Dr. Gerard Unger expands the concept of Sanserata to a sans type family with Sanserata, adding specific characteristics which improve reading. Sanserata’s originality does not overtly present itself at text sizes. Rather, at those sizes, it draws upon its enormous x-height, short extenders, and articulated terminals to improve readability, especially on screens. Having articulated terminals means characters flare as they near their end, but readers likely won’t notice. What they would notice is that their ability to take in more content in a line of text is improved because the lettershapes are more defined. Articulation also makes clearer text from digital sources, where rectangular endings tend to get rounded by the emission of light from the screen. Lately there seems a whispered discontent with the lack of progress in the sans serif category. Designs can either stretch too far beyond what is accepted or be too bland to be considered new. Sanserata’s strength is in being vivid and unique without being off-putting. This bodes well for designers of paragraphs and of branding schemes since, with Sanserata’s two flavors, it is well able to capture attention or simply set the tone. Sanserata’s first voice is a generous, friendly, and even cheerful sans serif. But when using the alternate letterforms its voice becomes more businesslike, though still with nice curves, generous proportions, and a pleasant character. Sanserata comes in seven weights with matching italics, covers the Latin Extended character set, and is loaded with extras. Its OpenType features allow for the implementation of typographic niceties such as small caps, both tabular and proportional lining and oldstyle figures, ligatures, alternate characters, case-sensitive variants, and fractions. The complete Sanserata family, along with our entire catalogue, has been optimised for today’s varied screen uses. Dr Unger worked with Tom Grace on the production of Sanserata. For extended branding use with Sanserata, check out Sanserata, the contemporary, eclectic typeface drawn from roots in Romanesque Europe.

DIN Stencil on Behance. DIN Stencil: Specimen Manual PDF. Despite the fact that over the years several designers have manually created stencil lettering based on DIN for various projects, there has never been a professional digital stencil version of a DIN-based typeface. After the successful introduction of DIN Monospace a few months earlier, PF DIN Stencil now completes Parachute’s extensive library of DIN superfamilies. It was based on its original counterpart DIN Text Pro and was particularly designed to address contemporary projects, by incorporating elements and weights which are akin to industries such as fashion, music, video, architecture, sports and communications. Traditionally, stencils have been used extensively for military equipment, goods packaging, transportation, shop signs, seed sacks and prison uniforms. In the old days, stencilled markings of ownership were printed on personal possessions, while stencilled signatures on shirts were typical of 19th century stencilling. Two companies dominated the market in the mid-twentieth century: the Marsh Stencil Machine Company in the United States and the Sächsische Metall Schablonen Fabrik in Germany. Ever since the late 1930s, it was the German Sächsische Metall Schablonen Fabrik which used heavily the new DIN 1451 standard font (introduced in 1936), attempting to overthrow the reign of the Didot-style modern roman which was at the time the most common stencil letter in Germany. These letters were manufactured mainly as individual zinc stencils which could be ordered in sizes between 10 and 100mm. The DIN Stencil family manages to preserve several traditional stencil features, but introduces additional modernities which enhance its pleasing characteristics and make it an ideal choice for a large number of contemporary projects. Furthermore, the spacing attributes of the glyphs were redefined and legibility was improved by revising the shape of the letterforms. The DIN Stencil family consists of 8 diverse weights from the elegant Hairline to the muscular Black. Currently, it supports Latin, Eastern European, Turkish and Baltic.

