Bunday Clean is a minimalist and friendly font family with different moods. It drops everything unnecessary like spurs and ears and appears crisp and contemporary with a slightly squarish touch. Like the other members of the superfamily (Bunday™ Sans and Bunday™ Slab), Bunday Clean provides uprights, a second set of styles with characters that reference handwritten cursive. These curvy styles give words a distinct look and are especially attractive for use in display applications and logotype design. Bunday™ Clean is space-saving and creates a homogenous text color with good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure perfect appearance in all media. It ships with 9 standard, 9 upright, and the corresponding italic styles from a considerably thin hairline to a quite thick heavy. It supports at least 99 languages and provides OpenType® features for ligatures, alternative glyphs, localized forms, and much more. Feature Summary*: -4 Moods: Normal, Upright, Italic and Upright Italic -9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy -Supports at least 99 Languages incl. eastern european -Overall width: Narrow or Space-Saving -Advanced f- ligature set including fb -Discretionary s- and c- ligatures -Alternative Characters: a, e, f, g, l, t, y, A, E, F, L, and more -Capital German Eszett -Extra characters with Polish Kreska -Catalan Punt Volat -More than 570 characters per font * Some features may only be available in OpenType®-savvy applications Please, take a look at the other Bunday superfamily members: Bunday™ Sans Bunday™ Slab

HD Colton is a 90-style super-sans from London Design Studio HyperDeluxe®. Using a combination of horizontal & vertical terminals along with squarish ovals, it is built with a confident structure that feels so much more than a neutral sans, it feels iconic. Engineered in 5 widths, compressed to extra wide, and in nine weights, HD Colton features a huge 90 styles that will offer your brand ultimate flexibility and variation in one font family. The black weights will help bring prominence to your brand while the light to mid weights will help you tell your story at a smaller size. HD Colton includes 1200+ glyphs per style, providing you with a workhorse sans that supports 200+ languages including extended Latin, extended Cyrillic and basic Greek. Also included are 5 stylistic sets, 2 arrow sets & numerous OpenType features (see last poster for complete list). The HD Colton complete family package comes with a single, 3-axis variable font so you'll have an infinite amount of combinations and uses for you to experiment with and add that touch of finesse to your visuals. Variable fonts are tech friendly providing smaller sizes for developers to work with, while also being responsive and used for motion design on the web. HD Colton key features: 3-Axis Variable Font. 90 Styles. 1200+ Glyphs Per Style. 5 Widths (Compressed, Condensed, Regular, Wide, Extra Wide). 200+ Languages Supported. Extended Latin, Extended Cyrillic, Greek Support. Stylistic Alternates for some key glyphs (J, Q, G, l, &, Arrows). Extensive OpenType features.

ALS Direct is an open and dynamic typeface with clear-cut letterforms that make it instantly readable. It lends text a neutral, yet agreeable and modern feel. Direct has nine font styles convenient for the purposes of navigation signage. Regular-style letterforms are rather wide, because direction signs are likely to appear before readers at an angle, so the type needs to withstand perspective distortions. And as signs and boards may vary in size, Direct was developed to include several width variations. Condensed fonts can be used where horizontal space is limited, allowing you to keep proper height and readability of the characters. A signage typeface must be easily readable from some distance away and have simple letterfoms with clear-cut features to quickly identify characters. Designing a type for a potentially wide range of purposes calls for a universal approach. If not destined to be used for navigation in a particular building, it shouldn’t incorporate any peculiar elements to agree with certain design or architecture. All of the above determined our choice of a sans serif with large apertures and definite features allowing readers to instantly recognize letters. Descenders are made compact not to interfere with the line below. And the low contrast between thick and thin strokes renders all elements equally perceptible. The x-height is significant, close to the cap height, which inhances readability of the lowercase type. There are two reasons why directions must not be set in all caps. Firstly, lowercase letters are more diverse and include ascenders and descenders identifying some of the letters in the line. And secondly, having learned to read, people recognize word shapes rather than individual letters, which makes lowercase text more readable. With Direct being a signage typeface, first to be developed were its width variations, and different weight styles and italics were added later. Another thing to be kept in mind was that signs often use dark background colors, and black type on a white background appears smaller than white type on a black background. Direct is the first Cyrillic typeface created for navigation purposes. Before that, designers could use the Cyrillic version of Frutiger (Freeset) developed by Adrian Frutiger for the Paris Charles de Gaulle International Airport, and a number of other, mostly body copy, neutral sans serif types. However, signs and boards were dominated by Arial, which Direct would be glad to replace offering elegance and lucidity of form instead of type bluntess. Direct was designed as a signage typeface, but its neutral style and clear-cut letterforms suggest various other ways of application.

