Akwe Pro™ is a professional, ultra versatile sans serif typeface characterized by excellent legibility and modern design perfect for all design purposes. It is designed for use in long and short paragraphs of text, headlines and user interfaces. Its distinctive character and carefully crafted proportions make it a great option for brand identification and logo design. Akwe Pro™ mega family consists of 164 fonts - each weight in uprights, italics and small caps versions. It has extended language support and true italics, as well as broad number of OpenType features, such as small caps, case sensitive forms, standard and discretionary ligatures, stylistic sets, contextual alternates, lining, old style, tabular and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Nucleometer is a very contrasting and at the same time elegant display font. It is ideal for large headlines and impressionable typography. A feature of the Nucleometer is the rounding of the lowercase letters a, b and r, as well as a funny "tail" in the letters t, g, j, f, t, y. This gives it a more lively and unique character. Another interesting feature is the increased proportion of the ascender height of Ultra Condensed, which is larger than the usual Bold font. Together, this font is ideal for a designer who needs stylish and very contrasting typography in his work. Nucliometer is available in 5 styles, starting from Bold to Bold UltraCondensed and also has a variable format.

In December 2013 two new weights - Thin & Ultra (with Italics) were added to the set, Small Caps included! The intention was to make a technical-looking sans with a warmer feel to it, balanced between hard geometric shapes and friendly curves with slightly narrower endings. It should be useful in a wide range of tasks, whether combining the eight weights with distinct italics for editorial design, setting multiple pages of text, making financial reports, or using the highly contrasted lights and blacks for display and packaging design. Argumentum has a character set to support Western and Central European languages, and an extended set for monetary symbols. Each weight includes small caps, ligatures, proportional lining and oldstyle numbers, tabular figures, fractions and scientific superior/inferior figures.

proudly presents Royale Imogen the bold romantic vintage font. Royale Imogen is an elegant and magical serif font. Fall in love with its incredibly versatile style and use it to create gorgeous wedding invitations, beautiful stationery art, eye-catching social media posts, Cover, Magazine, Sticker, Clothes, Quotes and more! Royale imogen has 4 different weights from Thin, Regular, Bold, and Ultra Bold. which makes this font very suitable for any design, apart from being given a different size Royale imogen is also equipped with beautiful alternates and ligatures which are very suitable for a design with a romantic feel, if you want a bold design you just need to turn off the opentype feature. Royale Imogen features: standard capital and lowercase alternate decorations beautiful ligature international character

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Roy Carkton is a luxurious and thick lettered serif font. This font is PUA encoded which means you can access all of the glyphs and swashes with ease! Add it confidently to your favorite creations and let yourself be amazed by the outcome generated. With its striking contrasts and ultra-fine details, along with bold strokes that look luxurious and voluptuous curves, it creates a beautiful and powerful statement for any typographic composition, Features : 2 weight style uppercase & lowercase numbers and punctuation multilingual PUA encoded alternates & ligatures Roy Carkton luxurious serif really helps you create unlimited variations for your creative needs in creating your project titles: such as fashion, magazines, logos, branding, photography, invitations, wedding invitations, quotes, blog headers, posters, advertisements, postcards, books, websites web, etc.

It’s a brand new year, but I have been going back in time. To the seventies to be precise. A ‘bubblegum’ font was on the top of my to-do list, so when it was finally finished, it reminded me of seventies posters. As if by magic, a catchy bassline started playing in my head and before I knew it, Boney M appeared - all dressed up in Purple and singing Daddy Cool. Cool Daddy is a fat, rounded bubblegum font, which will take you back to the decade of moustaches, afros and glitter. This ultra groovy font will funk up your designs 4-sho. So boogie on, take it back to your crib and get down with it. You diggin’?

