While the Aspire SmallCaps family finds its roots of inspiration in the ACURA automotive company logo, with its wider base, the Aspire Narrow SmallCaps family condenses those styles into something more suitable for larger bodies of text in a more standardized width. Aspire Narrow SmallCaps is perhaps the most true to form tribute to the original all capitals inspiration logotype. It maintains all capital forms (whether standard or smallcaps) and yet is still strikingly powerful in its presence and readability including numerals, and a comprehensive range of 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 Aspire Narrow SmallCaps Family bundle: - 430 glyphs per style - including Capitals, Small Caps, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) - Stylistic Alternates - alternate characters that remove the angled stencil cuts for a more standardized text look. - 3 weights in the family: Light, Regular, & Black. - 3 obliques in the family, one for each weight: Light, Regular, & Black. - Fonts are provided in 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 Aspire Narrow SmallCaps Family is for you: - You're in need of automotive sans font family with a range of weights and obliques - You're love that ACURA letter styling, and want to design anything within that genre - You're looking for an alternative to Eurostile with more stylized letterforms. - You're looking for a battle-tech typeface for your futuristic war chest labelling. - You just like to collect quality fonts to add to your design arsenal

About the design: Ardena is a modern sans-serif typeface family. While neutral and clear at first glance, it can be characterized as both pleasant and confident due to its open, rounded forms and vertical terminals. It can be used in both a restrained and expressive way. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. Completed with an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Features: The Ardena family has a total of 20 styles, from thin to heavy with matching italics. With over 1064 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. The principle is easily explained: If a number is placed in round or square brackets, it will automatically be displayed in an outlined circle or square. If you add a period to the number, it is displayed in a full circle or square. The same principle also applies to the arrows. The arrows themselves are combinations of greater/less symbols with the various slashes or hyphens. Get the Variable Font here: https://www.myfonts.com/fonts/julien-fincker/ardena-variable/

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

Circe Rounded is an extension for a popular Circe typeface, with rounded terminals. Bold and ExtraBold faces have two variants with different radius of the roundings. Circe Rounded is even more friendly than the original Circe. The typeface is designed by Alexandra Korolkova and Alexander Lubovenko and released by ParaType in 2015. It is known that the Circe typeface is distinguished by mild and humanist nature being formally a geometric sans-serif. However, as an experiment we decided to make it even softer: Circe now has a version with rounded terminals — Circe Rounded. Rounding is generally regarded as a mechanical operation, but in this case a lot of manual adjustment was needed because of the humanist nature and peculiarities of type design. Moreover, the two bold styles now have two options: a basic one is slightly rounded and an alternate one is fully rounded. In Circe Rounded we decided to dismiss characters with swashes that are rather inappropriate in such a rounded font, but the stylistic sets and alternate characters are remaining. Rounded terminals make an open and friendly typeface even more childish. For example, in quite large point sizes (because the x-height is still not big) it can be used as a body type in infant books. Circe Rounded, similar to Circe, has alternative forms of lowercase characters, which are called “infant” and are used in publications for children’s reading. However, a humanist basis is preserved alongside with its softness and it does not allow it to be as “plasticine” as many other rounded fonts. Two of the most obvious areas of possible application of Circe Rounded are everything for children and everything edible, especially all that is sweet and puff. However, we believe that there are other options.

Ariata™, from Malou Verlomme, is three typefaces in one. Like phases of the moon, they gracefully meld from one to the other. The “Text” weights are sturdy designs that perform as well in blocks of copy as they do in the occasional headline. The “Display” versions of Ariata are delicate but confident designs that shine in large sizes, while the “Stencil” typefaces are eye-catching and provocative. Each version is available in four weights, from a forthright regular to a robust black, making for a family that is comfortable taking on a wide variety of tasks. The individual designs can be combined with each other to create a distinctive, yet cohesive typographic statement, or stand on their own as confident communication tools. If you want a little more variety, Ariata’s solid glyphic shapes will serve as a dynamic counterpoint to just about any Humanistic sans. Space economical and distinctly original, Ariata easily creates commanding headlines, pull-quotes and subheads. Packaging, game branding, posters, book jackets and advertising design are all also within its comfort zone. While primarily intended for print applications, Ariata’s full-bodied x-heights, generous counters and clear apertures make for a design that is also at home in many digital environments. Verlomme is an award-winning Senior Type Designer at Monotype. He has a degree in graphic design from l'École Duperré in Paris, and an MA in Typeface Design from the University of Reading. He taught type design at several universities in Paris and still occasionally lectures and gives workshops. His typeface Camille has the honor of being part of the collection at France’s Centre National des Arts Plastiques (CNAP). Verlomme also designed Placard® Next, Madera™ and Johnston100, London’s new underground branding typeface. Click here to see all of https://www.monotype.com/studio/malou-verlomme Malou Verlomme’s typeface designs.

