This book and newspaper font was designed by Francesco Simoncini in 1958. After the Second World War brought type design to a standstill, the years of reconstruction meant a reconsideration of old values in the typographical world as well as in Europe in general. Aster is the result of this movement, displaying instead of Modern Face influence, a tendency toward Transitional characteristics and giving text a light feel.

Linotype Dot is part of the Take Type Library, featuring the winners of Linotype’s International Digital Type Design Contest. Designed by Lucy Davies, the figures are composed of a combination of white and black dots and the contrast makes the font look like points of light and darkness. The general impression of Dot lies somewhere between ornamental and technical. It combines well with sans serif and calligraphy fonts.

Agave a sans-serif family with 14 styles and 4 weights. The Light, Regular & Semibold contain Italics and Condensed styles, the Bold comes only in its' upright and Italic styles. A text family designed to easily be read in lower point sizes as well as larger display sizes. Providing a legible print, web or e-book family suitable for reading and not calling attention to its' letter-graphics.

Swedish type designer Mårten Thavenius created this script FontFont in 2000. The family has 8 weights, ranging from Light to Bold (including italics) and is ideally suited for advertising and packaging, festive occasions, film and tv, poster and billboards as well as software and gaming. FF Rattlescript provides advanced typographical support with features such as ligatures, small capitals, and case-sensitive forms. It comes with proportional oldstyle and tabular lining figures.

Foucher - this beautiful font is light and elegant, will emphasize your individuality in any project. You can also use them to create a logo or use for small businesses, branding, t-shirts, book covers, stationery, marketing, blog, magazines, and more. This font includes a basic set of letters and a complete set of alternatives set as well as numbers, fractions, and basic punctuation. This font supported PUA encoded.

Angel Script is a light, contemporary monoline script. There are approximately 695 individual glyphs complete with Stylistic and Contextual Alternates, Titling Alternates, Swashes and even Old Style Numerals. Needless to say, there’s a lot ‘under the hood’, and the typographic flexibility I wanted with earlier concepts shows in grand style with this release. The single weight font includes a complete Central European and Western diacritic set as well.

Odell is a fun, whimsical, yet elegant handwritten font that was created in a light-hearted manner for use in things like menus, invitations, bed and breakfast collateral and whatever else you can dream up. Odell features extra thin letters and it is designed to be creative, a little fancy, and very legible. There are tons of foreign characters to choose from so you can write in other languages as well.

The design of Gondolieri has its origins in an experiment to combine aspects of Didone and Tuscan typefaces. The result has a continental 'Italianate' feel. If you wonder what lies behind the name, just look at the lower case 'f'...definite overtones of a Venetian Gondola here, and throughout the design. Gondolieri is offered in regular and bold weights, as well as a simplified form for smaller text use. All of these are available in three widths. The Gondolieri family has a lovely Didone, 'Belle Epoch' feel for use in design, posters, book covers and so forth. An extensive range of Opentype features, including ligatures and terminal forms is included in the regular and bold faces.

Fifth Reign is a decorative medieval typeface. This wonderful typeface of brings us to the golden times of epic knight sagas. Fifth Reign is the typeface of a Royal House, of vikings, kings and queens. Use it for a Middle Ages game, a fantasy headline, or as a logotype for anything of historical theme. With usage in any modern software, the letters will automatically overlap and embrace in an elegant way. To make heraldic symbols, copy these icons: 🐉 🐎 👑 🗡 🦁 🦅 🦌 + ♖ × ✝ ⚓ ＊ ⚔ † ‡ Alternatively write %A %B %C ... etc to create the heraldry. (Download required.) Dragon, Horse, Crown, Sword, Eagle, Deer, Cross, Anchor are some of the logos. The Fifth Reign family consists of three styles: The weights Thin, Bold and Medium, made to balance against each other and allow for usage in any scale. 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 Greek and Cyrillic, as well as all Latin-based languages, from North 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.

Filistique is gracious, flexible, and stylish. In the first sketches of this typeface, the one-line drawing principle was the rule. This principal had to perish soon when more complex characters came up. But still the one-line rule was kept in tradition to maintain the behavior of the natural course of the drawing line. Once writing, the characters joined fluidly into words and slipped easily into sentences like they had always belonged there. They have these natural features maybe somewhat familiar on the first sight. Filistique approaches handwriting but likes to be straight up as well. Please, no Christmas card writing with this character! She is best in shape for finger licking good menus of classy restaurants, lyrics on an album cover of a renowned and utterly cool artist, for a letter to your precious loved one and of course for making a hell of an impression anyway!

