If you want your designs to be prominent, you will need a unique, prominent, yet professional, legible font. However, it may be hard and take some time to find the right one due to a lot of options available causing difficulty to figure out the suitable one you desire. With Mirey, you can easily create a unique identity for your design. Mirey is a display serif font in thick weights with small lines on the letters’ edges to look formal and classic. In addition, it expresses unique, artistic touches from its combinations with display font characters. This display font has thick lines and strong contrasts, so that it is perfect to attract attention and to show strong impressions. Due to its high legibility level, this font is applicable for a variety of text sizes. In addition, you can enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Mirey fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, merchandise, social media, etc. 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.

Designed by Cosimo Lorenzo Pancini and Andrea Tartarelli with Maria Chiara Fantini, Lovelace is Zetafonts homage to the tradition of nineteenth century “Old Style” typography - a revival of Renaissance hand-lettered shapes driven by the desire to create a less formal and more friendly alternative to Bodonian serifs. While taking inspiration from the letter shapes created by Pheimester or Alexander Kay - with their calligraphic curves and heavy angled serifs that influenced Benguiat and Goudy’s typefaces in the 70s - we also tried to add elegance and contrast by following another 19th century revival style: the Elzevir. This digital homage to victorian typography, aptly named after the algorist daughter of lord Byron, is developed in two optical sizes, both in a six weights range from extralight to extrabold. The text variant offers maximum readability thanks to the generous x-height and screen-friendly design, while the display variant excels in the sharp contrast and thin details needed for editorial and large-size titling use. The italics, strongly influenced by calligraphy, have been complemented with a display script family, including luscious swashes and connected lowercase letters, lovingly designed by Zetafont in-house calligrapher. All the thirty weights of Lovelace cover over 200 languages that use latin, cyrillic and greek alphabets, and include advanced Open Type features as Stylistic Alternates, Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms.

Presenting the 🗯️💬The Brootahh Comic Typeface💬🗯️ by alitdesign. The Brootahh Comics typeface is inspired by the style of letters in comics that have less serious and fun characters. The lettering of the Brootahh font is a sans serif with distorted characters which gives a fun and design impression for children. The Brootahh font has 2 families, namely the Brootahh Blup font which has more bubble characters that can support comic characters to be cooler. The Brootahh font is perfect for creating designs with non-serious concepts, designs for children, book headers, and of course for text on comics. The Brootahh Comics typeface also gets a bonus character of 230 Comic-themed illustrations that make creating designs even easier. Simply by downloading The Brootahh Comics typeface creating a Comic and non formal themed design is very quick and easy. The Brootahh Comics typeface is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with comic, non-serious, pop art, game mobile and fun design. 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 Brootahh Comics typeface contains 618 and Brootahh Blup 498 + 230 bonus glyphs with many unique and interesting alternative options.

Santhiya is interesting because the typeface is pleasing to the eye, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many fancy letter connections. I also offer a number of decent stylistic alternatives for multiple letters. Classic styles are very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or all kinds of advertising purposes. . . Santhiya has alternative characters, including support for multiple languages. With OpenType features with an alternative style and elegant binding. The OpenType feature does not work automatically, but you can access it manually and for the best results required for your creativity in combining these Glyph / Character variations. Font Features : * Lowercase beginning and ending swash * Uppercase beginning swash * Initials * Intenational Language Support I heavily use programs that support OpenType features and the Glyphs panel such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so that you can view and access all the variations of the Glyph. Santhiya is coded with Unicode PUA, which allows full access to all additional characters without having any special design software. Mac users Mac users, and Windows users can use Character Map to view and copy any of the additional characters to paste into your favorite editor / application.

Most traditional display fonts are old-fashioned and hard to read in small sizes and are not applicable for any contexts in which you need to deliver messages to the audience clearly. Therefore, think about a beautiful, clean, legible modern font which is multipurpose and applicable anywhere along with the pretty serif style. Warm Curves is a display serif font to meet your needs. This elegant, modern, legible display serif font is perfectly applicable to formal, serious contents. It looks more stylish and has its own protruding characters to strengthen the points delivered. Furthermore, this display serif font is legible due to the thick, regular serif to ease readers to recognize every letter accurately. For that reason, you can use this font for any text length and size due to its great legibility. Also enjoy interesting features available in this font. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Warm Curves fits best for various design projects, such as brandings, posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, merchandise, social media, etc. 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.

