Bill Corporate is a geometric typeface with generous capitals. A modern classic, based on Max Bill’s lettering work, its straightforward and uncompromising construction can be both edgy and sublime. With minimalist letterforms, pointy apexes instead of flat ones, and archetypal proportions, this font family doesn’t follow any trends but strives to achieve a timeless formal vocabulary. The skeleton of its letters is based heavily on the famous primary shapes of the Bauhaus: square, circle, and triangle. This makes for quite wide uppercase and much narrower lowercase letters. The contrast between uppercase and lowercase benefits inexperienced users, who will be able to get appealing results quickly. At the same time, it’s a powerful tool for seasoned designers, who can employ either case selectively to set the desired typographic course. Bill Corporate Medium’s 16 styles (including a set of eight lighter-than-light fonts from “Two” to “ExtraLight”) are an excellent choice for editorial design, branding, headlines, and even short to mid-length copy in a wide range of applications and industries. The uppercase letters in particular—with their varied widths and lavish dimensions—are suitable for cosmopolitan and stylish logotypes and wordmarks. Whenever a timeless, staid, and classy look is demanded, choose Bill Corporate.

Armatura — a bold, sporty font with a modern and futuristic alphabet design. Elevate your design projects to new heights with Armatura's cutting-edge typography, perfect for branding, headings, technology, digital media, movie titles, invitations, signatures, logos, labels, and much more! This modernist capital font is tailor-made for eye-catching headlines and captivating titles. Armatura boasts an extensive character set, including Latin, Cyrillic, and Arabic numerals, making it versatile and adaptable for diverse linguistic and cultural contexts. Key Features: Sporting Boldness: Armatura exudes energy and daring style, capturing attention and infusing dynamic flair into your designs. Versatility at its Best: This font seamlessly fits various projects, from large-scale advertising banners to petite cards. Embrace Technological Edge: Armatura effortlessly integrates with modern technology, ideal for digital and interactive media ventures. Multilingual Support: With Latin and Cyrillic alphabets, plus Arabic numerals, Armatura accommodates a multitude of languages and regions. Expressive Appeal: Its geometric forms and audacious details bring character and distinctiveness to every design element. Unleash the power of Armatura to make your projects stand out, commanding attention with a contemporary touch of uniqueness. This font is a must-have for ambitious and forward-thinking designers seeking to create something exceptional and truly captivating.

Allow me to introduce Hello Blushberry - Font Duo is a playful script containing many choices of alternative characters to choose from as well as ligatures that look natural to add to the authenticity of letters. A collection of strange and initial swash tips is also included to add finishing touches or fill the design space in your type design. Hello Blushberry a modern handwriting fonts, loaded with awesome opentype features, and full alternative upper and lower case character sets. make custom letters a dream thanks to all the extra decorative choices you can enter for beautiful and unique customizations - swash, endings, alternative letters and ligatures all make it the prettiest little thing since tutus and tiara. Designed to work harmoniously, this duo font consists of super fine and casual signature scripts and a complete and clean set of all sans serif letters. Sans Serif fonts consist of two outline fonts of different weights, and a regular version. Layer them with different colors and turbidity to get a million different views. This font is perfect for branding, logos, web and editorial design, branding, prints, invitations, crafts, quotes, and more. Includes Files: • Hello Blushberry Script • Hello Blushberry Script Capitals Need help? If you need help or advice, please contact me by e-mail at Greatstudio92@gmail.com.

[Noah PDF Type Specimen] [Download 4 Free Fonts] Noah is more than just another geometric sans. With sharp details and a distinctive arrangement, it further extends the limits of the x-height, providing unparalleled flexibility. The specific structure is paired with normal width proportions, moderate contrast and vertical stress – making Noah well suited for a wide range of typographic purposes. This type family consists of 72 fonts divided into four subfamilies with different x-heights – ranging from Noah Grotesque at the bottom, through Noah and Noah Text, and extending to the highest one – Noah Head. The entire set includes styles from Thin to Black, with matching true italics and supports Extended Latin and Cyrillic scripts in more than 130 languages. The inclusion of terminals with a humanistic flavor and typographic letter alternates, such as the binocular “g” or the geometric “a”, offers a blend of the best aspects of both geometric and grotesque typeface classics. Noah features 4 weights that are available completely FREE. Features: • Over 650 glyphs in 72 styles (Thin to Black) • Extended Latin and Cyrillic scripts for more than 130 languages; • 4 different x-heights; • Normal width proportions; • Moderate contrast and vertical stress; • Geometric characteristics and terminals with humanistic flavor.

