Classical Moment - Groovy Typeface Font is a font with distinctive handwritten characters perfect for branding projects, logos, wedding designs, media posts, advertisements, product packaging, product designs, labels, photography, watermarks, invitations, stationery, and any project who need handwritten dishes. Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature Multilingual Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Catalan, Chiga, Cornish, Danish, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Zulu There it is. I really hope you enjoy it.

Benedictus Brush is a stylish, fresh new layered brush script font family. With lots of alternate characters (415+) and more than 340 realistically created standard ligatures. The letters are made with brush pen and scanned thereafter carefully drawn into vector format. Benedict Brush is a versatile multilungual font family and comes with several of OpenType features: - 340+ Standard Ligatures - Stylistic Set - Character Variant - Terminal Forms - Proportional Figures - Tabular Figures - More than 1140 Glyphs - Multilingual To make you more better eye-catching and colorful designs, Benedictus Brush is a layered font! There are 7 variants of Benedictus Brush, to add even more flexibility to your designs: Solid Base, Shine Solo, Shadow Solo, Combo One, Combo Two, Combo Three and Complex. These are features that offers virtually endless variation. Enjoy!

Scendero - A Display Font : Scendero is a carefully crafted display font. It has Extended Latin and Cyrillic characters. It created for poster, web, brand and social media designs. It supports 98 Languages. Belarusian, Russian, Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu and more.

Hinauf - A Display Font : Hinauf is a carefully crafted display font. It has Extended Latin and Cyrillic characters. It created for poster, web, brand and social media designs. It supports 91 Languages: Belarusian, Russian, Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu

Incidentia - A Display Font : Incidentia is a carefully crafted display font. It has Extended Latin and Cyrillic characters. It is created for poster, web, brand and social media designs. It supports 91 Languages: Belarusian, Russian, Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu

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

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.

A very legible Renaissance Antiqua This typeface is based on the desire to create an Antiqua like those which might have existed at the beginning of the »printing age« — the basic form oriented on the classical Roman and early Middle Ages models, the ductus defined completely by writing with a wide pen and much individual expression in detail. In the spring of 2005 I had the opportunity to closely examine a few pages in the famous book »Hypnerotomachia Poliphili« from 1499. The script used here from Aldus Manutius is exemplary. Most of the book, however, is not very carefully printed. The characters do not stay on the line; the print is at times too strong and at times much too weak. And on these imperfect pages the true character of the letters is recognizable; that is, that they are cut with lively detail which is a result of the patterns provided by full-time writers. After all, around 1499 script was written as a rule and the printed type was oriented on this pattern. I prefer the typeface on the lightly printed pages. The characters are not placed neatly on the line, but the distinct and emerging lively ductus of the individual characters automatically presents harmonious word formations in the eye of the beholder, with the non-perfect line stepping into the background. Also in Charpentier Renaissance, the strokes of the wide pen are still noticeable. The font has very defined softly bent serifs. The forms are powerful and stand solidly on the baseline. Charpentier Renaissance is very legible and yields a solid and yet still lively line formation. The accompanying italic, like its historical models, has almost no inclination. The lower case characters of Charpentier Renaissance Oblique have such idiosyncratic figures that they can also form a font of their own. Please visit www.ingofonts.com

The aviation world contains loads of stylish logotypes, from handwritten scripts to geometric styles and so on. The Avionic Condensed family finds its origins of inspiration in the Air China company logotype, and from there has been expanded upon to create a large stylistic family of 40 fonts. Avionic celebrates the geometric sans serif styling of the original logotype, evolving beyond the condensed all capital set logo to include a lowercase designed in parity with the original design style, as well as many weights and widths to offer a fresh diversity. Each subfamily includes a full standard character set with expansive international support of latin based languages, and 5 weights jumping from book to black, along with 5 accompanying obliques. This family is ready to chart a course for your design destination, whatever it may be. Here's what's included with the Avionic Family bundle: 370 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. 5 weights in each subfamily: Book, Regular, Bold, Heavy, & Black. • 4 widths in the collection: Condensed, Regular, Wide, and Extra Wide. Accompanying Obliques with each weight/width style. 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 Avionic Collection is for you: You're in need of a dynamic geometric font with a variety of weights and widths for your designs You're an aviation junkie and have to have anything inspired by Air China You love the style of Bank Gothic, but really want something just a little different You are looking for a pseudo-techno style font family with versatility You just like to collect quality fonts to add to your design arsenal

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.

