Radona is a blast from the 80’s that's rader than rad. Radona is the typeface version of Synthwave, an electronic music subgenre that takes influence from the 1980s but builds on it, resulting in a construct that lives in the minds of both those who have experienced it and those who haven't. Radona expresses a nostalgia for 1980s culture, attempting to replicate and appreciate the era's vibe, but extends it further with something new. This sans family has plenty of 80's flavor, but with some fresh twists to push it to the limit. Radona is a geometric sans-serif typeface. Radona has a few quirky characteristics, but it has a generally neutral tone and structure that makes it ideal for usage in print, especially when a contemporary look is desired. It looks amazing in both body text and headlines. The geometric grotesques that were popular in the 1980s served as inspiration. It's a typeface that's been crafted for usage in a range of design fields, from branding to packaging, and it can be used in anything from interfaces to apps. Radona is an excellent typeface for use on websites and other digital applications. Radona comes with a wide variety of styles and a large selection of stylistic alternatives, ligatures, small caps and other special features. Along with parachute pants, synthesized guitar riffs, and VHS scanlines, Radona brings back the 1980’s.

LunchBox Slab is the pair of LunchBox, a uniquely hand-drawn typeface that gives numerous customizable options and a fully authentic look. The serifs in LunchBox Slab are simple blocks, with bulbous terminals on curved letters, which creates a unique effect. Identical to its pair behind the scenes, LunchBox Slab’s OpenType features allow access to over 1,500 different characters. Contextual alternatives give each letter 4 different character styles, all cycling through each other to ensure that no two letters ever show up together. There is also a custom set of small caps, each with 4 style variations as well. Stylistic alternatives give an extra hand-drawn flourish, loop and slight variation, also with 4 different styles per letter. Discretionary ligatures pertain to both regular all caps LunchBox as well as stylistic alternatives. It gives special letter combinations a unique interaction, giving your design a unique and personalized look without spending hours creating it and outlining your text. Included are also a set of swashes that also have four style variations to both the regular and stylistic alternatives, as well as lowercase letters with ascenders and descenders. All of these options are available in Light, Regular and Bold. LunchBox Slab Ornaments includes nearly 200 different graphics, flourishes, frames, catchwords, text breaks and arrows. If you do not use OpenType but are using a program that includes a full glyph panel, you will be able to manually access each of the style variations you want. Enjoy!

Frescito is a modern sans-serif typeface that embodies a fresh, cool, and street-smart aesthetic. Designed to be both balanced and versatile, its clear and legible monoline style is designed for branding and advertising in editorial and digital design. Only one font file, but the file contains multiple styles. Use the sliders in Illustrator, Photoshop or InDesign to manually set any weight and width. This gives you not only the predefined styles, but instead more than a thousand ways to customize the type to the exact look your project requires. More info about Variable Fonts: https://mansgreback.com/variable-fonts Inspired by the energetic spirit of the city and its vibration, Mans Greback set out to create a typeface that would stand out against vivid moment; a type that would work in a traditional café just as well as for contemporary merchandise. The result is a font that combines the best of both worlds: an air of freshness and modernity with an unpretentious, timeless and classy appeal. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

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

The Morgan Project can be considered a big type family with ‘many styles’ or a set of different types that match with each other. For me it’s one typeface with different versions with deliberate and visible differences according to the propose to which each version was created. The design started in 2000 as a display type with the design of the Morgan Tower, to which more two display versions were added; Morgan Poster and Morgan Big — all together the make our: FTF Morgan Display Kit 1. All three versions consist only in uppercase with alternate letters in the lowercase and a set of special ligatures. Morgan Tower has four variants that differ in width/weight, Morgan Poster has six variants (often called styles), three weights in upright and oblique and Morgan Big has twelve, six weights in upright and oblique. Lately, the FTF Morgan Tex Kit 1 was added. Apropriate versions to use in text setting. Both versions, FTF Morgan Sans and FTF Morgan Sans Condensed share the same structure and character mapping. Four variants each; regular, bold, oblique and bold oblique with a large character set including: small caps, lining and old style figures (here called Office figures) — both tabular —, small caps lining figures, mathematical symbols and fraction figures, and, a set of foreign characters expanding the possibilities of use for a wider range of languages. Characters are distributed in six different font layouts: Lining, Office, Expert, Caps, Figures & Pi.