While the Aspire family finds its roots of inspiration in the ACURA automotive company logo, with its wider base, the Aspire Narrow family condenses those styles into something more suitable for larger bodies of text in a more standardized width. Aspire pays homage the techno display styling of the inspiration logotype, further evolving beyond its brand inspired origin to give birth to a font family that pulls on modern and historical styles. It adopts a sturdy yet approachable style with its uniform stroke forms and curves, and goes on to include a lowercase, numerals, and a comprehensive range of 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 Aspire Narrow Family bundle: 477 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) Stylistic Alternates - alternate characters that remove the angled stencil cuts for a more standardized text look. 3 weights in the family: Light, Regular, & Black. 3 obliques in the family, one for each weight: Light, Regular, & Black. Fonts are available in 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 Aspire Narrow Family is for you: - You’re in need of a narrow automotive sans font family with a range of weights and obliques. - You’re love that ACURA letter styling, and want to design with a narrow font within that genre. - You’re looking for an alternative to Eurostile with more stylized letterforms. - You’re looking for a clean techno typeface for your starship console labelling. - You just like to collect quality fonts to add to your design arsenal.

The sister fonts Andron 2 English and Andron 2 Deutsch provide a groundbreaking new possibility to render literature text bodies in a sophisticated traditional and yet modern way of type. In German typographic history there has once been a long-lasting struggle called the Frakturstreit (the blackletter quarrel). It was about wether German text ought to be composed in blackletter or rather in Roman type, a question upon which even Goethe, Schiller and other period celebrities got grey over time. However, blackletter type remained alive and has just recently seen an astonishing renaissance. This is not about a blackletter revisionism or some ‘mixture’ concept arguably bridging the gap between either worlds. Andron 2 English and Andron 2 Deutsch offer a new approach to circumvent that old antagonism. As for the lowercase letters I applied certain features of blackletter type onto the glyphs – but entirely abandoned the principle of the broken stroke as such. The result is a lowercase alphabet in the classical Andron style which may be considered an attractive alternative for text in English, German or even other languages. So it’s no longer entirely about choosing between ‘modern’ Roman or ‘ancient’ blackletter only. Andron 2 English Regular and Andron 2 Deutsch Regular feature the same lowercase glyphs but differ in the majuscules (Andron 2 English has normal Latin capitals). ++++ 2012 + NEW! +++ In response to its growing popularity we now present five new fonts as part of the Andron 2 series. Andron 2 English is completed by an Italic and a Bold font. Andron 2 Deutsch now contains three interesting alternative fonts: Italic, Scriptive and Laendlich. Last but not least – A new set of wonderful classical typographic ornaments is part of the Italic and Scriptive fonts. – You can also purchase these ornaments separately as “Andron Ornamente”.

Expline typeface finds its roots in modernist design but subtly pays homage to early Modern Industrial Grotesks. This fusion creates a font that encapsulates the essence of tradition while embracing the contemporary. The font incorporates sharp details in select characters and curves, imparting a delicate sweetness while preserving the robust character associated with Grotesk fonts. This unique blend allows Expline to strike a perfect balance between display and text usage, making it a versatile choice for a variety of design projects. Expline's flexibility shines through its extensive weight options. The font family offers eight distinct weights, each thoughtfully crafted to establish a clear typographic hierarchy. Designers can easily choose the right weight to suit the specific needs of their projects, whether it's a bold headline or a refined body text. This variety ensures that your typography will always make the right visual impact. Expline typeface doesn't stop at weights. It provides expansive character sets across each weight, encompassing all Western European diacritics, Punctuation, Mathematics, and Numerics. This ensures that your typography will seamlessly support various languages and punctuation marks, making it a global choice. In addition, the font boasts OpenType features, granting the flexibility to explore multiple subsets. This includes alternate capital letterforms, tabular and lining numerals (both proportional and old-style), enabling endless typographic possibilities. Whether you're designing for print or web, these features allow you to fine-tune your typography for a perfect fit. Expline is a font that bridges the gap between modernist design principles and early industrial influences, resulting in a Neo-Grotesk font with a contemporary twist. Its comprehensive weight options, expansive character sets, and OpenType features make it a versatile choice for any medium between print and screen.

