Neue Helvetica® is a melding of aesthetic and technical refinements that result in superior design proportions, improved legibility and an expanded range of uses beyond the original Helvetica typefaces Neue Helvetica World fonts enable the setting of pan-European languages, in addition to Arabic, Armenian, Cyrillic, Georgian, Greek, Hebrew, Thai and Vietnamese. The Cyrillic fonts include full support of the Unicode block, including characters for Bulgarian, Mazedonian, Serbian and Ukrainian. Other Monotype global fonts can be paired with Neue Helvetica World to create a more comprehensive global typographic solution. A few examples follow: Devanagari: Saral Devanagari Japanese: Tazugane Gothic or Yu Gothic Korean: YD Gothic 100 or YD Gothic 700 Simplified Chinese: M Ying Hei PRC or M Hei PRC Traditional Chinese: M Ying HK or M Hei HK Click here to download a brochure with more information on Neue Helvetica World.

Rationality Grateful is an elegant handwritten font that exudes sophistication and charm. Its clean and modern design is perfect for a wide range of design projects, from wedding invitations to branding materials. This font features delicate and flowing strokes, which add a touch of femininity and grace to any design. The letters are carefully crafted to ensure readability and legibility, even in small sizes. With its elegant curves and swooping lines, Rationality Grateful is ideal for use in headings, titles, and other large text blocks. It’s also great for adding a personal touch to handwritten notes, quotes, and social media posts. Overall, Rationality Grateful is a versatile and timeless font that will elevate any design project and leave a lasting impression on your audience. If you have any questions please don’t hesitate to contact me Thank you best regards, Fikryal Studio

Here's a unique and unusual font pack in the tradition of late 1960s psychedelic poster and album cover styles. Perfect for that flaming psychedelia vibe from the Haight-Ashbury scene in the Summer of Love era. Combine Regular and Fill versions to create a two-toned design for a super offbeat and eye-catching look. Once loaded on your system, the three versions of the font show in your menu as the following three "weights": Psychotropic Experience Regular, Psychotropic Experience Fill, and Psychotropic Experience Solid. The 3-alphabet collection works together seamlessly to allow you to assign one color to the body of the letter, and a second color to the inset fill areas. Just copy your text block, paste in place, reassign the font to the Fill version, choose a complimentary color, and off you go. All caps Fonts.

Patika Typeface is a contemporary neo-grotesque font that combines modern aesthetics with functional legibility. Inspired by the timeless elegance of classic typefaces such as Helvetica, Futura, and Avant Garde, Patika offers a fresh take on the genre with its unique blend of clean lines, balanced proportions, and subtle details. Designed with utmost care and precision, Patika Typeface achieves a harmonious balance between width and height, particularly in its lowercase letters, ensuring optimal legibility across various sizes and applications. Its versatile nature makes it an ideal choice for a wide range of typographic needs, from eye-catching headlines to extensive blocks of text. Equipped with a comprehensive set of OpenType features, including alternative glyphs, fractions, arrows, ligatures, and more, Patika offers designers an array of tools to enhance their typographic compositions and add a touch of uniqueness to their designs.

Recreate authentic letterpress typography with Oxford Press, a set of chunky uppercase Serif & Sans fonts designed using real vintage metal letterpress blocks sourced from old printing companies. The Serif & Sans fonts each have two variations, 'Clean' and 'Rough'—with the latter having real, highly detailed hand-made letterpress textures applied to each letter. Each letter of the 'Rough' fonts also has an alternate texture, which can be accessed simply by switching between upper and lowercase characters. The 'Rough' fonts can make a striking impact as bold header text for posters, adverts, prints and packaging, whereas the 'Clean' versions are more suited for smaller accompanying text, cleaner designs or for applying your own textures and styles. Language Support • English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

Please welcome the new grotesque family; slightly more geometric than Block Berthold but much softer than the industrial Din Next, Rockeby includes a lot of stylistic alternates and ligatures to help add character to any type of design. The slightly curved diagonal strokes give the sans serif fonts its unique personality and soft look. Even more - the family has two scripts (4 weights each) which will enhance the design even more. Combining italic with the script has never been easier - they both have the same italic angle. These scripts also benefit from contextual alternates, swashes and ligatures. And last but not least, the family also includes Extras fonts (which also have 4 weights) which can further enhance any design you are creating. There is an new addition to the family - Rockeby SemiSerif and Rockeby Brush families!