Pilfnof contains: - 394 glyphs which include: Basic Latin, Latin Extended - A, Latin 1 - Supplement and General Punctuation. - 4 weights: Light, Regular, Bold and Black Pilfnof is a reverse contrast serif font family. Purpose of the project was to design a standing out modern serif which revolves around reverse contrast. Width of strokes is fully reversed. Weight, width and contrast are regular while x-height is high. It contains uppercase and lowercase letters and lining figures. Pilfnof is perfect for use in Branding and Publications. It can be used both for text as well as headings and titles. Heavy weights are ideal for headlines while light weights are suitable for body text.

Vayu(air) Sans is light typeface family. The complete family design comes with 9 weights and 9 matching italics. The fluent functionality of Vayu(air) is created keeping in mind contextual and stylistic alternatives. Which perfectly suits all areas of graphic design such as branding, identity design, especially digital use. It works great for web, corporate as well as editorial design. The standard numerals set encompasses figures and symbols, numerators and denominators, plus fractions. Approach of this typeface is to introduce light weight family. Thin master weight is 5 point size. Designed keeping in mind all kinds of scales and purposes of design aspects.

NorB TypeWriter is my emulation of the IBM Selectric 'Light Italic' ball witch was used by my grand-brother for his correspondance during the 70’s and 80’s. It's however a slanted mono-spaced looking typewriter font. You may want to use this font with any word processing program for text and display use, print and web projects, apps and ePub, comic books, graphic identities, branding, editorial, advertising, scrapbooking, cards and invitations and any casual lettering purpose… or even just for fun! NorB TypeWriter features 677 glyphs, OpenType features and comes in 8 weights each with their matching italics and in a Thin, Light, Normal and Bold version.

Giulia is a sweet type family consisting of 12 Fonts. It was created by Hannes von Döhren and published by HvD Fonts. Besides a fancy curly version there is a second version with a more straight architecture, still owning the same soft and friendly character. Informal and easy going at first sight and perfect for display settings, however the straight architecture of Giulia Plain also makes it nice for shorter to medium texts. This contemporary type family is ideal for use in retail, packaging, games, food, kids applications and advertising.

Core Sans A Family from S-Core is a modern sans-serif typeface that is clean, simple and highly readable. It is a part of the Core Sans Series (Core Sans N SC, Core Sans N, Core Sans NR, Core Sans M and Core Sans G). Letters in this type family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Core Sans A family consists of 8 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy) with their corresponding italics. Core Sans A contains complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.

Sweet Revenge Is A Modern Family Font Serif Including 8 Font Style. Font Features : Sweet Revenge Thin OTF/TTF/WOFF/WOFF2 Sweet Revenge Extra Light OTF/TTF/WOFF/WOFF2 Sweet Revenge Light OTF/TTF/WOFF/WOFF2 Sweet Revenge Regular OTF/TTF/WOFF/WOFF2 Sweet Revenge Medium OTF/TTF/WOFF/WOFF2 Sweet Revenge Semi Bold OTF/TTF/WOFF/WOFF2 Sweet Revenge Bold OTF/TTF/WOFF/WOFF2 Sweet Revenge Extra Bold OTF/TTF/WOFF/WOFF2 SOFTWARE REQUIREMENTS : Fonts and alternate : No special software required they may be used in any basic program /website apps that allows standard fonts That's it folks! You can go ahead and get cracking :) Follow My Shop For Upcoming Updates Including Additional Glyphs And Language Support. And Please Message Me If You Want Your Language Included or If There Are Any Features or Glyph Requests, Feel Free to Send me A Message. Have a Good Day !

Core Sans C family is a part of the Core Sans Series, such as N, M, E, A, D, G, R and B. Core Sans C is inspired by classic geometric sans (Futura, Avenir, Avant Garde etc.). It is based on geometric shapes, like near-perfect circle and square. It has a much higher x-height (height of lowercase letters), an effect which promotes readability especially at small print sizes. The Core Sans C Family consists of 9 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy, Black) and Italics for each format. Core Sans C supports complete Basic Latin, Cyrillic, Greek, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, oldstyle figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. Core Sans C is an ideal font family for use in magazines, web pages, screens, displays, and so on.