Expline typeface finds its roots in modernist design but subtly pays homage to early Modern Industrial Grotesks. This fusion creates a font that encapsulates the essence of tradition while embracing the contemporary. The font incorporates sharp details in select characters and curves, imparting a delicate sweetness while preserving the robust character associated with grotesk fonts. This unique blend allows Expline to strike a perfect balance between display and text usage, making it a versatile choice for a variety of design projects. Expline's flexibility shines through its extensive weight options. The font family offers eight distinct weights, each thoughtfully crafted to establish a clear typographic hierarchy. Designers can easily choose the right weight to suit the specific needs of their projects, whether it's a bold headline or a refined body text. This variety ensures that your typography will always make the right visual impact. Expline typeface doesn't stop at weights. It provides expansive character sets across each weight, encompassing all Western European diacritics, Punctuation, Mathematics, and Numerics. This ensures that your typography will seamlessly support various languages and punctuation marks, making it a global choice. In addition, the font boasts OpenType features, granting the flexibility to explore multiple subsets. This includes alternate capital letterforms, tabular and lining numerals (both proportional and old-style), enabling endless typographic possibilities. Whether you're designing for print or web, these features allow you to fine-tune your typography for a perfect fit. Expline is a font that bridges the gap between modernist design principles and early industrial influences, resulting in a Neo-Grotesk font with a contemporary twist. Its comprehensive weight options, expansive character sets, and OpenType features make it a versatile choice for any medium between print and screen.

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

Ready for the designs of today, the Sancoale superfamily takes a softer turn with a rounded slab serif. Crafted from Sancoale’s simple geometry, new softened slab serifs provide a lively typeface that conveniently enhances its cousins: Sancoale Softened--a sans with blunted terminals; Sancoale Slab; and, certainly, the first Sancoale. The weights of each and every member are balanced diligently to be compatible with one another. When used alongside one another, the combination makes for robust and tight design. With weights starting with the slender thin ranging to the juicy black, Slab Soft opens the doorway to the vary of uses. Its design is legible and neutral enough for bodies of copy--both in print and on your website. The web font also stands out perfectly as a headline or a display face. Slab Soft carefully places a foot ahead, and doesn't overpower like many slabs. This font’s the choice to seize the day and get the job done. All insigne™ fonts are absolutely loaded with OpenType options. Sancoale Slab is geared up for pro typography, together with alternates with stems, compact caps and lots of alts, together with “normalized” capitals and lowercase letters. The font features many numeral sets, with fractions, old-style and lining figures with superiors and inferiors. OpenType-capable programs like Quark or the Adobe suite allow you to quickly change ligatures and alternates. You can see these options shown in the .pdf brochure. Bundled are compact caps, fractions, old-style and lining quantities, scientific superior/inferior figures, entire ordinal and inferior alphabet. The Sancoale superfamily also features the glyphs to aid a variety of languages, together with Central, Eastern and Western European languages. In all, Sancoale Slab supports around forty languages that utilize the Latin script, earning Sancoale the pick for for multi-lingual publications and packaging.

Many calligraphers agree that Roman Capitals is one of the most beautiful yet difficult hands to master. Its beauty lies in its simplicity of form and structure, yet understanding and applying these skillfully can take years of mindful practice. My goal was to design Roman Capitals that were smoothly designed with a brush, not carved. The main concept was based on the fundamental strokes that are commonly studied when you practice Roman letters. That’s why many Serifs have these unfinished terminal serifs. I created the Turquoise typeface based on my Capitalis Romana practice with a flexible broad edged brush and gouache. During the lowercase process I was still following Foundational calligraphy with a flat brush. My Turquoise Capitals were then adjusted and redesigned at the Tipobrda calligraphy workshop in Slovenia. Turquoise contains small caps, many discretionary ligatures, ornaments, swashes as well as several brushy nature-inspired ornaments, accessible via OpenType. Ideally suited for headlines or body text in advertising, packaging and visual identities, its delicate shapes, curves and endings give projects a harmonious elegance and stylistic feel in unique Turquoise style. My inspiration for this font showcase is one of the richest islands in the Mediterranean, the place where my parents are from, Sicily. This southern Italian region has so many unique spots: Stromboli, part of the Aeolian Islands, and the Pelagie Islands is one of my favorite places in Sicily. The pictures I used were taken there this year. So enjoy the sun, the serifs, the water and its Turquoise colors. The brush is mightier than the sword. Opentype Features: https://www.rsztype.com/article/how-to-use-opentype-features-adobe-microsoft-pages Turquoise works very well with Nautica Check also Turquoise Inline