Afical update 2.0 version Afical Composed of 3 set families, consists of 35 fonts matching italic: Afical Std, Afical Neue, Afical Stencil. families all with distinctive qualities and features but share the same basic construction and proportions. Afical has been carefully crafted to focus on Text sizes and legibility with a high x-height, we developed it with Manual TrueType Hinting. Afical It's a perfect choice for publication, Packaging, logo, branding, Signage, wayfinding design systems, as well as web and screen design OpenType features: Alternate Characters SS.01, SS.02, SS.03, SS.04, SS.05, Denominators Case-Sensitive Forms, Tabular Lining, Fractions, Ordinal, Ligatures, Discretionary Ligatures, Subscript, Superscript, Language Support: 63+ (Latin based) languages Afrikaans, Albanian, Asu, Basque, Bemba-language, Bena, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Gaelic (Irish, Scots), German, Gusii-language, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Cornish, Luhya, Luo-Language, Machame, Madagascan, Makhuwa-Meetto, Makonde, Malayan, Manx, Morisyen, North-Ndebele-Language, Norwegian, Bokmål, Nynorsk, Nyankore, Oromo, Pare, Portuguese, Rombo, Rwandan, Rukiga, Rundi, Rwa, Samburu, Sango, Sangu, Swedish, Swiss German, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Taita, Teso, Vunjo, Zulu Behance Looking for custom Afical? Please send us an email at hello@formatypefoundry.com Designed 2017 Published 2021 2021 Copyright © Formatype Foundry All rights reserved

Malden Sans is a mischievous grotesque sans serif with charming details that gives designers a solid typographic voice. It was created by Michele Patanè with regular and condensed widths, as a utilitarian typeface family for print and digital environments. It was originally designed as part of a type system for cinema magazines, and embodies the devil-may care attitude of the silver screen. Designer Michele Patanè looked back to an earlier era of typography to create the typeface, embracing unusual details, rather than ironing them out. “There is a very naive way of using typography in the 30s and 40s, something not as clean as how it’s used in the late 50s and 60s when everything passed through a rationalisation of the typographic palette,” he explains. “In film magazines you can still see a bit of roughness, and I like that.” This is a design that’s desperate to be used in editorial environments, and has been created to stand up to lower quality paper. It would be equally at home on posters, packaging, and even in digital environments where designers are looking for something more expressive than another geometric sans serif. Malden Sans includes a Normal and Condensed range, with 7 weights in the normal and 6 in the Condensed, both including italics.

Victorian Orchid is a gorgeous vintage flower. Victorian Orchid is a beautiful, organic serif font family available for both text and display. Its bizarre serifs for A and other diagonal letterforms came from decorative types and letterings in old Victorian era. These unusual serifs support and enhance the horizontal flow of the eyes and vertical alignments. Very eye-catching lowercase g also came from the Victorian era and this is one of the most dramatic letterform of this font. Lowercase such like n and d also have horizontal serifs which designed in the same theory. Victorian Orchid is somewhat organic, humanistic and soft-impression font like Transitional Serif as typified by Times New Roman. But at the same time, this font has horizontal serif and vertical stressed letterform like Modern Serif. They make this font sharp, handsome and neat. In addition, Victorian Orchid has low contrast and the serifs are not too flat and not too coved. By them, Victorian Orchid create strong and casual impression like Slab Serif fonts. Victorian Orchid family consist of 5 weights from Light to Bold including about 500 glyphs, international accented letters, some OpenType features. Italics are "True" italics which designed very carefully to match Romans.

TELEPATH Telepath by Coniglio Type, first appeared in 1998. It is now in opentype .otf as of 2021. Telepath is a master sampling of a Royal office typewriter of industrial strength provided by the Miller Furniture store, of Dunkirk, New York. It had a baseline set of numbers to make accounting practices easy and line up nicely on the statements. (No gentile old fashioned numerical ascenders and descenders.) Yet, for a a rather old and stolid machine, it was very luxurious and built to definitely take the test of time. Cudo's for Royal Typewriter Company, is all I can say. The set of images were very carefully gathered and has fallen into the preferred category for a typewriter font that has it all. The font has exceptional value as a text font -and- a display font. It contains a great deal of graphic information and doesn't spike at higher sizes. Telepath presents a strikingly handsome typewriter font with a uniquely intuitive difference. Unlike the original source material—scans of monospaced typewriter copy, every font is painstakingly hand kerned for your most demanding copy fitting work in justified or casually ragged settings for print or the web. All Coniglio Type fonts are 100% embeddable. It will get you there.

Originally developed for academic publishing, Skolar asserts credibility and sustains comfortable reading. It has established itself as a go-to choice for all kinds of scholarly texts, no matter the field or school of thought: it handles the minutiae of linguistic, scientific, and editorial typography with ease. A classic with a twist, Skolar brings a trace of human touch to serious typography. Thanks to this knack for subtlety, it is also successfully used in other genres from branding to children’s literature. Skolar PE has a vast character set that caters to nearly four hundred languages and transliteration systems (Pinyin, IAST/Sanskrit) using Latin, Cyrillic, and Greek (including polytonic). Its larger x-height, robust serifs, low contrast, and its deft italic make it a pleasure to read even at small sizes. With Skolar, footnotes and bibliography become readers’ best friends. The OpenType feature set is engineered for the most rigorous editorial settings. Tabular, proportional, old-style, and lining figures as well as a full set of fractions, ordinals, and scientific superiors and inferiors will stand up to any conjectural challenge. Language-sensitive forms and compound diacritics will handle the demands of many linguistic texts. The companion families Skolar Gujarati, Skolar Devanagari, Skolar Sans PE, and Skolar Sans Arabic expand its typographic and semantic potential even further.