Gidglet is a serif font highlighting the height differences of the letters’ thick and thin parts, and has elegant, clear letters. Little hooks and lines on the letter edges show classical, traditional nuances to your designs. Moreover, the thick and thin letter parts are clearly seen in a high contrast serif font. The thin letter lines show elegant characteristics, while the thick ones express firm, clear nuances. Such high contrasts between the thick and thin parts add dimensions and prominence to the designs. As a result, such a font is perfectly applicable for designs with formal, elegant, professional impressions in big text sizes in order for the beauty and the contrasts of such thick and thin parts to be clearly seen. In addition, you may enjoy the available features here as well. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Gidglet fits best for various design projects, such as brandings, quotes, invitations, name cards, greeting cards, printed products, merchandise, social media, etc. 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

Matteya is interesting because the typeface is pleasing to the eye, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many fancy letter connections. I also offer a number of decent stylistic alternatives for multiple letters. Classic styles are very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or all kinds of advertising purposes. . . Matteya has alternative characters, including support for multiple languages. With OpenType features with an alternative style and elegant binding. The OpenType feature does not work automatically, but you can access it manually and for the best results required for your creativity in combining these Glyph / Character variations. Font Features : * Lowercase beginning and ending swash * Uppercase beginning swash * Initials * Intenational Language Support I heavily use programs that support OpenType features and the Glyphs panel such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so that you can view and access all the variations of the Glyph. Matteya Font is coded with Unicode PUA, which allows full access to all additional characters without having any special design software. Mac users Mac users, and Windows users can use Character Map to view and copy any of the additional characters to paste into your favorite editor / application.

With its extended sans-serif style, Dienstag boasts a sleek and sophisticated look that's perfect for a wide range of projects. Whether you're designing a website, creating branding materials, or producing print publications, Dienstag's refined elegance is sure to make a lasting impression. Compared to Montag, Dienstag has a slightly more formal feel, thanks to its lack of rounded terminators. But that doesn't mean it's any less versatile – in fact, Dienstag's four original weights have now been expanded to ten, giving you even more flexibility in your designs. With OpenType features that include simplified versions of many characters, you can easily create unique and eye-catching titles that stand out from the crowd. But Dienstag is just one part of the larger Montag superfamily, which also includes Mittwoch, and Donnerstag. Each font in this collection offers its own unique style and flair, giving you a wealth of options to choose from when it comes to your next project. Whether you're looking for a bold and dynamic font or a more refined and understated style, you're sure to find the perfect fit in the Montag family. So why wait? Check out Dienstag and the rest of the Montag superfamily today, and start creating designs that are sure to captivate and inspire! With its elegant style and versatile functionality, Dienstag is the perfect choice for designers who demand the best.

LisaBeth Weber's eponymous typeface ITC Weber Hand is deceptively simple-looking. It's a handwriting face in a light, monolineal style with a slightly formal, almost angular appearance. Weber, who is an accomplished singer/songwriter as well as an artist and lettering artist, says she has always had an inherent sensibility with lettering." Her favorite subject in the first grade was penmanship, and when, as an adult, she got her first checkbook, "I thought it was very unfair that the signature always had to be consistently the same." She describes Weber Hand as "a natural progression of my handwriting style, a friendly and versatile font." Its letterfit is naturally loose, and it shows its character best when set with ample leading. In 1999, when LisaBeth Weber's ITC Weber Hand™ typeface was released, it soon became one of ITC's most popular handwriting fonts. A decade later she decided that is was time to update her single-weight design. A light weight would benefit from a bold companion, in addition to condensed variations for much greater versatility. This warm, friendly, and charming design is just as at home in Restaurant menus as it is in brochures, for advertising, and on packaging. With the new weights ITC Weber Hand will surely continue to be a popular handwriting type with broad appeal."

Rastilya is interesting because the typeface is pleasing to the eye, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many fancy letter connections. I also offer a number of decent stylistic alternatives for multiple letters. Classic styles are very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or all kinds of advertising purposes. . . Rastilya has alternative characters, including support for multiple languages. With OpenType features with an alternative style and elegant binding. The OpenType feature does not work automatically, but you can access it manually and for the best results required for your creativity in combining these Glyph / Character variations. Font Features : * Lowercase beginning and ending swash * Uppercase beginning swash * Initials * Intenational Language Support I heavily use programs that support OpenType features and the Glyphs panel such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so that you can view and access all the variations of the Glyph. Rastilya is coded with Unicode PUA, which allows full access to all additional characters without having any special design software. Mac users Mac users, and Windows users can use Character Map to view and copy any of the additional characters to paste into your favorite editor / application.

Although inspired by the engraved lettering on eighteenth-century English trade-cards, ITC Vineyard has unusual characteristics of its own. The type retains some quality of copperplate scripts, but the differentiation between thicks and hairlines is not very sharp. There are a few cursive forms, but most of the letters are romanized: they are almost upright and not joining. Occasional flourishes are casually interpreted from various sources such as the lettering on trade-cards and writing masters' copybooks. “I think it is a new kind of 'copperplate script' which is not too formal and easier to read,” claims designer Akira Kobayshi. Irregularities are apparent in the angle of caps and numerals, but the face's quirkiness gives a type page some friendliness rather than cold brilliancy. ITC Vineyard is designed in two weights: regular and bold. Each variation includes several extra characters such as an alternative lowercase 'd' with a long arm, a T-h ligature, swelled rules, and a pair of flourishes. Swash caps are available for both weights. The swash caps variation also includes oldstyle figures. Kobayashi notes: “There are a few swash-cap lowercase combinations that collide or look awkward. In that case, I recommend using the plain caps. Setting all swash cap copy should also be discouraged.” Featured in: Best Fonts for Tattoos