Introducing Steelfish, a typeface that will take your designs to a whole new level. This condensed typeface is inspired by newspaper headlines from the turn of the twentieth century, and it is designed to be compact and efficient. Unlike other typefaces that try to emulate specific metal types, Steelfish is a unique blend of various headline fonts that gives it a one-of-a-kind character. Steelfish doesn’t rely on modern-day embellishments or antique ornamentation, which means it can be used seamlessly in both historical and contemporary themes. With its seven weights, including oblique styles, Steelfish is a versatile typeface that can be used for a wide range of design projects. Whether you’re working on a website, a brochure, or a poster, Steelfish is the perfect choice to add a touch of sophistication to your work. In addition to the classic Steelfish, there are other variations to choose from as well. The Steelfish Rounded is perfect for designs that require a softer touch, while the Steelfish Hammer is ideal for bold and impactful designs. Steelfish Steeled adds an industrial edge to your designs, and the Steelfish Unleaded is a stripped-down version for when you need a more minimalist look. Overall, Steelfish is the typeface you need to make a statement in your designs. Its compact letterforms and unique blend of headline fonts give it a character that is both historical and contemporary, making it a versatile and timeless choice for all your design needs. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

A monospaced companion of the Syke type family. Using the proportional typeface as the reference details are carefully drawn into specially chosen characters to help improve centre alignment, function, and readability. Syke mono has a modern aesthetic style that is distinctive and stands out from the typewriter crowd without being too overpowering making it ideal for computer coding, database applications, ebooks and other screen-based interfaces. Details include five weights and true italics, over 590 characters with an alternative lowercase a, i, l and r. Five variations of numerals, manually edited kerning and Opentype features.

Egyptian ephemera is a typeface inspired from basic block lettering, widely used in art and craft of sign writing. 5 styles available from light to bold. and for the first time it is also available as variable fonts. One of the uniqueness of this font is the small spur on each stem, and the terminal, which intends to simulate an entry and end brush stroke. OpenType features support such as Smallcaps, Tabular Figure, Superscript, and 2 alternate of ampersands. This typeface was created for Display needs, such as headlines, signage, logotype, badges design, packaging, etc.

Architype Ingenieur was inspired by Wim Crouwel’s late 1950s exhibition catalogues and posters, for which he had created a few geometrically constructed, simplified letterforms. In the 1960 Venice Biennale Dutch entry poster, he drew grid-based letters with 45-degree angles for ‘olanda’, the style influenced by his boyhood fascination with naval lettering. A subtle variation appeared in the Stedelijk Museum catalogue for painter Jean Brusselmans. Several dot matrix versions followed. The themes and systems in these early letterforms are encapsulated in this new four weight family Architype Ingenieur.

Richard Lipton originally released Sloop Script in 1994 through Font Bureau. Sloop Script Pro is the new, improved, rethought version, offering expanded language support and smart OpenType features. All of the new enhancements can be activated via human-readable stylistic sets whose names precisely describe what they do: “Entry Swashes,” “Exit Swashes,” “Smaller Caps,” and so on. Every weight of Sloop Script includes the available styles. Applying these features is straightforward and, thanks to automatic ligatures and contextual alternates, Sloop Script sets beautifully right out of the box.