Kometa Sans is a contemporary grotesk with a certain personality. She has a steady geometric skeleton, but its appearance is rather humanistic. The precise details of the artwork, the carefully drawn true italics, the six types of numerals, the variety of alternates, the broad range of open-type features and the extensive glyph set can meet most of the contemporary typographer’s demands for a neutral, but not boring type family for both long text and display use. Among the distinctive qualities of Kometa are also the forms of ligatures (both default and discretionary). They follow the natural constructive transitions between oval parts and stems, which is an advantage to mark, at least for designers who respect the beauty of clean forms. Note the specially designed Kometa Unicase sub-family, substantially enough to exist as a separate typeface. Its elegant and expressive letterforms are boosting further the power to create outstanding design work. Kometa Unicase has original and playful, yet reasonable approach to letterforms variety. Kometa has a very broad usability range – from logotypes and poster designs to corporate identities and complex editorial projects. The contemporary Cyrillics of Kometa allows easily completion of graphically consistent multilingual corporate and artistic design projects. Designed by Kiril Zlatkov and Vassil Kateliev.

Just like the M.C. Escher impossible figures and optical illusions, "Denedo" is a font that is impossible to construct in three dimensions because it only exists as a drawing. This font is based on the "0, 1, 2, 3, 4, 5, 6, 7, 8, 9" characters of one of the alphabets published by Nedo Mion Ferrario in the "Letromaquia" exhibition that was shown in Caracas, Venezuela in the 70's. The reason why I chose to restore and complete this font is that unique and exceptional personality that each word acquires when it is written with this alphabet. Denedo is a typographic family in three styles: Denedo 1A, 1B and 1C. When mixing them in big sizes you will emphasize the balance and incongruity of its shapes, providing originality and a unique identity to every word. All of the 3 variations include a complete character set with the lower and upper case letters, numbers, accents, diacritic signs, punctuation and monetary signs. All the fonts included in this family are available in Open Type format and are perfectly compatible with Mac and PC. I want to express my sincere gratitude to all my friends at Typophile who supported and motivated me during the final stages in the development of this font.

Bo Berndal, the master Swedish typographer, is the eponymous designer of Berndal, a contemporary text family with five different styles. This family represents a new achievement for Bo Berndal, who has spent many years working to optimize text legibility in the printed media. Several small tricks make the Berndal family an interesting milestone in legibility. Berndal's letterforms contain large x-heights. Large x-heights open up the counterforms of letters, making text appear lighter on a page, but their correspondingly shorter ascenders and descenders can hinder legibility. This does not occur in Berndal at all! Coupled with this experiment, Berndal's various font weights display a certain softness and roundness. The letterforms themselves are relatively wide, with an overall consistency in width. The calligraphic nature of the strokes has been minimized, yet a contrast stroke-thickness is still to be noticed within the alphabet. Berndal's five styles offer almost everything that one could want from a good text family. The Regular weight may be paired with Small Caps, Italic, Bold, and Bold Italic. All styles ship in the OpenType format, and include tabular and old style figures. The two italic weights are made up of true italics, not obliques. The Berndal family is a part of the Take Type 5 collection from Linotype GmbH."

Linotype Ergo was designed by American Gary Munch, and was a winner in Linotype's Second International Digital Design Contest in 1997. Conceived as a blend of traditional and modern type concepts, it works as a legible text family as well as a lively display or headline font. The word ergo means consequently," but it also comes from the Greek word "ergon" for "work." Consequently, Munch sees this family as full of energy -- an ideal font for working hard to make a point, and able to get it across with friendly vigor. The strokes of the characters are carefully designed to accommodate the tendency of the eye to enlarge horizontals and perceive verticals as lighter. The lowercase forms have open, friendly counters and are enhanced by small quirks, such as the slightly leaning s and the wide t. The deep branching of curves from main strokes helps this humanist sans to be very readable at smaller sizes. Linotype Ergo has four normal-width weights, five condensed weights, and two compressed weights - all with companion Italics! The family also includes a clever "Sketch" font for use in headlines, bringing the total number of font styles to 23. Ergo is available with Greek and Cyrillic and as W2G fonts with Hebrew."