Whether you call them slab serif, square serif, or Egyptian, you know them when you see them – sturdy, nearly monoweight designs with blunt, straight-edged serifs and a no-nonsense attitude. The Rockwell® Nova family is a fine example of this appealing and eminently usable type style. This is a design that is both robust and adaptable. Marked by the flat top-serifs on the cap A, unusual Q tail and high-legibility two-storied lowercase a, Rockwell has a bit of handmade charm that distinguishes it from the cool, more modern interpretations of the slab serif style. The family is excellent for branding, headlines and other display uses. The simple shapes and hearty serifs also make it a good choice for short blocks of textual content in both print and on-screen environments. The light and bold weights are perfect for setting blocks of text copy, while the extra bold and condensed designs bring authority to display copy. Throw in a little color, and you amp up Rockwell’s messaging power. The regular and italic designs perform handsomely, in the most modest of screen resolutions. With four weights of normal proportions, each with a complementary italic, and three condensed designs, two with italics, the family is a commanding and versatile graphic communicator. Rockwell’s large x-height, simple character shapes and open counters, make for an exceptionally legible design. It should not, however, be set so tight that its serifs touch, as this will erode legibility and impair readability. A benefit to Rockwell’s slab serifs, however, is that the design combines beautifully with both sans serif typefaces and a variety of serif designs. Rockwell OpenType® Pro fonts have an extended character set supporting Greek, Cyrillic, most Central European and many Eastern European languages, in addition to providing for the automatic insertion of ligatures and fractions. Looking for its perfect pairing? Look no further than ITC Berkeley Old Style, Between™, ITC Franklin Gothic®, Harmonia Sans™, Metro® Nova or Frutiger® Serif.

FF Neuwelt™, from Jens Gehlhaar, is open, inviting, highly legible, and strikingly handsome. Combining the straightforward clarity of a geometric sans with a welcoming warmth, FF Neuwelt’s eight display and text weights, vast range of alternates and extended character set, make for a family with few limitations. While grounded in a solid geometric sans serif foundation, Gehlhaar has drawn a large suite of alternate characters that infuses FF Neuwelt with softened, and ultimately easy on the eyes, humanistic shapes and proportions. Alternative cursive italic forms and a choice of round or square punctuation are also available at the click of a mouse. FF Neuwelt is spaced for sizes larger than 16 point, while FF Neuwelt Text has more open letterspacing to set perfectly at sizes smaller than 16 point. In addition, five key lowercase characters were drawn with more legible shapes. The result is that FF Neuwelt adapts from text to larger sizes and one stylistic mien to another with ease and grace. FF Neuwelt is a natural for interactive design, performing well on both large digital displays and small screens. Counters are generous and apertures are open, making them a perfect choice when setting text as microcopy or in short blocks where quick and accurate comprehension is the goal. Even the heaviest weights translate well to on-screen reading. FF Neuwelt also speaks with authority in large sizes on big screens. Equally at home in print environments, FF Neuwelt is a perfect choice for long-form text, captions, editorial, packaging, point-of-purchase design – as well as extensive branding projects. Its many choices of alternative characters make for a design that draws the reader in, without overpowering the message. Although he has drawn typefaces in addition to FF Neuwelt, Gehlhaar is primarily a filmmaker. Directing commercials with style and grace, his work includes spots for Nissan, Apple, Emirates Airlines and Microsoft. As a creative director, Gehlhaar has worked on a broad range of projects for Coca-Cola, MTV, EPSN, Volkswagen and more.

Musical notes and letterforms, silences and white spaces, pentagrams and lines, music and writing have much in common and go beyond time, cultures, styles and locations. This new typeface emerges from the blend between the lyrics and the harmony, rhythm, femininity and luminosity of the traditional musical forms. It`s not about blues or rock, tango or salsa, instead it recovers the neoclassical characteristics of the current musical notation system and revitalize the essence of its signs. Taking care of both the function and the form, Elisetta has been specially designed for the writing of texts and musical sheets considering all its elements and communication needs. This source of inspiration also makes the font really good for extensive texts, since its design is based on situations that require high line performance, great readability and high aesthetic coherence. With 5 variables that vary in weight and style, the typography gathers asymmetry and organic nature in vertical structure, narrow horizontal proportions, high x height and extreme contrast between black and white. Elisetta Book has been created for the writing of clear texts and long lines composed in small sizes inside and outside the pentagram; Elisetta Italic intensifies the organic nature of the musical keys by offering softer signs, contextual alternates and initial caps; finally, Elisetta Display increase and emphasize the contrast between vertical stems and horizontal lines to highlight short texts and titles. For those who love music and for those who like romantic forms, this typography has a lot to offer: Elisetta is the best option to write light words with style, compose clear and rhythmic lines and read comfortable paragraphs with high performance. You can tell everybody this is your font, how wonderful life is while you're in the world! * This typeface was originally designed and supervised as «Elisa», the main project of the Master in Typography at University of Buenos Aires, Argentina.