Teramo™ is daring, sharp and dynamic. Its personality is derived from asymmetry and movement. It is a contemporary serif family full of modern design elements playing with proportions of works of XV and XVI century masters such as Francesco Griffo or Claude Garamond. The family features four optical sizes. Display sizes feature extreme stroke contrast and are intended for fashion, lifestyle, cosmetics, magazine, business, hi-tech and advertising use. Text styles are created for all kinds of body copy — long and short paragraphs, books and websites in any modern design context. They are crafted to be elegant and legible, featuring more generous spacing and scrupulous kerning. Display weights are designed as modern, extraordinary variations on didone style. Teramo’s letterforms are merging classical proportions and precise, contemporary details such as asymmetric serifs, sharp edges and unconventional glyph shapes. Another important factor constituating Teramo’s personality is an angled axis, unusual for didone families and giving the typeface much more organic and dynamic feel. Teramo features a lively true italics strongly related to cursive handwriting. The italic styles imply movement, energy and fluency, introducing a new color to paragraph text, as well as being a powerful and interesting standalone display type. The family introduces additional titling letter variations for headlines and display uses, such as sharp and modern lowercase “y” or uppercase alternates for better all caps typography. Teramo consists of 56 fonts in 4 optical sizes - 28 uprights and their corresponding true italics + 2 variable fonts. It has extended language support as well as broad number of OpenType features, such as case sensitive forms, standard and discretionary ligatures, titling alternates, contextual alternates, lining, oldstyle figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Ladies and gentlemen, it is with great pleasure that I introduce to you Camulogen, a typeface that embodies the opulent glamour of the Moulin Rouge era. Inspired by the late-nineteenth-century poster designs, Camulogen is the epitome of boldness and sophistication. Its full-bodied, rough letterforms are crafted to capture the attention of all who lay their eyes upon it. This typeface is the quintessence of style, and with it, you can effortlessly convey your message with an unmistakable tone of class and elegance. Whether you’re looking to create a stunning headline for a fashion magazine or an eye-catching logo for your luxury brand, Camulogen will elevate your designs to new heights. So indulge in the sumptuousness of Camulogen and let your creativity soar to new heights. Your message will be delivered with panache and flair, leaving a lasting impression on all who see it. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

About Ardena: Ardena is a modern sans-serif typeface family. While neutral and clear at first glance, it can be characterized as both pleasant and confident due to its open, rounded forms and vertical terminals. It can be used in both a restrained and expressive way. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. Completed with an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Variable Font The Variable Font contains 2 axes: weight and oblique – all in just one file. Features: With over 1064 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. The principle is easily explained: If a number is placed in round or square brackets, it will automatically be displayed in an outlined circle or square. If you add a period to the number, it is displayed in a full circle or square. The same principle also applies to the arrows. The arrows themselves are combinations of greater/less symbols with the various slashes or hyphens. Get the static version of the Ardena family here: https://www.myfonts.com/fonts/julien-fincker/ardena/

Malow - Display Font Malow is a stunning display font that will bring elegance and sophistication to any project. This font was designed with a contemporary style that still maintains a classic look, making it perfect for a wide range of applications. The idea behind the creation of Malow was to develop a font that combines a modern aesthetic with a touch of timeless elegance. The result is a typeface that looks fantastic on branding projects, logos, packaging designs, posters, and more. Malow is a versatile font that can be used in a variety of design contexts, whether it's for print or digital projects. Its clean lines and bold appearance make it an excellent choice for headlines and titles, while its legibility also makes it ideal for body text. This font comes with a range of features that make it even more appealing. It includes uppercase and lowercase letters, opentype alternates and ligatures, and full multilingual support, ensuring that it can be used for projects in any language. In the font package, you will find three different file formats, including OTF, TTF, and WOFF. This makes it easy to use the font across a range of design software, including Adobe Illustrator, Photoshop, InDesign, and more. If you're looking to add a touch of sophistication to your design project, then Malow is an excellent choice. Its clean lines and elegant style make it a versatile font that will elevate any design. In summary, Malow is an elegant display font that combines modern and timeless styles, making it a great choice for a wide range of design projects. Its features include multilingual support, opentype alternates and ligatures, and three file formats in the package. This font is perfect for anyone looking to add a touch of sophistication to their project.