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Breakers is a sans serif originally conceived to be a display typeface. Works great in text also, but the diversity in weights is its strong point. It is easy to achieve that high contrast using thin against the ultra weight, but setting tall and lean capitals against the compact and heavy small caps can make really diverse compositions for all kinds of display design. With small caps included, and over 600 glyphs in each weight, it should prove itself useful in finding the right combination for any typographic setting. Breakers has a character set to support Western and Central European languages, and an extended set for monetary symbols. Each weight includes small caps, ligatures, proportional lining and oldstyle numbers, tabular figures, fractions and scientific superior/inferior figures.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Moho is a broad family of types inspired by the burgeoning modernism of the early twentieth century. Moho introduces an unconventional style in the form of his glyphs which aims to impregnate the text compounds thus a distinctive aesthetic sobriety and elegance while creating a flow of practical reading. The Moho family consists of a wide range of various weights. Thought for innovative text composition, Moho covers all shades of Medium, Regular, Light, ExtraLight to delicate Thin. Moho has a square shape letter style, provided with a competent OpenType programming for Moho OT family and basic functions for Moho Std family. Among the family characteristics OT has features such as small caps for letters and numbers, stylistics alternates, swash letters where "t" is extend over others, giving the typeface that particular style ideal for headlines, ligatures for pairs and triplets of letters, fractions and ordinals. In addition, each comes with its weight set italics. Moho has a character set to compose texts in European languages ​​of east and west with over 600 glyphs. Moho is a letter in resonance for general topics like sports, art. technology trends, fashion, tourism and transport. There exist two groups of Moho Family OT = Full OpenType Features and full set of glyphs Std= Basic OpenType Features and less glyphs

Modesto Initials had existed as a single font for several years. I recently added a fill font to put color in the Inlines. The Inline font still works by itself. The Fill font works alone too, as an ultra Modesto on steroids. They work best together. Modesto is a loose-knit family based on a signpainters lettering style popular in the late-19th and early-20th centuries. It evolved from the lettering I used for the Ringling Bros. and Barnum & Bailey Circus Logo. The Modesto family was not planned. It just happened, a few fonts at a time over about fifteen years. In 2014 seven new Italic fonts and two Chromatic families were added. There is a downloadable MODESTO USER MANUAL PDF in the Gallery section for this family.

Rhetoric is a friendly display typeface that’s full of personality. The fonts are defined by their roman characters which could be described as “upright italic” – the style traditionally associated with a cursive character set has been applied to the roman glyphs. Rhetoric embraces its curves –exemplified by the voluptuous caps for /A/M/U/V/W/X/Y/ which further enhance this typeface’s quirky nature. This 18-font type family has weights from Hairline to Ultra in both roman and italic. Western European languages are covered in its basic character set, but there are a number of alternates and discretionary ligatures that allow you to embellish your typographic designs. Designed for branding purposes, headlines and short runs of text, Rhetoric will be a worthy addition to your type collection.

The publication of this more mature design is the result of a previous 1-style project which was developed in 2010. Rita, the new design, has increased from one single style to a full font family, with a strong personality, ideal for short text for high impact designs. Rita is a slab serif typeface that offers a wide range of weights and widths—from a thin, ultra condensed font to a heavy variant for poster design. Its variety of weights and widths allows users to create a number of different compositions such as titles and text for impact or high impact graphics. Rita comes in 10 styles and includes a set of 400 characters that support over 200 languages. Rita was designed by Daniel Hernández with the collaboration of Rodrigo Fuenzalida.

Partially inspired by the mid XIX century german condensed serif typefaces –and a clear connection to Italian classics– Magari extrapolates that idea of fusion to a new level, getting a unique variable font file, or 9 specific weights. With that in hand the user is able to find the perfect match for any design. From an ultra compressed thin to an extended black style, Magari is a perfect font for display use. It’s jazzy vibes and wide range of weights make it incredibly perform in advertising, packaging or editorial design, assuring great impact whether it’s thin and tall, or big and bold. The addition of three kinds of endings for the lowercase –from a serif to two tailed strokes– and two different swash sets for the capitals, Magari lets the user play with infinite results.

In today's typographic landscape, few would still consider Bodoni to have a "modern" feel, but there was once a time when it's vertical axis and thinned horizontal strokes were considered radical. Volterra—inspired by the forms of Bodoni—finishes what Bodoni started and eliminates the horizontal stroke altogether, breathing an elegant new energy into a 200-year-old classic. Named for the artist hired to paint loincloths over Michelangelo's "Last Judgement" when nudity in religious art was condemned, Volterra acknowledges that it is no easy feat picking up where a master left off. Volterra takes what has grown to feel traditional and transforms it into a delicate mixture of classic and modern, with razor-edged serifs and ultra-sharp strokes. Strictly a display face, the larger Volterra is used, the better it looks.

