Colagent is a high-contrast typography inspired by transitional and contemporary typography. The font expands its usability by providing weights ranging from Light to black. Natural curves, swelling and slanting stems grow in characters as the font gets heavier. While the thinner weights have reduced contrast and optical corrections to create a warm and soft appearance. Featuring charming italic letters, exceptional bold weights, and full character support for over 200 Latin-based languages. Colagent excels in display settings such as editorial design, titles, branding projects, logo design, packaging, magazine headings, advertising, short or long text. Colagent also comes with four Variable font versions: Regular, Italic, Condensed, and Condensed Italic to make it easier for designers to explore and perfect beautiful designs, uncovering many visual tones and hidden secrets.

MFC Nadall Medieval was originally designed by Bernard William "Berne" Nadall for Barnhardt Brothers & Spindler back in 1885 under the name "Faust Text" and later under the "Missal Text Series". While you could use its capitals to construct an initial monogram, this is not a monogram font, but instead a fully functional typeface for invitations and period lettering. This lettering style has been precisely recreated and expanded on to create a full typeface with a small collection of ligatures. Here's what's included with the MFC Nadall Medieval: - 397 glyphs in MFC Nadall Medieval - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the last graphics for a preview of the characters included) - Ornaments - two ornament glyphs. - Ligatures - for ff, fi, fl, ffi, and ffl combinations.

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.

City Boys Soft is a fashionable contrasted sans-serif that can be used in almost any situation. City Boys has basic, natural and neutral letterforms and skeletons for a wide range of usage. The glyphs are somewhat humanist yet they have vertical stress for modern and sophisticated impression. The ratio of the contrast was carefully designed for modern usage –websites, digital, printings and merchandises–. City Boys consists of 7 weights and their matching Italics for a wide range of usages. Farther, City Boys is supporting international Latin languages and basic Cyrillic languages including Basic Latin, Western Europe, Central and South-Eastern Europe. Also CSS covers Mac Roman, Windows1252, Adobe1 to 3. This wide range of international characters expands the capability of your works. City Boys is a normal corner version of this City Boys Soft.

Bougainville was inspired by many of my favorites and has been on the drawing board in excess of ten years. Only this year I decided to expand the original 1994 design to include other weight variants. The quirky Binner Gothic-inspired high axis and its funky g, rounded e, angled stroke endings together with the influence of contemporary designs such as Officina Sans, Din Mittelschrift and MetaPlus, Bougainville exhibits a similar flavor and compactness to Bodega Sans. This typeface family has been named in honor of the renowned eighteen-century French mathematician and explorer Louis-Antoine de Bougainville to whom we owe the naming of South Sea Islands and colorful tropical flora he discovered along his journey. Bougainville makes for effective headings at any size and is equally readable at semi-display sizes.

Experimental and accidental unicase grotesque. A font in which all the letters and numbers fell down and deformed under the force of gravity. Everything that was hanging fell down. Everything that was curved horizontally straightened. The form and principle of construction of each symbol in the font is dictated not by tradition, but by physics. This makes FE Planking 2020 an excellent tool for creating phrases and statements in advertising and art projects that attract attention and make your head spin. The first free version with a minimum set of Latin and Cyrillic alphabets was released in 2019, and in 2020 the font was updated and supplemented with an expanded set of characters. Dedicated to @Serge Rachok, who invented the Planking Game before it was invented by others.

Nereida is a delicate, luminous and dainty typeface endowed with an expressive and versatile personality. Its high-contrast design positions it as the preferred choice for elegant and creative typographic compositions. Nereida stands out for a generous x-height structure, thus ensuring an exceptional readability in paragraphs of moderate length. It distinguishes itself with delicately crafted terminals and a set of attractive ligatures and initial letters that expand their ranges of use. Nereida is a distinctive typographic experience for magazines, headlines, logos, packaging and beauty products. It offers the unique possibility of transmitting messages with subtlety in short words and with force in longer text compositions. Each stroke and curve of Nereida contributes to creating a unique visual experience, adding a touch of elegance and creativity to any project.

The superfamily Pepi and Rudi is based on playful experimentation with basic geometric shapes - the circle, rectangle and triangle - elements that laid the foundations for typographic Modernism. The Pepi and Rudi introduces a number of current elements into a time-proven concept of primitively constructed typefaces. The typeface's somewhat uniform character width establishes a more regular rhythm; the character set is expanded, and legibility is improved thanks to taller lowercase. A wide range of ten styles, from hairline-thin to extra-thick with adequate Italics allow for universal use across the whole scope of graphic design. Carefully designed diacritics, clear punctuation marks, table number characters, ligatures, arrows or alternative lowercase characters are standard; this is sure to please everyone needing to work effectively with a neutral, geometric headline typeface.