Originally designed in 1996, Mrs Eaves was Zuzana Licko’s first attempt at the design of a traditional typeface. It was styled after Baskerville, the famous transitional serif typeface designed in 1757 by John Baskerville in Birmingham, England. Mrs Eaves was named after Baskerville’s live in housekeeper, Sarah Eaves, whom he later married. One of Baskerville’s intents was to develop typefaces that pushed the contrast between thick and thin strokes, partially to show off the new printing and paper making techniques of his time. As a result his types were often criticized for being too perfect, stark, and difficult to read. Licko noticed that subsequent interpretations and revivals of Baskerville had continued along the same path of perfection, using as a model the qualities of the lead type itself, not the printed specimens. Upon studying books printed by Baskerville at the Bancroft Library in Berkeley, Licko decided to base her design on the printed samples which were heavier and had more character due to the imprint of lead type into paper and the resulting ink spread. She reduced the contrast while retaining the overall openness and lightness of Baskerville by giving the lower case characters a wider proportion. She then reduced the x-height relative to the cap height to avoid increasing the set width. There is something unique about Mrs Eaves and it’s difficult to define. Its individual characters are at times awkward looking—the W being narrow, the L uncommonly wide, the flare of the strokes leading into the serifs unusually pronounced. Taken individually, at first sight some of the characters don’t seem to fit together. The spacing is generally too loose for large bodies of text, it sort of rambles along. Yet when used in the right circumstance it imparts a very particular feel that sets it clearly apart from many likeminded types. It has an undefined quality that resonates with people. This paradox (imperfect yet pleasing) is perhaps best illustrated by design critic and historian Robin Kinross who has pointed out the limitation of the “loose” spacing that Licko employed, among other things, yet simultaneously designated the Mrs Eaves type specimen with an honorable mention in the 1999 American Center for Design competition. Proof, perhaps, that type is best judged in the context of its usage. Even with all its shortcomings, Mrs Eaves has outsold all Emigre fonts by twofold. On MyFonts, one of the largest on-line type sellers, Mrs Eaves has been among the 20 best selling types for years, listed among such classics as Helvetica, Univers, Bodoni and Franklin Gothic. Due to its commercial and popular success it has come to define the Emigre type foundry. While Licko initially set out to design a traditional text face, we never specified how Mrs Eaves could be best used. Typefaces will find their own way. But if there’s one particular common usage that stands out, it must be literary—Mrs Eaves loves to adorn book covers and relishes short blurbs on the flaps and backs of dust covers. Trips to bookstores are always a treat for us as we find our Mrs Eaves staring out at us from dozens of book covers in the most elegant compositions, each time surprising us with her many talents. And Mrs Eaves feels just as comfortable in a wide variety of other locales such as CD covers (Radiohead’s Hail to the Thief being our favorite), restaurant menus, logos, and poetry books, where it gives elegant presence to short texts. One area where Mrs Eaves seems less comfortable is in the setting of long texts, particularly in environments such as the interiors of books, magazines, and newspapers. It seems to handle long texts well only if there is ample space. A good example is the book /CD/DVD release The Band: A Musical History published by Capitol Records. Here, Mrs Eaves was given appropriate set width and generous line spacing. In such cases its wide proportions provide a luxurious feel which invites reading. Economy of space was not one of the goals behind the original Mrs Eaves design. With the introduction of Mrs Eaves XL, Licko addresses this issue. Since Mrs Eaves is one of our most popular typefaces, it’s not surprising that over the years we've received many suggestions for additions to the family. The predominant top three wishes are: greater space economy; the addition of a bold italic style; and the desire to pair it with a sans design. The XL series answers these requests with a comprehensive set of new fonts including a narrow, and a companion series of Mrs Eaves Sans styles to be released soon. The main distinguishing features of Mrs Eaves XL are its larger x-height with shorter ascenders and descenders and overall tighter spacing. These additional fonts expand the Mrs Eaves family for a larger variety of uses, specifically those requiring space economy. The larger x-height also allows a smaller point size to be used while maintaining readability. Mrs Eaves XL also has a narrow counterpart to the regular, with a set width of about 92 percent which fulfills even more compact uses. At first, this may not seem particularly narrow, but the goal was to provide an alternative to the regular that would work well as a compact text face while maintaining the full characteristics of the regular, rather than an extreme narrow which would be more suitable for headline use. Four years in the making, we're excited to finally let Mrs Eaves XL find its way into the world and see where and how it will pop up next.

If you are looking for a friendly type design that jumps off the page, ITC Posterboy might be for you. Although not quite a script, the font displays strong brush-stroke overtones. The design's inspiration, according to designer Chester Wajda, came from the window-poster lettering in my neighborhood grocery store." The slight top-heavy quality of the design is most noticeable in characters like the 'F,' 'G,' and 's.' ITC Posterboy also has a charming sense of naïveté which is most evident in letters like the cap 'S' and 'J' and lowercase 'f'' and 'g.' ITC Posterboy is a brilliant display design that adds spark and charm to the most mundane display copy. A multifaceted artist, Wajda has been an art director, multimedia and print designer, illustrator, cartoonist, animator, writer, typographer, and infographic designer. ITC Posterboy is his second typeface created for ITC."