Oktah Round Overview: 1600+ characters per font 16 static fonts 1 variable fonts Extensive OpenType features Support for 220+ Languages (Latin & Cyrillic) Special Symbols, Alternate Sets, and Features Free Trial Fonts Available Oktah Round is a rounded version of Oktah Neue. Oktah Round is soft and friendly, modern and warm. It's a typeface that combines human touch with high functionality. Oktah Round comes equipped with 1600+ characters per font and is available in 16 styles (from Thin to Black), and as a variable font that allows you to change weight and slant angle. Oktah Round supports more than 200 Latin languages and has amazing support for Cyrillic languages like Bulgarian, Serbian, Ukrainian, Macedonian, Russian, and others. Relying heavily on the geometric forms and proportions first introduced in Oktah, this rounded version does more than just smooth out a few corners. To make curves sharper and more uniform, some terminals were modified. Other visual features (like curving tails in 'l' and 't') were dropped to create more clear cut look. Oktah Round is perfectly balanced and finely tuned to be the font you'd want to use again and again. The variety or styles and availability of a variable font give Oktah Round a potential to be used across multiple mediums. Oktah Round supports most Latin based languages, it also has support for Extended Cyrillic. The remainder of the extensive 1600+ glyph character set is reserved for punctuation, numbers, special symbols, and all sorts of additional symbols like squared numbers, geometric shapes, etc. All characters are evenly spaced and carefully kerned, so that there are no overlaps or glaring gaps in any language. OpenType features include Legible Alternates, Case Sensitive Punctuation, Fractions, Sub- and Superscript, Black and White Circled Figures, Ligatures, Oldstyle Figures, Tabular Figures and many others. The variable font incorporates both axes (Weight and Slant) and can be used for web and graphic design alike. 16 static font styles can be purchased separately or as part of Oktah Round family. Two fonts can be downloaded free of charge.

Bardamu is a variable slab serif font family designed by Eugene Tantsurin and Anna Remm, and released by Groteskly Yours Studio. Bardamu is a type family that is open to interpretation and experimentation, yet this ambiguity does little to hide its inherent friendliness and good vides. Bardamu can easily be used in a variety of projects and feel at home both in graphic design, branding, web design or editorial design. Thanks to its unique letterforms and eye-catching design choices, it can be that final touch that makes your brand pop! One of the standout qualities of Bardamu is its remarkable versatility. Bardamu comes in 25 styles, allowing users to choose a style that best fits their needs. In addition to that, it offers a wide range of styles, from sleek backward-slanted italics at -20° to elegant upright styles, as well as regular 20° italics. For static fonts, there are two extra subfamilies available (10° Half Italic and 10° Half Reverse) that can be used for creating more complex hierarchy in any text. With a total of 25 static fonts and 1 Variable font, Bardamu is the perfect workhorse display slab serif with unlimited typesetting capabilities. Each font in the Bardamu family boasts an extensive 700+ character set, encompassing all major Latin-based languages, punctuation marks, symbols, and even supplementary characters. Bardamu takes flexibility to a whole new level with its incredible OpenType features that further enhance its versatility. With features such as Case-Sensitive Punctuation, Stylistic Alternates, Sub- and Superscript, Tabular Figures, and Localised Forms, you can fine-tune every detail of your design to perfection. Moreover, the multiple stylistic sets available in Bardamu allow you to switch between various versions of the same glyph effortlessly. Bardamu type family includes 25 static styles as well as a variable font. All styles can be purchased separately or as a full family package. Two styles can be downloaded free of charge. If you'd like to explore Bardamu further, we also offer free trials upon request.

Introducing Corzinair—the typeface that exudes confidence and practicality. Its rugged serifs add a touch of grit and determination to any message. Perfect for businesses looking to make a bold statement, Corzinair was inspired by the iconic IBM Selectric typewriter fonts of the 1960s. Its wide, squarish shapes are reminiscent of a time when simplicity and functionality were the driving forces of innovation. Available in three weights—regular, bold, and italic—Corzinair is versatile enough to suit any design need. And with separate Small-Caps styles, it’s even easier to deploy on the web and in applications. Make your mark with Corzinair—the typeface that means business. 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.