Before the mid-to-late 1970s, when retailers started to embrace UPC (universal price code) technology on a grand scale, pricing merchandise took on many forms. One method especially popular with variety stores (such as Woolworth's, McCrory's, Kress, etc.) were pre-printed price tags that came in small pads and were inserted into metal holders. Shelf Tags JNL recreates a vintage price tag based on examples seen online, and allows the user different ways to create their own vintage-style price tags. You can either utilize the round pen nib style numbers and price marks to place on any size or type tag, or type out prices using the reversed characters (white on black) along with the two end caps provided to form a complete tag unit. For the more adventurous, a complete blank tag is also provided in case the desire is to print a solid color tag background and [using the regular numbers] crate prices in custom colors. Two sets of smaller number (for "floating" cents prices) are also provided in regular numbers and reverse panels. As an extra bonus, there is a set of 1 through zero, dollar sign, cents sign and decimal point individual black-on-white outlined panels for making individual pricing numbers. The keyboard layout for the various characters is as follows: asterisk key - regular cents sign (no panel) dollar sign key - regular dollar sign (no panel) period key - regular decimal point (no panel) left and right parenthesis keys - panel end caps (to form price tags) colon key - reverse decimal point on black panel 1 thru 0 keys - regular numbers (no panels) A through J keys - small regular numbers (no panels) K and L keys - truncated [shorter width] end caps M through Y keys - individual price numbers (black on white with black border a through j keys - reverse numbers on black panels k key - reverse dollar sign on black panel l key - reverse cents sign on black panel m through v keys - reverse small numbers on black panels w through z keys - blank rectangular panels of varying widths equal sign key - full black panel price tag hyphen key - blank rectangular black panel based on the width of most number panels

Rufina was as tall and thin as a reed. Elegant but with that distance that well-defined forms seem to impose. Her voice, however, was sweeter, closer, and when she spoke her name, like a slow whisper, one felt like what she had come to say could be read in her image. Rufina’s story can only be told through a detour because her origin does not coincide with her birth. Rufina was born on a Sunday afternoon while her father was drawing black letters on a white background, and her mother was trying to join those same letters to form words that could tell a story. But her origin goes much further back, and that is why she is pierced by a story that precedes her, even though it is not her own. Maybe her origin can be traced back to that autumn night in which that tall man with that distant demeanor ran into that woman with that sweet smile and elegant aspect. He looked at her in such a way that he was trapped by that gaze, even though they found no words to say to each other, and they stayed in silence. Somehow, some words leaked into that gaze because since that moment they were never apart again. Later, after they started talking, projects started coming up and then coexistence and arguments, routines and mismatches. But in that chaos of crossed words in their life together, something was stable through the silence of the gazes. In those gazes, the silent words sustained that indescribable love that they didn’t even try to understand. And in one of those silences, Rufina appeared, when that man told that woman that he needed a text to try out his new font, and she saw him look at her with that same fascination of the first time, and she started to write something with those forms that he was giving her as a gift. Rufina was as tall and thin as a reed, wrote her mother when Rufina was born. Photo (Fragilité): Karin Topolanski / Post: Raw (www.raw.com.uy) - María Pérez Gutiérrez

Milan-based Leftloft studio has produced a third leg to its hit Etica font family: LFT Etica Mono. Meant to be a coder’s go-to font for everyday use as much as a designer’s way to invoke a certain genre, it is part of a broader and more versatile family that already contains almost 80 sans and serif fonts. LFT Etica Mono’s ten weights carry the same modern, recognisable DNA of the Etica family while hewing to the defined requirements of a coding typeface: space, density, distinct forms, and clarity. It uses the same instroke on the ‘c’ and open form of the ‘a’ for which the Etica family is famous, but adds something new in the form of an additional italic style. Monospaced fonts usually incorporate slanted letters as italics, as does LFT Etica Mono, but its default italics have warmer, cursive shapes while the alternate italics are simply slanted. The default ‘a’ is a simplified bowl and stem instead of a two storey shape; the ‘d, f, i, l, t, y’ and others gain an outstroke tail; the ‘e’ is one smooth stroke; and the default ‘k’ is looped. These characters have basic, slanted alternates if the cursive look isn’t desired, and includes a set of arrows and geometric shapes. The monospaced design, by nature, makes the typeface useful in coding and in low readability situations. And how does LFT Etica Mono work from the designer’s perspective? The starting point was the need for a monospaced Etica companion intended for technical applications: captions in graphic layouts, small text, confined or predefined space, and overall tone. Flat terminals and counters maintain the colour and versatility of the original typeface, but choosing between the organic cursive or blunt slanted alphabet will give every layout its own character. Of particular aesthetic interest may be the & and % symbols. Designed to be applied to the common visual environment, the new LFT Etica Mono font family completes a more complex system. One benefit is to give an expressive tone — less serious and more friendly — to something inherently technical, to bytes and bots, to encode the beautiful life.