Antique Tuscan No.9 was one of the earlier wood-type designs by William Hamilton Page. It was first shown among the specimens produced in 1859, shortly after Page entered into a new partnership with Samuel Mowry, owner of the Mowry Axle Company. The new company was named Page and Company and was located at the Mowry facility in the Greenville section of Norwich, Connecticut. Antique Tuscan No.9 is an extra-condensed version of the tuscan style that had been released in moveable type by Vincent Figgins of London in 1817 and had become so popular for advertising in the intervening years. Because of the extreme compression in the design, we might be tempted to describe it as "Triple-X," but that might be misleading. The analogy would, of course, be to clothing sizes, not movie ratings. Because of the compression, this typeface reads best when set extra-extra-extra large. For printing, we recommend 36 points or larger. For the screen, we suggest at least 72 points. An unusual and distinctive design, it is best used with discretion. If I were doing a term paper for school or submitting an article to a magazine for publication, I might use it for the title page, to grab someone’s attention. I would certainly not use it for the main body of text - not if I expected anyone to read what I wrote. If you wonder why we make this recommendation, take the Ten-Point challenge. Print this paragraph using Antique Tuscan No.9 and set the font size at 10 points. If you are young and blessed with good eyesight, you will probably be able to read it - with effort. So, here is the challenge: hand it to your Grandmother and ask HER to read it.

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

Dynamic, attractive and catchy - the new TypeType display font! Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org TT Cometus is an expressive typeface that captivates from the first time you read a text set in it. Despite its massiveness, the typeface is malleable and dynamic, like a comet piercing the space in order to achieve the only goal - to capture the attention of the viewer. TT Cometus is a slab serif whose strong serifs are serifed at the junctions with the vertical stroke to give the typeface a dynamic and modern character. Thanks to this solution, some elements of the font evoke associations with calligraphic works, while display elements remain stable thanks to massive serifs. The pointed endings of the letters c, y, e, t and noticeable inflows of arches and semi-ovals make the character of TT Cometus dynamic. The contrast between the thicknesses of the horizontal and vertical elements is small, but in the serifs, inflows, and letter endings, the contrast is pronounced. The nature of the font is balanced, and its friendliness is supported by the smoothness of shapes. Oriented towards the viewer, flowing yet massive and dynamic, TT Cometus is suitable for use in eye-catching projects. This is a display font that shows its character better in a large body size and can be used in printed materials or on the web. The font looks flawless in headlines and logos, and is suitable for use in branding. TT Cometus consists of 5 faces: 4 upright and one variable font. Each face has 568 glyphs. The font contains 18 OpenType features, including a large number of ligatures, sets of alternative characters for the ampersand and the letter g.

The most space-saving sans serif This font saves more space than any of its kind! Slim proportions, but not “condensed” Characters which nearly touch Sparse ascenders and descenders Distinct forms How close to each other can the characters of a font get? Theoretically, as close as you want. But obviously, the words should still be legible. And as any designer knows, body clearance of characters also depends on other parameters such as point size and line spacing. In practice, there are always situations in which as much information as possible has to be positioned in as little space as possible. The ingoFont ÉconoSans is made for exactly this purpose. Even the name of the font implies its function: French for the infinitive “to save” is “économiser.” Now if that doesn’t sound good… The shapes of the upper and lower case letters are completely matter-of-fact, the way a modern font has got to be. The letters c e, and s are wide open to their neighbors. An especially distinguished trait of this font is the design of the “triangular” characters v w y x k z and A V W Y Z K X M N. And the open form of B R and P is also not typical in a sans serif. The distance between letters is kept tight and often the characters nearly touch, but only nearly. With ÉconoSans you gain approximately 20% more text in a line than with »Tahoma«, and even still more than 10% compared to »Helvetica«. ÉconoSans also includes tabular figures as well as ligatures. Among the ligatures, the double mm is especially unusual and is hardly familiar, but can contribute greatly to saving space without catching the reader’s eye.

