the versatility of the font, giving you endless possibilities for customization. Get ready to elevate your designs with the unique blend of brush script and sans serif aesthetics offered by Black Bass Display. Make a bold impression, express your creativity, and create designs that leave a lasting impact.

‘Skiart Serif Mini’ is now available online. Originally inspired by the san serif font ‘Skia’ by Mathew Carter for Apple. ‘Skiart’ was designed to feel more like a serifed font, but without any serifs. It took a step between sans serif and serif fonts. Next on the path towards a serif font comes Skiart Serif Mini, with tiny serifs added. This is a true serif font, all be it on the small side. It remains fully readable and feels as clean and normal as any of the best body copy serifs, and yet still has the strong solid bones of all the other Skiart font familys. If compared to one of the more commonly used serifs like ‘Times New Roman’, the ‘Skiart Serif Mini’ lowercase is more open with a taller x-height, increasing its readability and friendliness. The serifs are smaller and less distracting. They are not pretending to be ligatures. Where ‘Times’ makes its p q b d forms out of a barely touching oval and stem, the ‘Serif Mini’ forms are much more firmly attached, appearing clearly as single letters. The standard setting for the g’s are round single storied, (the italic a’s are also), feeling warmer and more inviting in the ‘Serif Mini’ font. Much more friendly than the stuffy double storied versions in fonts such as ‘Times’ etc.

Antikor is "mono geometric sans" family consist of 3 styles, 55 fonts with real italics... All fonts of family contains 800+ glyphs, and equipped with many typographic features. (Styles: Mono, Text and Display) Antikor Text is designed for those who prefer to use monospaced fonts not only in coding but in many different media of graphic design. The idea came from creating a typeface with monospaced aesthetic without disturbing aspects of monospaced typefaces . Antikor text has proportional spacing and precise kerning to avoid poor rhythm and track in reading text. It also provides wide range of useful features with extended glyph sets and opentype features. Antikor Mono is geometric sans monospaced typeface with all typographic features except spacing and kerning. As other styles it has many opentype features and extended character set including SmallCaps, Stylistic Alternatives, Scientific Numbers, Fractions, Oldstyle Numbers, Case Sensitive Forms, Arrows, Circled numbers and etc... It is designed to meet all the needs of the monospaced text medias... As Antikor is a versatile family, Antikor Display is a very alternative typeface with playful calligraphic curves. It is designed with the idea of creating a contrast and eye catching touch in display use of typography. It creates tasty contrast against the serious and solid monospace look. Each style has 11 weights ranging from Hairline to ExtraBold + real italics, consist of 22 fonts.

Kadigan: (noun) A placeholder word. A kadigan can be used to substitute for any other noun: persons (John Doe, Acme Company), places (Anytown, 123 Main Street) or things (whatchamacallit, thingamajig). Just like kadigans can be used in nearly any situation, the members of the Kadigan font family can be used in nearly any design! These sans-serif beauties are clear and easy to use, but they also have a little bit of wiggle in their strokes and weights, for a fun hand-lettered look! The three members of the family: - Kadigan Light: An all-purpose lightweight stroke, with sharp corners. - Kadigan: A nice mid-weight stroke, with slightly rounded corners. - Kadigan Heavy: A thick, chonky stroke with pillowy rounded corners. And each member of the family is packed with features, including: - All of the basic stuff you expect from every font; - 340+ extended Latin characters; - Cyrillic character set; - Greek character set; - Those character sets? Support over 110 languages! - 52 double-letter ligatures for variety (That's right, EVERY letter. I'm looking at you, savvy revved trekkers!); - A full set of small caps (including Cyrillic & Greek); - And more! (Seriously, it was hard to stop.) So whether your work is in English, Español, български, ελληνικά, Türkçe, or over a hundred other languages, this cute and fun sans-serif may be just what you've been looking for!

Chartu Poo is a stunning modern sans serif font that exudes a sense of luxury and sophistication. Its futuristic concept is truly unique, and makes it stand out from other fonts in its class. The sleek lines and bold curves of Chartu Poo give it a sense of elegance and refinement, while also conveying a sense of modernity and innovation. One of the things that sets Chartu Poo apart is its versatility. It can be used in a wide range of design projects, from logos and branding materials to website designs and advertising campaigns. Whether you're looking to create a bold and impactful headline, or a subtle and understated body copy, Chartu Poo is the perfect font for the job. Another great feature of Chartu Poo is its readability. Despite its bold and unique design, this font is incredibly easy to read, making it a great choice for both print and digital media. Whether you're designing a brochure or a website, Chartu Poo will ensure that your message is conveyed clearly and effectively. In short, if you're looking for a modern sans serif font that combines luxury, sophistication, and innovation, look no further than Chartu Poo. Its unique and futuristic concept, combined with its versatility and readability, make it the perfect choice for any design project.