Introducing "Mate" - a modern mecha font that pushes the boundaries of typographic design. Inspired by the sleek aesthetics of mecha machinery, this font combines hexagonal formations with a futuristic and cyberpunk visual language, giving your projects a bold and captivating edge. The "Mate" font captures the essence of the future with its hexagonal shapes meticulously integrated into each character. The geometric precision and interconnectedness of these forms create a visually striking and dynamic appearance. The carefully crafted letterforms evoke a sense of advanced technology and mechanical elegance, making them perfect for projects seeking a contemporary and cutting-edge look. With its cyberpunk-inspired design, "Mate" transports your audience into a world where technology and imagination intertwine. The font's sleek lines, sharp angles, and futuristic elements capture the essence of a dystopian future, adding an air of intrigue and sophistication to your designs. The unique hexagonal feels of "Mate" create a sense of interconnectedness and harmony within the letterforms. Each character seamlessly integrates into the next, forming a unified and visually captivating composition. Whether used in titles, logos, or headlines, this font demands attention and conveys a sense of progress and innovation. Unleash the power of "Mate" in your design projects to evoke the spirit of mecha aesthetics. Whether you're working on sci-fi book covers, gaming interfaces, futuristic posters, or branding for technology-driven companies, this font will effortlessly infuse your creations with a modern, cyberpunk-inspired charm. With "Mate," you have the perfect tool to unleash your creativity and redefine the boundaries of typographic expression. Let this modern mecha font propel your designs into a realm where imagination meets technology, and the future is brought to life in stunning visual form. This font is perfect for Logo designs, Gaming branding, Technology magazines, Sci-fi book covers, Cyberpunk posters, Futuristic product packaging, Robotics company branding, Virtual reality interfaces, Futuristic event invitations, Mecha-inspired apparel branding, Tech-themed websites, Dystopian novel covers, Futuristic movie titles, Cybernetic-themed party invitations, Gaming convention banners and many more! Mate features: A full set of uppercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Cyber Mecha Style +298 Total Glyphs

Morris Fuller Benton, the principal designer of the American Type Founders, designed Mariage in 1901. Mariage, which has been sold under a plethora of different names during the last century, is a blackletter typeface belonging to the Old English category. The term blackletter refers to typefaces that stem out of the historical printing traditions of northern Europe. These letters, called gebrochene Schriften, or "broken type" in German, are normally elaborately bent and distorted. Their forms often print large amounts of ink upon the page, creating text that leaves a heavy, black impression. The Old English style is a subset of blackletter type that dates back to 1498, when Wynken de Worde introduced textura style printing to England. Continental printers had been printing with textura style letters since Gutenberg's invention of the printing press fifty years earlier. Italian printers stopped using them around 1470. For northern Europeans, texturas remained the most popular form of typeface design until the invention of the fraktur style in Nuremberg. Mariage is heavily classicized sort of Old English type. During the Victorian era, designers admired the Middle Ages for its chivalric, community-based values and its pre-industrial lifestyle. Yet they also found the basic medieval textura letterform too difficult to read by present standards. They desired to modernize this old style. Today, this sort of update is often referred to not as "modernization" but as classicism. Benton's design for ATF builds upon earlier Victorian classicist interpretations of Old English/textura letters. For an example of what these Victorian designs looked like, check out the popular 1990 revival of the genre, Old English . Old English style types often appear drastically different from other blackletters. For contrast, compare Mariage to a classical German fraktur design, Fette Fraktur , a schwabacher style face, or the popular early 20th Century calligraphic gothic from Linotype, Wilhelm Klingspor Gotisch . Especially in the United States, classicist Old English typefaces are thought to espouse tradition and journalistic integrity. These features, together with the inherent, complex beauty of Mariage's forms, make this typeface a perfect choice for certificates, awards, and newsletter mastheads.