TT Tricks useful links: Specimen | Graphic presentation | Customization options TT Tricks is a modern serif font family whose design refers us to the style of transitional serifs. The distinctive features of TT Tricks are the relatively low contrast of strokes, the slightly squarish shapes of round characters and the emphasized businesslike nature. The original idea of TT Tricks is based on the graduation project of student Sofia Yasenkova, who chose to create a daily planner font as her final project. This led to many stylistic decisions, for example, the large and asymmetrical serifs, low contrast strokes, and the presence of interesting details. In the process of working on TT Tricks, we have significantly revised the initial idea and expanded the areas of possible font application, while maintaining the original spirit of the project. Despite the large number of display details, the typeface looks great in a small point size, and also when it is used in large text arrays. TT Tricks features an original stylistic set which, when turned on, adds features of typical pointed-pen serifs to some of the lowercase characters. In addition, TT Tricks has small capitals for Latin and Cyrillic alphabets, as well as several interesting ligatures. The TT Tricks font family consists of two font subfamilies, these are the main version and the version with the original stencil cutting. Each subfamily consists of 12 fonts: Light, Regular, DemiBold, Bold, ExtraBold, Black + True Italics. Following a good tradition, TT Tricks supports a large number of OpenType features: ordn, case, c2sc, smcp, frac, sinf, sups, numr, dnom, onum, tnum, pnum, dlig, liga, calt, salt (ss01).

Introducing Kimberley, the cutting-edge sans-serif typeface that will bring your message to the forefront of the modern era. Inspired by the bold and timeless corporate industrial logos of the 1970s, Kimberley’s squarish design and sleek angles will captivate and inspire your audience with its effortlessly cool, machine-made aesthetic. With seven distinct weights and accompanying italics, Kimberley is the ultimate tool in your design arsenal. Whether you’re creating a sleek corporate identity or crafting eye-catching advertising campaigns, Kimberley’s versatility ensures that your message will be delivered with clarity and distinction. So don’t settle for less, choose Kimberley and let its contemporary style and sophisticated edge elevate your design game to new heights. Upgrade your typography today with Kimberley and unleash the power of a truly modern typeface. 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, Maori, 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.

With Transmute, you’ll be transported back to a time when science and machines were the focus of the world. Our display typeface is inspired by vintage technical lettering, with squarish letterforms and quirky angles that give your designs an unmistakable edge. Transmute’s harsh, precise letterforms are the perfect choice for anyone who wants to evoke thoughts of unusual electromechanical, scientific apparatus from a bygone era. Whether you’re designing a cutting-edge website, an eye-catching poster, or an attention-grabbing ad campaign, Transmute has everything you need to make your designs stand out from the crowd. And with three weights to choose from—light, regular, and bold—you’ll have complete control over the look and feel of your designs. So why settle for boring, traditional typefaces when you can add a touch of techno to your designs with Transmute? Try it out today and see the difference for yourself! 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.

Matthew Carter has been refining his design for Alisal for so long, he says, that when he was asked to complete the design for the Monotype Library, it was almost as if he were doing a historical revival of his own typeface. The illusion even extended to changes in his work process: although he now does all his preliminary and final drawing on screen, the first trial renderings of Alisal were done as pencil renderings. Alisal is best classified as an Italian old style design. Originally created between the late 15th and mid-16th centuries in northern Italy, the true Italian old styles were some of the first roman types. They tend to be the most calligraphic of serifed faces, with the axis of their curved strokes inclined to the left, as if drawn with a flat-tipped pen or brush. These designs offer sturdy, free-flowing and heavily bracketed serifs, short descenders, and a modest contrast in stroke weight. Alisal has nearly all the classic Italian old style character traits, plus a few quirks of its own. It is calligraphic in nature, with more of a pen-drawn quality than faces like Palatino or Goudy Old Style. It is more rough-hewn than either Goudy's Kennerley or Benton's Cloister, and is generally heavier in weight than most of the other Italian old style designs. One place where Alisal makes a clean break with traditional old style designs is in the serifs. While sturdy and clearly reflecting pen-drawn strokes, Alisal's serifs have no bracketing and appear to be straight strokes crossing the main vertical. Like Caslon or Trajanus, Alisal is a handsome design when viewed as a block of copy. Ascenders are tall and elegant, and serve as a counterpoint to the robust strength of the rest of the design. Alisal is available as a small family of roman and bold with a complementary italic for the basic roman weight, providing all that is needed for the majority of text typography. Alisal is not as well-known as some of Carter's other typefaces, but this lovely and long-incubated design was certainly worth the wait.