Entendre Rough defies the conventions of most distressed typefaces, as it is an actual text typeface family. Sure, you can use it for your big display type, but you can also use it for body text. Entendre Rough is a stately, commanding and handsome distressed sans serif typeface family that pulls reference from Trajan capitals, the history of English calligraphy, and a variety of other sources to summon a sense of warmth, consideration, trust and authority. Entendre Rough spans 22 weights and styles including Regular and Condensed versions. The large x-height and refined characteristics of the family lend the family a sober and sophisticated appearance that is suitable for both print design and on-screen use. Entendre Rough includes Central and Eastern European language support as well as Western European language support, including Greek and Cyrillic. Entendre Rough’s generous x-height and medium-length ascenders and descenders offer pronounced readability, making the family useful for text typesetting both in print and on screen. Within, humanist elements are tempered with monumental construction, making the heavier weights go-tos for display design work. All of the Entendre Rough family of typefaces feature Western, Eastern and Central European language support alongside nuanced Greek and Cyrillic. Entendre Rough pairs well with our non-distressed Entendre family and our rounded sans serif family Elpy, sharing similar proportions and spacing.

Sofia Pro is a geometric sans font family who dares the modernism and the harmony of the curves. Created in 2009 and completely redesigned in 2012, it has become over time a popular alphabet and has received many accolades from graphic industry professionals. It has very rounded curves with very open terminals that makes this font family elegant, friendly and contemporary. Sofia Pro has been designed with a higher x-height than other fonts in its class to make tiny readability more obvious in any use situation. It will be ideal for use in small sizes such as business cards or mobile applications. This typeface is also equipped with powerful OpenType features to satisfy the most demanding professionals. It has solid features like case sensitivity, small, true capitals, full ligatures, tabular figures for tables, old style figures to elegantly insert numbers into your sentences, circled numbers, and more alternative characters to give personality to your projects. This typeface already has a powerful home kerning system called “Pro Kerning”. With all its specificities, Sofia Pro is a geometric sans that can meet the needs of professionals who want a family of clean geometric font; elegant with a wide character set for more than 130 languages of Western Europe, Europe Eastern, Central Europe, Greek and Cyrillic for international communication.

Engria is a type family of four weights with corresponding italics that treads the fine line between sans and serif. There are serifs, of a sort, inspired by the brush. Not the marks made by a brush, but the actual splayed shape the bristles make when clamped together. Wedge-like chunks that resemble engraved forms, as the name Engria hints at. But it also has the appearance of a stressed, flared sans. This mixed approach lends a unique voice. Highly legible at text sizes, as indeed it is optimized for, Engria does however shine at display sizes thanks to its characteristic details – flared stems, angular counterforms, rugged ink traps and fluid curves. (I would recommend tracking it a little tighter at larger sizes.) Engria started life way back in 2014, and has been worked and reworked tirelessly to get to this finished product. My intent was to really push the idea of the white shapes being as important, if not more so, than the black. Engria is equipped for typographically demanding applications, boasting as it does an array of OpenType features, including small caps, automatic fractions, stylistic sets, various figure styles, arrows, case sensitive forms and more. It will make a very useful addition to your typographic arsenal, with a flare (ahem) for editorial work, but the individuality for packaging, branding, and logo work.

Biloner is a font in simple, clean sans serif base forms. Its letters have no ornaments and serifs making them look modern and simple. The firm, straight letter shapes look strong and evident. This font shows enlarged capital letters to create a brave, prominent look enabling it to be the center design and to make an explicit message. Despite its original sans serif font base form, Biloner adds detailed brush touches to the letters to give extra rough textures on the letter lines. The brush scratches are on the edge or certain parts of the letters adding dimensions and attractive visuals. Fortunately, this font is applicable for any text sizes thanks to its great legibility, and you may also enjoy the available features here.) Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Biloner’s flexibility enables it to adapt to any design styles, either the modern and contemporary, or brave and creative ones. It surely fits for any design contexts such as titles, posters, book covers, and brandings. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Evanston Tavern is a square typeface and the sans-serif version to Evanston Alehouse. Inspired by the years that prefaced the ratification of the American Prohibition, this typeface mimics the signage commonly seen outside of saloons, taverns and alehouses during that time. Back to the modern era, Evanston Tavern is more than just a vintage inspired typeface. It works in modern and futuristic settings with multiple styles, opentype alternatives and ornamentation. The family provides a robust 61 total fonts, within it's 3 styles of regular, stencil and inline. Each sub family includes 4 weights and 5 widths. It has special features that add depth to the typeface, with discretionary ligatures and stylistic alternatives. It also includes a complimentary set of ornaments, including a vintage graphic set from the era, as well as modern frames, borders and icons. This typeface works great at logos, packaging, and other display settings. Pair this font with Evanston Alehouse and have a great combination of serif and sans-serif square letterforms and a large array of ornaments! Here’s a snapshot of what you get with Evanston Tavern: - 3 Styles: Regular, Stencil and Inline - 4 Weights: Light, Regular, Medium and Black - 5 Widths: 1826 (condensed), 1846 ( narrow) 1858 (regular), 1893 (wide) and 1919 (expanded) - 2 capital Heights: Capitals and small caps - 2 Alternatives: Discretionary Ligatures and Stylistic Alternatives - 1 Ornaments font with over 100 graphic extras