Book Jacket is arguably the most famous of all typefaces done in the Typositor era. Designed by Ursula Suess over an entire year, and published in 1972, Book Jacket became an instant success story that lasted well into the 1980s (even though it was copied by Phil Martin who published it under the name Bagatelle shortly after its release). Almost 40 years later, Ursula Suess and Canada Type consolidate their talents to bring you a revised, improved and expanded digital version of this film type classic, including small caps, additional swashes and new alternative forms. Book Jacket is available as a 4-font package in Mac PostScript and universal TTF format, or a single Pro OTF which includes features for small caps, swashes, caps to small caps, stylistic alternates, and class-based kerning.

Oddsorts is delighted to present Bradley Wayside and Bradley Chicopee as its début offerings. Begun in 2000 as a wedding gift for the designer’s wife and used privately for years, they’re finally available to the public. The fonts were inspired by the masterful art nouveau lettering of Will H. Bradley, whose posters for Ault & Wiborg printing inks and Victor Bicycles continue to draw collectors after more than a century. Wayside and Chicopee expand the twenty-odd characters Bradley drew into a comprehensive multiscript system that includes modern Greek and extended Cyrillic alphabets, ordinals, automatic fractions, and ornaments. Bradley Wayside and Chicopee derive much of their charm from an organic mix of shape and spacing intrinsic to hand drawings. Mimicking that spirit in type used to mean painstaking substitution and adjustment of characters. The Bradley fonts make imaginative use of OpenType’s power to achieve the same effect — minus all the work. Wayside and Chicopee contain alternate forms for every letter — up to seven for some characters. Part of what makes these Bradley types delightfully “smart” fonts is that the fonts themselves actually choose the variation best suited to a letter’s place in a word. All you need to do is turn on your software’s “Ligatures” or “Contextual Alternates” option and the Bradleys do the rest. The alternates even work in most word processors. Bradley Wayside and Chicopee are available in “Standard” and “Pro” editions. The Pro editions sport all the bells and whistles, including the alternates. They support over one hundred forty languages and include localized forms especially for setting Bulgarian, Serbian, Polish, Romanian, and Turkish. The Standard editions are geared toward casual use and are ideal for license as webfonts, where streamlined character sets mean faster load times.

The Maiandra family of typefaces were inspired by an early example of Oswald Cooper's hand-lettering, as seen in an advertisement for a book on home furnishing, circa 1909. Although many of Oz Cooper's letterform designs were cast in metal type, this particular one was not. Cooper's design itself was inspired by examples of letterforms he had admired in his study of Greek epigraphy (inscriptions). Cooper combined those ancient forms with the flair characteristic of design styles of his time. The result was an attractive design possessing subtle, purposeful irregularities, or "meanders" in his skilled brushwork. The Cooper design exhibits a unique warmth and harmony in text, while presenting a compelling rhythm, color and texture on the page. "Realizing the presence of this uniform warmth and readability," notes Dennis, "I decided to expand the design into a family of three weights with companion italics." The weights for the Maiandra family were selected for their versatility in usage over a broad range of output device resolutions. Indeed, "the consideration of eventual display resolutions, be they for screen or printer, provided the greatest challenge in the design of this typeface family," explains Dennis. Creating shapes that conform to the rigors of digital letterforms and modern rendering environments, without losing the unique characteristics of Oz Cooper's original design, is what Dennis has accomplished with his tribute to this great designer of the past. Maiandra, whose name derives from the Greek 'maiandros', meaning 'meander,' is intended for extended text use, as well as for informal subject matter, such as business correspondence, brochures and broadsides. "An example of a good use for Maiandra," notes Dennis, "is in printed matter relating to the turn-of-the-century art period known as the Arts and Crafts Movement. It can stand alone or be used with designs that complement its shape and color."