Neue Helvetica® is a melding of aesthetic and technical refinements that result in superior design proportions, improved legibility and an expanded range of uses beyond the original Helvetica typefaces Neue Helvetica World fonts enable the setting of pan-European languages, in addition to Arabic, Armenian, Cyrillic, Georgian, Greek, Hebrew, Thai and Vietnamese. The Cyrillic fonts include full support of the Unicode block, including characters for Bulgarian, Mazedonian, Serbian and Ukrainian. Other Monotype global fonts can be paired with Neue Helvetica World to create a more comprehensive global typographic solution. A few examples follow: Devanagari: Saral Devanagari Japanese: Tazugane Gothic or Yu Gothic Korean: YD Gothic 100 or YD Gothic 700 Simplified Chinese: M Ying Hei PRC or M Hei PRC Traditional Chinese: M Ying HK or M Hei HK Click here to download a brochure with more information on Neue Helvetica World.

Mimeograph Lettering JNL is based on one of the numerous plastic lettering templates once manufactured by the A.B. Dick Company of Chicago and is available in both regular and oblique versions. The mimeograph utilized a porous drum which inked the backside of a waxed stencil sheet. Unlike traditional stencils which have cut out areas that are directly inked or painted, a mimeo stencil has the area to be printed scratched away by removing the wax coating with a stylus. The resulting image allows the ink from the drum to seep through the sheet and transfer to the blank paper. As with a companion font (Mimeograph Template JNL), the character shapes follow the routed letters of the template, complete with rounded terminals. A previous font release [designed with flat terminals and some alternate characters] is available as Interoffice Memo JNL.

Neue Helvetica® is a melding of aesthetic and technical refinements that result in superior design proportions, improved legibility and an expanded range of uses beyond the original Helvetica typefaces Neue Helvetica World fonts enable the setting of pan-European languages, in addition to Arabic, Armenian, Cyrillic, Georgian, Greek, Hebrew, Thai and Vietnamese. The Cyrillic fonts include full support of the Unicode block, including characters for Bulgarian, Mazedonian, Serbian and Ukrainian. Other Monotype global fonts can be paired with Neue Helvetica World to create a more comprehensive global typographic solution. A few examples follow: Devanagari: Saral Devanagari Japanese: Tazugane Gothic or Yu Gothic Korean: YD Gothic 100 or YD Gothic 700 Simplified Chinese: M Ying Hei PRC or M Hei PRC Traditional Chinese: M Ying HK or M Hei HK Click here to download a brochure with more information on Neue Helvetica World.

YinYangMessages contains two sets of letters, those on the upper-case keys that fit on the left side of a yin-yang symbol and those on the lower-case keys that fit on the left side of a yin-yang symbol. One can alternate the two sets manually but the OpenType contextual alternatives feature does this automatically in any program that supports this feature. The family contains two fonts. In one the filled half is on the left and in the other the filled half is on the right. The slash and backspace keys contain blank halves of the symbol, which are useful for completing words with an odd number of letters. The two styles can be used in layers. YinYangMessages is a fun and playful family that every once in a while may be the ideal typeface for some unusual situation.

Mamute is a block rockin' family with a cool letterpress look. Its upper- and lower-case slots hold glyphs with slightly different textures for a natural look. Numbers and punctuation marks also have alternate versions. Just trigger the Contextual Alternates feature to easily cycle the alternate glyphs, preventing double letters from displaying the same texture. Mamute is a highly decorative typeface available in 2 widths, regular and condensed, each also offered as a layered font, a handy and playful way for adding shades to your composition. There’s also a generous ornaments font and a catchwords one to spice up your designs. Mamute is based on Aldine wood type spirit (as there were many incarnations of it!), from circa 1870. Please note that this family has a limited character set and doesn't bring diacritics nor accented characters. But yet it does rock, you bet!