Noad Sans is an experimental sans serif typeface with a strong character and some very unique visual features. At the core of Noad Sans is a sturdy sans serif with closed apertures and fairly simple letterforms. The defining feature of Noad Sans, however, is its visualised nodes: all control points of Bézier curves in each of the fonts in the family are intentionally visualised. The effect of this feature is largely defined by the usage: in titles and larger bodies of text, the visualised nodes stand out and create a rhythmic pattern of their own. In smaller sizes, the sans serif base of the font becomes more prominent and the nodes create a visual fuzz. Noad Sans comes in 6 styles and as a Variable Font with two axes–Optical Size and Slant. The size of each node can be changed from the smallest (Mini and Mini Italic) to the largest (Extra and Extra Italic). Variable Font technology allows you to fine tune the size of the nodes and the slant angle, so that your version of Noad Sans can be truly unique. Noad Sans has a large character set of 570+ glyphs, covering the vast majority of Latin based languages. In addition to that there are dozens of special characters, punctuation, numbers, and symbols. Noad Sans is equipped with a number of useful OpenType features, such as Case-Sensitive Punctuation, Stylistic Alternates, Ligatures, Fractions and many more. Noad Sans began as an experimental project, and during its development the spirit of experimentation was at the heart of the project. Thanks to the unique nature of the typeface, it can feel at home in a variety of settings: from web development, graphic and product design to more novel uses like 3D and NFTs. Noad Sans type family includes 6 static fonts (Mini, Mini Italic, Regular, Regular Italic, Extra and Extra Italic) and one variable font. Each style can be purchased separately. There is a free trial version of Noad Sans that can be downloaded free of charge on MyFonts. For more information on the typeface, feel free to download Noad Sans PDF Specimen.

LaFarge is a typeface primarily inspired by the historic mosaic titling capitals found in the New York City Subway, designed by architect Squire J. Vickers and his staff between 1915-1927. These elegant but industrial signs are characteristic of early-20th century American architectural lettering, and show an evolution of the classical Roman capitals to lower contrast, bolder serifs, and more regular character widths. The majority of this lettering still remains in subway stations today, and though elements of the style vary from sign to sign, many carry the unique features that are reflected in LaFarge: high-waisted crossbars with angled serifs, elegantly curved “R” leg, and distinctive trapezoidal serifs. LaFarge expands this style into a lower case, taking cues from contemporary typefaces like Bookman, Cheltenham, and Della Robbia. A number of typographic features are included, such as small caps, ordinal indicators / superscript letters, arrows, and a set of borders inspired by early subway tile. The result is a fashionable, architecturally-minded typeface that is just as at home on the façade of a grand public building as it is on packaging, magazines, or the web. LaFarge works well in both text and display settings, remaining readable at small sizes but showing off its elegant details in larger uses. LaFarge has received the Communication Arts Typography Award, the ADC Annual Merit Award, is included in the 2020 STA 100, and was part of designer Greg Shutters’ winning portfolio in the 2019 Type Directors Club Ascender Awards. You can download a PDF specimen of LaFarge, and also view a video of LaFarge in action.

Now even more design possibilities with the popular DIN Next. With its technical and neutral character, DIN Next has earned a permanent place in contemporary typography. Now, DIN Next Slab expands the font family further, offering new design potential. Now comes the next step, DIN Next Slab, also produced under the direction of Akira Kobayashi. On a team with Sandra Winter and Tom Grace, Kobayashi is creating the new font variant based on the optimized shapes of DIN Next. The expansion will make the popular font all the more flexible and versatile. Apart from that, the geometric slab serifs underline the technical and formal nature of the font and emphasize a central design element of DIN Next. However, the team did have some challenges to overcome. While it is relatively easy to imagine DIN Next Light with slab serifs, the amount of available space quickly disappears when it comes to the Black styles. Winter explains that many tests and trials were necessary to find a compromise between space, letters and the serif shapes. Experiments with modified contrast in the weight or only one-sided serifs were quickly abandoned. The central, technical and powerful character of the font changed too much. Nevertheless, it was necessary to simplify slightly the shape of some letters, such as the ‘k’ or ‘x’, for example. These changes, first developed in the Black styles, were applied to all weights in order to lend the font a consistent appearance. Like DIN Next, DIN Next Slab also has seven weights, which cover the range from Ultralight to Black, each with matching italic. There are various character sets in all of the styles and the four middle weights have small capitals available. DIN Next Slab harmonizes perfectly with the styles of DIN Next: the basic letterforms and weights are identical. Both versions of the font can work together perfectly, not just in headlines and body text, but also within a text; they complement each other very well as design variations. With the new DIN Next Slab, Monotype expands the DIN Next super family consistently. With DIN Next Slab, you can underscore the technical and formal nature of the understated font not only in headlines, but in texts, as well. In this way, you have new and diverse potential for application, thanks to the way the different styles of DIN Next combine perfectly.

