SansduskiMono is a sans-serif decorative/display family that is monospaced. Its very high x-height and tight spacing make it more suitable for use at large point sizes than small point sizes. (There are better options if one wants a readable text font.) The letter O is a rectangle with rounded corners and this shape motif is carried over to other characters that are usually rounded. The origin of this face is in a previous typeface, BigStripesMono. That family was designed to use the OpenType feature Contextual Alternatives (calt) to put stripes on letters. It had only upper-case letters in one weight. SansduskiMono adds lower-case letters and eight more weights plus italics and outline styles for the black weights. For a proportional rather than monospaced version of this design idea, see Sansduski. SansduskiMono is appropriate for titles, posters, advertising, and other uses that benefit from simple letter forms that are geometric and clean.

Didonesque Script has the flair of a script typeface, yet retains the rigid structure and incline of its cousins in the Didonesque family. This makes for an interesting approach – the flamboyancy of this script is restrained which resonates a distinctly reserved and formal tone. This typeface is perfect for formal occasions, with its main intent for use in short runs of text, headlines, branding and logo applications. Open Type features are utilized to good effect – positional forms, contextual alternates, ligatures, stylistic alternates, and old style figures all add value to Didonesque Script. There are four weights, from delicate to voluptuous (Regular, Medium, Bold, and Black), which are replicated in “Display” versions – these are designed for use at larger point sizes. Key features: • 4 weights in two styles – Regular and Display • Positional Forms (when activated) ensure the correct glyphs appear in context as you type • Full European character set (Latin only) • 550+ glyphs per font.

The Kairos™ Sans family melds 19th century wood type design traits from fonts called Grecians with current-as-today sans serif letterforms. The distinctive octagonal corners of the original design are still there, but Kairos Sans has been streamlined through the sensitive shaving of its serifs. Drawn by Terrance Weinzierl to complement his Kairos family, Kairos Sans provides a natural counterpoint sans serif design and stands on its own as a powerful communication tool for everything from two-foot high display copy to the smallest sizes of text content. Kairos Sans is available in 48 styles; 8 weights in three widths, all with matching italics. In addition to a full Latin character set that support most Eastern and Western European languages, it also has the necessary characters to support Greek and Cyrillic scripts. Kairos Variables are font files which are featuring two axis and have a preset instance from Thin to Black and Condensed to Extended.

Nemocon is a display font family designed by Carlos Fabian Camargo G. Nemocon It is ideal for making attractive messages. Nemocon has over 2200 glyphs distributed in 6 files OT designed from handmade lettering and usability testing. • Nemocon Script (1382 glyphs): based on the rotation of a flat tip brush. Its letters correspond to the uninterrupted calligraphic logic, as well as similar ingredients as the ones used in font Brush Script by Robert E. Smith, created for the American Type Founders in 1942. • Nemocon Tuscan (375 glyphs): Inspired by representative types of wood from the 19th century, specifically speedball brawny Tuscan capitals with serifs fishtail shaped. • Nemocon Catchwords (115 glyphs) + Nemocon Catchwords Shadow (115 glyphs): categorically inflated words with and without shadows, to accompany, highlight and prioritize. • Nemocon Dingbats (114 glyphs) + Nemocon Containers(150 glyphs): unconventional pictograms consisting warm and comforting thoughts designed to highlight words or phrases which needed multicolored illustrations or drawings in black and white.

Secca is a fresh and versatile typeface series. With its workhorse qualities, Secca is perfectly suited for a wide range of applications - especially where legibility and economy are important factors. Secca is rooted in the tradition of early German Grotesk typefaces, but is tailored for the needs of today, with a wide language support and many typographic features and extras. » pdf specimen « The core family comes in nine weights from Thin to Ultra Black plus another three Hairline weights - each with italics, small caps and italic small caps. While the weights from Light to Bold perform well in text sizes, the more extreme styles give extra freedom for Headlines & Signage. For setting tables and charts, Secca offers tabular figures, fractions, currency signs and mathematic operators which share the same fixed width throughout the entire range of weights. This special feature is called “weight duplexing” and is a time saver for designers of annual reports and other figure-heavy texts.

Pieta is a wide sans type family inspired by old typeface lettering from Netherlands, with a more contemporary design. The Pieta family includes 7 weights, from Hairline to Black, with their corresponding italics. Each font includes OpenType Features such as Proportional Figure, Tabular Figures, Numerator, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals, Ligatures and Fractions. Pieta family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afar, Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

Introducing Daily Sans, a complete sans serif font family with 10-weights, plus italics (20-fonts total). Daily Sans was designed to be an everyday-use geometric typeface with excellent legibility and a neutral tone. It's a perfect go-to for branding, web, and print design projects and can stand out on its own or play a supporting role in font pairings. It’s great for body/paragraph type as well as for larger display type. Because the goal was to create a font you can truly use for any project, purpose, or occasion, Daily Sans includes a wide range of weights starting from the very thin Hairline all the way through to the very bold Heavy. This means that you’re always able to find just the right weight for your needs, and it makes creating type hierarchies a breeze. Daily Sans comprises 20 fonts, each with approximately 450 glyphs - including 16 standard and discretionary ligatures, three ampersand variants, a full set of arrows, and more - and supports over 200 languages. The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (To access these awesome features in Microsoft Word, you'll need to get comfortable with the advanced tab of Word's font menu.) PLEASE ENJOY! I can't wait to see what you make with Daily Sans. Feel free to use the #upupcreative and #dailysansfont tags to show me what you've been up to.