The history of Aerolite, from Jan Paul: "The Aerolite fonts are essentially stripped down versions of a complex outline typeface I designed for the first Midnight Oil album in 1978, affectionately known as "The Blue Meanie". Many years later I saw the font "powderworks" and asked Brian Kent if he would be interested in digitizing Aerolite. Brian is a font (!) of knowledge and was of invaluable help by getting Aerolite to where it is today. Special care was taken in keeping the distinct character while as Aerolite Regular also providing a legible, thouroughly kerned body type which can be used in all sizes for large volume text." For the Pro version the kerning has been tweaked further, and the character set completed and expanded - and the alternate uppercase A (also with accents) is available as OpenType stylistic alternates. It is now ready for your next international science or sci-fi project. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Rocka & Billy is a bold script font inspired by Retro and Modern hand lettering style, so you can use this font into any style of your design. It includes standard Multilingual support and OpenType features such as Standard Ligatures, Discretionary Ligatures and Stylistic Sets (ss01 - ss09). Rocka & Billy is great for Logotype, Branding Design, Logo Design, Digital Lettering Arts, Instagram Design, T-Shirt/Apparel, Badge, Packaging, Poster, Magazine, Book Cover, Quotes, Signs, Advertising Design, and any design needs. You can access all those alternate characters by using a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Mix and match the alternate characters to add an attractive message to your design. Guides to access all alternates glyphs : http://adobe.ly/1m1fn4Y Need help? Please, Feel free to contact me by e-mail yyudhara@gmail.com for any question about my font, Extended License document and more. Good Luck and Have fun ! YdhraStudio

Iturritxu (a small spring or fountain in the Basque language) is the basic style, one letterform per character, using highly readable glyphs suited to text applications. It includes Latin characters for Western European, Central European and Baltic Languages, plus Romanian and Turkish. Iturritxu 2020 is the feature-rich style for OpenType friendly applications. Designed to work especially well with the concave consonants and nesting vowels (KO, RO, TXO, ZO etc.) common in Basque (Euskara), the font also has many ligatures and contextual features for other languages such as English and Welsh. Much of the inspiration for the contextual forms comes from the compound consonants and vowel signs of North Indian scripts. Small capitals, old-style numerals (with optional swashes), sub and superscript numerals are all present. A PDF guide to the features is included in the 2020 package together with the basic Iturritxu font. The Features Guide is also posted in the Gallery.

Hua type family is a sans-serif with very humanist details to represent the essence of nature. It features 14 weights from the very thin to the very bold, generously covering a wide range of the natural spectrum. Aiming to represent the soft and elegant side of nature, Hua features very unique italics that have their own take on the identity. The letterforms of the italic fonts are inspired by the lineage of both traditional calligraphic approaches for serifs and much simpler forms for sans-serifs. Hua provides very crisp performances on screens and its large x-height combined with fine-tuned proportions help it retain legibility very well on smaller sizes.  Features: • Support for 200+ Latin languages • Double & single storie “a” & “g” • Unique italic letterforms • Low contrast with unique details • Small caps with symbols • Arbitrary and defined fractions • Support for superscript & subscript in normal & scientific alignments • Proportional lining, proportional old-style, tabular lining, tabular old-style

This font family is inspired by printed work made by the Elzevir family back in the XVIIth century at Leiden (NL). They worked with material from several type designers, but further investigations sends us to the tracks of one in particular: Robert Granjon. Granjon italics were way ahead of his time, making some really beautiful signs like swashy ampersands and minuscule v letters. This font also contains old style figures in the same fashion as they were printed, like the flipped number 8 and open forms in 6 and 9. This is as much a revival as an original design, because of their weights bold and heavy (both with italics) that were inspired on some titles. In this font you can also find a lot of ligatures, small caps, diacritics and even a fleuron for each weight and variation. Leidener came up from two books: Constantini Imperiatoris (1611) and Exercitationum Mathematicarum (1657), printed by Louis and John Elzevir on their Leiden Workshop, back in the day.

Corporative Sans Rounded Condensed is the narrowed version of Corporative Sans Rounded that offers high performance when using for text, what makes it the perfect match for Andes Rounded. The font works well at both display and small sizes. Corporative Sans Rounded Condensed is the perfect choice for logotypes, posters, signs, branding, packaging and so on! Corporative Sans Rounded Condensed comes with Latinotype’s standard set of 350 characters, making it possible to use the font in 128 different languages. Corporative Sans Rounded Condensed provides users with a wide range of characters and weights for every project. By combining different variants, designers can achieve the best results. The family consists of 32 fonts: a basic family that includes 8 weights plus italics and an alternative family of 8 weights with matching italics as well. Corporative Sans Rounded Condensed was created by Latinotype Team and developed by Elizabeth Hernández and Rodrigo Fuenzalida, under the supervision of Luciano Vergara and Daniel Hernández.