I hate the idea of revivals. I have publicly said I choose not to do revivals because they make me uncomfortable. This is as close as I have been to crossing my own line. To be direct, Rhythm is based on the ATF typeface, Ratio (I just recently learned the foundry of origin). I came across this typeface from a printed specimen years ago when I was in school and held onto it. It was unique and I loved how well integrated the inline worked within both the flourish and serif of the glyphs—it was old, but not, reminiscent, but fresh. My specimen was limited in the glyph offering (it was c. 1930ish) and I realized a lot would need to be done to ‘finish’ it and bring it to contemporary expectations. I didn't want to do ‘retro’ and tried to avoid the visual trappings associated with it. What I did want to do is interpret what I had in the specimen and reinterpret it digitally, refining its construction and extending its typographic equity along the way. The ‘One’ and ‘Two’ (and their matching ‘Solids’) styles diverge providing various elaborations that coordinate well between rigid bracketed serifs and compact tails. I further expanded the glyph offering to include a full diacritic set, old style numerals, fractions, stylistic alternates, swashes, titling alternates and controlled flourishes that adhere to the efficient framework of the script. And yes, I refer to it as a ‘script’ because calling it a ‘cutesy serif’ seems wrong :) I hope this is seen less as a slavish revival and more as a championing of a really unique typeface. The Original Typeface was Adastra, designed by Herbert Thannhaeuser for the Foundry D. Stempel AG in Frankfurt, Germany.

Lapis was Jim Rimmer's venture into a territory he'd earlier explored with his Lancelot and Fellowship faces. This time he stayed much longer, dug pretty deep, and had plenty of fun in there. The end result is the kind of mosaic of influences only a guy like Jim could consider, gather, manage and apply in a way that ultimately makes sense and works as a type family. On the surface Lapis seems like something that can be billed as what Jim would have called an "advertising text face". But under the hood, it's a whole other story. On top of the calligraphic, nib-driven base Jim usually employed in his faces, Lapis shows plenty of typographic traits from a variety of genres, from Egyptian to Latin, from blackletter angularity to Dutch-like curvature, with an overall tension even reminiscent of wood type. There are some Goudy-informed shapes that somehow fit comfortably within all this. Then it's all strung together with a mix of wedged, tapered and leaning serifs, placed with precision to reveal expert spontaneity and a great command of guiding the forms through counterspace. In the fall of 2013, the Lapis fonts were scrutinized and remastered into versatile performers for sizes large and small. The three weights and their italic counterparts have been refined and expanded across the board to include small caps, alternates, ligatures, ordinals, case-sensitive forms, six kinds of figures, automatic fractions, and a character set that covers an extended range of Latin languages. Each of the Lapis Pro fonts contains over 760 glyphs. For more details on the fonts' features, text and display specimens and print tests, consult the Lapis Pro PDF availabe in the Gallery section of this page. 20% of Lapis Pro's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

In 1939 the Stephenson Blake Company bought a very popular script called Undine Ronde and began marketing under the name Amanda Ronde. Although Undine/Amanda was quite popular and can be seen in many advertisements from the 1930s and 1940s, there seems to be no surviving record stating the original foundry or designer. We thought that six and half decades of dust layers over the once-popular typeface were enough, so here and now you have its complete and expanded digital incarnation, Adore. It is quite easy to see why this typeface was popular. A round script with graceful meaty curves is rarely found and can be used in plenty of applications. Wedding paraphernalia, chapter titles, posters, poetry, book covers, religious literature... you name it, Adore can fit it. Aside from its totality being unmatched by currently available designs, Adore also possesses some of the most unique and imaginative letter shapes. The narrow loops on the B, P and R, the minuscule-like Z, the looped b and d, the descending h... all these shapes contribute to a breathtaking and adorable calligraphic work unlike any other. The original design came in a basic alphabet, but we have updated it for current digital technologies, and expanded it to include plenty of alternates and ligatures, as well as some ornaments. The Postscript Type 1 and True Type versions come in two fonts, the second containing the alternates and extras, while the Open Type version is a single font containing all the alternates and extras in conveniently programmed features, easily accessible at the push of a button in OpenType-supporting software. We also encourage you to take a look at Typodermic's Mecheria font, which is further experimentation with the same letter forms, resulting in a quirky, friendly, curly, angular gothic-like creature.