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

Marista is a bit of an unusual design, a cursive monospaced font inspired by the classic cursive typewriter fonts used in the 1960s-70s. It is designed to feel 'real', and captures some of the light irregularities in line weight which characterise real typewritten text rather than their computer equivalents. Marista is distinctive but easily readable, even in block text where some monospaced fonts suffer. Marista is best used at small to medium sizes, and at a uniform size throughout a document or design to capture the typewritten feel. The italic is more similar to authentic typewriter cursive fonts. Try it for your next letter or invitation!

Crake is a contemporary high-contrast serif typeface with a distinctive look. It combines organic details with strong geometry shapes. The typeface comes in 5 weights from Light to Bold. Crake has rounded counters of uppercase letters A, B, E, F, P and R which creates an unique and organic character. With different stylistic sets you can change the feel of your design from more organic to more standard. The typeface also offers many discretionary and standard ligatures. Crake is a display typeface with large x-height which works best for headlines or short to medium-length texts. It’s a perfect typeface for branding, editorial design and much more.

BOnuts is a modern rounded sans built in 8 styles and crafted for you by BOtype. It's clean and minimal and modern rounded design gives you a wide array of uses such as branding, editorial & print, and also makes it perfect for UI & digital applications. We designed Bonuts to have the most legibility to give you a very versatile font family you use for any use you want. It includes Alternate Characters, Ligatures, Tabular Figures, Fractions, Numerators, Denominators, Superiors and Inferiors. It supports Central and Eastern European languages, basic Cyrillic and Greek. The type family consists of 8 weights (Thin, Light, Normal, Regular, Medium, Bold, Black and Heavy).

“Aeternus”, a new geometric Sans Serif typeface, with matching italics. The combination of several weights, provides versatility in any text usage. Developed in a range of nine weights from thin to heavy, with a matching set of italics, Aeternus has been designed to optimize the space and preserve the legibility in any text size. Use effortlessly this typeface for titling, contemporary branding, web design, UI/ UX design, clothing, large print formats. Specifications. - Files included: Aeternus Thin, Aeternus ExtraLight, Aeternus Light, Aeternus Regular, Aeternus Medium, Aeternus SemiBold, Aeternus Bold, Aeternus ExtraBold, Aeternus Heavy with corresponding italics - Formats:.otf - Multi language support (Central, Eastern, Western European Languages)

Coben is a modern and futuristic san-serif font family. Simple and modern shapes with a tall x-height make the text legible and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Coben Family consists of 2 widths (Condensed, Normal), 4 weights (Light, Regular, Medium, Bold), and Italics for each format. Coben provides a Central European character set. Each font includes support for Tabular numbers, Old-style Figures and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. We highly recommend it for use in books, web pages, screen displays, and so on.

NorB Architect fonts will add a beautiful architectural hand-lettering style to all your CAD project drawings. Architects have always wanted their CAD drawings to look more like they were drawn by hand, rather than by a CAD program. These AutoCAD fonts are the first step in bringing back that “artistic hand-drawn” feel to your CAD drawings or any graphic design project that can use true type fonts. NorB Architect is actually my emulation of architectural lettering, it comes with 4 weights: Medium, Regular, Semi Light and Bold along with their Condensed and Extra Condensed version. NOTE: For more variations of "NorB Architect" font please visit click on this link.

Segaon Family is a humanist sans-serif typeface that is clean, simple and highly readable. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Segaon is versatile type family of 18 fonts. Segaon family consists of 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy & Black) with their corresponding italics. The Open Type fonts contain complete Latin 1252, Cyrillic, Central European 1250, Turkish 1254 character sets. Each font includes old-style figures, proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.

Nürnberg (Nuremberg in eng.) New blackletter-sans font family in modern look with contrasts elements in six widths. Impressive style with non-typical Blackletter uppercases as alternates and normal Sans as standard. In the company with good-looking lowercases and their alternates you can get outstanding result for your project. Six widths give you wide range of use. Massive Bold or Black will be really good in none-long magazine headlines, some logos or cafe/bar signs, menu's or coffeeshops. Medium or Regular is for normally (not giant) text blocks or any of accented texts. Light and Thin are good in big pt. Short word forms or numerals is just awesome.