Linotype Lichtwerk, from German designer Bernd Pfannkuchen, is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the Take Type 3 CD. This display font contains very narrow forms with a high x-height. It is reminiscent of the constructivism of the 1920s and was designed with a small number of basic forms. The high, thin letters form words and an overall picture which almost flickers on the page. Linotype Lichtwerk with its technical look is suited exclusively for headlines.

Linotype Red Babe is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. With Red Babe, Austrian designer Moritz Majce produced an energetic typeface which gives an impression of movement and change. The letter forms seem to be composed of countless fragments which can’t sit still, fragments which make the original forms burst and then draw them back together with their own rhythm. Linotype Red Babe is best used for headlines in larger point sizes.

Linotype Tapeside is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. British designer Stephan B. Murphy created this typeface with light, regular and bold weights, each with its matching italic. Consciously awkward, the characters line themselves up and produce a young, lively image. Linotype Tapeside is best for headlines and shorter texts in point sizes of 12 and larger and its varying stroke strengths allow this font to be set more universally than others of its kind.

The Federal Art Project division of the WPA (Works Progress Administration) employed numerous artists, musicians, actors and other creative sorts in a effort to help many survive the Great Depression of the 1930s. One of the posters created by this project was for a "Card Party and Barter Benefit" with proceeds going toward the Nassau Art Teachers Benefit Fund - taking place at the Coca-Cola plant in Rockville Centre, New York. East Village JNL was derived from this poster, and is available in both regular and oblique versions.

Inspired by the heuristic typography of the Concrete Poetry movement, Solidus is a hardworking and unobtrusive sans in the Neo-grotesque style. Its simplified features, generous spacing and squarish curves imbue a sense of sobriety and allow the textual information to take centre stage, whether in body copy or at display sizes. Solidus is available in nine distinctive weights from wafer-thin Hairline to a hefty Black, each with accompanying italics. Typical of the Neo-grotesque style the italics are slanted in construction and have the same advance width as the uprights.

Linotype Pide Nashi is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. German artist Verena Gerlach created a typeface which looks almost like Arabic at the first glance, only with the second do the familiar forms become clear. Rounded lower case letters, generous, sweeping capitals and diamond-shaped ornaments give the font its Arabic feel. The exotic Linotype Pide Nashi is best suited for short and middle length texts and headlines and especially for ornamental texts.

Franca is a neo-grotesk family in nine weights plus matching italics. The inspiration for the design came through the constant interest in new interpretations of the classic grotesk model and a study of "neutral“ typefaces like Helvetica, Univers or Normal Grotesk. During the studies, additional attention was given to the American representatives of the genre, resulting in the initial impetus for a reinterpretation, combining both paths into one contemporary design. This is reflected in the name, blending together the names of the most popular typefaces of each genres, (Fran)klin and Helveti(ca). Due to its large x-height and plain design, the family is perfectly suited for all kinds of text. Its mid-weights are optimized for usage in long paragraphs, while the bolder weights, due to a short descender and ascender, create a compact and confident look in headlines or short copy. In order to create strong and dynamic italics, the oblique glyph shapes come with a faint calligraphic hint, defined by a higher stroke contrast and a steeper connection between stems and arcs in, for example, h n m and u. This is followed by different standard shapes for a and y, supporting the dynamic movement of the lowercase in general. A wide range of OpenType features such as ligatures, old style figures, fractions, case-sensitive shapes and many more, are available for professional and contemporary typesetting. This is completed with eleven alternative glyph sets, enabling a quick customization of the typeface. The family supports up to 92 languages and comes with 500+ glyphs per font.