Brexit now has its own typeface. Brexit the type family is made for being slanted one way or another, to offer stylistic choices and expressions, like for or against, or remain or leave. Because Brexit is international, the letters are made to support many languages. The name is given to mark the British withdrawal from the European union. Brexit is an elongated display typeface in three styles. It is a sans serif with contrasts in stroke and shape. Brexit supports languages with latin characters and ligatures as well as Greek and Cyrillic. The italic and contra italic are extremes that can be used to contrast each other or versus a standing regular. Sometimes complex concepts are best communicated in single words, and the typeface Brexit is made for that and more. The typeface works well for clear messages, shop displays, poster work, menus, signage and other purposes where you want to have impact.

The Artimas family is the new book design font family developed out of Aramus. These new serif typefaces are readable and graceful — part of my development of a series of book families. Aramus was very popular for a single font release of a text font. This new book font family retains the looseness of the original with radically different font metrics and many shape “corrections”. In fact, Artimas continues a genuine new path for this foundry This new font family for book design continues a turn toward more “traditional” x-heights of around a third of the point size.The Artimas print production font family is six new OpenType Pro fonts with Caps, lowercase, small caps, & figures to go with each of those character sets. There are many ligatures, a few swashes, fractions, numerators, denominators, and ordinals to infinity. This family of fonts is a joy to read and easy to use for text or display.

Strak is a font that was born out of admiration for the work of E. Vermeulen, a Belgian artist known for his tight, precise line and an unseen masterpiece that is spread around the world. He has published and exhibited his work in London, Liverpool, Angoulême, New York, Geneva, Amsterdam, Lyon and Turku (in Finland) and he even signed for the New York Times. Based on a few characters, a complete font was composed by Kustomtype. After a few sketches, Strak came to life. The name Strak, in this case, refers to the slender, beautiful woman with the correct waistlines and proportions. The font is designed this way; it is completely hand-drawn, digitized and can be used in all modern and graphic media. Strak is available in 8 different styles, has class and will make many people's mouth water when they see it on your designs. Do you want quality and style? Then Strak is the font-perfect solution!

Proudly present Chemicalife - Hand Drawn Letterpress Type, created by ikiiko Take advantage of "Chemicalife," a stunning hand-drawn letterpress typeface created to take your poster designs to new heights, and embrace its retro appeal and aesthetic attraction. The distinctive "Regular" and "Rough" forms of this typeface, each with its own compelling personality, provide your projects an unsurpassed degree of versatility. Discover the world of purposeful imperfection with Chemicalife's "Rough" aesthetic. This variation celebrates the natural flaws of handcrafted artwork and is inspired by the genuine charm of vintage letterpress prints. Every word and character exudes an artistic rawness that gives your posters a sense of true craftsmanship. These imperfections and uneven edges are the telltale signs of an artist's touch. This typeface is perfect for an vintage poster, movie title, packaging, food & beverages, magazine design, fashion brand, classic stuff, quotes, or simply as a stylish text overlay to any background image. What's Included? 2 Weight : Regular & Rough Uppercase & Lowercase Numbers & Punctuation Multilingual Support Works on PC & Mac

Introducing Typologic, a font that effortlessly fuses geometric simplicity with the vibrant pop culture styles of the swinging 60s and 70s. This versatile typeface offers not just one, but 8 distinct font families, each with its own unique character. You'll find Condensed, Normal, Semi Expanded, Expanded, and stylish shadow versions. But that's not all—when you choose Typologic, you also get a treasure trove of 56 FREE BONUS ASSETS, featuring retro mascot illustrations that perfectly complement your creative projects. Features: Typologic Main FIle 56 free bonus assets that are Retro Mascot Illustrations Has 8 fonts : Condensed, Normal, Semi Expanded, Expanded, Condensed Shadow, Normal Shadow, Semi Expanded Shadow, Expanded Shadow Instructions (Access special characters, even in Cricut Design) Unique Letterforms Works on PC & Mac Simple Installations Accessible in Adobe Illustrator, Adobe Photoshop, Microsoft Word even Canva! PUA Encoded Characters. Fully accessible without additional design software. Come and say hello over on Instagram! Thank you, Dharmas Studio