Important! There is a whole new redesigned version (remake) of Uni Sans called Uni Neue . The Uni Sans font family includes 14 weights - seven uprights with seven italics. It is characterized by excellent legibility in both - web & print design areas, well-finished geometric designs, optimized kerning, excellent web-font performance and legibility etc. Inspired by the classic grotesque strong typefaces like DIN and Dax - Uni Sans has his own unique style in expressed perfect softened geometric forms. The font family is most suitable for headlines of all sizes, as well as for text blocks that come in both maximum and minimum variations. Uni Sans font styles are applicable for any type of graphic design in web, print, motion graphics etc and perfect for t-shirts and other items like posters, logos. PDF Specimen also available - click here .

Neue Helvetica® is a melding of aesthetic and technical refinements that result in superior design proportions, improved legibility and an expanded range of uses beyond the original Helvetica typefaces. Neue Helvetica World fonts enable the setting of pan-European languages, in addition to Arabic, Armenian, Cyrillic, Georgian, Greek, Hebrew, Thai and Vietnamese. The Cyrillic fonts include full support of the Unicode block, including characters for Bulgarian, Mazedonian, Serbian and Ukrainian. Other Monotype global fonts can be paired with Neue Helvetica World to create a more comprehensive global typographic solution. A few examples follow: Devanagari: Saral Devanagari Japanese: Tazugane Gothic or Yu Gothic Korean: YD Gothic 100 or YD Gothic 700 Simplified Chinese: M Ying Hei PRC or M Hei PRC Traditional Chinese: M Ying HK or M Hei HK Click here to download a brochure with more information on Neue Helvetica World.

Worthe Numerals come out of a time-tested development cycle where House Industries employees ask “What if this could be just a little more…”. After pushing traditional didot forms to the limit, these digits were originally applied to a set of wood blocks. But, who says replenishable Michigan-grown basswood should have all the fun? So we added everything one needs to stylishly set their current currency and credit default swap hedges, while also being able to set the appropriate fractional take from their blog’s micropayment structure. Made to be large, attract attention, and —when needed— drop a shadow, Worthe Numerals brighten the daily drumbeat of numerical gloom. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Neue Helvetica® is a melding of aesthetic and technical refinements that result in superior design proportions, improved legibility and an expanded range of uses beyond the original Helvetica typefaces Neue Helvetica World fonts enable the setting of pan-European languages, in addition to Arabic, Armenian, Cyrillic, Georgian, Greek, Hebrew, Thai and Vietnamese. The Cyrillic fonts include full support of the Unicode block, including characters for Bulgarian, Mazedonian, Serbian and Ukrainian. Other Monotype global fonts can be paired with Neue Helvetica World to create a more comprehensive global typographic solution. A few examples follow: Devanagari: Saral Devanagari Japanese: Tazugane Gothic or Yu Gothic Korean: YD Gothic 100 or YD Gothic 700 Simplified Chinese: M Ying Hei PRC or M Hei PRC Traditional Chinese: M Ying HK or M Hei HK Click here to download a brochure with more information on Neue Helvetica World.

Ralph M. Unger, (Arno Drescher), 2006, (1936) Originally, Arabella Pro was designed by Arnold Drescher around 1936/1939. Drescher created this wonderful script for former Germany type foundry Joh. Wagner. The typeface has been redesigned, digitized, completed and expanded as OpenType Pro in the profonts studio.Arabella Pro comes in two versions, light and medium, each with a large selection of manually designed ligatures and alternates, i.e. swashed upper case to make this naturally flowing script design a perfect font for OTF-savvy applications like e.g. InDesign or Quark Xpress 7.Arabella Pro light and medium are perfect partners for any sans serif, especially for Futura. It is perfectly suited for anything in the area of headlines, posters, invitations etc. However, since it is very well legible, it can also be used individually for small text blocks.