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

Sabor is a voluptuous upright connected display font with mixed taste of script fonts. There were many inspirations for Sabor, but all started with a book from the 1950s about the battles of World War II. To that first sketches of a naive dense display typeface we, day by day, start to create a mixed style evolving some lettering concepts from 1950s, some calligraphy notions and the first display ideas. The feeling of this font is good to be used in many artworks, like logos, packaging, party invitations, layouts for t-shirts, magazine headings, and much more, since websites to and all kind of printed jobs. That font is not really a script, but, like the scripts we strongly recommends to use the caps only in the beginning of words and sentences, to contrast with the lower cases : it’s not designed for all-caps settings, so avoid that kind of use. This font has almost 700 glyphs and supports the most important Latin-based languages. We works hard in a tour-de-force kerning: over 12.000 kerning pairs soft adjusted handily. Its OpenType features include final forms, initial forms, special sets (upper and lowercase's), hundreds of contextual alternates ligatures providing letter-form variations and connections that make your designs really special, and ornaments (tails). Because of its high number of alternate letters and combination's, we suggest the use of the glyph palette to find ideal solutions to specific designs. The sample illustrations will give you an idea of the possibilities. You have full access to this amazing stuff using InDesign, Illustrator, QuarkXpress and similar software. However, we still recommend exploring what this font has to offer using the glyphs palette: principally to get all the power of the Contextual Alternates feature. You can get an idea of the power of this font looking at the “Sabor User Guide”, a pdf brochure in the Gallery section. Also available two sister fonts easy to use : SaborWords and SaborRasgosEscritura Sabor has original letters designed by Iza W and overall creative direction plus core programming by Paulo W.

Spooky Season is a bewitching and delightful Halloween Display font that brings a playful and cute twist to the spookiest time of the year. With its charming and quirky design, this font captures the essence of Halloween with friendly ghosts, adorable pumpkins, and mischievous bats. Whether youre creating party invitations, spooky decorations, or fun social media graphics, Spooky Season will add a touch of enchantment to your designs. Embrace the magic of Halloween with this cute and versatile font thats perfect for all your ghoulishly delightful projects.

Designs of characters that are almost forty years old can be already restored like a historical alphabet – by transferring them exactly into the computer with all their details. But, of course, it would not be Josef Tyfa, if he did not redesign the entire alphabet, and to such an extent that all that has remained from the original was practically the name. Tyfa published a sans-serif alphabet under the title Juvenis already in the second half of the past century. The type face had a large x-height of lower-case letters, a rather economizing design and one-sided serifs which were very daring for their time. In 1979 Tyfa returned to the idea of Juvenis, modified the letter “g” into a one-storey form, narrowed the design of the characters even further and added a bold and an inclined variant. This type face also shows the influence of Jaroslav Benda, evident in the open forms of the crotches of the diagonal strokes. Towards the end of 2001 the author presented a pile of tracing paper with dozens of variants of letter forms, but mainly with a new, more contemporary approach: the design is more open, the details softer, the figures and non-alphabetical characters in the entire set are more integral. The original intention to create a type face for printing children’s books thus became even more emphasized. Nevertheless, Juvenis with its new proportions far exceeds its original purpose. In the summer of 2002 we inserted all of this “into the machine” and designed new italics. The final computer form was completed in November 2002. All the twelve designs are divided into six variants of differing boldness with the corresponding italics. The darkness of the individual sizes does not increase linearly, but follows a curve which rises more steeply towards the boldest extreme. The human eye, on the contrary, perceives the darkening as a more fluent process, and the neighbouring designs are better graded. The x-height of lower-case letters is extraordinarily large, so that the printed type face in the size of nine points is perceived rather as “ten points” and at the same time the line spacing is not too dense. A further ingenious optical trick of Josef Tyfa is the figures, which are designed as moderately non-aligning ones. Thus an imaginary third horizontal is created in the proportional scheme of the entire type face family, which supports legibility and suitably supplements the original intention to create a children’s type face with elements of playfulness. The same applies to the overall soft expression of the alphabet. The serifs are varied; their balancing, however, is well-considered: the ascender of the lower-case “d” has no serif and the letter appears poor, while, for example, the letter “y”, or “x”, looks complicated. The only serif to be found in upper-case letters is in “J”, where it is used exclusively for the purpose of balancing the rounded descender. These anomalies, however, fit perfectly into the structure of any smoothly running text and shift Juvenis towards an original, contemporary expression. Tyfa also offers three alternative lower-case letters *. In the case of the letter “g” the designer follows the one-storey form he had contemplated in the eighties, while in “k” he returns to the Benda inspiration and in “u” adds a lower serif as a reminder of the calligraphic principle. It is above all the italics that are faithful to the tradition of handwritten lettering. The fairly complicated “k” is probably the strongest characteristic feature of Juvenis; all the diagonals in “z”, “v”, “w”, “y” are slightly flamboyant, and this also applies to the upper-case letters A, V, W, Y. Juvenis blends excellently with drawn illustrations, for it itself is modelled in a very creative way. Due to its unmistakable optical effect, however, it will find application not only in children’s literature, but also in orientation systems, on posters, in magazines and long short-stories.