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

The Journal Sans typeface was developed in the Type Design Department of SPA of Printing Machinery in Moscow in 1940–1956 by the group of designers under Anatoly Schukin. It was based on Erbar Grotesk by Jacob Erbar and Metro Sans by William A. Dwiggins, the geometric sans-serifs of the 1920s with the pronounced industrial spirit. Journal Sans, Rublenaya (Sans-Serif), and Textbook typefaces were the main Soviet sans-serifs. So no wonder that it was digitized quite early, in the first half of 1990s. Until recently, Journal Sans consisted of three faces and retained all the problems of early digitization, such as inaccurate curves or side-bearings copied straight from metal-type version. The years of 2013 and 2014 made «irregular» geometric sans-serifs trendy, and that fact affected Journal Sans. In the old version curves were corrected and the character set was expanded by Olexa Volochay. In the new release, besides minor improvements, a substantial work has been carried out to make the old typeface work better in digital typography and contemporary design practice. Maria Selezeneva significantly worked over the design of some glyphs, expanded the character set, added some alternatives, completely changed the side-bearings and kerning. Also, the Journal Sans New has several new faces, such as true italic (the older font had slanted version for the italic), an Inline face based on the Bold, and the Display face with proportions close to the original Erbar Grotesk. The new version of Journal Sans, while keeping all peculiarities and the industrial spirit of 1920s-1950s, is indeed fully adapted to the modern digital reality. It can be useful either for bringing historical spirit into design or for modern and trendy typography, both in print and on screen. Designed by Maria Selezeneva with the participation of Alexandra Korolkova. Released by ParaType in 2014.

Flamante Serif is a family of 8 typographies with thick square serifs of the slab type, also known by the Egyptians, which are released with four weights: Light, Book, Medium and Bold and their corresponding italic versions. They are heiress fonts of the Egyptian types arisen at the beginning of the S. XIX and descendants of the fonts "Flamante Sans" Special corporate typographies to design resounding titles on any advertising medium, also for any type of publication like magazines or newspapers. They include the Bitcoin symbol. ================================== OpenType Features: Standard Ligatures, Additional languages, All Alternates, Alternate Annotation Forms, Superscript, Kerning, Superiors, Capital Spacing, Localized Forms, Superior letters, Discretionary Ligatures, Subscript, Fractions, Slashed Zero, Inferiors, Extended Fractions, Scientific Inferiors, Ordinals, Denominators, Oldstyle Figures, Numerators, Historical Forms, Historical Ligatures. - 500 glyphs. Latin Extended-A • OTF & TTF.

Klapt Arabic is a geometric sans serif family that is soft on the outside and sharp on the inside. It is based in the Arabic Kufic style. Klapt Arabic can be bold or very elegant and is well suited for designs ranging from branding and corporate identity to editorial design or web design. It has a timeless style and is great for display purposes, especially for headlines, posters, magazines, book covers, logos... you name it! This font family of four weights includes an extended character set supporting most Latin languages ⁠and extended Arabic, including Persian and Urdu. Feel free to share your designs using Klapt Arabic or just get in touch via email to hi@seventype.com. Klapt Arabic is the extension of Klapt https://www.myfonts.com/fonts/seventype/klapt/.

Rostin is a modern monospaced typeface with half-open forms of characters. Contains 8 fonts. 4 regular and 4 true italic. Weights from ultralight to bold. Including modern and futuristic stylistic alternates. The typeface was designed to read well in small sizes (from 15px) and be bright in large sizes. With these characteristics and a wide palette of weights Rostin has a huge potential area for usage. Ideally suited for musical covers, posters, logos, street wear, movie titles, packaging, editorial, web and applications - here he will always be gorgeous. With a wide variety of alternate characters you can make your design bright, memorable and modern. Opentype features: old-style figures, fractions, stylistic alternates, superscript and subscript.Multilingual support: Latin, latin extended, cyrillic and cyrillic extended (more than 75+ languages)

Albiona Inked is a vintage distressed version of Albiona that evokes the urgency of teletext printers, typewriter ribbons and authentic hot-metal type on rougher paper. A contemporary slab-serif, it revisits aspects of Robert Besley’s classic Clarendon, designed around 1842 for Thorowgood and Co. and named after the Clarendon Press in Oxford. Subsequently extended by Stephenson Blake in the 1950s, Albiona adds the inwardly-curved stroke terminals of the same foundry ’s Grotesque series, and includes italics and old-style and tabular numerals. The original Clarendon’s ball serifs and calligraphic eccentricities have been rationalised and streamlined for functional contemporary uses. The family consists of five weights plus italics and a stencil, and its clean readable style is perfect for both extended text as well as headline setting. A rounded “soft” version is also available.