Inspired by the type elements of 17th century Dutch mapmaking, Boncaire Titling provides you with a historic yet adventurous look for your library. This addition from insigne found its muse in a map of Curacao by Dutch cartographer Gerard Van Keulen, a member of the prosperous Van Keulen family from Amsterdam, who were engaged in the manufacture of maps for seafaring. Much thanks on this project goes to The Norman B. Leventhal Map Center, housed at the Boston Public Library. Through the centers kindness, I was able to view a number of period maps in person and to meet with curators, who explained more about the Van Keulen family and the way maps of the period were created. While I studied the maps, I narrowed in on some of the original types unique idiosyncrasies. For instance, the long, exaggerated serifs, which give the forms a sense of stability, aid in the faces legibility--largely a byproduct of the engraving method that was used to create the metal plates for manufacturing these maps. In creating Boncaire Titling, I decided to capture these unique idiosyncrasies, embracing the character of the engravings rather than removing them entirely through over-refining the forms. The result is an elegant family with far more than seafaring potential. This font has a full range of six weights, from thin to black. It also includes a wide variety of OpenType alternates. All insigne fonts are fully loaded with OpenType features. Boncaire Titling is also equipped for complex professional typography, including alternates, smaller titling caps and plenty of alts, including normalized capitals and lowercase letters. There are over 30 autoreplacing ligatures, and the face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Boncaire Titling also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Boncaire Titling supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Maps are fascinating; they come with the promise of treasure to be uncovered. Examining the map itself, too, you can find great wealth in the details so artfully condensed to that single piece of paper--details carried over into this new insigne font. For your next project, explore the imagination potential in Boncaire Titling.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

Lc Trinidad is the result of a series of wonderings regarding geometric Sans Serif typography design, in particular; Futura of Paul Renner. A “conversation” arose between me and the designer – actually there was no conversation, it is an euphemism for “I saw his designs, I draw them and discussed with myself some of his decisions – that ended up being the origin of this font firsts glyphs: A, H, N, O, R and S. I started with uppercase letters, and here is when Rudolf Koch with Kabel and his “Das schreibbuchlein” joined the conversation. This is how I could develop some alternative lowercase letters so as to illustrate this imaginary discussion. The result is a sans serif, geometric, modern typeface with classical Roman proportion in the uppercase letters; two stylistic sets for lowercase letters (setKoch and setRenner), rational, open and sharp ends. It is ideal to form titles, medium length texts, branding, exhibitions and animations. The family consists of 9 weight variants and their corresponding oblique versions and small caps. With more than 900 glyphs, it covers more than 190 Latin languages and together with its Opentype functions it creates a modern and versatile family. Besides, it has powerful OpenType features for each style, including stylistic sets, extended language support, ligatures, contextual alternates, lining figures, oldstyle figures, small caps numbers, arrows, fractions, superscripts, subscripts and many more.

ITC Greengate is the result of a time-traveling, intercontinental collaboration--one between 21st century South African designer Richard Every, and early 20th century Scottish artist Jessie Marion King. Jessie Marion King (1875-1949) began her professional career as a book designer and illustrator, but over time her creativity found its outlet in many forms, including posters, jewelry, ceramics, wallpaper, fabrics, murals, interior design and costumes. After eventually settling in Kirkcudbright, Scotland, she founded Green Gate Close, a center for women artists. Although her style is reminiscent of the Art Nouveau artist, Aubrey Beardsley, King's aesthetic was an offshoot of the “Glasgow Style,” a Scottish hybrid of the Arts and Crafts movement and Art Nouveau. Often, her illustrations included hand lettering. It was just this kind of lettering that gave Richard Every his inspiration for ITC Greengate. When he saw some children's book illustrations that King created in 1898, he knew on the spot he had to complete the hand lettering as a typographic font. He began working on the typeface in 1996, but it took six years to be released as an ITC typeface. Every simplified and harmonized King's letterforms slightly and, most importantly, added a suite of lowercase characters. The result is a somewhat earthy Art Nouveau design, with a character quite distinct from typical digital revivals. Every's career has been as diverse as King's. He was born in Durban, South Africa and studied graphic design at ML Sultan Technikon in Durban. He's been an art director, freelance designer, the owner and manager of a nightclub and co-manager of a South African band. “Through it all,” he says, “typography has always been one of my passions.”

Scriptage is a very weathered classic English Script, also known under the name of Artists Script. From your weathered typedesigner, Gert Wiescher.

Seashells is a picture font, containing all pretty sea shells. Each shell appears in outline form and also as a solid graphic.