Nawin is an informal Arabic typeface inspired by handwriting. The idea behind this design is to create a type family attractive and ownable for children but at the same time a design that keeps excellent letter recognition for reading. Handwriting has been a great source of inspiration in this particular typeface. By emulating the movements of the pen, we have obtained letter shapes that express spontaneity. A bright group of letters create a lively and beautiful paragraph of text. To get closer to handwriting and the variety of letter shapes that we draw while writing, this typeface offers a large number of alternative characters, which differ slightly from the default ones. Because we have programed the «Contextual Alternate» feature in the fonts, these alternate characters appear automatically as you set a text on your computer. For instance, in the Arabic variability on vertical proportions between letters Alef and initial Lam, create movement in text and avoid the cold mechanical feel of repetition. In the case of the Latin a part from having an entire alternate basic alphabet, there are also different letterforms for characters with diacritics, this way variability becomes even greater. Nawin is quirky and elegant at the same time. Letter recognition is relevant when reading continuous text. For this reason, in the Arabic, we have added another contextual alternate feature with alternate characters that help to avoid confusion when letters with similar or the same shape repeat inside one word. This is the case of medial «beh and Yeh» repeated three times continuously in the same word. The alternate characters change in shape and length, facilitating distinction to the reader. Since this typeface is inspired by handwriting and the free movement of the hand while writing, we considered ligatures a good asset for this design. The Arabic has a wide range of ligatures that enhance movement and fluidity in text making look text alive, while the Latin achieves this same effect via contextual alternates.

Roc is a sans serif grotesk inspired by American wood types from the end of the 19th century. With nine weights in five widths, this family contains 45 fonts in total. The character set supports Western and Central European languages, as well as Turkish. Roc Grotesk comes in a range of five widths: Compressed, Condensed, Normal, Wide and ExtraWide, in order to cover a wide scope of applications. Although the styles at both ends of each range are made in their most pronounced form in terms of width and weight, they are not taken to such extremes as to become absurd, and are quite usable in display settings. The Normal width keeps all its nine styles in proportionally similar widths. The Compressed width, however, is deliberately made to be disproportionate, so that every style takes the least possible horizontal space. That is why the contrast between Compressed Thin and Compressed Heavy style is substantial. As the weights progress from Thin to Heavy, the stroke contrast becomes more prominent. It is intentionally exaggerated in heavier weights, which is particularly apparent in the uppercase E and R of the Black and Heavy style. Roc has a large x-height and relatively short descenders and ascenders. No uppercase letter descends below the baseline, so the lines of an all-caps text can be packed tightly on a poster or a headline. The Regular style is somewhat generously spaced, as it is most likely to be used for setting longer passages of text. Its Bold counterpart is spaced in such a way that the width of the text column will be similar to the text set in Regular. Tabular figures in these two styles have exact matching widths, so for example, you could emphasize one row of numbers in a data column without visually disrupting the vertical order of the table. The lowercase g and r have alternatives to accommodate what most designers expect from a typical Grotesk typeface. The single-story g and the cut-off r are accessible via the OpenType feature.

Designed by Cosimo Lorenzo Pancini with Francesco Canovaro as a development and reinvention of Tarif by Andrea Tartarelli, Ambra Sans is a humanist sans typeface family, drawn around a lively, expressive skeleton but developed with a contemporary, post-digital sensibility that implies low contrast and tall x-height. In designing Ambra Sans, the authors wanted to research the elusive natural signature of handmade humanist letter shapes, in the effort of preserving it while still developing all the capabilities of type as a technical tool in the digital age. Like a frail insect preserved in amber, humanist design is the "ghost in the machine" of this font, that aims at seducing the viewers with its soft, welcoming text flow, firmly opposing the rigid, formal tone of most sans serif fonts. Born to provide a useful tool to graphic designers with branding and editorial needs, Ambra Sans develops around two subfamilies with slight but fundamental differences. The display family offers a taller x-height, optimizing readability and spacing in headings and display use, while offering a single story lowercase g to provide more consistent branding usage. The text family, on the other side, goes for a smaller x-height to give more traditional proportion to the text and removes the slight tapering in the stems to provide better rendering on screen in small formats. Both subfamilies of Ambra Sans develop around a wide range of seven weights with corresponding true italics, with Ambra Display sporting an extra heavy weight for maximum versatility. In total the family counts 30 fonts, each with over 600 glyphs for a wide language coverage. Open type features and glyph alternates further enrich the usage possibility of this typeface that wants to offer contemporary designer an alternative, unexpectedly human approach to contemporary sans type, softly preserving the spirit of handmade calligraphy while encasing its frail nature in a transparent, strong and powerful design language.