Christmas cookies have already slowly crept onto your local supermarket's shelves -- the Linotype Xmas Fonts just can't wait any longer! Ravishingly friendly and universally applicable: Fuenfwerken -- a design studio from Wiesbaden, Germany -- is proud to present its latest Fun Font Family. Bringing variety to the dry Christmas card genre, these fonts can also be used on posters to spread holiday cheer at home. No limits are placed on your creativity here! The family has three different fonts, each with more than 60 symbols inside: Xmas Story includes the whole figure palette necessary for a classical Christmas story. From a cute little Baby Jesus to the Three Wise Men and woolly Aramaic sheep and everything that one needs to add special flair to a letter to grandma, or to set up a Nativity Scene at home for the kids is included. Customers who aren't searching for a biblical font should check out Xmas Essentials. This font contains typical non-denominational end-of-the-year holiday ornaments, such as snowflakes, decorated Christmas trees, nutcrackers, and stars. Last but not least is the Xmas Modern font. Just as global warming poses severe risks to snowmen, this font will make recipients of your holiday and New Year's cards melt. Glyphs such as Santa Claus riding on a Vespa -- complete with iPod -- speed away from normal, stuffy holiday seriousness, and signal that the Fun Generation has arrived! The best choice, of course, is to treat yourself to all three fonts this Christmas. Then you'll be prepared for every situation. Happy Holidays!

Bunday Clean is a minimalist and friendly font family with different moods. It drops everything unnecessary like spurs and ears and appears crisp and contemporary with a slightly squarish touch. Like the other members of the superfamily (Bunday™ Sans and Bunday™ Slab), Bunday Clean provides uprights, a second set of styles with characters that reference handwritten cursive. These curvy styles give words a distinct look and are especially attractive for use in display applications and logotype design. Bunday™ Clean is space-saving and creates a homogenous text color with good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure perfect appearance in all media. It ships with 9 standard, 9 upright, and the corresponding italic styles from a considerably thin hairline to a quite thick heavy. It supports at least 99 languages and provides OpenType® features for ligatures, alternative glyphs, localized forms, and much more. Feature Summary*: -4 Moods: Normal, Upright, Italic and Upright Italic -9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy -Supports at least 99 Languages incl. eastern european -Overall width: Narrow or Space-Saving -Advanced f- ligature set including fb -Discretionary s- and c- ligatures -Alternative Characters: a, e, f, g, l, t, y, A, E, F, L, and more -Capital German Eszett -Extra characters with Polish Kreska -Catalan Punt Volat -More than 570 characters per font * Some features may only be available in OpenType®-savvy applications Please, take a look at the other Bunday superfamily members: Bunday™ Sans Bunday™ Slab

Arabetics Harfi is a Latin Serif typeface with a comprehensive support for the Arabetic scripts, including Quranic texts. Careful spacing and kerning was used to enhance resulting text legibility both scripts. Arabetics Harfi fully supports MS 1252 Western and 1256 Arabic code pages, in addition to all transliteration characters required by the ALA-LC Romanization tables. Users can either select an accented character directly or form it by keying the desired combining diacritic mark following an unaccented character. For Arabic, it fully supports Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks. The Arabic design of this font family follows the Mutamathil Taqlidi type style with connected glyphs, but it emphasizes a horizontal look and feel rather than verticalone, utilizing slightly varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Arabetics Harfi includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph. Arabetics Harfi includes both Arabic and Arabic-Indic numerals, in addition to generous number of punctuation and mathematical symbols. It includes two weights, regular and bold, each of which has normal, right slanted Italic, and left-slanted styles.

BiBi font family is designed by Naghi Naghashian. This font family is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. BiBi supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. BiBi Font family is available in five weights: Light, Regular, Demi, Bold and Heavy; each of them in two diferent styles including normal and extended. BiBi designs fulfill the following needs: A Explicitly crafted for use in electronic media fulfils the demands of electronic communication. BiBi is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today’s technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. BiBi's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BiBi was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Koufiya is designed by Nadine Chahine in 2003 as part of her MA project at the University of Reading, UK and later released by Linotype in 2007. It is the first typeface to include a matching Arabic and Latin designed by the same designer at the same time with the intention of creating a harmonious balance between the two scripts. The Arabic part is based on the Early Kufi style popular in the 7th to 10th century AD. It is characterized by a strong horizontal baseline, horizontal stacking order, clear and open counters, and a general open feeling. Though based on the earliest styles on Arabic manuscript, the design paradoxically appears quite modern and fresh. The Latin part of Koufiya recalls a Dutch influence in its shallow top arches and rather squarish proportions. Both Arabic and Latin parts have been carefully designed to maintain the same optical size, weight, and rhythm. However, no sacrifices were made to make them appear closer to each other. They are designed so that they work well together on the printed page, and to make sure that the two scripts are harmonious when they are mixed together even if within the same paragraph. The font includes support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages.