Quercus is characterised by open, yet a little bit condensed drawing with sufficient spacing so that the neighbouring letters never touch. It has eight interpolated weights with respective italics. Their fine gradation allows to find an exact valeur for any kind of design, especially on the web. Quercus serif styles took inspiration from classicistic typefaces with vertical shadows, ball terminals and thin serifs. The italics have the same width proportion as upright styles. This “modern” attitude is applied to both families and calls for use on the same page, e g in dictionaries and cultural programmes. Serif styles marked by “10” are dedicated to textual point sizes and long reading. The sans-serif principle is rather minimalistic, with subtle shadows and thinned joints between curved shapes and stems. Quercus family comprises of the usual functionality such as Small Caps, Cyrillics, diacritics, ligatures, scientific and aesthetic variants, swashes, and other bells & whistles. It excels in informational and magazine design, corporate identity and branding, but it’s very well suited for book covers, catalogues and posters as well. When choosing a name for this typeface I've been staring out from my studio window, thinking helplessly without any idea in sight. Suddenly I realised that all I can see is a spectacular alley of oaks (Quercus in Latin) surrounding my house. These oaks were planted by the builders of local ponds under the leadership of Jakub Krčín in the fifteenth century.

Breathe Neue is not just an update of my renowned Breathe of 2010, this is something else... Many times I find myself looking for inspiration in my previous creations. The original Breathe has something on its essence: Something that almost 10 years later still caught my attention. Like its name suggests, letters seem to be breathing, moving, alive. Many years passed so I asked myself if there was still something I could do for it, something to get the most of that beautiful essence... Suddenly, I was already working on its curves: Many new loops, more polished, more refined. Also the proportion and spacing were altered to embellish the font. Breathe Neue’s swashes are addictive. I couldn't find another word. Irresistible? Maybe. Once you see some of its loops you want to see more. I believe this might be due to its very geometrical feel, which match well with the bodonian curves of the font. See also how well it works with Breathe Caps. And what if you combine them with Breathe Special? wow. I'm still young (yeah, sure) and I believe there're still many years ahead to enjoy this great profession, and to make many new (and astonishing, I hope) fonts. But I also think, it’s time to pamper my first creations. They deserve the best treatment, after all, they were once a success! This is what I did with my lovely Breathe. I hope you like it.

An Art Deco, script inspired typeface for 'modern' times, Pauline Didone is a full type family with a unique and flavorful design. It has a sense of femininity and naïveté that comes from its predecessor, Pauline. It's a typeface useful for short bits of copy, logotypes and interesting titling. This typeface family of 10 different fonts includes 5 weights and their italics and a wide range of OpenType alternates. The original Pauline was inspired by and has a strong influence from retro scripts. The typeface is geometric, formed with deliberate contrasting brush strokes and a ostentatious flair. Pauline Didone's high contrast strokes give it a very interesting look that is up to date with latest design trends and very useful for today's design environment. Pauline Didone pairs nicely with the original sans-serif Pauline. The typeface family also includes a full array of alternate forms, including over 150 alternate characters. These alternates can be accessed by activating OpenType features and style sets. Note: In order to use these OpenType features, you will need a program with advanced typography capabilities such as the Adobe Suite or Quark. These alternates also include a group of ball terminals that can be accessed under the swash alternates. Pauline Didone is the latest in a trusted line of typefaces from insigne. Why settle for the ordinary when you can choose Pauline Didone to lend its unique look to your art work?

Quercus is characterised by open, yet a little bit condensed drawing with sufficient spacing so that the neighbouring letters never touch. It has eight interpolated weights with respective italics. Their fine gradation allows to find an exact valeur for any kind of design, especially on the web. Quercus serif styles took inspiration from classicistic typefaces with vertical shadows, ball terminals and thin serifs. The italics have the same width proportion as upright styles. This “modern” attitude is applied to both families and calls for use on the same page, e g in dictionaries and cultural programmes. Serif styles marked by “10” are dedicated to textual point sizes and long reading. The sans-serif principle is rather minimalistic, with subtle shadows and thinned joints between curved shapes and stems. Quercus family comprises of the usual functionality such as Small Caps, Cyrillics, diacritics, ligatures, scientific and aesthetic variants, swashes, and other bells & whistles. It excels in informational and magazine design, corporate identity and branding, but it’s very well suited for book covers, catalogues and posters as well. When choosing a name for this typeface I've been staring out from my studio window, thinking helplessly without any idea in sight. Suddenly I realised that all I can see is a spectacular alley of oaks (Quercus in Latin) surrounding my house. These oaks were planted by the builders of local ponds under the leadership of Jakub Krčín in the fifteenth century.