Rostley is a stunning serif font that blends classic elegance with ornamental charm. The uppercase design is bold, retro and proper, making it perfect for elegant and decorative designs. The font is perfect for projects that need a touch of beauty, such as logos, wedding invitations, and other formal designs. With its floral and leafy accents, Rostley adds a touch of cuteness and sophistication to any design. Designer Mans Greback has combined traditional serif design with modern style to create a unique and timeless font. The decorative alternates of Rostley allow you to add a personal touch to your designs, making them truly one of a kind. Whether you're creating something for fashion, beauty, or any other industry, Rostley is the perfect choice for a font that is both beautiful and functional. Use parenthesis symbols ( ) { } [ ] to make floral elements. Example: (Flower Style] The Rostley family consists of Regular and Italic. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Introducing our newest serif typeface – Alvito Nova - a timeless, sophisticated font that embodies elegance and refinement. Crafted with care, this type family is perfect for those seeking to add a touch of class to their designs. With its classic and traditional appearance, this typeface is sure to impress and stand the test of time. Designed for professionals, this serif typeface exudes authority and gravitas, making it the perfect choice for high-end brands, legal documents, and academic publications. Its clean and precise lines give it a professional edge, while the serif elements add a touch of personality and warmth. Whether you’re designing a business card, a book cover, or a website, this font will give your project a touch of prestige and sophistication. One of the key features of Alvito Nova is its versatility. While it’s perfect for formal and traditional designs, it also has a contemporary edge that makes it ideal for modern applications. Its unique blend of classic and modern elements makes it a standout choice for any design project. Whether you’re designing for print or digital, this font family will make your work stand out from the crowd. So why settle for a bland and generic font when you can elevate your designs with Alvito Nova? Try it today and experience the difference for yourself!

Introducing the "Brick and Stone Victorian Typeface" – a timeless and elegant font that beautifully captures the essence of the Victorian era. This exquisite typeface is a masterful blend of intricate craftsmanship, vintage charm, and artistic flair, making it the perfect choice for designers, typographers, and creatives seeking to evoke a sense of classic refinement and sophistication in their projects. The Brick and Stone Victorian Typeface boasts a rich repertoire of design elements that truly set it apart. With meticulously crafted ornaments, graceful swashes, captivating ligatures, and versatile alternates, this font provides an extensive toolkit to elevate any typographic endeavor. Whether you're working on invitations, branding, packaging, signage, or any other creative pursuit, this typeface lends an air of prestige and distinction to your work. Each character of this Victorian typeface has been thoughtfully created to reflect the ornate and elegant aesthetics of the 19th century. The font captures the essence of engraved stone and brickwork, giving your text an authentic vintage touch. The ornamental details add an extra layer of opulence, making every word feel like a work of art. Whether you're designing for weddings, formal events, historical projects, or simply seeking to add a touch of classic sophistication to your work, the Brick and Stone Victorian Typeface will exceed your expectations. Embrace the elegance of the past and unlock a world of creative potential with this remarkable font.

Specimen VI is a refined hand by artist Aileen Fretz of Plume Calligraphy: thoroughly modern yet absolutely timeless. We have our sights set on this one becoming an instant classic. OBSERVATIONS Specimen VI takes its inspiration from the old world, while remaining thoroughly contemporary. It is unique while maintaining legibility. DEFINING CHARACTERISTICS At 2,580 characters, we dare say it is one of the most robust script fonts on the market today. The font includes extensive Opentype programming that authentically replicates Aileen’s unique handwriting pattern. As you type, watch the letters automatically adjust between connected and disconnected forms. Specimen VI also features formal titles, prepositions, social media wordart, and web navigation wordart, serif and sans serif Roman numerals, in and out-stroked letterforms at beginning and end of words, multiple alternate lowercase t cross-strokes, realistic double-letter ligatures, seamlessly connecting calligraphic letters, multiple styles of alternate capital letters, including swashes, and basic Latin encoding. Specimen VI is a typesetters’ dream. POTENTIAL SIGHTINGS In the pages of your favorite wedding tome; the signage, robe embroidery, and dinner menus of that coveted boutique hotel on the Italian Riviera, the labels of an artisanal hand-poured candle line, your new favorite Rosé, hand-crafted Belgium chocolate truffles, the indie cosmetic line fit for royalty, in any instance that you may be in need of a refined modern script.

Lumina combines a fluid, informal look with an upright, fairly formal character structure. The font is reminiscent of leaded or stained glass, suggesting a trying to-be-solid outline with flowing inner spaces. Characters are softened by the use of staggered heights and slightly irregular widths, creating the impression of hand-crafted, ink-drawn shapes. Lumina is unusual in that it gives a medieval treatment to a modern character outline. The outline has been given an irregular, slightly hand-crafted look that is at variance with its modern character and hints at both the informality of a grunge font and the carefully hand-drawn quality of medieval illuminated scripts (hence its name). It is one of the few informal, compressed fonts that retains a high degree of legibility. Use it when you want your text to be both relaxed and readable, and yet take up very little space on the page. Lumina Regular is not an outline font in the usual sense, since it contains one or more rounded hollows or lacunae within its outline. Use Lumina for: —Ecclesiastical book headings and illustrations —Church posters —Book covers —Greeting card design —Advertisements —The "fine print" The font contains a full 256 character set (upper and lower case, punctuation, diacritical characters, special symbols and numerals), in which all characters have been fully kerned and letter-spaced.