Xavier Dupre’s Molto font family is a tonal master, creating tenderness in a slab serif and tempering toughness with flourishes. Slab serifs created their original niche by their ability to grab attention and overwhelm, which caused them to be seen as strong, dominant, and desired fonts, especially in advertising. Slab serifs are the result of placing defined edges on something meant to take up an inordinate amount of space, rather than meant to be graceful. Molto updates this concept to allow a greater, and gentler, range in the lighter weights. Molto’s nine weights are defined by their intended use. The two extreme weights (Hair and Fat) act as display partners for magazines, titles, and posters. The Hair weight is runway ready with its sturdy serifs, breathy internal space, and stable lettershapes that were designed both to perform and impress. Molto’s Fat weight packs maximum punch in a believable way. Its wide and deliberate curves contrast against thin connections and landing strip stems. Molto can be put to perfect use in a fashion magazine using swashy Hair headlines set against its darkest weight. Molto’s seven intermediate weights, with their classic and legible shapes, are meant for texts of all sizes. The notches on diagonals, distinct numerals, and acute terminals grant benefits from caption sizes up to headings. Molto’s refined light weights and punchy heavy weights set the stage for a swashy surprise — alternate capital letters act as refined garments laid atop its concrete skeleton. The Molto font family rejects saving space in favour of intensifying shapes, placing maximum weight on the edges for better legibility and impact. Latin-based digital and printed designs will benefit from Molto’s design voice and breadth. This means UI, video, and online text, and print materials like dictionaries, packaging, advertising, and branding can all put Molto’s robust forms to multipurpose use. Molto successfully creates balance in a slab serif design: an opinionated and striking type family, stalwart in captions and exuberant in display, thanks to swashes which add some originality to the slab category.

Plumage is somewhat unusual in that it has elements of calligraphy as well as script in a semi-loose form that gives it a pleasing appearance for both large and small sizes, and interesting flare finish strokes add to its unique character. As I read a dictionary description of "plumage", I realized that in many ways there is a parallel between a bird's plumage and how it is utilized in the context of writing: Plumage varies in pattern and arrangement for different purposes; what it expresses can of course be even more interesting. Plumage is disposable after a season, as new ones become available... imagine, a self-sustaining quill! - I guess that's equivalent to a refill or disposable pen. Historically, quill pens were made from feathers of a variety of birds, each chosen for its special characteristics. The sturdiest and most reliable feathers, however, come from turkeys, swans and geese. Feathers used to make pens are the stiff-spined flight feathers on the leading edge of the bird's wing. Pens for right-handed writers come from the left wing, and pens for left-handers, from the right! Each bird yields 10-12 good quills, and sometimes only 2 or 3 - so small a yield that the geese reared in England could not furnish nearly enough for local demand, and quills were imported from the Continent in large quantities. At one point St Petersburg in Russia was sending 27 million quills a year to the UK. It is said that geese were specially bred by US President Thomas Jefferson (1743-1826) to supply his own vast need for quills - in his lifetime he wrote almost 20,000 letters. The name "Plumage" was selected to pay homage to the noble birds that supplied countless quills for centuries of literary works. Plumage is recommended for any formal or informal invitation, decorations, awards, poetry, plaques, etc. We hope you will have the pleasure of using Plumage.