The original Frutiger typeface was designed in the early 1970s by Adrian Frutiger and his studio for the way finding system of the Roissy Charles de Gaulle airport in Paris. Soon after the airport was opened, a huge demand for the typeface arose from companies wanting to employ it in other signage systems, as well as in printed matter. The Frutiger typeface came out as part of the Linotype library in 1977. Epitomizing functionality and clarity both in signage and as a bread-and-butter typeface in print, Frutiger became a modern classic. Neue Frutiger® is the 2009 version of the Frutiger typeface family. It was revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. While Frutiger Next, the 1999 revision, introduced a new concept (including a larger x-height, a more pronounced ascender height, narrower letter-spacing and, most notably, an italic with calligraphic traits), Neue Frutiger returns to the original 1977 design. The result is a well-balanced range of 10 finely-graded weights. Despite the various changes, the ‘New Frutiger’ still fits perfectly with Frutiger and serves to harmoniously enhance the styles already in existence. Neue Frutiger Variable are font files which are featuring two axis and have a preset instance from UltraLight to ExtraBlack and Condensed to Extended. Featured in: Best Fonts for Resumes, Best Fonts for Websites, Best Fonts for PowerPoints, Best Fonts for Tattoos

Discover an exquisitely elegant modern typography pairing with the Simple Serenity Font Duo. This beautiful set combines a contemporary take on a classic serif with a clean & modern fine calligraphy script—creating the perfect pair for stunning logos, wedding designs, quotes, display text and more. This font family includes; Simple Serenity Script • A clean, elegant hand-drawn script font containing upper & lowercase characters, all punctuation and numerals. Contains 50 ligatures to help the text flow naturally and add a custom-made feel. Includes 9 alternate characters for d,k,f,g,h,i,j,t,y which have extra flourishes. Also includes beginning and end swashes for every lowercase letter. Simple Serenity Serif • A modern take on a classic serif font. Contains uppercase-only characters, all punctuation & numerals. Includes 14 ligatures for extra flair and uniqueness, as well as 10 alternate characters for Q,A,M,E,R,K,U,F,H,W. Using Ligatures and Alternates; Both fonts contain a number of 'Standard Ligatures' (unique double-letter pairings) and 'Stylistic Alternates' (alternative letter designs) to provide you with more customisation options. Make sure these functions are switched on in your software in order to access these characters. You can also access these characters via a Glyphs panel. This is available on most Adobe software & Affinity Designer. Language Support; Both fonts support English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Turkish, Icelandic, Slovenian

Full Sans is a geometric sans in the tradition of Futura, Avant Garde and the like. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Full Sans is the younger brother of original Full Neue, Full Slab and Full Tools. Ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design. Full Sans provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Full Sans LC 50 Book” forms the central point. The first figure of the number describes the stroke thickness: 10 Thin to 90 Bold. Full Sans LC comes 5 weights and italics also Full Sans SC comes 5 weights and italics total 20 types. The family contains a set of 485 characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Full Sans is the perfect font for web use. You can enjoy using it. UPDATE: 08 March 2019 - Fixed extension of glyhps "y" and "g". - "LineGap" error has been fixed. - Fixed bug in "onum", "pnum", "tnum" and "tnum" software in OpenType feature.

The main inspiration is from Art Nouveau which flourished in Europe at the end of the 19th and beginning of the 20th centuries. This design included furniture (Majorelle, Lalique) and architecture (Victor Horta, Henry Van de Velde, Gaudi, Alfons Mucha). But Hector Guimard remains the favorite for all aspects of its art and, of course, its typefaces used on the Parisian Metropolitan posters. In particular, the various kerning of the various letters he used to make the poster a whole design from singular designs, leading to numerous variations. As a designer, I first worked with the individual glyphs Hector Guimard designed and I discovered that they vary constantly from a poster to another, depending on the overall result he was looking for. Another difficulty in transferring his design to printing is that there was no lower case. I was excited to create the whole font from the original designs of Hector Guimard, incorporating its variations and "crazy kerning". After several attempts, it appeared to be impossible to include all variations and I slightly moved to my own new design as a complete font, upper and lower case, with kerning. I voluntarily limited the ascenders and descenders to the usual typography so that it can be used from 10 / 12 points. This version can be used to edit letters and books in the context of Art, specially Art Nouveau and Art Deco of course, posters of any kind.

“Quercus” is characterised by open, yet a little bit condensed drawing with sufficient spacing so that the neighbouring letters never touch. It has eight interpolated weights with respective italics. Their fine gradation allows to find an exact valeur for any kind of design, especially on the web. Quercus serif styles took inspiration from classicistic typefaces with vertical shadows, ball terminals and thin serifs. The italics have the same width proportion as upright styles. This “modern” attitude is applied to both families and calls for use on the same page, e g in dictionaries and cultural programmes. Serif styles marked by “10” are dedicated to textual point sizes and long reading. The sans-serif principle is rather minimalistic, with subtle shadows and thinned joints between curved shapes and stems. Quercus family comprises of the usual functionality such as Small Caps, Cyrillics, diacritics, ligatures, scientific and aesthetic variants, swashes, and other bells & whistles. It excels in informational and magazine design, corporate identity and branding, but it’s very well suited for book covers, catalogues and posters as well. When choosing a name for this typeface I've been staring out from my studio window, thinking helplessly without any idea in sight. Suddenly I realised that all I can see is a spectacular alley of oaks (Quercus in Latin) surrounding my house. These oaks were planted by the builders of local ponds under the leadership of Jakub Krčín in the fifteenth century.

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 ExtraBlack.