Nova Quinta is a breathtaking, enchanting formal script font that weaves an air of magic and sophistication into your designs. With its delightful swirls and exquisite swashes, this font radiates a lovely charm, perfect for adorning wine labels, farm produce packaging, and luxury branding. Imagine your design coming to life with the genuine elegance of Nova Quinta, transforming your work into an enchanting piece of art. The font's irresistible beauty and decorative allure make it a dreamy choice for projects that require a touch of refinement and grace. The Nova Quinta font family includes four mesmerizing styles to suit various design needs: Regular: A gracefully balanced, enchanting style Bold: A more assertive and captivating presence Italic: A whimsical dance of flourishes and movement Bold Italic: The perfect blend of boldness and flair Unleash your creativity with the advanced OpenType functionality of Nova Quinta. This font family ensures top-notch quality and provides you with full control and customizability. It includes stylistic and contextual alternates, ligatures, and other features to make your designs a vibrant, one-of-a-kind masterpiece. Nova Quinta embraces an extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all the characters and symbols you'll ever need, including all punctuation and numbers.

Mellisthya is interesting because the typeface is pleasing to the eye, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many fancy letter connections. I also offer a number of decent stylistic alternatives for multiple letters. Classic styles are very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or all kinds of advertising purposes. . . Mellisthya has alternative characters, including support for multiple languages. With OpenType features with an alternative style and elegant binding. The OpenType feature does not work automatically, but you can access it manually and for the best results required for your creativity in combining these Glyph / Character variations. Font Features : * Lowercase beginning and ending swash * Uppercase beginning swash * Initials * Intenational Language I heavily use programs that support OpenType features and the Glyphs panel such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so that you can view and access all the variations of the Glyph. Mellisthya Font is coded with Unicode PUA, which allows full access to all additional characters without having any special design software. Mac users Mac users, and Windows users can use Character Map to view and copy any of the additional characters to paste into your favorite editor / application.

Gerard Unger’s new typeface Alverata is a twenty-first-century type-face inspired by the shapes of romanesque capitals in inscriptions of the eleventh and twelfth centuries, without being a close imitation of them. It is additionally based on the early twentieth-century model, but tweaked so as to prevent blandness and monotony. Alverata performs beautifully in both screen and on paper, delivering excellent legibility. Its letters are open and friendly in small sizes and lively and attractive in large sizes. They are robust, and show refinement in their detail. It is an extensive type family, with versions for both formal and informal applications. Alverata consists of three different fonts: Alverata, Alverata Informal and Alverata Irregular, that variate in form and width, but maintain the same spirit. The ‘irregular’ version is particularly inspired by the Insular letterforms, the uncials, and their constantly changing positioning. Alverata PanEuropean includes Greek and Cyrillic relatives. The typeface strikes a balance among Europe’s diversity of languages, combining contemporary typographical practices with features of medieval letterforms, from the time when Europe came into being. Visually, some written languages, such as Czech and Maltese, differ quite strongly from languages like English and German, notably because of their many accented characters. While other typefaces will show this difference, Alverata removes it. As a result, Alverata enables harmonious convergence of languages.

Carouge Pro is a contemporary typeface with a classical twist. This duality gives Carouge an energetic and vivid sensibility. Its subtle shapes are highly suitable for all types of documents, including corporate collateral and publicity literature. The fineness of the types provides a pure and elegant style that is highly valued in the fashion and design industry. While extremely legible in small body sizes, its personality comes into full bloom when used in large type sizes. Carouge comprises a wide range of bold fonts, from Ultra Thin to Ultra. The italic companion of the roman type has a split-line allure with a rounded personality. Carouge Pro is available in eight weights from the UltraThin to an Ultra Black. Each weight is also supported by a strong personality cursive italic. “When I designed Carouge, I wanted to create a typeface with a sober appearance and a dash of audacity. Carouge provides a fine balance between two different worlds.” — André Simard Carouge Pro is a contemporary typeface with a classical twist. This duality gives Carouge an energetic and vivid sensibility. Its subtle shapes are highly suitable for all types of documents, including corporate collateral and publicity literature. The fineness of the types provides a pure and elegant style that is highly valued in the fashion and design industry. While extremely legible in small body sizes, its personality comes into full bloom when used in large type sizes. Carouge comprises a wide range of bold fonts, from Ultra Thin to Ultra. The italic companion of the roman type has a split-line allure with a rounded personality. Carouge Pro is available in eight weights from the UltraThin to an Ultra Black. Each weight is also supported by a strong personality cursive italic. “When I designed Carouge, I wanted to create a typeface with a sober appearance and a dash of audacity. Carouge provides a fine balance between two different worlds.” — André Simard