Carousel is a fat faces display type designed by Gary Gillot in 1966. Fat faces were offshoots of the modern, or Didone, typefaces that were de rigueur during the early 1800s. These fat faces were among the first typefaces to be used solely for advertising purposes. Naturally, they were always used in larger point sizes, in display functions. Carousel could be called an optimization of these old advertising typefaces. With high x-heights, ultra contrast between thick and thin strokes, and perfectly engineered drawing techniques, Carousel is a highly crafted typeface. Give it a spin in your next advertising campaign! Carousel's fine thin strokes are very graceful in their appearance, and lend a strong, yet soft, feminine feeling to anything they touch.If you like Carousel check out wearing Annlie, another fat face from 1966."

Organetto is a typeface, inspired by the lettering found on Art Deco posters, whose design embraces latest digital font technology. This versatile font contains multiple widths which make it an ideal solution to fit every design need. In addition to its functional geometric style and different widths, Organetto also includes alternate characters that provide even more design options. All these features make the font a great choice for graphic designers and art directors, logos, wordmarks, short text, etc. Organetto is a sans-serif typeface with modern proportions and straight-edge terminals. It comes in 7 weights, ranging from Hair to Ultrabold, and 7 widths (from Ultra Condensed to Expanded) and contains a set of 397 characters that support 180 different languages. Organetto also includes OpenType features- 3 sets of alternates, catchwords and titling.

Font family Titla Brus was developed as an extension of Titla, released earlier in 2009. New slab serif family consists of 20 members the normal and condensed proportions that present 6 weights from Light to Ultra. The fonts can be used in combination with Titla or by itself in different display matters. Typefaces demonstrate original and catchy way of using serifs -- in some places there are traditional slab serifs, in other places -- one-sided and often there are no serifs in the places where they normally should be. This approach brings to the letter shapes an unusual appearance and peculiarity. Design was developed by Oleg Karpinsky. Released by ParaType in 2011--2013 at first as a set of ten condensed styles and later in extended version enhanced by ten normal styles.

Remora is an extensive new humanist sans serif which comes in 2 style variations, the effervescent Remora Sans and its corporate business partner Remora Corp . Both styles include 5 individual width sets ranging from the condensed W1 to the extra-wide W5. Furthermore, with an impressive 7 weights (Thin to Ultra) and true matching italics in each pack Remora is an ultra versatile super family comprising 140 individual fonts, perfect for any typographic assignment or design brief. Remora was designed by G-Type founder Nick Cooke. Both the Sans and Corp families share the same proportions, with the exception of certain key characters that change the overall appearance. Remora Sans is an exuberant and characterful typeface while Remora Corp, as its name suggests, is a businesslike typeface more suited to corporate typography. Quite early on in the design process Nick decided to give Remora Corp equal billing instead of incorporating these glyphs as alternates or a stylistic set that may get overlooked. “I created two separate families after learning a valuable lesson with one of my earlier typefaces, Houschka”, says Nick. “Houschka contained distinctive rounded A’s W’s and w’s, with ‘straight’ styles as character alternates. Even though style sets and alternates are easy to activate they are rarely used, so after many requests for customised versions of the fonts with the straight characters as defaults it was decided to create the separate ‘Alt’ family. So I cut straight to the chase with the two Remora variants and created two complementary families.” Both sets contain many shared letterforms, but it is the alternate characters that significantly alter the appearance of each font. Remora has been carefully designed for optimum legibility at large and very small sizes. Although fairly monolinear in appearance, especially in the lighter weights, particular attention has been paid to optical correction like the overshoots of the curved characters. Open counters and painstaking attention to detail (e.g. weight contrast between horizontal and vertical strokes, junctions of shoulders and stems etc) all boost readability and make Remora a great choice across all media. Remora Sans and Corp are ‘humanist’ rather than ‘geometric’ in style, meaning they’re not strictly based on rectangles and circles, resulting in a warm and friendlier feel. The slightly ’super-elliptical’ rounded forms create generously attractive curves. Remora has very distinctive italics in that they are only inclined by 8 degrees, but are not just based on slanted uprights. The italic styles are very alluring when used for display at large sizes and the good news is they come bundled free with their respective uprights. Each family also contains many OpenType features including proportional and tabular numbers, small caps, discretionary ligatures, plus five stylistic sets for ultra versatile typography.