For many years license plates in Italy have been using a quite peculiar sans serif monospace typeface with slightly rounded corners and a geometric, condensed skeleton. These letterforms have been used by Cosimo Lorenzo Pancini as an inspiration for Targa, published as the first-ever Zetafonts typeface in 2003. Almost twenty years later, Francesco Canovaro has brought the project under scrutiny for a complete redesign, keeping its inventions, solving its issues, and making it into a versatile multi-weight typeface. The original type family has been developed in two subfamilies: Targa Pro Mono (which keeps the original monospace widths) and Targa Pro Roman (with proportional widths), both in five weights plus italics. The original family also included the handmade version Targa Hand which has been paired with a new Targa Pro Stencil to allow for more versatility and choice for display use. All weights of Targa Pro feature an extended latin character set covering over 200 languages, as well as a full set of Open Type features including positional numbers, alternates and stylistic sets. Halfway between postmodern appropriation of utilitarian design and rationalist design, Targa Pro sits comfortably at the crossroads between artificial nostalgia and modernist functionality, ready to surprise the user with its versatility and quirky Italian flavour.

Helsa is a slim and eccentric serif for headings and short texts. It’s a modern interpretation of the narrow Elseviers of the early 20th century. The letterforms are based on Dutch samples, and in the details there are references to both American type catalogs and letters from the foundries of Wolf and Herbeck. Due to the compact proportions of characters and the high contrast of strokes, Helsa doesn’t take up much space in the line and allows you to increase the type size freely, drawing the viewer's attention to the text. The typeface is suitable for branding museums and exhibitions, alternative music bands, independent clothing and perfume brands, and for any topic related to design or history. Helsa’s character set has more than 1600 characters. It supports hundreds of languages, including extended Cyrillic, Greek, and Vietnamese, as well as many OpenType features: fractions, ligatures, old style and tabular numerals, titular letter alternates, and more. There are variants of dashes and other punctuation marks specifically for uppercase typing. In addition to letters, the typeface contains arrows, numbers in circles (in fact, in ovals), symbols of various types of plastic, card suits and much more. Helsa typeface was made at Paratype in 2020-2022.

Broker is an angular variable display type family that invites carefree experimentation, but is designed to make a statement. With twelve unique styles and variable controls for thickness, decoration, and shape, Broker is a versatile and expressive shape-shifter that adapts to fit your mood. It can go from slim, square mono-weight to edgy stressed angled styles, and full-on style with chunky serif heels. And because it’s drawn on a rectangular frame, it’s modular, making it particularly easy to lay out and stack. Inspired by DIY, cut paper lettering Broker isn’t delicate, elegant or precious—it’s a rough and tumble typeface to play with and make your own. Use the variable control to try different styles to give shape to your words. It’s perfect for creative projects, posters, funky packaging, flyers, cover art, motion displays, and fearless branding. The font family includes uppercase and lowercase alphabets, numbers, punctuation and latin diacritics—fully adaptable as a variable type (.ttf) for designers using compatible platforms. It’s also available as thirteen unique opentype (.otf) fonts that can be mixed and matched. Broker was designed by Alexander Wright and In-House International for the In-House International foundry and developed by Rodrigo Fuenzalida at FragType.

Wild Flowers is a unique and modern bold serif font that seamlessly blends traditional elements with contemporary style. Its bold and confident lines give it a strong presence, while the decorative serifs add a touch of elegance and sophistication. This font is perfect for a wide range of design projects, including branding, editorial, packaging, and headlines. Its versatility allows it to work well in both print and digital mediums, making it an ideal choice for both body text and larger display uses. One of the key benefits of "Wild Flowers" is its legibility. The clear, well-defined letterforms make it easy to read, even at smaller sizes, while its boldness and character make it ideal for designers looking to make an impact with their typography. In summary, "Wild Flowers" is a modern and unique serif font that will add a touch of sophistication and style to any design. Its blend of traditional and modern styles makes it a versatile font that will work well in a wide range of projects, and its legibility ensures that it will be easy to read no matter the application. What are you getting? - Special Ligatures & Alternates - Numbers & Punctuation - Multilingual Support Works onMac PC & Mobile - Simple Installations

Mexica is a typographic tribute to Nahuatl, the tongue of the Aztecs, but also the lingua franca of ancient Mexico. ‘Mexica’ is not only the feminized, latinized form of the word ‘Mexico’, but also the name of the inhabitants of this place: the Me-xic-cah. Nahuatl, when composed in the Latin alphabet, abounds in diagonal letter shapes: XYZ are ubiquitous in its classic orthography, just as KW are in its modern one. This visual feature is further enhanced by the absence of some rounded letters such as BDG that depict inexistent sounds in this millenarian tongue. Besides, Nahuatl is language with a tendency to form very long words that give the text quite a distinct appearance, unlike English, for instance, with its abundance of short words. Mexica was designed to look well in all these contexts, and to perform as well as a contemporary, daring, stylish serif type family, with several weights for text and display composition. Further, its terminals and general structure —devoid almost completely of straight lines—are inspired by the angled architecture and ornamentation of the ancient city of Mexico- Tenochtitlan. Mexica received an Award of Excellence at the Type Directors Club of New York annual competition.