TT Phobos useful links: Specimen | Graphic presentation | Customization options TT Phobos is a pliable display serif with a soft and gentle character. The features of the typeface are the moderate contrast between bold and thin strokes, pliable visual compensators, and the counter-clockwise bend of internal ovals. In addition to 6 weights and 6 italic, TT Phobos also includes two original decorative fonts, inline and stencil. Despite its pliability and display character, TT Phobos is dynamic enough and is well suited for text arrays even in large text blocks. The serifs of letters are completely asymmetrical and bring in dynamics when reading the text from left to right. Thanks to the harmonious contrast of black and white forms and internal negative spaces of the letters, as well as its broad letter spacing, the typeface is well read in small sizes. In this case, the character of the letters is completely preserved, partially thanks to the exaggerated elegant visual compensators. The ornamental pattern used in TT Phobos Inline varies for capital and lowercase letters. Capital letters implement a more complex double inline with a rhombic element in the middle, and in the lower case features a simplified form of the inline, made in a single movement. Thanks to the original cutting, TT Phobos Stencil stands out for its expression, and the rounded cuts add even more visual style to the font. TT Phobos consists of 14 faces: 6 weights (Light, Regular, DemiBold, Bold, ExtraBold, Black), 6 Italics, inline and stencil. There are 17 ligatures in TT Phobos, including several Cyrillic ones. The typeface has stylistic alternates, which adds an italic effect to the upright fonts, and a little solemnity of the upright version to the italics. In addition, we have not forgotten about the old-style figures and other useful OpenType features, such as ordn, sups, sinf, dnom, numr, onum, tnum, pnum, liga, dlig, salt (ss01), frac, case.

The script version of the typeface Viabella introduces us to the calligraphic side of the Berlin type designer and typographer Karl-Heinz Lange. The sketches for this script typeface, which resulted from the close cooperation with Veronika Elsner and Günther Flake, found their roots in sketch drawings which Karl-Heinz Lange had already drawn in the 1980’s. For the Viabella design, Karl-Heinz Lange drew the basic letterforms of the Black and Regular cuts with a brush. He then re-worked the drawings and transferred them on to tracing paper. The design studio Elsner+Flake in Hamburg cut these typeface extensions and later digitized them manually with the help of the IKARUS Sustem. With the Regular cut as a basis, Elsner+Flake extended the family with the Light version and interpolated and re-worked the Medium weight. The completion of the family was taken over by the type designer Björn Gogalla who had done the same kind of work on Rotola, a design which Karl-Heinz Lange had also created for Elsner+Flake. While Viabella was originally conceived as a headline typeface, its lighter weights can certainly be used for shorter text applications. The Black version creates powerful headlines with highly effective accents. With the help of swashes, which are available for all weights, the user can lighten up longer texts and add special character to titles. In contrast to pure headline fonts, Viabella has been enriched by an extensive complement of special characters. In addition to the Europa-Plus character set which allows setting type in over 70 latin-based languages, the user will find multiple versions of numerals as well as oldstyle figures, tabular and proportional lining figures, diagonal fractions, and a complete set of superior and inferior figures and fractions (60%). With such a rich character set, Viabella is not only ideal for many different uses in the areas of newspaper, magazine and advertising but it will surely be chosen for the design of greeting cards, invitations and other design projects within the privat sphere.

The Tazugane Gothic typeface family is the first original Japanese typeface created by Monotype. Designed by Akira Kobayashi, Kazuhiro Yamada and Ryota Doi of the Monotype Studio, the Tazugane Gothic typeface offers ten weights and was developed to complement the classic Latin typeface, Neue Frutiger. The design of the Tazugane Gothic typeface balances an original, humanistic style with elements of traditional Japanese handwriting. The two typefaces work together in a natural, seamless and adaptable manner so that Japanese and Latin texts can be used side-by-side for a wide range of applications, including in magazines, books and other print media; on digital devices; in branding and corporate identity systems; and in signage for buildings, highways and mass transit. Tazugane Gothic was updated to support the “Reiwa” new era symbol. Reiwa can be written as two kanji: 令和. This update to Tazugane Gothic includes Reiwa designed as a single ligature and is encoded as U+32FF. The inspiration for the Tazugane Gothic typeface is as elegant as its design. Since antiquity, cranes have been regarded in East Asia as auspicious birds for their noble appearance and elegance in flight. The typeface is named Tazugane Gothic in honor of the longevity of the crane, with the goal that it will be used for many years to come. The combination of the Tazugane Gothic typefaces’ traditional and humanistic elements, along with its intended ability to complement popular Latin typefaces, makes it one of the most uniquely flexible designs for applications where Japanese and Latin texts can be used together. The typeface family was created to have wide appeal, with a pleasing and consistent experience for readers, for use on screen, in print, in signage, packaging and advertising. Tazugane Gothic has 10 weights. The Light, Book, Regular, Medium and Bold weights are considered best for text sizes. The Ultra Light, Thin, Heavy, Black and Extra Black weights are recommended for headline sizes.