Cosmopolitan Elegance Named after a southerly wind that blows over the Mediterranean Sea, FS Ostro breathes warmth into letterforms with their roots in colder, stark Modern typefaces. FS Ostro is a typeface imbued with balanced and sophisticated elegance. It’s discerning and sensitive, self-assured but understated. One for the well-travelled reader. Thoughtful contrast FS Ostro draws inspiration from a wide range of sources, such as 19th century British Scotch Roman designs, Italian modern style typefaces and highly contrasted display Spanish examples. Its text version offers a consistent rhythm and robust texture that is easy on the eye. This elegant, cosmopolitan typeface is characterised by its thoughtfully modulated contrasts between thick and thin, sharp angles, and sophisticated curves. Exaggerated touches in display “What is more restrained and sober in text, becomes purposefully prominent and more detailed in display,” says Fontsmith designer Alessia Mazzarella. These exaggerated details for the display version can be seen in the letter terminals, such as those in the ‘a’ and ‘g’ and the tail of the ‘Q’, as well as in the set of numerals, fractions, arrows, borders and ornaments, which can be used to build decorative framing elements. Fluid italics The less rigid and curvaceous italics of modern style typefaces were the inspiration for FS Ostro’s own subtle, flowing italic styles. The letterforms are confident and fluid, creating an overall sense of refinement and modernity.

ATF Headline Gothic cries out to be used in headlines, and that is exactly how it was used after it was first created by American Type Founders in 1936 with newspapers in mind. It would be hard to imagine a better typeface for a shocking, front-page headline in a scene from an old black-and-white movie. With its all-caps character set, and its big, bold, condensed design, ATF Headline Gothic is the epitome of its name. “Extra! Extra!” The style of ATF Headline Gothic recalls the bold, condensed gothic display faces of the 19th century, but with more refinement in its details than many large types of the time (typically wood type). Its most recognizable trait is the restrained, high-waisted M, with short diagonal strokes that end with their point well above the baseline; this avoids the sometimes cramped look of a bold condensed M with a deep “V” in the middle, common in many similar headline faces. The digital ATF Headline Gothic comes in a single weight, all caps, like its predecessor, but offers two styles: one crisply drawn, and a “Round” version with softer corners, to suggest a more “printed” feel, reminiscent of wood type. Of course, in either style it includes a full modern character set, including symbols such as the Euro, Ruble, and Rupee, that didn’t exist in 1936.

History is always in sight; it is constantly being reconsidered and reformulated in the context of now. We see approaches to art, fashion, textiles, homewares, furnishings … not to mention music, graphics and everything else that culturally enriches our daily lives, revisited and made anew for today.    Address Sans indulges in the spirit and aesthetics of mid-century Modern – Italian industrial design, sleek coffee makers, stylish cars, seductive jazz pressed on vinyl – with a charm and charisma that defies time. It evokes history but is decisively created for today.    Its design, in reality, is rooted in the condensed structure and block modulation of early 1950s German lettering intended for use in street signage, but when we started to work on the various weights and widths, the result was a set of fonts in a style similar to the typographic work developed by Butti and Novarese in the 60s. The multitude of potential applications for Address Sans then became clear.    In a range of 3 widths and 8 weights each, Address Sans includes little verses, true italics, small caps and numerous alternative signs for a total of 48 fonts. The result is a functional typeface that is effortlessly seductive, with geometric features and design details that ooze cool, and take it away from mere reinterpretation towards typographic forms that adapt perfectly for contemporary use.