Universo and Universo Stencil by Mauro Andrés and Peggo Fonts is a display font family for “Caos Sagrado” specially designed for informative fanzine and magazines. Its name “Universo” comes from the quote “we have to talk about the horrible things of Universe” with the main idea of supporting and help to expose social problems. Inspired on Retro-Futuristic fonts and poster design and old scientific publications that is becoming a new design trend nowadays, and strongly influenced by the Italian type designer Aldo Novarese’s work, developed in the 50’s. "Universo CS" and "Universo CS Stencil" were produced between mid-September and October 2018 by Mauro Andrés under the creative direction of Victoria Rivas and those versions were publicly showed at “Impresionante” (a massive independent printing expo in Chile) with a printed specimen. That phase of the project was updated and completed in March 2019 and was lastly finished between November 2019 and April 7, 2020, developing it in six styles, under the co-production of Peggo Fonts. "Universo" and "Universo Stencil" are both suitable for headlines and short text lines, music and concert posters, books and magazines covers, branding, logotype and graphic design. All stylistic alternates are accessible via OpenType features or character map.

Presenting the ✨The Matolha Typeface✨ by alitdesign. The Matolha Typeface is inspired by stylish designs from the 80s to 90s. At that time the font style like "The Matolha Typeface" had a firm and trendy impression. The Matolha Typeface has a wide selection of alternative characters and swashes that make it easy to create bold retro-style designs. The Matolha Typeface is very suitable for making designs with retro concepts, simple and playful designs, for example making magazine cover designs, music covers, YouTube thumbs, text headers, logotypes and so on with an elegant retort theme. Besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Matolha Typeface has a total of 843 glyphs including symbol, multilingual and alternative glyphs. We really enjoyed the process of making The Matolha Typeface, we hope you are also happy when using The Matolha Typeface. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Surfbars is a handmade multi-language Latin / Cyrillic font that was inspired by surfing, sand, and playful style. Comes in Regular, Italic, Underlines, and Splashes This font includes a full set of fun and unique uppercase and lowercase letters, numerals, and a large range of punctuation. Overall it contains more than 760 glyphs with 220 alternatives and +10 interesting ligatures, swashes, and underlines. With this font, you have complete freedom to use and combine various different letters, alternatives, and ligatures, by that you can be sure that your design or any kind of project will be a unique masterpiece. Also, the combination and usage of different letters and ligatures gives you the opportunity to have fun and at the same time create your own unique style. THE PRODUCT CONTAINS: • More than 760 glyphs, 220 alternatives, 60 ligatures which are unique and playful • This font includes Latin Plus diacritics. • Surfbars support Latin Plus languages (Latin Multilingual language support) • Surfbars support the Cyrillic alphabet. Ideal for loud messages. Made with flat marker adding realistic moves in it. Very interesting to use for logos, name tags, handwritten quotes, product packaging, merchandise, social media & greeting cards. Also, ideal to make t-shirts designs and other clothing products.

Presenting the ✨The Brodille Typeface✨ by alitdesign. The Brodille Typeface is inspired by stylish designs from the 80s to 90s. At that time the font style like "The Brodille Typeface" had a firm and trendy impression. The Brodille Typeface has a wide selection of alternative characters and swashes that make it easy to create bold retro-style designs. The Brodille Typeface is very suitable for making designs with retro concepts, simple and playful designs, for example making magazine cover designs, music covers, YouTube thumbs, text headers, logotypes and so on with an elegant retort theme. Besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Brodille Typeface has a total of 705 glyphs including symbol, multilingual and alternative glyphs. We really enjoyed the process of making The Brodille Typeface, we hope you are also happy when using The Brodille Typeface. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Characterized by quickness, lightness, and ease of movement, Bird Script is a font which challenges many aspects of type-design: every single stroke, comes directly from the author’s hand and tries to reflect not only the tool used, but also his feelings at the moment of writing. Bird Script is a font filled up with the energic gestures of what it’s called gestural calligraphy, a not very explored field in typography, where hardly ever a letter comes the same way two times: When manipulating the pen, the letterer seeks for the beauty of the differences and the grace of a confident execution. Originally done with a flat speedball pen nib nº5 and retouched with pencil for the bolder elements, it turned into a very pleasant to the eyes font which dances between the formal rules of typography and the artistic look of calligraphy. Bird Script Pro and Bird Script Light Pro come with many ligatures, alternates and ornaments. Into the standard ligatures we find lots of pairs of two and three ligated letters so when they are activated the font seems alive. However if none of them are activated, the font gives a really particular text pattern, specially in smaller sizes. Get Bird Script, add rhythm to your work.