Introducing "Korge", a captivating and versatile retro bold slab serif font that seamlessly marries vintage aesthetics with modern functionality. With its bold design, serif form, and a trio of regular, rounded, and extruded versions, Korge offers a wealth of creative possibilities for your design ventures. Korge is a font that transports your projects back to the golden eras of design. Its bold and distinct serifs evoke a sense of nostalgia, lending your creations a classic and enduring appeal. Korge provides not one, but three distinct styles to choose from. The regular version exudes a commanding presence, while the rounded variant softens the edges for a more approachable feel. The extruded version adds depth and dimension, giving your text a 3D, eye-catching quality. Korge is a font that speaks the language of design across borders. With its multi-language support and PUA encoding, it ensures your message resonates with audiences from diverse linguistic backgrounds. From logo design to branding, packaging, posters, and beyond, Korge adapts seamlessly to a wide array of design projects. Its bold slab serifs demand attention, making sure your message is delivered with both authority and style. Korge invites you to embark on a journey of creative exploration. Craft memorable headlines, iconic logos, or striking signage – this font is your canvas for pushing the boundaries of design. With Korge, the possibilities are limitless. Its vintage-inspired bold slab serif design, multi-language support, and versatile styles make it the ideal choice for designers seeking to infuse their projects with timeless charm and contemporary appeal. Get ready to bring your visions to life with Korge, where classic meets cutting-edge. ——— Korge features: A full set of Uppercase & Lowercase letters Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features +237 Total Glyphs Rounded Style + Regular Style Extruded Style Korge Includes: Korge Regular Korge Regular Extruded Left Korge Regular Extruded Right Korge Regular Extruded Left Italic Korge Regular Extruded Right Italic Korge Rounded Korge Rounded Extruded Left Korge Rounded Extruded Right Italic Korge Rounded Extruded Left Korge Rounded Extruded Right Italic

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

Ambiguity is a type family with five distinct personalities or ‘states’, created as a tool for coaxing designers and brands out of their comfort zone. It embraces both tradition and radicality, as well as generosity and thrift, encouraging us to question our beliefs about the intersection of style and meaning. The family is designed by Charles Nix, who describes Ambiguity as “as much thought experiment as typeface.” Its five states—Tradition, Radical, Thrift, Generous and Normate—each express or subvert different aspects of typographic tradition. Tradition is conservative, relying on historical letter shapes. Radical rejects inherited ideas of proportion, making typically slender letterforms wide, and wide letterforms slender. “It’s contrarian,” says Nix. Thrift cherry picks the condensed shapes from Tradition and Radical, while Generous does the same for wide forms. Normate sits at the center, a synthetic blend of all of the others. “Tradition is very comforting,” says Nix. “It’s the mask of conservatism. It’s calming because it delivers the proportions we expect. With Thrift more fits into a smaller space, so it’s great where words want to get large, like gigantic headlines, or text needs to cram in, like small screen type. You get a sense of carefree and luxury from the Generous cut. One would expect the Radical to be used in a sort of Dadaist way, but in a classic context it provides an enjoyable jolt.” Ambiguity is a litmus test. Designers could spend hours trying on typefaces that offer just one of these voices. Ambiguity provides five different personalities—ideas—beliefs—each of which also work seamlessly together. “It’s a palettea, like idea cards,” he says. “It’s a way of making yourself see differently. My hope is that traditionalists will try on radical clothes and vice versa. It’s a way of exploring outside your comfort zone, breaking out of the doldrums, by stepping through a variety of voices.”

Smallstep - One geometric sans serif with a free spirit. If we presume that geometric typefaces play with the idea of what typography would look like in the future when all unnecessary elements would disappear, than most of their designers seem to envision the future in a rather metropolisque kind of way. We love geometric faces, but the cold and heartless feelings that most of them leave is just not our cup of tea. That is why we are happy to bring some optimism in that genre with our new typeface. We called it Smallstep. Smallstep is a typeface that follows the traditions of classic geometric sans serifs like “Futura”, but is at the same time friendly and whimsical. We took the liberty to deviate from the standard sans serif glyphs while drawing some characters (such as ”a” and ”r” ), others (“w” “k”) are completely redesigned. Probably the biggest trademark of this typeface is the way vertical lines in most lower case characters are “cut” so they end in a 60 degree angle. Smallstep is over all a expressive face, which means it brings some emotions to your design and feelings in itself, and should be used accordingly. Other than that, it is suitable for both headline and body text, print and web. So what kind of name is “Smallstep”? We view the type design process as a form of evolution: There can be no typeface that differs drastically from the current standards, since its characters would be unrecognizable and thus unreadable. But at the same time there are hundreds of faces that differ a little, and still manage to make a difference by moving with small steps towards better and more refined looks. Smallstep consist of 4 weights, that cover all the features, that are expected of a modern Opentype face: kerning pairs, ligatures, true italics and alternative characters, plus a set of symbols, that will help you start off your designs more easily.