ATTENTION! See the newest version of Reina here. Reina Neue is now a family of 45 styles and it's also a Variable Font! Have a look. For the traditional version of Reina, you may stay here ;) --- Reina is Sproviero’s didone of the year. We recommend seeing its user’s guide . Inspired in the sweet letters of calligraphy and typography masters of our past; such as Didot, Bodoni and the incredible Herb Lubalin, its aim was to incorporate the decorative accolades from blackletter and copperplate styles of calligraphy into a Modern Roman typeface. Reina reflects sovereignty due to the enveloping atmosphere and the sensation of greatness that can be felt when using it. It has an unique way of standing over paper and screen, being its swashes responsible of an extreme elegance. Similar to what Lian did in his last font Breathe , Reina was designed to be playful yet formal: While none of its alternates are activated it can be useful for short to medium length texts; and when the user chooses to make use of its open-type decorative glyphs, it can be useful for headlines with dazzling results. TECHNICAL Reina is a family with many members. In order to achieve better results when printing, Lian took his time to design the necessary styles: Reina 72 Pro, prepared for display sizes; Reina 36 Pro, for medium sizes; and Reina 12 Pro, the best for text or decorative words in small size. Each of these members have variants inside, which are open-type programmed: The user decides which glyph to alternate, equalizing the amount of decoration wanted. Reina Engraved Pro has the same features than the variants mentioned above. The family also contains variants which were made exclusively for decoration. These are: Reina Words, a set of the most common words used in english, german, italian, french and spanish; Reina Capitals, which consists in a big set of ornamented capitals; and Reina Fleurons, those little friends which always help to embellish our work.

Introducing Wyvern—the sans-serif typeface that exudes professionalism and precision. With its high x-height and short descenders, Wyvern is a true testament to the vintage typewriters and daisy wheel printers that inspired its creation. Its sleek and compact design boasts clean edges that give it an open and vibrant appearance, perfect for businesses looking to make a brave statement. But it’s not just its appearance that sets Wyvern apart—its italics are a testament to its strength. With angled stems and altered stem widths, Wyvern maintains a dynamic and natural appearance without the use of cursive forms. This makes Wyvern ideal for businesses that want to convey a sense of innovation and forward-thinking. Wyvern comes in seven weights and italics, providing a range of options for businesses looking to make their mark. Whether you’re creating an audacious new brand identity or refining your existing design, Wyvern is the perfect choice for designers that want to make an impact. So why wait? Experience the power of Wyvern today and take your design to the next level. 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.

Step right up, folks! Introducing Budmo, the font that’s always ready to party! This jubilant display typeface is inspired by classic light bulb marquee sign lettering and is perfect for all your festive needs. Whether you’re sending out dance invitations, announcing a gala, planning a parade, or just looking to add some pizzazz to your party, Budmo has got you covered. But that’s not all, folks! With Budmo Jiggler and Jigglish, you can really ramp up the carnival atmosphere. Layer the Bulbs, Honk, and Solid styles to create a truly carnivalesque effect. And don’t forget to try adding a glow effect to the Bulbs style for even more razzle-dazzle. But here’s the thing, friends. Even on its own, the Bulbs style is nothing short of snappy. Add your own special effects and watch it light up the night! So come on down and see Budmo for yourself. You won’t be disappointed! 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.