Fossa is an unconventional serif designed primarily as a display typeface. Its splayed, pinched vertical strokes and pointy wedge serifs give it a distinct flavour. The style for Fossa was initially conceived while studying the forms of Optima – in particular, the subtle taper towards the midpoint of the stems and strokes. Taking the idea of vertical strokes with a nipped waist to the extreme, Fossa was born. The sharper style created by these vertical strokes is echoed within the serifs, resulting in a contemporary wedge serif with an elegant but dramatic character. Available in five weights: ExtraLight, Light, Regular, Medium and Bold. OpenType features including ligatures and fractions.

Introducing gimana sans serif display font, meticulously designed with deep inktrap details. Crafted for optimal legibility and aesthetic appeal, this font seamlessly blends modernity and tradition. Its generous proportions and balanced letterforms provide exceptional clarity and readability across various digital and print mediums. With its deep inktraps, this font showcases subtle details that enhance its overall visual texture, adding a touch of sophistication to your projects. Its humanist characteristics ensure legibility and readability, making it an ideal choice for a wide range of applications. The deep experimental inktraps add an intriguing element to the font, creating an interplay of light and shadow that captures attention.

Scatio is squarish with vertical terminal cut, a multi-purpose sans serif which can be use for many kind of graphic design projects. The Light, Regular and Medium weight have good legibility for text, the bolder and lighter weights can be used for headlines, display, posters, and more. Each members of the Scatio family contains 400+ glyphs which covers Western and Eastern Latin based languages. Each font is also equipped with some useful OpenType Features, such as: Fraction (frac) Numerator (numr) Denominator(dnom) Standard Ligatures (liga) Localized Forms (locl) Ordinals (ordn) Proportional and Tabular Lining (pnum & tnum) Superscript and Subscript (sups & subs) Scientific Inferior (sinf)

CONCEPT/CHARACTERISTICS
 The constructed, clear and modern cha­rac­ter of the typeface based on the basic form of the triangle. The motto is geometrically and italic. APPLICATION AREA
 The modern, futuristic and constructed font „slan­ted ITALIC shift“ would look good at dis­play size for poster, flyer, comics and gra­phic novel let­te­ring and logos. Head­lines in maga­zi­nes or web­sites, packa­ging, music covers or webbanner etc. TECHNICAL SPECIFICATIONS
 Head­line Font | Dis­play Font | Geometric Font „slan­ted ITALIC shift“ OpenType Font with & 308 gly­phs & 6 styles (thin, light, regu­lar, medium, bold, black). Alter­na­tive let­ters, symbols and liga­tures (with accents & €) FONT IN USE www.typographicdesign.de/font-in-use-slanted-italic-shift/

Alpineo is a display type family, optical mono linear and a bit squarish in nature. It has a distinct stroke-joint style, which is a prominent feature of its design. It has been designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasis the message. It is graphically strong and command viewer’s attention. The overall appearance of type is suitable in setting it as logotype, punchline, title, headline, etc. The type family consists of six weights viz. Thin, ExLight, Light, Regular, Medium and Bold. Alpineo is designed by Aakash Soneri, founder Soneritype in the year 2017.

Introducing Lubeck Display, new generation Typeface with 3 Weights. Lubeck Typeface created with the vision of to attract the audience to your brand . The finest details of this typeface are methodically and mathematically created. Lubeck is created with all the tasks of a corporate font and also for the usage in a variety of projects, including branding, logos, titles, headlines, servers, screens, display, digital ads, and everything else. We are putting a lot of effort on this font as a long-term project. The Typeface includes Three Weights. Light, Regular and Medium Features: Numerals, extended punctuation & Basic Symbols(200+ Glyphs). Expert kerning and quality crafting. Uppercase Letters & Lowercase Letters.

Kardinal is a sans serif humanistic type family. The family has 16 weights, ranging from Thin to Black with extra drawn italics and small caps versions. The Kardinal type family is ideally suites for small text, books and magazines, branding, posters, as well as web and screen design, headlines and more. Kardinal comes in 16 styles with extended language support. All weights contain standard ligatures, proportional figures, tabular figures, old style figure, numerals and arrows, matching currency symbols and fraction. The construction of characters combines clean grotesque style and calligraphic features with humanist fragrance. Out standing for the designs are the small serifs. They are giving the letters movement and freshness, as well as contribute to a better readability in different volume texts and including lots of details that give it a unique personality. The Regular and Medium weights are perfect for body text while the italic give an interesting texture to the text. The range of styles give a good flexibility to this family. The fonts are carefully hinted and perfect for digital use.