Wakerobin takes its charming swagger from the hand-painted billboard, poster and signage lettering of the mid-19th century. These showy styles did everything they could to stand out from the background cacophony of advertising, with signwriters using sharp and high contrast serif letters, squared block shapes, or art nouveau forms to grab the attention of passersby. Wakerobin embraces the spirit of these letterforms, bringing these various styles together in one typeface - as if users had their own sign painter on hand. Just as lettering artists had to adapt to a variety of sizes - from wide streetcar lettering to compressed forms that squeezed into narrow Victorian windows - the variable version of Wakerobin scales up and down in width to fit whatever environment the user’s working in. The static fonts come in three widths and five weights. As well as its adaptability, Wakerobin is bursting with vintage flavour, making it hard to ignore. Its distinctive, spiky serifs would be right at home on food and drinks packaging, as well as shop windows, adverts, and any other place that calls for some typographic showmanship. It performs particularly well in busy environments, or anywhere with a lot of visual noise - just as its historic predecessors did. And while Wakerobin is first and foremost a display typeface, it’s surprisingly elegant when used at text size, or in the lighter end of the weight spectrum.

Neo Contact is the typeface used on the packaging of Marlboro cigarettes (Marlboro “Reds,” the main line of the brand). The typeface is bold and condensed, designed in the Egyptienne style. Egyptienne types were first designed in the 1800s, as type founders - especially in the westward-expanding United States - began to dream up newer, bolder styles of letters for advertising usage. During the 1800s, it became increasingly important for businesses to set themselves, and their products, apart from competitors. This desire has remained with corporations, as well as with advertisers and designers, into the 21st century. In addition to cigarette packaging, Neo Contact (as part of Marlboro’s branding efforts) can be seen on numerous items, including Ferrari’s F1 racers, and at Formula 1 race tracks. The letters in Neo Contact are filled with personality. Their forms display two distinct weights of line, and the serifs are made up of tiny, strict slabs. Ball terminals round out the design. Neo Contact is a complete font, with a complete western character set. Typefaces in the Egyptienne style preceded the development and distribution of larger, crazier wood typefaces, but also share many similarities with these descendents. More traditional, text faces in the Egyptienne manner are also available from Linotype GmbH (e.g., Adrian Frutiger’s Egyptienne F). On the opposite end of the spectrum, we offer interesting, personality-filled wood display types, like Ponderosa as well.

FF Casus was drawn for print – but is also as natural for textual content in interactive design. It brings warmth and a subtle, handcrafted quality to pages in books and periodicals as well as banners and informational copy on large and small screens. It pairs flawlessly with a wide range of sans serif typefaces to create inviting and easy to read text copy. Drawn by Eugene Yukechev, FF Casus is a fresh take on the robust serif typefaces produced early in the 18th century. The FF Casus™ typeface family takes advantage of slightly narrowed proportions, moderate contrast in stroke weight and an ample x-height to achieve high levels of legibility and efficient use of space. Born in Novosibirsk, Russia, in 1980, Yukechev earned degrees in philology in addition to editorial and graphic design. He also graduated from the British Higher School of Design in Moscow, studying type and typographic design. Yukechev now runs the Moscow-based studio “Schrift Publishers” and the online “Type Journal” with his colleagues. The six weights of FF Casus – each with an italic complement – are available as OpenType® Pro fonts with an extended character set supporting most Central European and many Eastern European languages. Looking for something new – with the panache and warmth of an old book face? FF Casus may be the perfect choice.