Syntachron is an extraordinary monospaced font that stands out with its futuristic and mecha-inspired design. What sets this font apart is its unique ability to combine simplicity, modernity, and boldness, resulting in a visually captivating typeface. It is the perfect choice for those seeking to create impactful posters, eye-catching marketing materials, captivating logos, attention-grabbing headlines, and engaging book and magazine layouts. One of the distinguishing features of Syntachron is its compatibility with the Cyrillic alphabet, offering versatility and style for a wide range of design projects. Whether you're working on international branding campaigns or multi-language publications, this font seamlessly integrates with the Cyrillic characters, ensuring consistency and cohesiveness across different languages. In terms of typeface pairing, Syntachron harmonizes exceptionally well with related families and typefaces that share its sleek aesthetics and futuristic vibe. It complements and enhances other fonts, enabling designers to create stunning combinations that amplify the impact of their designs. Beyond its striking appearance, Syntachron excels in its functional aspects. The font comes in a variety of styles, allowing for versatility in design choices. Its monospaced nature ensures consistent character widths, making it ideal for code snippets, technical documentation, and typewriter-style layouts. Furthermore, Syntachron offers a comprehensive character set with special features, enabling the seamless creation of diverse and engaging designs. The design concept behind Syntachron was to capture the essence of a futuristic world and merge it with the mechanical elements of mecha-inspired aesthetics. The result is a font that exudes a sense of cutting-edge technology and boldness, empowering designers to create visually striking and impactful designs that captivate their audience. Syntachron was meticulously created to fulfill the need for a font that seamlessly merges modern simplicity with futuristic design elements. Its purpose is to provide designers with a versatile tool that sparks creativity and enables them to craft stunning visual experiences. With its sleek aesthetics, support for the Cyrillic alphabet, and functional aspects, Syntachron is an indispensable asset for any design project seeking to embrace the future.

Note: the 'Phone Pro Hebrew' typeface, includes just the Hebrew characters of the comprehensive "Phone Pro" family font, sold separately [on this MyFonts site], so they are economical for those interested just in the Hebrew Characters. And regarding the “Phone Pro” project in general, this is what I wrote: 'PRISTINE'; this font is—neither beautiful nor ugly, neither vigorous nor weak, neither traditional nor modern, neither serif nor sans serif, neither script nor printable, neither a text font nor a display font—it is rather all of the above, which makes it a more versatile typographic tool—[handwritten] characters that are well-suited for a wide variety of applications—from editorial design, [friendly] greeting cards... to branding, advertising, publicity and digital. Each glyph design combines its unique shapes and stylish ink-traps with parabolic curves. Each glyph design has been treated as an 'individual character'—the way I would treat a breathing, living, vulnerable and courteous human being; looking after each and every character as if it was my only child — bringing to light the authenticity and uniqueness of each individual, as well as my objective to bring about peace and harmony between them all as a whole. Designed with the intention of harmonizing between four scripts — Latin, Cyrillic, Greek and Hebrew; the whole family has a comprehensive set of characters—in addition to the Latin letters, the Phone typeface also has a full set of characters for Vietnamese, partially extended Cyrillic, Greek and Hebrew (sold separately). The t_t ligature is something unique to Phone, as well as the t_z ligature, among others and extras. A distinctive trait of the Phone typeface, is a high x-height combined with relatively short ascenders. The Phone typeface is in a way evoking the feeling of some Gaelic font and of the [Egyptian] Papyrus font (by Chris Costello, though, not being based on neither of those), having an exotic and an exquisite look, under the category of "Soft Fonts & Friendly Faces".

Duos Pro, a script for illusionists, comes in 10 styles. Whatever style you pick: apply this speedy monolinear handwriting font in large sizes, because it is made for catching the attention. Take Duos Sharp, which comes with speedy strokes and sharp endings in light, regular and black weights. Or pick Duos Round, and its 3 styles with a softer voice and round endings. Some people call those endings “funky ball noses“, an odd but appropriate description. Round styles look more like round tip speedball lettering, but contrary to most speedball letterings they're written with a very high speed. Especially Duos Round Black is more cuddlesome than its sharper counterpart. For an even more intuitive feel, we added two more sets: Duos Brush & Duos Paint. Duos Brush combines monoline strokes with brush beginnings and endings, for that graphical, freshly lettered touch. A closer look will reveal how its brushed tails vary all the time. Duos Paint is made up out of rough & artistic painted strokes, with all its accompanying shortcomings. In contradiction to the finesses of lighter weights, Duos Paint Black scores in being the most nonchalant and impressionistic. Poésie brutale! As well as having the option to choose between (or mix) these 10 styles, Duos Pro has additional hidden functionalities. For example, every style has many alternate lettershapes and ligatures, offering various different results and lengths to display every single word. Or manually add one of the swashes for more emphasis. A bonus font, Duos Tools, includes tool icons, strokes and banners. If that ain’t enough, throw in some polysemic letters for smart, ambiguous communication if you like. Want to become a signpainter? Then be a signpainter. Always wanted to be an artist? This is your chance! Duos Pro boosts your look. Make your visual vocabulary as grandiose, dramatic, sensitive or picturesque as you want. But whatever you do, don't hesitate to apply Duos Pro “short & big”!