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.

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

Clean and geometric deco sans typefaces have been used in a range of scientific publications, corporate logotypes, and beauty products over the years. However, a typeface of this style has yet to have an expansive range of widths and weights to become a design workhorse, until now. The Sunblock family finds its origin of inspiration in the Coppertone sunscreen company logo, and from there expands to type megafamily. Sunblock celebrates the rounded geometric forms of deco and bauhaus lettering through a compressed lens, transcending its brand inspired origin to give birth to a font family that pulls on modern and historical styles. It inherited its soothing tone from the limited character logotype that inspired it, and goes on to include a lowercase, small caps, and a comprehensive range of widths and weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here's what's included with the Sunblock Collection bundle: 643 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 7th graphic for a preview of the characters included) 21 fonts in 5 width subfamilies: Ultra Condensed, Extra Condensed, Condensed, Semi Condensed, & Standard. 5 weights per subfamily (except Ultra Condensed): Thin, Light, Regular, Bold, & Black. Fonts are provided in both TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Sunblock Collection is for you: You're in need of a deco geometric font family with a big range of weights and widths You're love that Coppertone letter styling, and want to design anything within that genre You're looking for an alternative to Chalet Comprime with a more versatile range of styles You're looking to start up your own derivative Sunscreen product line You just like to collect quality fonts to add to your design arsenal

Ginsburg it's a modern display all-caps font-family based on geometric forms and abstract wavy lines with an old school constructivism look. Inspired by Moses Ginsburg architecture projects. Playful, modern, suitable for many typography projects as headers, logos, block texts, etc. You may be more strict in your typography or you may be more groovy or playful with alternates characters. Use this family in vintage spirit for TV series, Podcasts titles, exhibition posters or design a modern extreme sport brochure, . Flexible, Catchy and Brazen — it's all about Ginsburg! Six widths: Thin / Light / Normal / Medium / Semi Bold / Bold. Opentype Features as Stylistic alternates, Oldstyle figures / Fractions. Multilingual

Avendica is an experimental typeface inspired by Celtic Roman font. It’s developed with a modern serif style design so it looks elegant and luxurious. This font is only used in Uppercase form with some different styles between the uppercase and the lowercase. This font is suitable for short-text designs like headlines, logos, brands, and more. Works on PC & Mac, simple installations, accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and even works on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support Image used: All photographs/pictures/vectors used in the preview are not included, they are intended for illustration only. Thank You

French type designer Xavier Dupré created this serif FontFont in 2009. The family contains 4 weights: Regular, Italic, Bold, and Bold Italic and is ideally suited for advertising and packaging, book text, festive occasions, editorial and publishing, logo, branding and creative industries as well as web and screen design. FF Yoga provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Yoga super family, which also includes FF Yoga Sans.

Marion Bridge is a vintage display typeface with the touch of nostalgic feel. The strong and bold looks make this font standout to be used as a title or a logo.This font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : Numbers and punctuation multilingual PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Online auctions continue to be a surprising wealth of font design inspiration. In this instance, a number of silk embroidered Art Deco initials inside inverted triangles inspired Deco Pennant Initials JNL. The uppercase version is white lettering on a black background – similar to the originals. On the lowercase keys is a set of initials that are black on white with a black border. Since the inverted triangles resemble pennants, there’s a solid black blank on the left parenthesis key and a outlined blank one on the right parenthesis key. In this way, the initials could be used for monograms or interspersed with the blanks to form short banner messages.