Friendly is an homage to Morris Fuller Benton's adorable Announcement typeface. It is not a strict interpretation, digital revival or reverent reproduction of the original letterforms… but I would be remiss and shady to not acknowledge the letterforms that inspired this typeface. If you are looking for a more accurate 'scanned revival' I would recommend searching "Announcement" on MyFonts. As stated earlier, it is an homage to the original letterforms of the typeface but takes a great bit of freedom tightening the construction up in order to loosen up the movement of the variant letterforms to allow a great deal of usable personality. I enjoy stating this dichotomy… "loosen up to tighten up the forms" and vice versa. It seems counterintuitive or silly but by allowing the letterforms to normalize, I felt more comfortable going back and adding rather indulgent personality. Infused with stylistic alternates, swashes, titling, many many contextual alternates, 9 stylistic sets and 2 stylistic sets with wordmarks, the typeface became far more 'friendly' for me… how could it not? With so many loops, swashes and typographic indulgences, it was bound to be fun. The more elaborate and 'overdone' Friendly got, the more I wanted to slant it. Here's where my thinking differs from MFB's original. I like slanted romans… especially ones with long ascenders, but I do not like much of a slant. It has to be the lettering person in me. It's hard for me to do a completely upright serif and not pair it with an angle, but I did not feel Announcement's 'Italic' offered much and the actual slant needed to be far less. If it's not an italic, I prefer the letters to slant with an angle equivalent to the thickness of the vertical stroke. The Slanted version of Friendly is set at 3.6 degrees, is quite subtle, and very fitting for me. You will find that most characters have a contextual, stylistic, swash and titling alternate assigned to them and some have an echoed alternate to the swash and titling options if the stylistic alt has been selected in tandem. Additionally, all of these are accessible in the glyph palette directly from the base glyph typed or through selecting options through the Stylistic Sets 1–9. Stylistic Sets 10 & 11 are a little different. They are actually configured as complex majuscule ligatures… a result of me getting carried away. Other features like a default old style numeral set and coordinating glyphs have been produced along with case support, ordinals, and more have been added to make it more relevant for contemporary use.

AwanZaman has a three-phase story, beginning with Dr Mamoun Sakkal’s two Arabic styles and culminating with Juliet Shen’s Latin extension. AwanZaman started as simply Awan, a commission for a modern, clean, monoline typeface for writing headlines and story titles in a forward-thinking Kuwaiti newspaper. Awan was based on the geometric forms of Kufic script, while in phase two, a second typeface (Zaman) was designed to add enough calligraphic Naskh details to make it easy to read in demanding newspaper settings. Together these two phases give the typeface a warm, familiar, and progressive look, as well as an explanatory two-part name — AwanZaman. Since most editorials use typical Naskh headline fonts with an exaggerated baseline, Awan’s rational forms immediately distinguish it as a modern and progressive voice in the crowded field of Arabic editorial typefaces. As the companion Arabic typeface, Zaman has the same basic proportions and forms as Awan, but with many cursive, energetic, and playful details. And since modern monoline fonts are increasingly being used to set extended texts, more features were borrowed from Naskh calligraphy to expand the typeface’s use from headlines into text setting. When using the AwanZaman Arabic family, Awan (geometric Kufic forms) is the starting point. To add the sweeping, energetic personality of Zaman (calligraphic Naskh forms), simply activate an alternate character through the option of 20 stylistic sets available in any OpenType-savvy software. The two typefaces function as one file — the AwanZaman Arabic family — allowing users to combine features from both designs to transform the appearance of text from geometric and formal to playful and informal. The third phase of AwanZaman’s development introduced a companion Latin typeface designed by Juliet Shen to fulfil the persistent need in the Arabic fonts market for modern and geometric bilingual type families. Due to the Arabic’s monolinear strokes, AwanZaman Latin was destined to be a sans serif with a tall x-height, larger counters, and corresponding stem thickness to harmonise with the Arabic’s overall text colour and page presence. But it needed much more. One of AwanZaman’s chief assets is making the two languages look on a par when typeset side by side. Arabic and English readers will have a different sense of what that entails, but this type family defers to the Arabic — graceful and artistic with a good mix of straight stems and curved forms. Latin in general doesn’t aesthetically flow the way Arabic does, yet the tone of the Latin needed to mirror both the Arabic’s more squarish curves and formal personality of Awan and the undulating and more playful shapes of Zaman without looking outlandish. That need was met by creating some novel Latin characters, which are accessed through four stylistic sets the same way as AwanZaman Arabic. The alternates are not just clever in the way they look and how they echo the Arabic aesthetic, but also in harmonising the disparate languages and serving designers well when needing a balanced, bilingual text face with a warm and lively voice. AwanZaman is a clever, seven-weight powerhouse that makes extensive use of OpenType’s stylistic sets (20 in the Arabic and four in the Latin) so writers and designers can make the most of everything from a single glyph in display sizes down to dense text in paragraphs. As AwanZaman Arabic has no italic, neither does the Latin; contextual distinction normally handled by italics is achieved by exploiting the family’s seven weights. AwanZaman’s intricate OpenType programming supports Persian and Urdu, with features such as the returning tail of Barri Yeh treated properly. From its inception in geometry to its melding of two worlds with novel forms, AwanZaman is a personal labor by designers Dr Mamoun Sakkal and Juliet Shen, and embodies the TypeTogether ideals of serving the global community with innovative and stylish typeface solutions. The complete AwanZaman Arabic and Latin families, along with our entire catalogue, have been optimised for today’s varied screen uses.