In the sketches that formed the basis for his typeface Biome, Crossgrove experimented with inner and outer shapes in different styles, adapted letters to the form of the super-ellipse, and added curves only to remove these again. His challenge was to find a harmonious and coherent approach that provided sufficient contrast with existing fonts. Biome is essentially in the sans serif tradition and the letters exhibit only minor variations in terms of line thickness. There is still a suggestion of the super-ellipse at many points, but this never becomes the predominant design factor. While most of the terminals of the vertical strokes are only slightly rounded, the horizontals and diagonals have pronounced arches and it is these that basically determine the round and soft character of the typeface. The more unconventionally shaped letters, such as the lowercase 'g' with its two semi-open counters and the 'k' and 'x' with their crossbars, provide Biome with an individual personality. And this effect is emphasized by the generously rounded links in the 'v' and 'w' and the uppercase 'M' and 'N'. Biome has been designed as a typeface super-family. From the near hairline Extra Light to the amply proportioned Ultra, there are seven clearly differentiated weights and three tracking widths. There are oblique italic versions of all variants. The range includes small caps and numeral sets containing lowercase and uppercase digits. With its available range of characters, Biome can be used to set texts in all Eastern European languages. Although the remarkable individuality of Biome is most clearly apparent in the larger point sizes, this typeface is not just suitable for producing headlines and logos. Biome's elegant visual effects mean that it is equally comfortable in short texts while its large x-height and generous counters make it readily legible even in the small font sizes. Biome is a contemporary typeface that employs mid-20th century futurist elements which ironically give it a retro feel.

American graphic designer William Addison Dwiggins' (W.A.D. for short) first typefaces were the Metro family, designed from 1927 onward. The project grew out of Dwiggins' dissatisfaction with the new European sans serif typefaces of the day, such as Futura, Erbar, and Kabel, a feeling he expressed in his seminal book Layout in Advertising. Urged by Mergenthaler Linotype to create a solution for the problem, Dwiggins began a professional relationship that would span over the next few decades. The first Metro family typeface to be released was Metroblack, brought to market by Linotype in 1929 (Metroblack #2™ the only one of the two versions that Mergenthaler Linotype eventually put into production which is available in digital form). With more of a humanist quality than the geometric styles popular in Europe at the time, Dwiggins drew what he believed to be the ideal sans serif for headlines and advertising copy. Metroblack has a warmer character than the Modernists' achievements, and the type is full of mannered curves and angled terminals (Metroblack also has an astoundingly beautiful Q). The other weights of the Metro family, Metromedium #2™ and Metrolite #2™, were designed by Mergenthaler Linotype's design office under Dwiggins' supervision. Despite having been created more than three-quarters of a century ago, the Metro family types have aged well, and remain a popular sans serif family. Although spec'd less often than other bestsellers, like Futura, Metro continues to find many diverse uses. The typeface has appeared throughout Europe and the North America for decades in newspapers and magazines, and can even help create a great brand image when used in logos and corporate identity. Dwiggins ranks among the most influential graphic designers and typeface designers of the 20th Century. He has several other quality fonts in the Linotype Originals, including the serif text faces Electra™ and New Caledonia™, as well as Caravan™, a font of typographic ornaments."

The futuristic innovation of Superego—the ultimate geometric-techno typeface that will revolutionize your message like never before. With its creative aesthetic, Superego is a powerful force inspired by the cabinet artwork of the 1981 arcade game, Stargate. With an unyielding sense of innovation and technological perfection, Superego features primitive geometric shapes and unconventional letterforms that are nothing short of extraordinary. Every single letter is crafted to perfection, making each message you create a work of art. Superego is more than just a typeface. It’s a testament to the future of design, a bold and daring statement that refuses to be silenced. Superego will elevate your message to new heights, bringing a unique and unexpected edge to your designs. This is not your average typeface. This is a transformative tool that will leave a lasting impression on anyone who encounters it. So join the revolution and experience the unparalleled power of Superego today. 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.