Remora is an extensive new humanist sans serif which comes in 2 style variations, the effervescent Remora Sans and its corporate business partner Remora Corp. Both styles include 5 individual width sets ranging from the condensed W1 to the extra-wide W5. Furthermore, with an impressive 7 weights (Thin to Ultra) and true matching italics in each pack Remora is an ultra versatile super family comprising 140 individual fonts, perfect for any typographic assignment or design brief. Remora was designed by G-Type founder Nick Cooke. Both the Sans and Corp families share the same proportions, with the exception of certain key characters that change the overall appearance. Remora Sans is an exuberant and characterful typeface while Remora Corp, as its name suggests, is a businesslike typeface more suited to corporate typography. Quite early on in the design process Nick decided to give Remora Corp equal billing instead of incorporating these glyphs as alternates or a stylistic set that may get overlooked. “I created two separate families after learning a valuable lesson with one of my earlier typefaces, Houschka”, says Nick. “Houschka contained distinctive rounded A’s W’s and w’s, with ‘straight’ styles as character alternates. Even though style sets and alternates are easy to activate they are rarely used, so after many requests for customised versions of the fonts with the straight characters as defaults it was decided to create the separate ‘Alt’ family. So I cut straight to the chase with the two Remora variants and created two complementary families.” Both sets contain many shared letterforms, but it is the alternate characters that significantly alter the appearance of each font. Remora has been carefully designed for optimum legibility at large and very small sizes. Although fairly monolinear in appearance, especially in the lighter weights, particular attention has been paid to optical correction like the overshoots of the curved characters. Open counters and painstaking attention to detail (e.g. weight contrast between horizontal and vertical strokes, junctions of shoulders and stems etc) all boost readability and make Remora a great choice across all media. Remora Sans and Corp are ‘humanist’ rather than ‘geometric’ in style, meaning they’re not strictly based on rectangles and circles, resulting in a warm and friendlier feel. The slightly ’super-elliptical’ rounded forms create generously attractive curves. Remora has very distinctive italics in that they are only inclined by 8 degrees, but are not just based on slanted uprights. The italic styles are very alluring when used for display at large sizes and the good news is they come bundled free with their respective uprights. Each family also contains many OpenType features including proportional and tabular numbers, small caps, discretionary ligatures, plus five stylistic sets for ultra versatile typography.

Schlange is a rich typeface with rounded terminals. The family includes five sans serifs and five slab serifs in weights from ultra light to bold. Schlange’s personality is determined by an open aperture and quite large lower case characters in comparison with the upper case set. Schlange’s personality is open and friendly, giving a text it’s used for a soft, warm appeal. Schlange will work well as a display type (think titles, short magazine call-outs, ad banners, and such), but it’s not a good choice for extensive bodies of academic text. Available in numerous weights, the typeface provides rich opportunities for mixing and matching and is great for typographic compositions. These qualities make Schlange a dream type for a packaging designer. It will feel at home in design for cosmetics or sweets, postcards, children’s books and menus.

Sybilla is a robust, but friendly, humanist slab serif well suitable for broad range of design projects. A true workhorse and superb text type family, Sybilla was especially designed with legibility in mind. Its soft almost cursive shapes and generous internal spaces define a slab serif that is easier on the reader’s eye and help establish a feeling of warmth and friendliness. The type family consists of eight weights with complimentary italics. While the Light, Book, Regular and Medium weights are great performers for body text, the Thin, Bold and Heavy weights make an excellent choice for headlines. Also there is the specially designed Ultra weight if extra punch is needed. Sybilla has extensive multilingual support and specially designed Cyrillic that works harmoniously with its Latin counterparts - a perfect choice for design projects that need both writing systems running side by side.

BORDEAUX - A custom handmade display typeface with unique design and hybrid lettering styles. This all caps typeface has two different nature: the uppercase is purely simple & minimal but the lowercase is defined by unique alternatives having special design. This typeface is perfectly suitable for anything that needs to stand out from crowd, be it some Ultra Modern Branding, Techno or Cosmic Themed Designs, Haunted Movie Posters, Mysterious Arts and even the Minimal Stuffs. BORDEAUX could be perfect choice for logo / logotype design, branding, marketing graphics, banners, posters, signage, corporate identities as well as for editorial design that can bring uniqueness. Please see the examples shown above to get an idea about the capability of this typeface. Handcrafted and designed with powerful OpenType features in mind, each weight includes extended language support including Western European & Central European sets.