Introducing, Hugiller - A high contrast stylish Serif. What makes this font even more unique is the ligatures which gives the modern yet nostalgic feels at the same time, sophisticated and timeless.. This font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual alternates & ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Rutherford is clear, robust and authoritative, and reads well at small text sizes while also having the required heft for larger headlines. A wide range of weights makes it a versatile choice for magazines, branding, brochures and advertising. A slightly condensed obround serif with squared stroke terminals. The t, j and f curve around to harmonize with the terminals on the a and g, as does the tail of the Q. The italic incorporates cursive forms on the ends of the lower right and upper left strokes, and uses a single-story a. Includes full European Latin support and alternate designs for the Q and g in all weights.

Introducing our latest display typeface named Neophyte Typeface. A reverse contrast serif with classy and classic look with vintage feel, inspired by 60s and 70s signages. This font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase and lowercase numbers and punctuation multilingual & stylistic alteranate PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Arclone Moods is a bold hand drawn brush script which is purposely made for headline, display or logotype, and signature which need a standout appearing. This font is also suitable to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Kylo Sans is a carefully blended typeface, one-part humanist, one-part grotesque and a small dose of geometric. It takes the essence of three distinct forms to create a unique, readable typeface with an exact and understated personality. Additionally, the design process includes a hand-eye adjustment to three master weights, giving a greater range of usability across text layouts. Kylo Sans remastered to version 2.0 for improved OpenType features and usability. Details include six weights and italics, over 700 characters with alternative lowercase Q, a, g, l and y. Open type features include six variations of numerals, small caps, ligatures, and language support covering Western, South and Central Europe.

The name Angryhog came out of nowhere out of free association. "When you're working on a typeface on the Mac it demands a name from you which I find a bit confrontational" says Donaldson. ITC Angryhog brings together Roman and Gothic influences in a quirky and sophisticated display face. Characteristic of this typeface are its sharp, pointed forms, especially noticeable in the serifs, which give ITC Angryhog a restless, almost aggressive feel. It is as though the letters have a mind of their own and ignore all rules and regulations. ITC Angryhog is a perfect typeface for comics or satire, best suited to short to middle length texts and headlines.

Spotlight was created by British designer Tony Geddes in the tradition of the bold serif fonts of early 19th century England. It too is a robust alphabet exhibiting extreme stroke contrasts, however, Geddes gave his font a more relaxed feel by not filling in the strokes completely. Long white rays break up the otherwise dark black strokes, following the form of the outer contours and giving the figures a three dimensional look. Spotlight is also reminiscent of the decorative advertisements of the 1930s and of the glamorous revues and shows of this time. Spotlight is perfect for headlines and display in larger point sizes.

"Matalihim" is a condensed display font that combines modernism, vintage and Art Nouveau characteristics to form a serene and decorative typeface. Matalihim is develop with the intention to be used as an elegant solution for your next magazine layout, or for any graphics that require a sleek look with an elegant and serene flair. It’s also best to use it in a an old-school, vintage and rustic themed designs to accentuate the old-school like flourishes of the characters. Using it in large medias could help maximize the font’ decorative and stylish look. *This font includes letters, numbers, alternates, standard ligatures, multi language support, and all essential marks needed.

Linotype Salamander is a part of the Take Type Library, selected from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. Designed by German artist Michael Struller, the font seems to be composed of strokes and curves jointed together to form characters. Yet Salamander also looks like a handwriting font, in part because of its slight lean to the right. The font contains four basic weights, from regular to demibold, and two particularly heavy double-weights. Linotype Salamander is a light and lively font, particularly good for short texts of point size 10 and up or, in its heavier weights, for headlines and displays.

Penster Bross is a standout bold font with rough and stamp version. The texture of the font makes this font looks great for retro and vintage theme.This font is also suitable to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : - rough and stamp version - numbers and punctuation - multilingual - PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Servegin is a sophisticated modern serif font from. This typeface has can be used for modern theme or vintage looks. Very suitable for logo, headline, tittle, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase and lowercase numbers and punctuation multilingual ligatures alternates PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. How to access opentype feature : letterhend.com/tutorials/using-opentype-feature-in-any-software/

French type designer Xavier Dupré created this sans FontFont in 2009. The family contains 4 weights: Regular, Italic, Bold, and Bold Italic and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries as well as web and screen design. FF Yoga Sans provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Yoga super family, which also includes FF Yoga.