TT Octosquares useful links: Specimen | Graphic presentation | Customization options TT Octosquares is a fresh, revised, expanded, and significantly improved version of our first commercial typeface TT Squares and its narrow version TT Squares Condensed. With all our love for the original font family, it felt there was a lack of functionality, character composition, features, and design freshness, which prompted us to the idea of a complete restart. Now TT Octosquares can be safely called a superfamily consisting of 4 widths (Compressed, Condensed, Standard, Expanded), 72 faces (18 in each width), and 1 incredible variable font in which variability works jointly on three axes. In addition to working on the contours themselves and their design, we completely revised the composition of the typeface. First, we added two completely new widths: Compressed and Expanded. Secondly, we increased the number of weights in each of the subfamilies—while in the old versions there were 5 weights, now in each of the subfamilies there are 9 weights. At the stage of working with the contours of characters, we revised the roundings, changed the forms of shoulder and stem crossings, added noticeable shelves at the letters, removed the sharpness from the triangular characters and cut off all sharp endings. From the very beginning of work on TT Octosquares, we planned to make a variable 3-axis version of it sewn into 1 font file. This means that by installing just one variable font file, you get access to three axial adjustment of the font: by thickness, width and inclination. Thanks to this flexibility in settings, you can always choose a custom combination of thickness, width or inclination that best suits your tasks. Due to the increased language support and the appearance of a bunch of useful OpenType features, the number of glyphs in the typeface has increased from 480 to 825 in each style. Now you can use stylistic alternates, standard and discretionary ligatures, or use old-style figures, numbers in circles and even slashed zeros in your design. Full list of features: aalt, mark, mkmk, ccmp, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, case, zero, dlig, liga, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, calt, locl. To use the variable font with three variable axes on Mac you will need MacOS 10.14 or higher. For other software and browsers, you can check the support status here: v-fonts.com/support/.

The Madison Ave. family started from Madison Ave. at Fontstruct.com. As my most downloaded font, this was an easy, although not necessarily logical choice to make – regarding taking an existing free font and attempting to offer it for purchase. The font is very basic and simple in its layout, but has achieved popularity over at Dafont with almost 80,000 downloads with its cool, understated nature and inherent sophistication. The original Madison Ave. is now 95 Madison Ave. A couple of glyphs have changed from the original, but mostly the set is the same. The big news here is the availability of multiple variations on the original. Ninety-five refers to the filter settings used to achieve the faint cross lines in the font. The sequence 95-100 provides a gradual fade to solid effect when used together. The other versions use variations on the filter settings that allow each its own distinctive flavor, while at the same time maintaining inherent characteristics of the original. Ninety-five is now joined by 55, 75, 97, 99, 100, 102, 105, 155, 175, 201, 202, and 275. 100 is the solid version which doesn’t contain the trademark lines found in 95. In 95-99, the line width varies to achieve subtle effects. 50 and 85 are distorted by reducing the filter settings in a somewhat minimizing fashion. In 102-205, these are distorted by increasing the filter settings above the normal which is what 100 represents. While some of the effects are extreme and challenge the legibility of text, these can be fun or edgy. They offer a cohesion that can be used to advantage for different projects that require the use of a modern font family.

• Composed of 3 sets: Normal, Compact, Expanded. • Consisting of 3 distinct optical sizes: Display and Text, Expanded. • Comprises 102 fonts • Support for 28 languages: Afrikaans Albanian Catalan Croatian Czech Danish Dutch English Estonian Finnish French German Hungarian Icelandic Italian Latvian Lithuanian Maltese Norwegian Polish Portugese Romanian SlovakSlovenian Spanisch Swedish Turkish Zulu Swedish Turkish Zulu • Contains OpenType features with alternates or substitutes • Tabular Figures • Ordinal numbers • 74 icons (It will keep updating.) • 72 graphic patterns for designer (It will keep updating.) • 28 brand symbols (It will keep updating.) • 27 arrows glyphs • 0-99 line circled glyphs • 0-99 solid circled glyphs • A-Z line circled glyphs • A-Z solid circled glyphs Halenoir is a modern sans serif with a geometric touch that support for 28 languages. It comes in 10 weights, 102 uprights and its matching outlines, Obliques, pattern, so you can use them to your heart’s content, in each of which there are more than 801+ glyphs. Halenoir is composed of 3 types: Original, Compact, Expanded, and each is designed to be suitable for mobile, graphic, and editorial design. Halenoir comprises 102 fonts, consisting of three distinct optical sizes: Display and Text. Each one has been carefully tailored to the demands of its size. The larger Display versions are drawn to show off the subtlety of Halenoir and spaced with headlines in mind, while the Text sizes focus on legibility, using robust strokes and comfortably loose spaces. In the typeface, each weight includes extended language support, fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for branding, web, signage, corporate as well as for editorial design. documents and folders, mobile interface. Useful links: Gravitica PDF Type Guide and Specimen (You can know how to use icons and arrows, other glyphs.)