Based on a Monotype 1930s condensed poster typeface, Placard Next is bursting with personality. Unexpected details appear throughout the design, from its wedged diagonals and single storey a to its round tittles – which would more ordinarily be square, and mechanical. The warmth and quirkiness of its character really shines through when set at larger sizes, making this a typeface for posters, headlines, and anywhere else designers need to make a statement. Designer Malou Verlomme has paid particular attention to the typeface's 'word images', further amping up its impact, and added some vintage flavor with Placard Next Round. As well as a striking display typeface, Placard Next's four widths and six weights – hairline to bold - mean it's a versatile design, that can be adapted for use in almost any environment. The complete family contains 48 fonts: 24 in Placard Next and 24 in Placard Next Round. It includes a large multilingual character set.

Beauty can change the perspective of the target audiences. Choose the right typeface to represent the beauty of your brand. Introducing Maira is a beautiful and versatile script font, with a careful touch of every single curve. Maira font has a beautiful and neat form so it can be easily read. Maira has a ton of alternate characters and bonus swash, making this font perfect for your branding project. It is suitable for use as a logo, Title, business cards, T-shirts, posters, printed quotes, wedding invitations, or any advertising purposes. Maira includes: numbers and punctuation multilingual ligatures alternates swash opentype features We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so you can see and access all Glyph variations. We hope you enjoy our font - please do let us know by emailing us at info@prestigetype.com or prestigetypestudio@gmail.com if you need something!

Mirfak™ is a new take on a work from Adrian Frutiger made in 1964. In the first place, it was a specific alphabet made for only one book. Only lowercases, capitals, numbers and a few mathematical signs where created. Covering only English language, used only once and unknown by most, we considered this Slab Serif as an hidden gem that needed a modernization. Mirfak™ is a result of a project whose goal was to take a beautifully designed Slab Serif and update it so that its technical standards surpass the status quo, leaving us with a truly superior slab serif family. Entirely coded from scratch with Metafont™, this family is not only an update but an expansion of the original concept, covering now most used languages on earth. Modernized and unique, Mirfak’s 3 weights, light to bold, can give a full range of expression for interfaces and corporate design; in print, on screen and in multiple languages.

The Gold Rush is over, the prospectors have made their fortune and the mine has been worked out! The inhabitants of Boomtown USA have moved on -- the saloon is dry, the sheriff has hung his hat and the only visitors to the local whorehouse are tumbleweeds. Yeah, the buildings remain -- hollowed out husks carrying memories of bar room brawls, high noon shootouts and high stake poker games between outlaws -- but if you take a walk down the street be careful not to kick up too much dust... Turn the corner and you might see Ol' Toothless Joe standing on the corner sucking on a bottle of whiskey... And don't walk too slowly past the storefront of the undertaker -- that guy made his living putting strangers like you in a wooden overcoat from sunrise to sundown. Spooks and Spectres linger everywhere... there's a sign just down the road -- didn't you see it? "Ghost Town! Abandon Hope all who Enter Here!"

Let it be known that this font is named for Excalibur, King Arthur's Magic Sword. The font is derived from a note that Arthur hastily penned to his Queen, Guinevere, during a lull in one of his many battles against the Saxons. Arthur's armour was so hefty that he could not easily seat himself, and so to pen his letter to Guinevere he plunged his legendary sword Excalibur into the marshy soil on which he had been fighting and thereby steadied his writing hand with the hasp of his magical sword. This ancient and battle-weary font is based on the writing from a fragment of that original document. It has been heralded by modern scholars as "grunge" writing of great antiquity. The font Excalibur SCF contains a full character set and it is professionally letterspaced and kerned. Use this font to create a feeling of haste, of authentic ancient history, of magical times, of chivalry, of dragons and of brave battles fought.

Platinus Script Pro is the latest example of what has now become a Sudtipos tradition: Adapting conventional calligraphic methods from the last two centuries to produce modern digital scripts for the current one. This time the resulting font explores the evolution of invitation scripts from the classic commercial lettering of the 1930s to the ideas clearly visible in the greeting cards of the 1980s and 1990s. Most base characters are made up of a single stroke, with some of the strokes driven from the top down, and some from the bottom up, putting the emphasis on the casual but precise fluidity of the hand, an emphasis magnified by the expert use of loops and swashes everywhere. The Platinus Script Pro family comes in two weights, each loaded with alternates and Latin-based langauge support, for more than 570 characters per font. Platinus Script Pro is great for product packaging, as well book covers, menus and greeting cards.