You wrote on your school notebooks, didn't you. Of course, just about everyone did. And those that didn't are probably in therapy trying to overcome the repression and guilt. Balloon letters are fun, easy to draw and have a light-hearted presence. With little autonomy, what young person can resist the opportunity to make a public, personal statement on their notebook. Guess what! Adults do it too - with our cars, our houses, our toys, our accessories and so on. And how "grown-up" are we really? Anyway, my niece, Cori, made this nice, colorful, hand-drawn birthday card. It was so vibrant and fun - in warm circus colors - that I could not resist making it into a font. Use it for positive, fun stuff, stuff with a light touch - an invitation for an informal party perhaps, but probably not a formal dinner at the White House. This font is not comfortable in a bowtie. But don't be fooled. Casual as Cori is, you can set at least twelve major European languages with it, in addition to English: Albanian, Danish, Dutch, Finnish, French, German, Hungarian, Italian, Norwegian, Portuguese, Spanish and Swedish. Cori Valentine adds a decorative Valentine border to the upper case of Cori. By leaving out the bow in the upper center of the border we were able to fit the border around the accented caps. Similarly, we omitted the butterfly for the Ccedilla glyph. Blank versions of the regular border & the bowless border are provided at positions 135 & 137 in case you want to put a border around your signature or something like that. Just for reference, the letterforms for Cori Valentine are 75% the size as the regular Cori font. We would like to assure you that it is permissible to use Cori Valentine to create a romantic card, flyer or note during any month with less the 32 days.

Introducing Recharge—the bold and versatile industrial typeface that’s designed to make your words come alive! With its broad, square design, Recharge is perfect for creating explosive headlines that demand attention. But don’t be fooled by its brash exterior—the refined lowercase letters are also ideal for producing crisp, legible paragraphs that will keep your readers engaged. What really sets Recharge apart are its unusual angled stroke ends, which give the typeface a unique and dynamic character. These distinctive details make Recharge a great choice for a wide range of themes, including sports, military, space, automotive, electronics, and other technological subjects. Whether you’re designing a bold and eye-catching advertisement or a sleek and modern website, Recharge has you covered. With seven weights and italics to choose from, you can easily create the perfect balance of weight and contrast to suit your needs. So why settle for a boring, generic typeface when you can use Recharge to make a bold statement? Try it 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.

Poeta Color is an ornamental font for making patterns and decorating text. It contains floral and nature motifs. The symbols are versatile enough for simple decoration or thematic seasonal and holiday moods. Designers can use Poeta to make unique lines, fields, borders, or ornamentation within or around text. Try replacing a basic straight line with repeated symbols. Make a background to add visual interest to a design. Use the forms to decorate a chapter title or to mark the end of a magazine article. Replace a letter in a word with a symbol to create a memorable statement. This font began with sketches of patterns seen in ceramic tiles around Sicily. It is named Poeta because Sicily is an island rich in poetry traditions. Below is some helpful technical information. Using this font is simple. Install it and type. Symbols will appear instead of letters. Choose the precise symbols through a software’s glyph palette. Use the type/character menu controls to vary the spacing and density of patterns. All fonts are vector-based, OpenType, and fully scalable. Six of the fonts have different color or grey combinations. One of the fonts (solid) is a standard font. The font previews on this website will only display the font in black. See the slides to get an idea of the colors. Be assured that the colors are present in the files and will appear when loaded on the computer. The colors that are in each font: Primary: red, yellow, blue Secondary: orange, green, purple Tertiary: red-orange, yellow-orange, yellow-green, blue-green, blue-violet, red-violet Diverse: many different warm and cool colors Grey: three different greys from light to dark Gradient: a greyscale gradient Solid: standard font and can be colored normally Software that supports color SVG fonts: Photoshop, since 2017 llustrator, since 2018 InDesign, since 2019 QuarkXPress, since 2018 Pixelmator Sketch