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/.

Looking for a modern and sleek typeface that stands out in the digital era? Look no further than Reversal. With its unique superelliptical letterforms, this clean and contemporary sans-serif typeface is the perfect choice for high-tech industries and any topic that requires precision and clarity. Inspired by the sleek plastic contours of modern vehicles and home appliances, Reversal boasts a squarish yet readable design that is both elegant and practical. Whether you’re designing a website, an app, or a marketing campaign, Reversal is the ideal choice for bringing a touch of futuristic sophistication to your project. Available in seven weights and italics, Reversal offers maximum flexibility and versatility. With its bold and dynamic shapes, this typeface is sure to grab attention and make a strong impression. So why settle for ordinary typography when you can elevate your design with the power of Reversal? Try it out today and see the future of typography in action. 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.

Introducing Superclarendon, a typeface that’s as bold and powerful as its mid-19th Century inspiration. Its chunky slab serifs and subtly squared letterforms give it a timeless appeal that’s sure to make your designs stand out. But Superclarendon isn’t just a nod to the past—it’s a contemporary take on the classic Clarendon that retains all of its booming voice. Superclarendon’s austere curls and sturdy terminals give it a solid construction that’s sure to make an impact. Its squarish, superelliptical curves give it a modern feel that’s perfect for today’s designs. Whether you’re creating a poster, a brochure, or a website, Superclarendon is the typeface that will make your message loud and clear. And with four weights, italics, and old-style (lowercase) numerals, Superclarendon gives you all the tools you need to create stunning designs. So if you’re looking for a typeface that’s as powerful as it is versatile, look no further than Superclarendon. 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, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Classic Grotesque by Rod McDonald: a traditional font with a modern face. The growing popularity of grotesque typefaces meant that many new sans serif analogues were published in the early 20th century. Setting machines were not compatible with each other but all foundries wanted to offer up-to-date fonts, and as a result numerous different typeface families appeared that seem almost identical at first glance and yet go their separate ways with regard to details. One of the first fonts created with automatic typesetting in mind was Monotype Grotesque®. Although this typeface that was designed and published by Frank Hinman Pierpont in 1926 has since been digitalised, it has never achieved the status of other grotesque fonts of this period. But Monotype Grotesque was always one of designer Rod McDonald’s favourites, and he was overjoyed when he finally got the go-ahead from Monotype in 2008 to update this “hidden treasure”. The design process lasted four years, with regular interruptions due to the need to complete projects for other clients. In retrospect, McDonald admits that he had no idea at the beginning of just how challenging and complex a task it would be to create Classic Grotesque™. It took him considerable time before he found the right approach. In his initial drafts, he tried to develop Monotype Grotesque only to find that the result was almost identical with Arial®, a typeface that is also derived in many respects from Monotype Grotesque. It was only when he went back a stage, and incorporated elements of Bauer Font’s Venus™ and Ideal Grotesk by the Julius Klinkhardt foundry into the design process, that he found the way forward. Both these typefaces had served as the original inspiration for Monotype Grotesque. The name says it all: Classic Grotesque has all the attributes of the early grotesque fonts of the 20th century: The slightly artificial nature gives the characters a formal appearance. There are very few and only minor variations in line width. The tittles of the ‘i’ and ‘j’, the umlaut diacritic and other diacritic marks are rectangular. Interestingly, it is among the uppercase letters that certain variations from the standard pattern can be found, and it is these that enliven the typeface. Hence the horizontal bars of the “E”, “F” and “L” have bevelled terminals. The chamfered terminal of the bow of the “J” has a particular flamboyance, while the slightly curved descender of the “Q” provides for additional dynamism. The character alternatives available through the OpenType option provide the designer with a wealth of opportunities. These include a closed “a”, a double-counter “g” and an “e” in which the transverse bar deviates slightly from the horizontal. The seven different weights also extend the scope of uses of Classic Grotesque. These range from the delicate Light to the super thick Extrabold. There are genuine italic versions of each weight; these are not only slightly narrower than their counterparts, but also have variant shapes. The “a” is closed, the “f” has a semi-descender while the “e” is rounded. Its neutral appearance and excellent features mean that Classic Grotesque is suitable for use in nearly all imaginable applications. Even during the design phase, McDonald used his new font to set books and in promotional projects. However, he would be pleased to learn of possible applications that he himself has not yet considered. Classic Grotesque, which has its own individual character despite its neutral and restrained appearance, is the ideal partner for your print and web project.

Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect logarithm. We swooned again over its subtleties (“Ah, that mermaid of an R!”). We rehashed decades-old debates about “Hakzidenz,” “improvement in mind” and “less is more.” We dutifully cursed every single one of Helvetica’s knockoffs. We breathed deeply and closed our eyes on perfect Shakti Gawain-style visualizations of David Carson hack'n'slashing Arial — using a Swiss Army knife, no less — with all the infernal post-brutality of his creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed à la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.” The great hype of Swisspalooza '07 prompted a look at Max Miedinger, the designer of Neue Haas Grotesk (later renamed to Helvetica). Surprisingly, what little biographical information available about Miedinger indicates that he was a typography consultant and type sales rep for the Haas foundry until 1956, after which time he was a freelance graphic designer — rather than the full-time type designer most Helvetica enthusiasts presume him to have been. It was under that freelance capacity that he was commissioned to design the regular and bold weights of Neue Haas Grotesk typeface. His role in designing Helvetica was never really trumpeted until long after the typeface attained global popularity. And, again surprisingly, Miedinger designed two more typefaces that seem to have been lost to the dust of film type history. One is called Pro Arte (1954), a very condensed Playbill-like slab serif that is similar to many of its genre. The other, made in 1964, is much more interesting. Its original name was Horizontal. Here it is, lest it becomes a Haas-been, presented to you in digital form by Canada Type under the name of its original designer, Miedinger, the Helvetica King. The original film face was a simple set of bold, panoramically wide caps and figures that give off a first impression of being an ultra wide Gothic incarnation of Microgramma. Upon a second look, they are clearly more than that. This face is a quirky, very non-Akzidental take on the vernacular, mostly an exercise in geometric modularity, but also includes some unconventional solutions to typical problems (like thinning the midline strokes across the board to minimize clogging in three-storey forms). This digital version introduces four new weights, ranging from Thin to Medium, alongside the bold original. The Miedinger package comes in all popular font formats, and supports Western, Central and Eastern European languages, as well as Esperanto, Maltese, Turkish and Celtic/Welsh. A few counter-less alternates are included in the fonts.

Introducing Biondi—a timeless typeface that exudes sophistication and refinement. Inspired by the beloved Copperplate Gothic, Biondi boasts a set of small caps slab-serif characters that stay true to the classic wide and squarish shape of its predecessor. But what sets Biondi apart is the beefed-up wedge serifs that replace delicate hairline serifs, making it perfect for today’s display environment. Every character in Biondi is thoughtfully crafted, with strategically placed serifs that create a cleaner-flowing line of text without sacrificing understated gravitas. Whether you’re designing a logo, a book cover, or a poster, Biondi’s elegant lines and bold presence will instantly elevate your project to the next level. Available in five weights and italics, Biondi offers unparalleled versatility and flexibility. Whether you need a bold statement or a subtle accent, this timeless typeface will deliver every time. Why settle for ordinary when you can elevate your work with Biondi? Try it today and experience the classic beauty of Copperplate Gothic reimagined for the modern world. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Western Americana is a unique collection of signatures of 72 famous American frontiersmen, gunslingers, Wild West personalities, outlaws, and Indians in a high-quality font. A must-have for autograph collectors, desktop publishers, lovers of history, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous Western celebrities. This font includes signatures from the following American West personalities: William Frederick Cody ("Buffalo Bill"), George Armstrong Custer, Meriwether Lewis, William Clark, Kit Carson, Joseph Brant, David Crockett, Wyatt Earp, Geronimo, James Bowie, Daniel Boone, Sam Houston, Calamity Jane, Sitting Bull, William H. Bonney ("Billy the Kid"), Cole Younger, Bob Younger, Jim Younger, Pat Floyd Garrett, James Butler "Wild Bill" Hickok, Squire Boone, Samuel Colt, Gordon William Lillie ("Pawnee Bill"), Annie Oakley, William Barret Travis, Allan Pinkerton, Jose de Galvez, George Rogers Clark, George Crook, John Charles Fremont, George Croghan, Simon Kenton, Maj. Frederick Benteen, James Wilkinson, Nelson Appleton Miles, Philip Kearny, Chief G.H.M. Johnson, William George Fargo, William Barclay "Bat" Masterson, King Philip, Frank James, Eleazer Williams, Henry Wells, Junipero Serra, John Sevier, John Ross, Joseph Virgo, Chief Joseph, Red Jacket, Manuel Lisa, Julian Dubuque, John Augustus Sutter, Manuel Lisa, Jesse James, Jesse James alias Thomas Howard, Manasseh Cutler, Robert Newton Ford, Emmett Dalton, Henry McCarty alias Greenville Mellen Dodge, Edward Zane Carroll Judson ("Ned Buntline"), Rain-in-the-Face, James Robertson, Zebulon Pike, Chief Two Guns White Calf, Pierre Chouteau Jr., Frank Butler, Isaac Shelby, Moses Austin, Moses Cleveland, Rufus Putnam, Pierre Chouteau Sr., Father Pierre Jean De Smet, and Auguste Chouteau. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map.