The Deberny typeface is an interpretation–carrying a contemporary imprint–of a typographic style which appeared and spread at the end of the 19th century until the begining of the 20th. These typefaces were named Italian, Venetian, Veronese and were classified in the Hellenic category, a spontaneous typographic movement caracterized by triangular and heavy serifs. They found their inspiration among numerous references, from incised to slab serif typefaces and their extreme expressions in wood type letterforms. The Deberny font family is made of 26 styles in 3 complementary sets of style, offering a wide palette of visual resonance: • Deberny Line is ideally suited for editorial, branding, posters and billboards. It has sharp contrast between thick and thin strokes. Heavy horizontal strokes are not frequent in roman letters, but here they fit naturally with the italic letters. • Deberny Open is a stylish outline declination of Deberny Line Medium and Medium Italic. • Deberny Text is an adaptation of Deberny Line made for broader use. Its shapes are less contrasted, which makes it perfectly legible for print or screen reading in small size text. Old style figures and small caps complete Deberny Text in all its 8 styles. The Deberny typeface family supports Latin-based languages and will be available soon in Cyrillic and Greek. Deberny Narrow will be released this year in all its 26 styles.

Art Deco Arabic is a sans-serif Headline font. Designed by Naghi Naghashian as a sigle weight. Art Deco Arabic is reminiscence of Art Deco style, at the beginning of 20th century. The Latin part is a new design inspired from Art Deco style. It is extremely legible even in very small size. This font is a contribution to modernisation the Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Art Deco Arabic supports Arabic, Persian ( Farsi ), Urdu and Latin.It also includes proportional and tabular numerals for the supported languages. Art Deco Arabic design fulfills the following needs: A Explicitly crafted for use in electronic media fulfils the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop, InDesgine or Illustrator. ArtDecoArabic’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Art Deco Arabic was developed for multiple languages and writing conventions. Art Deco Arabic supports Arabic, Persian,Urdu and Latin. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Sudtipos’ new sans serif font Replete is inspired by the mixture of aesthetics and philosophies found on the streets of metropolitan cities the world over. Buildings constructed throughout the twentieth century, including those made in the Art Deco style or influenced by the Bauhaus’s gospel, stand side-by-side as symbols of their time. Typography is one factor that bonds these vistas, and simultaneously further complexifies them. Art deco letters appear on storefronts and signage in Europe’s oldest cities and as remnants of the Golden Age of economic expansion for Latin America. Typography, like architecture, sometimes coexists in perfect harmony, and other times in ideological opposition. But it is these juxtapositions in places such as Shanghai, New York, London, Buenos Aires and Tokyo that shape each city’s identity. Replete is inspired by this mixture. We wanted to create a useful modern sans serif family – a set of 7 weights with playful geometric alternates – that allows you to combine characters including wide-width and filled letterforms. Replete is apt for long texts, and equally, for instances where letterforms can stand together like a cityscape. Replete means full, packed and abounding … it is a sans, it is grotesque, it is geometric and it is Deco. Replete is a new family that has a little of everything we like, equipped with everything you need to design anything you want.

Meteora is a font designed for headlines by Carlos Fabian Camargo Guerrero. Its purpose is to be useful tool for solving decorative problems in graphic design which require broken letters without ascending and descending strokes. Due to its vertical and horizontal proportions these letters are compact, appealing and special to compose headlines and featured with worn look in covers, magazines, posters and advertising material. The first Meteora sketches were made by hand, photocopying and deforming letters of an old Letraset catalog, specifically from slab serif typefaces from the Nineteenth Century. Hence, uppers cases and lower cases were merged in the same height x, obtaining a narrow width, endings with some serifs and stencil cuts here and there. The amount of low contrast between thick and thin strokes brings strength and consistency with the contours apparently brokens. Thus, developed features slab serif and sans-serif proposing empty and full shapes connoting decomposition and noise; and from a rigorous process of scanning letters I set up damaged letters, but drawn with the greatest possible thoroughness and high definition in 438 glyphs per font. Finally, in regular and bold variables I included opentype features with some discretionary ligatures and a few titling alternates. In Meteora bold all glyphs are framed simulating the effect of letters cut out of paper.