Nanami Rounded is a heavily engineered follow up to the hugely successful Nanami, which debuted at MyFonts #1 Hot New Fonts for over 2 weeks. Nanami Rounded is a carefully engineered take on the original Nanami family. We kept the curve very slight in order to keep the clean corporate balance, and not to go into a style that was too friendly. Nanami Rounded consists of 18 weights ranging from Thin through to Black. It has also extensive support for over 50 languages, and as a font family that works well both in headlines and bodycopy, Nanami Rounded is the perfect choice for a whole variety of creative briefs. The gentler, softer follow-up to the popular Nanami, Nanami Rounded is also motivated by the artistry of Japan. Smoothing the hard lines and definite corners of its predecessor just slightly, Nanami Rounded is still clearly defined and crisp enough to work in whatever context you need. If Nanami is a battle hardened Samurai, Nanami Rounded is the lotus blossom favour handed to him as he leaves his home village to go to war. If Nanami Rounded isn't quite floating your boat why not check out it’s counterparts Nanami and Nanami Handmade.

Presenting the ✨The Minatur Typeface✨ by alitdesign. The Minatur Typeface is inspired by stylish designs from the 80s to 90s. At that time the font style like “The Minatur Typeface” had a firm and trendy impression. The Minatur Typeface has a wide selection of alternative characters and swashes that make it easy to create bold retro-style designs. The Minatur Typeface is very suitable for making designs with retro concepts, simple and playful designs, for example making magazine cover designs, music covers, YouTube thumbs, text headers, logotypes and so on with an elegant retort theme. Besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Minatur Typeface has a total of 702 glyphs including symbol, multilingual. We really enjoyed the process of making The Minatur Typeface, we hope you are also happy when using The Minatur Typeface. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn’t have Glyphs panel, you can install additional swashes font files.

Introducing Echo Soul; a free-flowing and carefree brush font duo, hand painted with love. Echo Soul speaks from the heart and doesn't hold back. With elongated brush strokes and a natural flow, it's the perfect choice for handwritten quotes, product packaging, and logo designs with a personal and affectionate touch. The Echo Soul family consists of; 1. Echo Soul • A handwritten script font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Echo Soul Alt • This is a second version of Echo Soul, with a completely new set of lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. 3. Echo Soul Sans • An all-caps font containing uppercase-only characters, perfect for supporting text to compliment the Echo Soul Script font. Also includes numerals and a large range of punctuation. Stylistic Alternates • Are also available for several lowercase characters - these have elongated tails and look great when placed at the end of a word. These can be used by turning on 'Stylistic Alternates' in OpenType capable software, or accessing via a Glyphs panel.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family. Bembo® Book font field guide including best practices, font pairings and alternatives.

Nextir is an extraordinary brush sans serif font that commands attention and redefines modern typography. Designed with large letters and a thick weight, its distinctive square letter shapes are the epitome of strength and contemporary style. What sets Nextir apart from the ordinary is its brush detailing. This unique blend of brush strokes and sans serif elements adds a layer of organic texture to the font. The combination of large letters, thick weight, square shapes, and brush detailing creates a font that makes a striking statement with a contemporary edge. When you need a typeface that combines strength with artistic expression, Nextir is the perfect choice to infuse your designs with boldness, modernity, and a touch of handcrafted elegance. You can also enjoy the features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Nextir fits in headlines, logos, posters, flyers, branding materials, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Karmina is a text typeface developed mainly for pocket books and budget editions. It was built to withstand the worst printing conditions: low quality papers, high printing speed with web presses and variations in the ink level of the printing press. Some of Karmina's most representative features are the rather large serifs, intended to work perfectly in small reproduction sizes, the sharpness of the shapes, including some calligraphic reminiscences, and the large and yet graceful ink traps in the acute connections. Structurally, Karmina combines a significantly large x-height with relatively compressed letterforms. The result of these features grants Karmina outstanding legibility and economy. Karmina features four weights and 800 characters per weight, including small caps, discretionary ligatures, fractions and a complete range of numerals for every use. It also supports over 40 languages that use the latin extended alphabet. Karmina was selected in the text typography category at the Letras Latinas exhibition 2006 and won a merit in the European-wide ED-Awards competition 2007. Karmina Basic is a reduced version of Karmina. It is still an OT-font but without any particular features except of a set of ligatures, class-kerning and language support including CE and Baltic.

Introducing Promenade – a calligraphic serif that started on paper with a flat nib pen (see the 6th image), and blossomed into a full serif with italics. At its core, this font is just... beautiful. It's elegant, it's crisp, it's delicate, but can still hold its own. As I was creating the graphics, I just couldn't get over the flow of the letters – especially the italic. It's got class, but also isn't afraid to rock a pair of Doc Marten's. Funny enough, Jen from Tonic (they make beautiful websites) saw a preview of this font and said, "I'd take that font to prom." Which of course spurred a conversation about how this font would take a Mercedes G-Series instead of a limo, and wear Doc Marten's instead of heels, but still wear the most gorgeous dress, and that is 100% Promenade (and inspo for the name – thanks, Jen!). I've also been loving combining the regular and italic, especially for logos (see the "Friendfolk" logo) One thing to note about Promenade is the letter spacing. It was spaced for clean reading and intentional balance, so I recommend setting the spacing a little tighter if you want to create the display look found in many of the logo mockups(around -20 to -40 should do!).