The characteristic ‘French face’ was originally made in 1899 under the supervision of Joseph Pinel. Thus, what was originally French 10 pt. Nº 2, got its present name. The Frenchman Joseph Pinel called himself a "typographical engineer", but was at the time employed as a type draughtsman at the Linotype Works in Altrincham. It appears that this and some other faces that he supervised, were, except for use on the Linotype, also meant for manufacturing matrices for the Dyotype. This composing machine was an invention of Pinel. The Dyotype was a rather complicated machine and consisted, like the Monotype, of two separate contraptions, a keyboard which produced a perforated paper ribbon and a casting machine which produced justified lines of movable type. Unlike the Monotype which has a square matrix carrier, the Dyotype had the matrices on a drum (in fact two drums, hence the name of the machine). A Pinel Diotype company was founded in Paris and a machine was built with the help of the printing press manufacturer Jules Derriey. As is often the case, a lack of sufficient capital prevented the commercializing of this ingenious composing machine. Coen Hofmann digitized the font from a batch of very incomplete, damaged and musty drawings, which he dug up in Altrincham. He redrew all characters, bringing up the hairstrokes somewhat in the process. The result is a roman and italic, while the roman font also includes Small Caps

Jesus Saves is a font based on the familiar old logo that has “JESUS” hidden within a maze-like set of multi-branched vertical bars. The characters appear to be an alien, cryptic language at first sight, perhaps even a Japanese, Chinese, or Korean language, thanks to the unusual figures created by the combinations of various letters. It is a teaser for the eyes, as well as a visual feast of De Stijl-type art. It is an attention-getting font that is cool to look at, an eye puzzle that is enticing to decipher. It’s a great font to use for striking logos (see Gallery Images) by the judicious use of ligatures, where in word settings ligatures may be used at the beginnings of words, the middle or the endings of words. Jesus Heals is the missing spaces from the Jesus Saves font, sort of like a doughnut hole font! If you use this font to fill in the spaces in the Jesus Saves font, it becomes whole, or healed, thus the name. Jesus Lives is a raised block/3D or three dimensional version of Jesus Heals. For color combinations in apps that support layering, Jesus Lives synchs and has perfect kerning register with Jesus Heals, as Jesus Heals has with Jesus Saves. The digitization was done by fontmeister John Bomparte.

History is always in sight; it is constantly being reconsidered and reformulated in the context of now. We see approaches to art, fashion, textiles, homewares, furnishings … not to mention music, graphics and everything else that culturally enriches our daily lives, revisited and made anew for today.    Address Sans indulges in the spirit and aesthetics of mid-century Modern – Italian industrial design, sleek coffee makers, stylish cars, seductive jazz pressed on vinyl – with a charm and charisma that defies time. It evokes history but is decisively created for today.    Its design, in reality, is rooted in the condensed structure and block modulation of early 1950s German lettering intended for use in street signage, but when we started to work on the various weights and widths, the result was a set of fonts in a style similar to the typographic work developed by Butti and Novarese in the 60s. The multitude of potential applications for Address Sans then became clear.    In a range of 3 widths and 8 weights each, Address Sans includes little verses, true italics, small caps and numerous alternative signs for a total of 48 fonts. The result is a functional typeface that is effortlessly seductive, with geometric features and design details that ooze cool, and take it away from mere reinterpretation towards typographic forms that adapt perfectly for contemporary use.

Wakerobin takes its charming swagger from the hand-painted billboard, poster and signage lettering of the mid-19th century. These showy styles did everything they could to stand out from the background cacophony of advertising, with signwriters using sharp and high contrast serif letters, squared block shapes, or art nouveau forms to grab the attention of passersby. Wakerobin embraces the spirit of these letterforms, bringing these various styles together in one typeface - as if users had their own sign painter on hand. Just as lettering artists had to adapt to a variety of sizes - from wide streetcar lettering to compressed forms that squeezed into narrow Victorian windows - the variable version of Wakerobin scales up and down in width to fit whatever environment the user’s working in. The static fonts come in three widths and five weights. As well as its adaptability, Wakerobin is bursting with vintage flavour, making it hard to ignore. Its distinctive, spiky serifs would be right at home on food and drinks packaging, as well as shop windows, adverts, and any other place that calls for some typographic showmanship. It performs particularly well in busy environments, or anywhere with a lot of visual noise - just as its historic predecessors did. And while Wakerobin is first and foremost a display typeface, it’s surprisingly elegant when used at text size, or in the lighter end of the weight spectrum.

Sada is a text font designed with hand held devices and ebooks in mind. Glyphs are designed to be larger than usual and very clear with soft visual characteristics and many traditional Arabic calligraphic transitional features incorporated to improve legibility. The word “sada” means “echo” in Arabic. Even though Sada is a cursive style font it offers clearly distinguished and visually unified letter shapes in every position of a word. Sada supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It comes with three weights, regular, bold, and ultra-light. Each weight has normal and left-slanted “italic” styles. The script design of this font family follows the Arabetics Mutamathil Taqlidi style and utilizes varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter in an Arabic text. Sada includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Sada’s soft-vowel diacritic marks (harakat) are only selectively positioned with most of them appearing on similar lower or upper positions to emphasize they are not part of letters. Kashida is zero width glyph.

Leftfield - stylish vintage font collection. Leftfield collection includes following: •Leftfield Brush -a bold baseball style script with Clean and Rough version •Leftfield Swoosh -a set of swooshes designed to go with Leftfield Brush. Clean and Rough version. •Leftfield Sans -a sturdy all caps sans serif with Regular and Bold weight and Clean and Rough version of both •Leftfield Serif -a sturdy all caps serif with Regular and Bold weight and Clean and Rough version of both Leftfield Brush is a bold and strong sports team style vintage connected script. It’s great for any kind of display use from impressive logos to packaging and headlines. Brush is equipped with automatic Contextual Alternates that keep the connections smooth. In addition there is Swash, Titling and Stylistic alternates for standard characters. Try combining Leftfield Swoosh to make stunning compositions. Leftfield Sans and Serif work great as themselves, they make striking word blocks and they are designed to go with the Brush. Try Leftfield Serif in large sizes to make the best out of the subtle serif’s. Leftfield Rough versions simulate a printed version of the font for authentic vintage look. They’re otherwise the same font but with a rugged outline and print texture inside the characters. Leftfield has a wide language support including West European, Central European, Baltic, Turkish and Romanian character sets.