DIN Serif: Specimen Manual PDF The DIN Type System: A Comparison Table This is the first ever release of a true serif companion for the popular DIN typeface. DIN Serif originated in a custom project for a watchmaking journal which required a modern serif to work in unison and match the inherent simplicity of DIN. As a result, a solid, confident and well-balanced typeface was developed which is simple and neutral enough when set at small sizes, but sturdy and powerful when set at heavier weights and bigger sizes. It utilizes the skeleton of the original DIN and retains its basic proportions such as x-height, caps height and descenders, whereas ascenders were slightly increased. DIN Serif makes no attempt to impress with ephemeral nifty details on individual letters, but instead it concentrates on a few modern, functional and everlasting novelties which express an overall distinct quality on the page and set it apart from most classic romans. This is a low contrast typeface with vertical axis and squarish form which brings out a balance between simplicity and legibility. Its narrow proportions offer economy of space which is critical for newspaper body text and headlines. At small sizes the text has an even texture, it is comfortable and highly readable. The serifs are narrow at heavy weights and when tight typesetting is applied at large sizes, the heavier weights become ideal for headlines. DIN Serif was inspired by late 19th century Egyptian and earlier transitional roman faces. Bracketed serifs were placed on the upper part of the letterforms (this is where we mostly concentrate our attention when we read) whereas small clean square serifs were placed on and under the baseline to simplify the letterforms. In order to reduce visual tension at the joins and make reading smooth and comfortable, a slight hint of bracketed serif was added at the joins in the form of a subtle angular tapered serif, which softens the harsh angularity. These angular tapered serifs tend to disappear at smaller sizes (or smooth out the joins) but stand out at bigger sizes exuding a strong, modern and energetic personality. What started out as a custom 2 weight family, it has developed into a full scale superfamily with 10 styles from Regular to ExtraBlack along with their italics. Additional features were added such as small caps, alternate letters and numbers as well as numerous symbols for branding, signage and publishing. All weights were meticulously hinted for excellent display performance on the web. Finally, DIN Serif supports more that 100 languages such as those based on the Latin, Greek and Cyrillic alphabet.

Impressed by the quality of the Aachen typeface that was originally designed for Letraset in 1969 and extended to include Aachen Medium in 1977, Jim Wasco of Monotype Imaging has extended this robust display design to create an entire family. Derived from the serif-accented Egyptienne fonts dating to the early 20th century, Aachen has serifs that are very solid but considerably shorter than those of its precursor. The incorporated geometrical elements, such as right angles and straight lines, provide the slender letters of Aachen with a slightly technological, stencil-like quality. Despite this, the effect of Aachen is by no means static; its dynamism means that this typeface, originally designed for use in headlines, has come to be used with particular frequency in sport- and fitness-related contexts. Jim Wasco, for many years a type designer at Monotype Imaging, recognized the potential of Aachen and decided to extend the typeface to create an entire typeface family. He appropriated the existing Aachen Bold in unchanged form and first created the less heavy cuts, Thin and Regular. Wasco admits that he found designing the forms for Thin a particular challenge. It took him several attempts before he was able to achieve consistency within the glyphs for Thin and, at the same time, retain sufficient affinity with the original Aachen Bold. But he finally managed to adapt the short serifs and the condensed and slightly geometrical quality of the letters to the needs of Thin. The weights Light, Book, Medium and Semibold were generated by means of interpolation. Supplemented by Extralight and Extrabold, the new Neue Aachen can now boast a total of nine different weights. Wasco initially relied on his predilection for genuine cursives in his designs for the Italic cuts. But it became apparent with these first trial runs that the soft curves of cursives did not suit Aachen and led to the loss of too much of its original character. Wasco thus decided to compromise by using both inclined and cursive letters. Neue Aachen Italic is somewhat narrower than its upright counterparts; the lower case 'a' has a closed form while the 'f' has been given a descender, but the letters have otherwise not been given additional adornments. The range of glyphs available for Neue Aachen has been significantly extended, so that the typeface can now be used to set texts not only in Western but also Central European languages. Wasco has also added a double-counter lowercase 'g' while relying on the availability of alternative letters in the format sets for the enhancement of the legibility of Neue Aachen when used to set texts. The seven new weights and completely new Italic variants have enormously increased the potential applications of Aachen and the range of creative options for the designer. While the Bold weights have proved their worth as display fonts, the new Book and Regular cuts are ideal for setting text. And the subtlety of Ultra Light will provide your projects with a quite unique flair. The new possibilities and opportunities in terms of design and applications that Neue Aachen offers you are not restricted to print production; you can also create internet pages thanks to its availability as a web font.