‘Skiart Serif Leaf’ has been on a long growing path getting to where it is now. 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 came Skiart Serif Mini, with tiny serifs added. This was a true serif font, although they were subtle. This font ‘Skiart Serif Leaf’ is the next in the series. After many reiterations, ‘Skiart Serif Leaf’ was built and rebuilt many times until finally, this version deserved to be presented to the world. Style and flow had been added to this font. It remained fully readable and feels as clean and normal as any of the best body copy serifs, and yet has an original modern flair to it. The font feels strong and solid while having a subtle organic flow in its form. If compared to one of the more commonly used serifs like ‘Times New Roman’, the ‘Skiart Serif Leaf’ 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. This font may be organic but is not in anyway script like. Where ‘Times’ makes its p q b d forms out of a barely touching oval and stem, the ‘Serif Leaf’ forms are much more firmly attached, appearing clearly as single letters. The standard setting for the a’s and g’s are round single story, feeling warmer and more inviting in the ‘Serif Leaf’ font. Much more friendly than the stuffy double storied versions in fonts like ‘Times’ etc. ‘Skiart Serif Font’ comes with a somewhat organic italic.

The sister fonts Andron 2 English and Andron 2 Deutsch provide a groundbreaking new possibility to render literature text bodies in a sophisticated traditional and yet modern way of type. In German typographic history there has once been a long-lasting struggle called the Frakturstreit (the blackletter quarrel). It was about wether German text ought to be composed in blackletter or rather in Roman type, a question upon which even Goethe, Schiller and other period celebrities got grey over time. However, blackletter type remained alive and has just recently seen an astonishing renaissance. This is not about a blackletter revisionism or some ‘mixture’ concept arguably bridging the gap between either worlds. Andron 2 English and Andron 2 Deutsch offer a new approach to circumvent that old antagonism. As for the lowercase letters I applied certain features of blackletter type onto the glyphs – but entirely abandoned the principle of the broken stroke as such. The result is a lowercase alphabet in the classical Andron style which may be considered an attractive alternative for text in English, German or even other languages. So it’s no longer entirely about choosing between ‘modern’ Roman or ‘ancient’ blackletter only. Andron 2 English Regular and Andron 2 Deutsch Regular feature the same lowercase glyphs but differ in the majuscules (Andron 2 English has normal Latin capitals). ++++ 2012 + NEW! +++ In response to its growing popularity we now present five new fonts as part of the Andron 2 series. Andron 2 English is completed by an Italic and a Bold font. Andron 2 Deutsch now contains three interesting alternative fonts: Italic, Scriptive and Laendlich. Last but not least – A new set of wonderful classical typographic ornaments is part of the Italic and Scriptive fonts. – You can also purchase these ornaments separately as “Andron Ornamente”.

Veto® Sans is both highly legible and handsomely distinctive – a rare blend in a typeface. It’s a design that stands out and fits in. Veto Sans is equally competent on screen and in print. It’s four carefully determined weights in both normal and condensed proportions, each with an italic complement, give the family an exceptionally deep range of applications. All the designs in the family are valuable design tools. None are superfluous. Advertising, brand, corporate, editorial and interactive design are all in Veto Sans’ wheelhouse. It also shines in wayfinding and other signage projects. And to all these, it brings a warmth and personality. An ample x-height, open counters, vertical stroke endings and subtly condensed capital letters enable Veto Sans fonts to perform with grace in print and digital environments while being space efficient. An added benefit is that all-capital typography set in Veto Sans is not only space saving, it’s also easy to read. Drawn as a complete reimaging of his earlier Veto design, Swiss designer Marco Ganz worked to create character shapes distilled to their purest forms while maintaining a relaxed and natural demeanor. Ganz, who is also a three-dimensional artist, is acutely aware that the negative space between letters and the internal space within letters is as important as the positive shape of the letters themselves. This dynamic balance between the negative and positive aspects of character forms gives Veto Sans a sense of immediacy without looking hurried. Ganz also took great care to draw a suite of italic designs that not only complement the roman weights perfectly, but also give the family a dynamic verve. A large international character set also ensures ease of localization. “Veto Sans,” says Ganz, “is a typeface for designers that search for a new and different solution to age-old typographic challenges.”

Aramus is a new serif font in my continuing objective of designing book fonts that I can really use. In many ways, Aramus is a very different direction for me. It comes from a scan of an old display face that has been radically modified to a much smaller x-height than I have been using lately, plus taller ascenders. Many of the characters needed a lot of correction to bring them into my taste. In general, I have decided that many of my fonts create a type color that is too dense. Aramus is an attempt to get away from that look. Although Amitale has been a very successful book family and excellent to work with, I find I still need something more open with a lighter color. Aramus is the first look at the new direction. The original hand-cut serifs vary a lot, different for almost every character. This gives a little looseness and helps the lightness I am looking for. It will be interesting to see where this all goes. This is a normal serif for me in that it has caps, lowercase, small caps with the appropriate figures for each case. This font has all the OpenType features in the set for 2009. I didn't bother with the CE accents (though I can add them upon request. They will be in the final new book family). There are several ligatures for your fun and enjoyment: bb gg ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, small caps, proportional lining figures, proportional oldstyle figures, & small cap figures, plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