Antipol is a Sans Serif design that reverses the conventions of a regular Latin Sans Serif. With a weight emphasis on the horizontals and its vertical terminals Antipol radiates a 1970s charisma known from the like of Antique Olive. Its modern and avantgardistic attributes are most pronounced in the Hairline weight, where ultra thin lines meet distinctive arrowhead-corners. This particular weight is meant for display settings, think full-page magazine titles or posters. Antipol Wide and Antipol Extended are a generous statement for graphic design with enough space to let the type breathe: art catalogs, lead texts, invitations, letterheads or brand identity. Any style comes with a wide range of OpenType features that goes beyond a standard display font: Small Caps, Proportional and Tabular Oldstyle Figures and Lining Figures, Fractions, and much more. Type Specimen: http://bit.ly/2mxRCcA

Need that perfect statement fonts for your designs? Hello Mango knows how to make your designs go from good to be ultra good. It is harmonious uppercase display and script font duo. The display font is beautifully designed and add a distinctive touch wherever they are used. On the other hand, the script style expresses elegant and modern look. In this package, you can also get 15 illustrations as special extra. Features: Ligatures Stylistic Sets Swashes Multilingual Supports Uppercase and lowercase PUA Encoded Numerals and Punctuation This font would looks great on your branding, logos, social media quotes, stickers, posters, wall art, merchandise, social media, and many more. Get more inspiration about how to use it by seeing the font preview. Thank you for purchasing our fonts. If you have any further questions, don't hesitate to contact us. Happy Designing.

Robson is a fluid, condensed, uppercase font made up of eight weights, as well as a variable, that will provide instant visual impact to your projects. The font is made up of 486 glyphs which features extensive language support & stylistic alternates to give your designs the versatility they require. The font has a retro edge to it by using rounded structures on the A, M, N, W and Y glyphs that are reminiscent of posters and promos from the 70s and 80s. The ultra tight thin weight is made to be used at super sizes to bring a focal point to your designs. Robson is meant to be seen big (well, he's a bit of a show-off) Robson is perfect for your digital, print or branding projects. Or, for a poster on your fridge that says "You rock".

We wanted to make an ultra-thin, tall font with a rough, hand-drawn look and ended up with more than we bargained for. To get the font we wanted we started by developing a source font for the basic letter shapes and we ended up with a whole bunch of variations of the basic style. Thus was born the new Ducatus family of fonts, starting with Ducatus Light which developed into the Medium and Heavy versions, and the Medium weight was ultimately used as the basis for the Ducatus Rough font, which was the goal of the project in the first place. Ducatus Rough was created by modifying Ducatus Medium in Photoshop using Gallery Effects and several other filter packages, and then redoing the outlines from scratch in Fontographer. A lot of work, but the result is just what we wanted.

Aromo was initially conceived for editorial purposes. This typeface mixes the versatility of a simple and modern sans-serif, with the sensibility of the humanist feeling: thus making it useful in a wide range of purposes when a balanced and friendly font, with elegant proportions and high readability is required. The functional nature of its design is complemented by a family of 14 variants (7 weights, plus their matching true italics) interpolated optically for application as a hierarchical resource, where the middle weights (Light, Regular) have been optimized for use in small bodies, while the extremes (Ultra Light, Black) where designed for display environments._ Aromo also offers a wide range of historical and discretionary ligatures, small caps, eleven different types of numerals and a set of more than 700 characters covering about two hundred languages of Latin script._

The British Vogue commissioned this typeface for their magazine re-design in 2001. After studying the originals of Morris Fuller Benton and the existing versions, this font was designed with all new thin weights. Just when the family was finished, Vogue informed that they had decided to use American Typewriter instead. Bastards. But here is a true classic typeface with a facelift. The pun intended. Tee Franklin has seven weights with obliques, the Heavy being just slightly heavier than the existing versions from Adobe and ITC, and moving down to totally new Ultra Light, using Luc(as) de Groot's formula to keep the weights optically correct. The glyphs are the same as the Morris Fuller Benton's original from 1902, except for the upper case Q, which was re-designed with a loop in the counter for added differentiation.

A new 100% handmade brush script font family with lots of swashes, alternates and extras. Caps letters in the script font can also be used as a separate font, so you are getting three, not two, fonts + some extras such as catchwords & design elements. Each letter was carefully traced by hand and have clear edges so both fonts can be safely used on a website (sans serif is 61kB and script is 150kB only!). The font is fully unicode mapped. Most letters in the script typeface have few different swash styles that can be accessed via OpenType panel of your application such as Adobe Illustrator, Adobe InDesign, Adobe Photoshope and even MS Word. If you are working in Sihouette Studio, to get an access to all glyphs you may need an additional software (for example, PopChar or Ultra Character Map).