Add some old fashioned charm to your designs with the distressed alphabets in the new BLINCtype Letterpress Fontpak, a brand new font collection containing 8 letterpress-inspired fonts from the creative minds at Blinc Publishing in St. Paul, MN. The BLINCtype Letterpress Fontpak contains a handy concise assortment of old-school display fonts. From the old Western "WANTED" poster look of Prospect Modern, to the no-nonsense all-caps classic Goshen and its lowercase companion Gideon, these fonts are inspired by wooden letterpress blocks and other archaic technologies. It's like having your own letterpress print studio! Except it's all instantly downloadable right now as easy-to-use fonts! Designers love working with the Cheltenham-esque Gomorrah and its grittier, grungier counterpart, Sodom. The bouncy Golgotha has a rough and tumble readiness that exudes a hand-made charm, while Hamilton Offset has a cryptic, experimental look and feel that gives the impression of double-vision. You also get the newest member of the Blinc font family, Player Piano, which was based on punch-cut stencil letters on an old player piano paper song roll. Purchase the BLINCtype Letterpress Fontpak today and you'll be able to download and start using these 8 great fonts right away! The BLINCtype Letterpress Fontpak contains the fonts: Gideon, Golgotha, Gomorrah, Goshen, Hamilton Offset, Player Piano, Prospect Modern and Sodom.

Wakerobin takes its charming swagger from the hand-painted billboard, poster and signage lettering of the mid-19th century. These showy styles did everything they could to stand out from the background cacophony of advertising, with signwriters using sharp and high contrast serif letters, squared block shapes, or art nouveau forms to grab the attention of passersby. Wakerobin embraces the spirit of these letterforms, bringing these various styles together in one typeface - as if users had their own sign painter on hand. Just as lettering artists had to adapt to a variety of sizes - from wide streetcar lettering to compressed forms that squeezed into narrow Victorian windows - the variable version of Wakerobin scales up and down in width to fit whatever environment the user’s working in. The static fonts come in three widths and five weights. As well as its adaptability, Wakerobin is bursting with vintage flavour, making it hard to ignore. Its distinctive, spiky serifs would be right at home on food and drinks packaging, as well as shop windows, adverts, and any other place that calls for some typographic showmanship. It performs particularly well in busy environments, or anywhere with a lot of visual noise - just as its historic predecessors did. And while Wakerobin is first and foremost a display typeface, it’s surprisingly elegant when used at text size, or in the lighter end of the weight spectrum.

Phinney Jenson ML is a font with deep historical roots firmly planted in the fertile soil of the Italian Renaissance. Twenty years after Lorenzo Ghiberti finished his famous East Doors, the Gates of Paradise, of Santa Maria del Fiore in Florence and about fifteen years before Sandro Botticelli painted his “Birth of Venus,” a French printer by the name of Nicolas Jenson set up a small print shop in the powerful city-state of Venice. The fifteenth century marked the end of the plague and the rise of Venetian power, as the merchants of Venice controlled the lucrative trade of the eastern Mediterranean and sent their ships as far as London and even the Baltic. In 1470, Jenson introduced his Roman type with the printing of De Praeparatio Evangelica by Eusebuis. He continued to use his type for over 150 editions until he died in 1480. In 1890 a leader of the Arts & Crafts movement in England named William Morris founded Kelmscott Press. He was an admirer of Jenson’s Roman and drew his own somewhat darker version called GOLDEN, which he used for the hand-printing of limited editions on homemade paper, initiating the revival of fine printing in England. Morris' efforts came to the attention of Joseph Warren Phinney, manager of the Dickinson Type Foundry of Boston. Phinney requested permission to issue a commercial version, but Morris was philosophically opposed and flatly refused. So Phinney designed a commercial variation of Golden type and released it in 1893 as Jenson Oldstyle. Phinney Jenson is our version of Phinney’s version of Morris' version of Nicolas Jenson’s Roman. We selected a view of the Piazza San Marco in Venice for our gallery illustration of Phinney Jenson ML because most of the principal buildings on the Piazza were already standing when Jenson arrived in Vienna in 1470. The original Campanile was completed in 1173 (the 1912 replacement is partially visible on the left). The Basilica di San Marco was substantially complete by 1300. The Doge’s Palace (not in the photo, but next to the Basilica) was substantially complete by 1450. Even the Torre dell'Orologio (Clock Tower) may have been completed by 1470—certainly by 1500. Phinney Jenson ML has a "rough-and-ready" strength, suitable for headlines and short blocks of text. We have sought to preserve some of the crudeness of the nineteenth-century original. For comparison, see the more refined Centaur, Bruce Rogers's interpretation of Jenson Roman. Phinney Jenson ML has a strong presence that will help your documents stand out from the Times New Roman blizzard that threatens to cover us all. Phinney Jenson ML Features: 1. Glyphs for the 1252 Western Europe, 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Accented glyphs for Cornish and Old Gaelic. Total of 393 glyphs. 400 kerning pairs. 2. OpenType GSUB layout features: onum, pnum, salt, liga, dlig, hisy and ornm. 3. Tabular (std), proportional (opt) & old-style numbers (opt). 5. CcNnOoSsZz-kreska available (salt).