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.

As a former typographer / lino and calligrapher, Abdallah NASRI had recourse to the nature of the idea of ​​an "INTERCHANGEABLE" collection for types who in reality offer a police collar parallel to the complex typeface of the variable. Our fashion is outlined by a simple calculation defined by superimposed geometric circles where we used only its ¼ to fill the need for the angles of each of our letters. Always with the idea of ​​having in the same allocated space, the same letter nested as many times as fat example from Hairline to Ultrabold. It was in this way that I was able to obtain a large number of styles, with a very interesting kerning which prompted me to extend the font to other languages ​​with +1000 characters and +600 glyphs. I have always been treasured by the all in "1". I assure you that I sought to obtain the maximum of Visibility for a use S / Titling TV, WEB Pages and Typography Typo; once the difficult thing was done, I was rewarded by a font that has countless typographic openings for the world of graphics with 10 styles of weights in hand, and again I am happy to have personalized the charm of each letter by new details; I do not regret the time spent on thinking about it so that it is useful and at the same time pleasant as a working tool, finally profitable in all sectors and more multilingual, without forgetting that it is a family of inter change c ' is to say: All the types occupy the same height of the body and it is their fats which differs in the same space width of each of the letters, therefore no interference in spacing. Here, an additional alternative, a participation of a septuagenarian in the service of the love of modern digital typography. • TEST: At 50% screen in a body of 12 pixels, the A10 STAR Alphabet subjected to a test, has a clear Readability / Visibility. • P.S: A10 STAR integrates Diacriticism in all its forms. Texte d'origine : Abdallah NASRI a eu recours en étant ancien typographe/lino et calligraphe à la nature de l'idée d'une collection "INTERCHANGEABLE" pour les types qui en réalité offre un collier de police parallèle à la fonte complexe du variable. Notre mode est esquissé par un calcul simple défini par des ronds géométrique superposés où on a utilisé seulement son ¼ pour garnir le besoin des angles de chacune de nos lettres. Toujours dans l’idée à avoir dans le même espacement alloué, la même lettre imbriquée autant de fois de graisse exemple du Hairline à Ultrabold. C’est de cette manière que j’ai pu obtenir un grand nombre de styles, avec un crénage très intéressant ce qui m’a incité à étendre la police à d’autres langues avec +1000 caractères et +600 glyphes. J’ai toujours été prisé par le tout en « 1 ». Je vous assure que j’ai cherché à obtenir le maximum de Visibilité pour une utilisation S/Titrage TV, Pages WEB et Maquette typo ; une fois le difficile fait, j’ai été récompensé par une police qui possède d’innombrable ouverture typographique pour le monde du Graphisme avec comme atout en main 10 styles de graisses, et encore je suis content pour avoir personnalisé le charme de chaque lettre par des détails nouveaux ; je ne regrette pas le temps passé dessus à réfléchir pour qu’il soit utile et à la fois agréable comme outil de travail, enfin profitable tous secteurs confondus et en plus multilingue, sans oublié que c’est une famille d’inter change c’est-à-dire : Tous les types occupent la même hauteur du corps et c'est leurs graisses qui diffère dans un même espace largeur de chacune des lettres, donc aucune interférence dans l’espacement. Voilà, une alternative supplémentaire, une participation d’un septuagénaire au service de l’amour de la typographie numérique moderne. • TEST : A 50% d'écran dans un corps de 12 pixels, l'Alphabet A10 STAR soumise a un test, présente une nette Lisibilité / Visibilité. • P.S : A10 STAR intégre la Diacritique dans toutes ses formes.