Sans Condensed Font Demogen, A bold and strong condensed font that’s here to make a statement. Drawing inspiration from the sleek modern designs of the 2000s, Demogen brings back that iconic vibe with a fresh twist. This font is your go-to choice for creating stunning posters, captivating website headlines, and sleek interface designs. Demogen typeface has a strong presence and is perfect for display sizes, making it an excellent candidate for impressive logo design with its contemporary sans serif design. It has OpenType features and an Extended Latin character set boasting over 370+ glyphs covering more than 88 languages. Sans Condensed Font Demogen will ensure your design communicates effortlessly to a global audience. Features: Uppercase, Lowercase, Numbers, Punctuation Ligatures Opentype Feature PUA Encoded Characters Extended Latin Multilanguage

Galeana is a flat-sided sans serif typeface that features a closed aperture. The font is a reinterpretation of Latin American-flavored typefaces used for European editorial designs such as Plastique and Zembla magazines. This superfamily consists of 4 sub-families: Compressed, Condensed, Standard and Extended. The heaviest and narrowest variants—created at the early stage of the design process—resemble the slender trunks of the Galenas (African tulip trees). The other variants have an extended width, which evokes the broad crown shape of these trees. Galeana comes in 48 styles and contains 417 glyphs that support over 200 Latin-based languages. The font performs well for mid-length text and it's the perfect choice for headlines, editorial design, brand identity design, advertising, social media and use on Tv.

The Pergamon series is a creation of Alfons Schneider (1890–1946) and was issued by the foundry of Ludwig Wagner in Leipzig in 1937/1940, though the website of the Klingspor-Museum says that several of the faces were probably produced after the death of Schneider. This digital version is extended with the necessary OT characters and signs, while also the “символы кириллицы” are added. Also, in addition to the members of the family designed by Schneider, regular, italic, bold and bold italic extended versions were produced. The specimens of Ludwig Wagner stated emphatically: “In allen Graden werden beide K K geliefert”, so these two forms are in all the faces, while the two condensed members also have k k, as the specimens said that this alternative character was also in these two faces.

AmpleSoft Pro is an extended version of AmpleSoft type family. AmpleSoft Pro Includes Extended Languages Character Set for following: Azerbaijan, Belarus, Bulgaria, Czech Republic, Kazakhstan, Latvia, Lithuania, Polish, Romania, Russia, Slovakia, Ukraine, Uzbekistan, Vietnam. AmpleSoft Pro is a display type family, optical mono linear and a bit squarish in nature. It has smooth curve instead of sharp angle formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasis the message. It is graphically strong and command viewer's attention. The overall appearance of type is suitable in setting it as heading, title, headline, etc. The type family consists of six weights: Thin, ExLight, Light, Regular, Medium and Bold.

EquipExtended is the next complement for the Equip family and with its 16 fonts together with EquipCondensed, it extends the family to 48 styles. While developed from the same basic shape as the rest of the Equip family, it has its own particular friendly and warm appearance. With its wide and open proportions, EquipExtended makes a grand entrance for your headlines, subheads and even for the body of text. Try it out, the light style is free. EquipExtended is very well suited for ambitious typography. The EquipExtended family comes in OpenType format with extended language support. All weights contain semi-ligatures (design optimized single characters), proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and arrows.

Tone was inspired by classic geometric sans-serif fonts but has a distinct modern day spirit. Contains 16 styles from ultralight to black: 8 regulars and 8 italics. Have a multilingual support and big amount of OpenType features. This typeface is comfortable to read in small sizes. Great for big pieces of text or as the main typeface in website design. Logotypes and branding, packaging, posters, editorial design, music covers, navigation systems, videos — these are just a few areas in which Tone can help you. Opentype features: old-style figures, tabular and tabular old-style, tabular currency symbols, ligatures, stylistic alternates, fractions and automatic frations, circled numbers, arrows and stylistic alternates for arrows, superscript and subscript, case sensitive forms. Multilingual support: Latin, latin extended, cyrillic and cyrillic extended (more than 70+ languages).

HS Aleman is a modern OpenType Arabic Typeface. It is a modern Kufi / Naskh hybrid and keeps the balance between its construction and its flexibility in the transition between the thick and thin parts and it also contains a harmonious smooth curve at its parts in all characters, numbers and marks. This font contains some extended characters (swash), some variants of some characters (Stylistic Set), which gives the user some flexibility in using some characters. The font weights are refined with enhanced legibility and are ideally suited to advertising, extended texts in magazines, newspapers, book and publishing, and creative industries, meeting the purposes of various designs. This typeface supports Arabic, Persian, Pashtu, Kurdish Sorani, Kurdish Kirmanji and Urdu variants and it is available in '''five weights: light, regular, medium, bold and black.