Honey Pools is a handwritten Quirky font created with application brush strokes. This font is designed for casual designs but will bring out your designs as stunning as possible. It includes all lowercase and uppercase characters, numbers and symbols, multilingual support, and Ligature. Honey Pools is perfect for celebratory designs like st Patrick's Day poster design, Spring season Design, Ester Design, valentine design fonts, social media design fonts, content design, and other designs. Compatible with design studios such as Photoshop, Affinity Design, Adobe Illustrator, or Silhouette. That makes it great for creative projects. Thank you, Toni Dzulham - Dumadistyle

You're trapped in an endless now... seconds seem to be stretching out interminably... There’s an eternity between every tick, every tock of the clock... Your consciousness is stretched to the limit as time is expanded to fill the void between each microsecond. There’s a signpost up ahead... the letters appear to stretch into infinity. Anyone know the name of the font it’s set in? See the families related to Temporal Shift & Gap Expanded: Temporal Shift & Gap & Temporal Shift & Gap Compressed Features Four fonts (Shift Regular, Shift Bold, Gap Regular & Gap Bold) with upper and lowercase characters.

When drawing a new font, there is a time when the final form is found – almost – but the curves are not slick and clean yet, that's what I call the "raw" form. Raw – no sweeteners added! In this family I redefined this moment in type development for the eternally beautiful "Franklin Gothic". I call the design "Franklin Gothic Raw". This packet is the semi-serif addition. There never was a Franklin-Gothic with serifs but actually the font lends itself perfectly to a slab-serif. I started with adding a half serif and eventually add a full slab-serif later on.

You're trapped in an endless now... seconds seem to be stretching out interminably... There’s an eternity between every tick, every tock of the clock... Your consciousness is stretched to the limit as time is expanded to fill the void between each microsecond. There’s a signpost up ahead... the letters appear to stretch into infinity. Anyone know the name of the font it’s set in? See the families related to Temporal Shift & Gap Expanded: Temporal Shift & Gap & Temporal Shift & Gap Compressed Features Four fonts (Shift Regular, Shift Bold, Gap Regular & Gap Bold) with upper and lowercase characters.