Fazeta Sans is a perfect companion to serif typeface Fazeta. Two light weights were added, so the complete typeface consist of 14 fonts (7 weights + matching italics). The fine gradation lets you choose perfect weight for any type of project. Every font have 1140 glyphs – just like the serif version and contains the same features, so use and combining of whole typeface is very comfortable. Also fixed kerning allows better comfort for eyes by reading and shortens the length of the text. I tried to preserve sharp and cold impression from serif version, but some straight lines had to be curved due to the natural limitation of sans typefaces (for example the upper arch of “f” is shaped more smooth). However it keeps extremely open form. A little playfulness was left at the end of letters “k, K, and R”, but if you want, this can be eliminated by using a rigorous SS01 feature. Serifs were here transformed into a small yaw from main stroke and so enlive the monotony of sans kind of types. Also slight cutting the top of the letters helping to surprisingly vivid final impression. Fazeta Sans is therefore suitable for wide range of type sizes – from small marginalies to huge poster sizes. To see more please check the PDF specimen.

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

Oktah is a geometric grotesk that comes both as a variable font and 22 static fonts: 11 uprights and 11 matching italics, which make it a great tool for those seeking a versatile font with a strong character and high legibility. Throw in a very pleasing look, elegant curves and a wide range of weights, and you'd get what Oktah aspires to be: a perfect typographic tool for every need.In Oktah, elegant geometric curves meet bold strokes and wide apertures. Round letters are nearly circular, but, to boost readability, slight changes were introduced for optical compensation. Oktah is also equipped with amazing OpenType features: case sensitive punctuation, ligatures, fractions, superscript and subscript figures, two kinds of circular figures, stylistic & contextual alternatives and much more! Oktah supports all major European languages, as well as Vietnamese and some dozens of foreign languages that you may encounter in your designs. We've got all that covered. The glyph count for each of the styles is 800+ characters. Two styles (Extra Light and Bold Italic) are free to try and experiment with. If you need wide language support and more extensive OpenType features, consider taking a look at Oktah Neue, a bigger version of the classic Oktah.

Ralf Herrmann, the designer of Wayfinding Sans, started this project with extensive field studies, driving tens of thousands of miles to explore the legibility of road signage typefaces in dozens of countries around the world. After building his own theoretical framework of relevant legibility parameters, the design process used a unique custom real-time simulation software, which could simulate difficult reading conditions (distance, fog, halation, positive/negative contrast) while the letters were actually being designed. This process made it possible to optimize even the tiniest details of each letter for maximum legibility. Being made specifically for wayfinding purposes, this type family does not compromise on any aspect of legibility — and yet, the typeface is a beautiful, clean and modern sans serif. With its broad language support and the large number of available styles it is perfectly suitable for any possible signage project anywhere in the world. In an independent empirical study at the University of Applied Sciences “htw” in Berlin different typefaces were recently tested when used on signs and Wayfinding Sans Pro was the winner in all conducted tests, being significantly more legible and therefore superior to all other styles of the tested typefaces. Check out the PDF specimen for more information: wayfinding-sans-pro.pdf

Encore Sans Pro is a sans serif which projects an image of reliability, authority and competence making it ideal for corporate applications. A functional typeface which combines utility with style. It’s subtle round characteristics such as the slightly curved-in edges, create a distinctly contemporary look, blending effectively traditional with modern details. Encore Sans Pro has received 3 international awards and distinctions including a Silver at the european ED Awards 2010. This is a contemporary typeface which may function as the perfect alternative to several overused classic sans. Encore Sans Pro does not pretend being different but it does claim its own personality. It is simple and stylish. Furthermore, it is extremely versatile. It comes with 22 weights and supports simultaneously Latin, Greek and Cyrillic. Each font contains 1535 glyphs and is loaded with 22 advanced OpenType features. Extreme weights, such as the elegant hairline, are carefully designed to establish an even color throughout, while ultra black despite its heavy characteristics is quite legible and powerful. Other intermediate weights such as light and book are ideal as body text for magazines and catalogs. Every font in this series has been completed with 270 copyright-free symbols, for packaging, public areas, environment, transportation, computers, fabric care and urban life.