Pagkaki Font is a fun display font, with support for Extended Latin and Greek characters. Of course, with this typeface, you have access to a Greek set of characters. Pagkaki Handcrafted Greek Font is a multilingual font that can transform any project into a bold graphic design statement. Also, this handmade font supports both uppercase and lowercase characters, and it is a powerful, bold handwritten font. Additionally, the font supports all the European languages with the Extended Latin character set. This craft font looks perfect on baby shower invitations, but not too childish. Again, if you are loving crafts this is the scrapbooking font for you! In addition, I have to mention the endless applications of this lettering font in food products, restaurant menus, hotels, and generally in the food and hospitality industries.

Corvus is a display serif font family, stylized with elegant soft turns that soften the sharp ends. Due to its structure, this font can meet your needs in all your modern or classic creative projects. Corvus is ideal for creating your creative projects on similar subjects with its gloomy and Modern Gothic stance. Absolutely perfect for titles, magazines, books, invitations, logos, packaging design, branding and more! Character Ranges: Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, General Punctuation, Currency Symbols, Letter like Symbols,Arrows, Mathematical Operators, Miscellaneous Technical, Geometric Shapes, Miscellaneous Symbols, CJK Symbols And Punctuation, Private Use Area (plane 0), Alphabetic Presentation Forms Uppercase typeface Lowercase typeface Numbers Symbols Multilingual With this font you can create your unique designs. If you have a question, please contact me. Have a good time.

Asherah - Serif font family - Multilingual support, 12 Style - OTF Asherah is a modern serif font family. This font family is multilingual supported and 12 different styles. With different character designs in its structure, it can meet your needs in innovative pursuits. It has a timeless structure where you can create your modern-elegant or classic design alternatives. Well suited for books and magazines, editorials, headlines, websites, logos, branding, advertising and more. Asherah font family can meet your needs in all modern and classic creative projects. CHARACTER RANGES : Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, General Punctuation, Currency Symbols, CJK Symbols And Punctuation, Private Use Area (plane 0), Alphabetic Presentation Forms With this font you can create your unique designs. If you have a question, please contact me. Have a good time.

Aure Declare officiates with dignity and dispassion. These traditional serif forms engage the reader with a no-nonsense subtext of reliability. Declare’s capacity to showcase the message rather than the medium brings a welcome legibility to extended text and a formal assertion to astrological expressions and chartwheels. Declare is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets in regular, italic, bold, and bold-italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. In addition to Aure Declare’s versatility as a text font, Declare pairs well as a no-nonsense foil to any decorative design. Aure Sable, for example, will shine all the more beside Declare’s practicality. Aure Declare pairs especially well with its close cousin, Aure Wye. Wye’s decorative forms provide elegant titles and drop-caps for Declare’s extended text. Give Aure Declare a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

A carefully drawn geometric typeface. Exacting angles are combined with smooth corner details to form a clean, legible font with a modern appearance. The compact nature of the letterforms allows for great use of space across text layouts. Details include 6 weights with italics, extended European & Cyrillic character set, manually edited kerning and Euro symbol.

Kammerlander is a sans typeface with a distinctively strong thick/thin contrast. It’s based on Messner- a hairline font with a constant stroke weight, so their combination looks very natural. They look great in fashion magazines, in the expensive world of beauty and glory. Kammerlander is an all caps face, especially suitable for larger sizes.

Ursula Handschrift is based on the designer’s handwriting. Individual characters are simple, soft and expressive; making it a friendly, organic script. It will work well in scrap-book style designs, comic books, for informal headings and image captions. Ursula Handschrift is extended, containing West European diacritics making it suitable for multilingual environments and publications.

Doodle Pen is a whimsical hand-drawn typeface. Characters are based on ballpoint pen multi-line drawings creating a scribbled texture and soft edges. This typeface will work well for headings, short paragraphs and scrap-book style designs. Doodle Pen is extended, containing West European diacritics making it suitable for multilingual environments and publications.

Distancia is a super-extended sans family of six weights. Inspired by stunning 70's sports cars advertisement, this typeface is designed for sheer elegance and casual experience. Distancia has its own particular friendly and warm appearance of modern touch. With its extensive and open proportions, it makes a grand appearance for your projects.

A font design of Paul Zimmermann, first released by Ludwig Wagner, Leipzig, in 1960, now revived and extended by Central European, Baltic, and Turkish character sets and their small caps. This font contains both lining and oldstyle numbers. To get access to all ligatures, it is recommended to activate both standard and discretionary ligatures.