A Sans Serif Family with a few unique relatives Our Bookable Sans Family was inspired by a lettering specimen from “Letters and Lettering” by Carlyle & Oring, but you'll find the inspiration has come a long way, baby. From its original reference of displaying a standard width and weight, to the two words showing a light narrow and a heavy wide, this friendly utilitarian display text face has grown to include three width families, with six weights from light to black each. The outliers of the family are Bookable Mondo: an uber heavyweight wide style exuding all brute power in an all-caps form, and Bookable Noir: a lightweight and narrow style with many unique alternate letterforms and ligatures that spoof film noir titling, but also goes off the rails having fun. Opentype features for the traditional families include: - Full set of Inferiors and Superiors for limitless fractions. - A small collection of f-based Ligatures. - Tabular & Proportional figure sets. - Ordinals. - Approx. 419 characters. Opentype features for Bookable Mondo include: - Full set of Inferiors and Superiors for limitless fractions. - Ordinals. - Approx. 391 characters. Opentype features for Bookable Noir include: - Full set of Inferiors and Superiors for limitless fractions. - Five Stylistic Alternate Sets. - Sixty-six unique ligatures. - Ordinals. - Approx. 701 characters.

Any prototype you can imagine, Skolar Sans can materialise. This industrious type family is more than just a versatile partner for our award-winning Skolar collection: it is a true sans-serif type system envisioned for the age of responsive design. We developed Skolar Sans to accommodate contemporary typographers and the challenges they confront: an ever-changing spectrum of outputs and devices, in which serious typography can get lost. Skolar Sans is engineered to cope with complex editorial texts and data-rich layouts alike. Its construction is designed for easy reading, and its subtle personal style and a touch of flourish. From gently thin to black, the finely-tuned weight variants will fit any composition from wide-screen dashboards to compact mobile editorial designs. Its four subtly graded width variants allow you to fit any page context with comfort. The 72 styles; 36 weight and width variants in uprights and true italics with ligatures, arrows, scientific figure variants, and fleurons. The two variable fonts (one for uprights and one for the italics) allow user precise navigation of the Skolar Sans design space and streamline delivery. The linguistic scope of Skolar Sans PE is an exact match to Skolar PE: Latin, Cyrillic, and Greek (including polytonic) scripts and support for hundreds of languages and transliterations.

PF Bague Sans Pro is a versatile monoline typeface with a distinct and eye-catching personality. Despite its inspiration from early 20th century geometrics, it diverts from the mechanical rigidity of those typefaces by incorporating humanist characteristics, such as subtle variations in stroke width and open counter shapes with vertical endings. This is a very clean and legible typeface with a warm and well-balanced texture which is ideal for intense editorial use in magazines and newspapers. Bague Sans’ most remarkable feature is its vast array of uppercase alternates and ligatures which truly shine when set at display sizes. This typeface is automatically transformed into a flexible, charming and stylish typeface with strong modern aesthetics. From classic to modern, from excessive to neutral. Bague Sans Pro is a multipurpose typeface which offers enormous possibilities and variations for editorial design, branding and corporate identity. Bague Sans Pro signifies freedom and personal style. This superfamily includes 18 weights from Hairline to Ultra Black with a consistent and well-refined structure. Each style consists of 1063 glyphs with more that 330 alternates and ligatures and an extended set of characters which support simultaneously Latin, Cyrillic and Greek. Download the complehensive PDF Specimen Manual to explore the unlimited text variations of Bague Sans Pro.

Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto sub-families have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well. The serif version has been designed to work best at small point sizes (around 8, 9 points). You will not achieve calm, boring or invisible look of your text with Preto Serif. Its long, spiky and sharp serifs contribute to give the typeface a distinct and energetic character. It is very suitable for magazines, corporate identity, brochures or other print materials where a typeface for continuous reading is required. The ligatures in Preto Serif are very special. You can set them in different tracking values and spacing will increase/decrease consistently in the ligatures as well. Alternative characters in the font files allow you to change the feeling of the text from typical to more special (J, Q, g , &). Each font contains a full set of small caps and many alternative characters for complex typesetting.