A sturdy workhorse with the grace of a gazelle, the FF Pastoral typeface family marries pure craftsmanship with rapturous excesses of form. With his fifteenth release under the FontFont brand, prolific French designer Xavier Dupré has filled a typographic toolbox with plentiful options ranging from a tender, feathery Thin to a robust, healthy Black. At a glance, FF Pastoral appears deceptively simple, particularly in the middle weights. That surface serenity is intentional and allows for easy reading and quick comprehension of short blocks of copy. Upon closer inspection, FF Pastoral is complex and nuanced, carrying a balanced tension in its forms. This plays particularly well in magazine spreads and corporate logos, where uniqueness is a virtue. In creating his latest design, Dupré drew inspiration from a tasteful mix of references, combining diverse elements with a deft hand. While its letter shapes were informed by humanist-geometric hybrid Gill Sans, FF Pastoral’s proportions have been optimized for contemporary typography. Slightly condensed but generously spaced, FF Pastoral features a tall x-height, open counters, and subtle, sprightly italics slanted at just 5°. Proportional oldstyle figures are the default in the family, with tabular and lining numbers and fractions accessible through OpenType features. Elegant details evocative of calligraphy judiciously pepper the FF Pastoral glyph set. The ‘e’ bears an oblique crossbar, while the right leg of the ‘K’ and the ‘R’ are insouciantly curved in both the upright and italic variants. Further flourishes appear throughout the italics, notably in the ‘T’ and the ‘Z’, the gloriously looped tail of the ‘G’, and an extraordinary ampersand. Sharp-eyed fans of Dupré’s work may feel like they’re in familiar territory, and they would be right. An early version of FF Pastoral sprang to life in 2017 as Malis, a family in four weights on the heavier side of the spectrum. Over time, Dupré refined his original design, expanding it with four lighter styles and including true italics for all. The lightest weights are ethereal, with exquisitely delicate strokes drawing the eye in and across a line of type. The most substantial styles are tremendous in their power, allowing text to make a deep impression in print or on screen. Fully fleshed out, FF Pastoral works sublimely in a vast array of text and display settings. Dupré sees his latest FontFont offering as a ‘cultural’ typeface, perfect for the pages of an oversized coffee-table book or business communications where warmth and informality will win the day. Born in Aubenas, France (1977), Xavier Dupré is a gifted user of type as well as an award-winning type designer and lettering artist. After training in graphic design in Paris, Dupré studied calligraphy and typography at the Scriptorium de Toulouse. Since releasing FF Parango in 2001, Dupré has published such FontFont classics as the FF Absara and FF Sanuk superfamilies, FF Megano, FF Tartine, and FF Yoga. A designer of Khmer fonts as well as Latin typefaces, Dupré splits his time between Europe and Asia.

Be prepared, this Halloween party would be extraordinary . PUMPKIN ISLAND! A cute decorative Halloween theme Typeface, but still keeping the versatileness. Summoned for a Halloween theme look but doesn't lock the possibility to use in other attractive stuff. It fully pumps including ligatures & stylistic alternates in both capital or basic character, and the good news is . . PUMPKIN ISLAND also support multi-language within numbers and punctuations Glide through with every curve of each letter and be ready to rock pump your awesome needs! As how it looks, PUMPKIN ISLAND really fit for any needs such as horror books cover, posters, branding or any attractive design taste Here it goes! Have an awesome party ~ ----------- A guide to accessing all alternatives can be read at: http://adobe.ly/1m1fn4Y ---------- **Features:** - A-Z Character Set - a-z Characters set - Numerals & Punctuations (OpenType Standard) - Multilingual Thank you and have a nice day

Fans of Comicraft have made a lot of noise (HELP!) about the availability of ready-to-wear, factory surplus sound effects, not unlike those made available over a decade ago in our extremely popular and raucous ZAP PACK. It may sound impossible (WHA--?!), but Comicraft's Sonic Specialist, John JG Roshell, locked himself away (CLIK) in our top-secret SFX lab forming Onomatopoeia at high speeds (FWOOSH) and extreme temperatures (BBRRR), and sounded out over One Hundred (GASP) of the loudest (BTOOM), most intense (UNNGHH), squawkiest (KRAKK), discordant (SPLANGG), dissonant (SQUTCH) -- as well as dulcet and restrained (THWIPP) -- sound effects ever conceived (WOO HOO!) Helpfully arranged in alphabetical order (YIPPEE!), this Library of Onomatopeia -- the ONOMATOPEDIA, if you will (DING) -- is now available for use by the general public. WARNING: Comicraft Sound Effects may explode on contact with skin (AAAH!); please use protective clothing and eyewear when handling the Onomatopedia.