The Ahoura font family, designed by Naghi Naghashian, was developed considering specific research and analysis on Arabic characters and definition of their structure. The Ahoura innovation is a contribution to modernisation of Arabic typography; gives the Arabic font letters real typographic arrangement and provides for more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Ahoura supports Arabic, Persian, and Urdu and includes proportional and tabular numerals for the supported languages. The Ahoura Font family is available in three weights; Light, Regular and Bold. Each has two different styles-- normal and italic. Ahoura is the first real italic Arabic typeface known until now and its intuitive design arrangement fulfils the following needs: - It is precisely crafted for use in electronic media and it fulfils the demands of electronic communication. Ahoura is not based on any pre-digital typefaces and it is not a revival. Rather, its forms were created with today’s ever-changing technology in mind. - Ahoura is suitable for multiple applications, and gives the widest potential for acceptability. - It is extremely legible not only in its small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Ahoura's simplified forms may be artificially obliqued with In Design or Illustrator, without any degradation of its quality for the effected text. - Ahoura is an eye-catching and classy typographic image that developed for multiple languages and writing conventions. - Ahoura uses the very highest degree of geometric clarity along with the necessary amount of calligraphic references. The Ahoura typeface is of a high vibration that is finely balance between calligraphic tradition and the contemporary sans serif aesthetic commonly seen in Latin typography.

Rae's Monogram Family is a contemporary take on monograms. Rae's Monogram One letters are best used as the right and left letters. You can add Rae's Monogram Two for the middle letter. Rae's Monogram Doodles One are 50 small illustrations to use with the monogram. If you don't see the one you want take a look at over 1,000 others in Outside the Line's Doodle font library. Of course just because it was planned this way doesn't mean you have use them this way. Use your imagination! You can use just one font, or two or all three. Commercial Licensing: Rae's Monogram Doodles One uses Outside the Line's normal licensing if you are using an illustration alone or not in a monogram on commercial goods. Plz read the http://www.outside-the-line.com/license/ Rae's Monogram One and Two offers Impression Licensing. If you don't intend to sell any items made from these fonts you don't need an additional license. But if you do, to make it easier Outside the Line offers the added ability to buy this license upgrade at the time you place your order. Plz contact Rae directly to do that. By default, you're allowed to sell 250 items in total without any additional licensing required and should you intend to sell more items, additional levels of licensing can be purchased now or at any time in the future. To be clear, 250 items doesn't refer to how many different items you may create but rather refers to the number of total sales of any item or items created with these fonts. If you have any questions or need additional commercial licensing feel free to contact Rae at hello@outside-the-line.com She is always happy to hear from you.

Rose Garden Deluxe is an elegant type collection including a luscious high contrast serif in three weights and an ethereal pen script also in three weights. Together the fonts form an effective all-around set for sophisticated display purposes. The fonts are best used for imposing headlines, as a logotype, in packaging and posters. Rose Garden Serif has an extra high contrast giving it a sophisticated look, suitable for fashion or luxurious high-end products, magazines and anything such. Rose Garden Pen has no contrast, as if it was written with a steady and precise inking pen. Rose Garden Pen is equipped with plenty of useful OpenType features: it has Contextual Alternates and Standard Ligatures to enliven the flow of “writing” and to keep the connections between letters smooth. In addition it has Stylistic and Swash Alternates for every standard uppercase and lowercase characters, as well as for ampersand and few ligatures. On top of that it has initial and terminal swashes - a feature that is set in Titling Alternates. The feature works following: click it on and write normally. Type a space before a word and after it to get a special swash character in the beginning and in the end of the word. If that isn’t enough seek for even more alternates in the Glyphs Palette. Each weight has over 650 glyphs in total. Rose Garden Ornaments is an extension to Rose Garden Pen. It’s a set of Ornaments with the same weight and handwriting style as the font. The swooshes can be combined with the font for even more ornamental looks and the swashes set in lowercase letters can be used as additional terminal swashes, combined with any lowercase character.

The Nesobrite typeface is a striking representation of the modern, boxy design aesthetic. Its linear, mechanical structure is the perfect embodiment of clean and neutral, with an austere edge that adds a touch of sophistication to any design. This font has been inspired by classic square-sans fonts, such as Bank Gothic and Microgramma, but with a contemporary twist that sets it apart. One of the most remarkable aspects of Nesobrite is its ability to imbue your message with a clear, professional, and authoritative voice. Its scientific vitality is sure to make your text come to life, whether it is for a technical report, a research paper, or a business presentation. The font’s versatility makes it ideal for conveying complex data and analytical information in a concise, clear, and easy-to-read manner. Nesobrite is also packed with useful features that make it an invaluable tool for any designer. Its small caps function is a useful addition for those looking to create designs that exude an air of formality and elegance. The font comes in five different widths and weights, as well as italics, which allows designers to use it in various contexts and settings. But what truly sets Nesobrite apart is its boxy design. The typeface’s clean and geometric structure is an ode to the modernist design movement, with its minimalistic and uncluttered aesthetic. Its sharp corners, angular edges, and right angles give it a distinct and eye-catching appearance that is sure to capture the attention of anyone who sees it. In conclusion, the Nesobrite typeface is the perfect tool for designers looking to create a sleek, modern, and professional look for their projects. Its linear, mechanical design, scientific vitality, and boxy design make it a versatile and dynamic font that is sure to elevate any project to new heights. With its range of weights, widths, and italics, Nesobrite is the perfect font for any designer looking to make a statement with their work. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.