Developed for screen For not the first time, Fontsmith was commissioned to develop a font for one of the UK’s terrestrial TV channels. The product was a clearly-defined three-weight family. When italics were added, it became FS Matthew, a clean, stylish, structured sans serif with swooping, open curves and a bright, lively personality. Southbank Inspiration for many of the forms of FS Matthew came from details found within the modernist buildings and architecture of London’s Southbank, such as the Royal Festival Hall. During the font’s gestation, Jason had found himself at London Studios, a TV studio on Southbank, and a wander around the neighbouring arts buildings proved thought-provoking. The result was a font with a very British character: solid forms that provide the platform for innovation and distinctiveness. Feelgood efficiency FS Matthew’s trademark is efficiency with a feelgood factor: disciplined enough for corporate identities, websites and signing systems, and colourful enough for logotypes and advertising. Its versatility and excellent legibility are achieved via some unexpected details: the reaching curves of the “g” and “y”; the simple shape of the “u”; an off-kilter “k”; generous counters; and a slightly condensed aspect that makes FS Matthew a space-saver in text or title sizes.

Kinfolk Pro is a font collection of six fonts. The main styles Rough and Smooth are extremely sturdy and bold brush fonts. As the name suggests the smooth style has clean, crisp contours and the rough version has the authentic strokes of a slightly dried out brush. Both versions have 606 glyphs and 4 alternate ornamented capital letters to play with, organized in stylistic sets. With Discretionary Ligatures and Contextual Alternates activated you can access elongated swashes by simply typing +1 (+2, +3, +4, +5) in front of any letter and =1 (=2, =3, =4, =5) at the back. On top of that Kinfolk Pro Rough and Smooth have some extra stand alone swashes that can be accessed via the glyphs panel or by typing _1, _2 ,_3 _4 _5. Kinfolk Pro Script is a fully connected script that goes together beautifully with the other styles. For the best connections, activate Discretionary Ligatures and Contextual Alternates. Additionally there is Kinfolk Pro Ornaments for extra swashes, ink blobs and interesting strokes. Kinfolk Pro Arrows and Kinfolk Pro Flowers both offer 230 glyphs to further juice up your designs. You'll need an Open Type savvy application to get the most out of Kinfolk Pro.

Vintage Glader is a beautifully crafted script font that exudes a timeless elegance and sophistication. Designed with a fairly thick weight, this font makes a bold statement while maintaining a classic script style. Its well-balanced proportions ensure a consistent and harmonious look across all letters, making it both visually appealing and highly readable. One of the defining characteristics of Vintage Glader is its contrasting strokes, which add a dynamic rhythm to the text. This contrast not only enhances the overall aesthetic but also contributes to the font's excellent legibility, making it suitable for a wide range of design applications. Adding to its charm, Vintage Glader swinging ends on some letters, lending a playful yet refined touch to the script. In addition, enjoy the features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Vintage Glader fits in headlines, invitations, logos, posters, flyers, branding materials, greeting cards, print media, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Vesta™ was originally designed as an orientation and information system for the city of Rome, the birthplace of the roman alphabet. The forms are inspired by letterforms found on a frieze in the Vesta temple in Tivoli. Vesta has more contrast than the average sans serif but, like many of other designs of Gerard Unger, let in a lot of light - the letterforms are open, the counters generous. Relatively narrow and hence economical - without feeling too compressed - Vesta is an ideal solution for newspapers and magazines, and numerous other applications, including corporate identity and more. Big Vesta was intended as Vesta's display partner. However, it also performs very well at small sizes - its large x-height and short ascenders and descenders make it particularly economical, making it ideal when space is limited; for example on a mobile display. Vesta and Big Vesta are now available in seven weights - from Light to Black - and include everything necessary for setting extended texts well: italics, small caps, and a range of figures, including old style, lining, and tabular figures. All in addition, Vesta is available as a family of OpenType fonts with a very large Pro character set and supports most Central European and many Eastern European languages.

Timeless imperfection FS Meridian is a rhythmic geometric grotesque which takes inspiration from the precise yet imperfect nature of time. There are 24 hours in a day. 60 minutes in an hour. 60 seconds in a minute. Well, almost. The Earth’s orbit isn’t a perfect circle – and nor is the Earth itself. Each day varies a few dozen seconds and up to 16 minutes each year. Look closer and time is more flexible than we think. Geometry with a twist From a geometric base, FS Meridian’s rounded forms veer and extend, creating unexpected humanistic shapes – while the straight terminals remain reliably rigid. This combination of forms gives this grotesque sans serif a pleasingly dynamic rhythm, every time it’s read. Added quirks The unconventional character of rigid terminals and ink traps are balanced with emphasized extended forms to develop visual differentiation. Designed by Kristina Jandová, the complete family has been carefully crafted with distinguishing marks. Take a look at the cap ‘Q’ which comes with three alternative options. Deliciously loopy FS Meridian has a wide geometric, mono-liner appearance with humanistic elements. Quirky individual touches like the loopy expressive pound sign help the typeface to stand out. Available in five weights, FS Meridian is both timeless and timely, a distinctive font for all screens and surfaces.