Film P3 - Ultra Condensed sans-serif typeface. It refers to characteristic typefaces such as Film Poster or Film P2 (which were inspired by futuristic movie posters). Film P3 is deliberately more versatile and designed to be used successfully in a huge variety of projects. In addition, the letters retain their unique and distinctive style, which allows them to stand out from the crowd. The Film P3 family has 9 members that are complementary and allow the expression of the projects to be very varied and adapted for appropriate use. They look good in many sizes, single words, slogans, titles, sentences as well as longer texts. Fonts include multilingual support, numerals, and a large range of special characters. Film P3 typeface offers many creative possibilities in graphic design and digital art. For print, brand identity, web design, and much more.

Altivo is a proper workhorse sans serif. Sixteen OpenType fonts in eight weights (with true Italics) range from Thin to Ultra. Meticulous care was taken to ensure high legibility in text sizes on the screen. The typeface is designed to have wide proportions, generous x-height, loose spacing, ink traps, large apertures and low stroke contrast. Altivo’s ink traps are not only a functional design feature, they also look interesting and lend character to the typeface in headlines. True Italics, small caps and multiple sets of figures, as well as a complete set of lowercase superscript were all included in the family to accommodate high typographic standards. If you need to pair it with a serif font, you can’t go wrong with Chiavettieri, since both typefaces were made with the same basic proportions, and their tabular figures are the same width.

A lovingly handwritten, hand-traced and developed font family that you can use in all sort of design projects - branding, invitations, quotes design etc. The family contains 33 fonts in total. Script fonts all have initial and end swashes as well as ligatures and contextual alternates. Serif and Sans serif fonts are all capitals fonts and all of them have stylistic alternates and catchwords ligatures. The fonts are fully unicode mapped so you can use them basically in any software. If the software you are working in is not OpenType-aware one, you'll need an additional software to help you to find the glyphs you want - PopChar (MAC & Windows) or Ultra Character Map (MAC) will do the job. Take a look at the How-to PDF in the Gallery Section showing how to use OpenType features within the font.

Secca Soft is the rounded sister of Secca font family. With its workhorse qualities, Secca Soft is perfectly suited for a wide range of applications - especially where legibility and economy are important factors. It comes with a wide language support and many typographic features and extras. The family comes in nine weights from Thin to Ultra Black - each with italics, small caps and italic small caps. While the weights from Light to Bold perform well in text sizes, the more extreme styles give extra freedom for Headlines & Signage. For setting tables and charts, Secca Soft offers tabular figures, fractions, currency signs and mathematic operators which share the same fixed width throughout the entire range of weights. This special feature is called "weight duplexing" and is a time saver for designers of annual reports and other figure-heavy texts.

This versatile font family comprises 10 distinct weights, ranging from the delicate Thin to the bold and distinctive Ultra Heavy. What makes Deuterium special is its approach to the heavy styles. Balancing geometric principles with the challenges of extreme weight, Deuterium manages to preserve the geometric character even when the stems expand to extraordinary widths and the apertures narrow to the size of a dot. In the world of type design, geometric sans-serif fonts are known for their precision and adherence to symmetry. Deuterium deviates from this norm while keeping its geometric essence — it is a thoughtful reinterpretation of the classic style. Whether you’re designing for branding, headlines, or text, Deuterium is a versatile tool that adds a modern touch to your projects. It explores geometry in unconventional heavy styles, making your designs stand out with a subtle yet distinct geometric charm.

Schlange is a rich typeface with rounded terminals. The family includes five sans serifs and five slab serifs in weights from ultra liight to bold. Schlange’s personality is determined by an open aperture and quite large lower case characters in comparison with the upper case set. Schlange’s personality is open and friendly, giving a text it’s used for a soft, warm appeal. Schlange will work well as a display type (think titles, short magazine call-outs, ad banners, and such), but it’s not a good choice for extensive bodies of academic text. Available in numerous weights, the typeface provides rich opportunities for mixing and matching and is great for typographic compositions. These qualities make Schlange a dream type for a packaging designer. It will feel at home in design for cosmetics or sweets, postcards, children’s books and menus.