Ultra legible forceful sanserif in 32 fonts Parisine was born as official parisian métro signage typeface. This family of typefaces has become over years one of the symbols of Paris the Johnston for the London Underground or the Helvetica for the New York Subway. The Parisine was created to accompany travelers in their daily use: ultra-readable, friendly, human while the context is a priori hostile. Meanwhile, Parisine is now a workhorse and economical sanserif font family, highly legible, who can be considered as a more human alternative to the industrial-mechanical Din typeface family. More human, but not fancy: No strange “swashy” f, or cursive v, w etc. on the italics, to keep certain expected regularity, important for information design, signages, and any subjects where legibility, sobriety came first. Born as signage typeface family, the various widths and weights permit a wider range of applications. In editorial projects, the Compress version will enhances your headlines, banners, allowing ultra large settings on pages. The Narrow version will be useful as direct compagnon mixed to standard width version when the space is limited. The various Parisine typeface subfamilies Parisine is organised in various widths and subsets, from the original family Parisine, Parisine Gris featuring lighter versions of the usual weights and italics, Parisine Clair featuring extra light styles, to Parisine Sombre with his darker and extremly black weights as we can seen in Frutiger Black or Antique Olive Nord. Many years of adjustments were necessary to refine this complex family. Initially, Parisine was designed by Jean François Porchez in 1996 for Ratp to solely fulfil the unique needs of signage legibility. Parisine remain the official corporate typeface of the public transport in Paris, the worldwide capital for tourism, and now integral part of the French touch. Directly related, Parisine Office was initially created for Ratp’s internal and external communication, Parisine Office is available at Typofonderie too. Not connected with Ratp and public transports, Parisine Plus was created as an informal version of Parisine. Parisine: Introducing narrow and compressed families About Parisine Parisine helps Parisians catch the right bus Observateur du design star of 2007

Teo Tuominen’s Trevor took its first breath as a revival of an 18th century antiqua, but culminated in an entirely new and good-natured family. Trevor is an affable slab serif in nature: both heavy and kind. Known for their familiarity and their dark colour, the terminals of slab serifs put additional weight along the line to maintain an inky presence. Their clunky forms reveal slight immaturity and arouse the reader’s sympathy for the subject at hand. Trevor connects with others by consciously riding the line between being personal and commanding. One goal with Trevor was to pair the robust nature of a low contrast slab serif with more sophisticated elements, such as the ball terminals. So wherever one looks in Trevor, rounded corners rule the day, softening the overall appearance by mimicking ink spread made by old metal type. The easygoing look is tempered by very few inktraps and sharp corners, mostly to the inside of characters and in acute angles. Whatever Trevor is paired with, it has an altruistic outlook in that it sees the best in others. It’s the neighbourly type family
 — the neighbour you actually want. Trevor’s almost monolinear weight and high x-height give it a typewriter look in the extralight and light weights, but the whole family was made to work with many other font styles, design work, and information structures. It certainly finds its home in packaging and advertising, its sturdy verticality and narrowness fit the needs of headlines and intro text, and its seven weights are primed for plays and involved text needing many layers of distinction. The black weight is treated like a separate display style with altered ball terminals and serifs to capitalise on the added heft. Trevor’s seven roman weights cover the Latin A Extended glyph set to bring its kindly and commanding outlook to your projects. Along with alternate version of the ‘R’ in the black weight, its OpenType features include both tabular and proportional lining and oldstyle figures, ligatures, and fractions. The complete Trevor family, along with our entire catalogue, has been optimised for today’s varied screen uses.

Embark on a journey of refined typography with the Elio & Oliver Font Family v2, an exquisite upgrade that seamlessly integrates italics into its nine meticulously crafted weights, so you will get 18 fonts, 9 weights - from Thin to Black, and an italics version for each of them. Inspired by the timeless elegance and undeniable allure of Italy, this sans serif typeface captures the essence of sophistication and refinement, now enhanced with a touch of expressive flair. Italic Magnificence - A Symphony of Style The new italics bring a captivating dimension to the Elio & Oliver family, adding a graceful fluidity and dynamic rhythm to your designs. Each italic weight complements its corresponding roman counterpart, creating a cohesive and harmonious visual aesthetic. Unveiling the Full Spectrum of Elegance From the delicate Ultra Light to the bold intensity of Black, Elio & Oliver v2 offers an expansive range of weights, allowing you to tailor your designs to any project or mood. Whether you're crafting elegant editorial layouts, crafting impactful branding materials, or crafting sophisticated digital interfaces, this font family seamlessly adapts to your creative vision. Language Versatility for Global Impact Recognizing the power of language diversity, Elio & Oliver v2 boasts full language support, enabling you to communicate your message effectively to a global audience. With seamless compatibility across English, Italian, French, Spanish, and beyond, this font embraces the richness and cultural nuances of diverse languages. Captivate Attention, Leave a Lasting Impression Elio & Oliver v2 elevates your creative projects to new heights of sophistication, infusing them with an aura of refined elegance. Its graceful curves, captivating italics, and versatile weights will effortlessly capture attention and leave a lasting impression on viewers. Step into the Realm of Timeless Design Immerse yourself in the world of Elio & Oliver v2, where every letter narrates a story and every curve embodies the essence of impeccable design. Let the spirit of Italian chicness and timeless elegance guide your creative endeavors. Unleash the Power of Elio & Oliver v2 and Elevate Your Designs Discover Elio & Oliver v2 and transform your creative projects into masterpieces of timeless elegance. Join the ranks of designers who elevate their work with this exquisite typeface and unleash the power of sophisticated typography. Happy creating everyone!

Overview of BD Megatoya Consists of 41 fonts, including nine upright, nine italics, nine extended, nine extended italics, all in nine weights from thin to black. 4 outline version in black weight. 1 variable with three axes (weight, width, slant). 1,470 glyphs in each font. Opentype features include small caps, stylistic alternates, ligatures, complete numeral figures, ordinal, case-sensitive forms. language support: Western European, Central European, and Southeastern European. About BD Megatoya Taking a geometric sans serif approach, we designed the letterform with details on round characters to pursue harmony and leave a slightly boxy feel to the extended style. The stylistic alternate is one of our concentrations to make them versatile yet still preserve consistency in stem and metrics to provide good readability in small text. Overall, the various treatments for each character will encourage each other to dynamic colours, flexible, and functional impressions in their application. Slicing edges The edge of the letter slice in 45 degrees will give the impression of a sparkle of light when you look at them for the first 2 seconds (our experience). This is what we did a few years ago when working on automotive branding. The word-mark logotype with slicing form gives an exclusive and different impression from its crowds. If you agree with us, does BD Megatoya deserve to be called a problem solver in branding projects? Jump over to .ss07, .ss08, .ss09, and .ss10 to find them! The Features BD Megatoya font family includes 41 great fonts in nine weights, an extended character set of over 1400 glyphs, multilingual support such as Southeastern Europe, Central Europe, Western Europe. Also advanced & useful open-type features: case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Use BD Megatoya BD Megatoya is very suitable for branding projects and many designs purpose like advertising, posters, invitations, branding, logos, magazines, merchandise, presentations, etc. It's a FREE Get one weight from the BD Megayoya family for Free! Apply to your amazing projects and enlarge your creative tools by adding the complete BD Megatoya family to your font library.

Carnero™ is a feisty hybrid of precise geometry and calligraphic flair; a design that walks that fine line between being sensible and a standout. In an increasingly monotone typographic landscape – Carnero has a unique pulse that moves the reader along with a new energy. Carnero gives life to simple utility with kinetic letter shapes, open apertures, and generous counters Drawn by Steve Matteson for the Monotype Studio, Carnero’s versatility is its strength. From digital ads and applications to packaging and branding, Carnero is comfortable and contemporary. The lightest and boldest weights create inviting headlines, while the middle weights read well for body copy. Used together, they build a lively brand and a clear hierarchy. Matteson infused Carnero with a modernist exterior resting on a 10th century calligraphic foundation. Delightful flourishes on the capital R and K, and lowercase a, k and l, give the design a distinctive demeanor; while the alternate italic swash caps are a saucy nod to the scribes. The result is a design that is warm, approachable – and a bit lighthearted. Matteson describes Carnero as, “transcending the static posture of the geometric sans genre.” The Carnero family is a compact collection of six distinct weights, ranging from an engaging light to an authoritative black, each with an italic counterpart. Its extended Latin character set ensures worry-free localization for eastern/western European languages. This is a design that will prove its value many times over. Matteson has drawn over 80 distinctive typeface families for major corporations, branding firms and retail sales. His passions for the outdoors and performing music balances an intense focus on work – and subtly finds its way into typefaces like Carnero. Matteson has designed custom fonts for three generations of the Microsoft Xbox® game console, the original core fonts for the Android® mobile-phone platform, in addition to branding typefaces for Toyota®, Rocket Mortgage®, and Google®. He also drew the Kootenay™ family, Monotype’s proprietary branding typeface. Matteson’s retail designs range from the elegant and utilitarian Open Serif™ (a companion to Google’s Open Sans), to a growing series of Frederic Goudy revivals. Carnero Variables are font files which are featuring one axis and have a preset instance from Light to Black.

Carnero™ is a feisty hybrid of precise geometry and calligraphic flair; a design that walks that fine line between being sensible and a standout. In an increasingly monotone typographic landscape – Carnero has a unique pulse that moves the reader along with a new energy. Carnero gives life to simple utility with kinetic letter shapes, open apertures, and generous counters. Drawn by Steve Matteson for the Monotype Studio, Carnero’s versatility is its strength. From digital ads and applications to packaging and branding, Carnero is comfortable and contemporary. The lightest and boldest weights create inviting headlines, while the middle weights read well for body copy. Used together, they build a lively brand and a clear hierarchy. Matteson infused Carnero with a modernist exterior resting on a 10th century calligraphic foundation. Delightful flourishes on the capital R and K, and lowercase a, k and l, give the design a distinctive demeanor; while the alternate italic swash caps are a saucy nod to the scribes. The result is a design that is warm, approachable – and a bit lighthearted. Matteson describes Carnero as, “transcending the static posture of the geometric sans genre.” The Carnero family is a compact collection of six distinct weights, ranging from an engaging light to an authoritative black, each with an italic counterpart. Its extended Latin character set ensures worry-free localization for eastern/western European languages. This is a design that will prove its value many times over. Matteson has drawn over 80 distinctive typeface families for major corporations, branding firms and retail sales. His passions for the outdoors and performing music balances an intense focus on work – and subtly finds its way into typefaces like Carnero. Matteson has designed custom fonts for three generations of the Microsoft Xbox® game console, the original core fonts for the Android® mobile-phone platform, in addition to branding typefaces for Toyota®, Rocket Mortgage®, and Google®. He also drew the Kootenay™ family, Monotype’s proprietary branding typeface. Matteson’s retail designs range from the elegant and utilitarian Open Serif™ (a companion to Google’s Open Sans), to a growing series of Frederic Goudy revivals. Carnero Variables are font files which are featuring one axis and have a preset instance from Light to Black.

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/.