The Neuliner Family is sleek, condensed, extremely legible & flexible available in 7 styles. The inspiration stems from the classic, slender Art Deco era. Designed with a repeated vertical theme Neuliner is consistent from style to style with variations in weight and character. With over 350 glyphs and applying in over 80 languages with Numerals, Dingbats & Euro accents this family is complete. At the time of its first release Neuliner is available in Medium, Bold, Italic, Outline, Drop, Rough, & Rounded. Other styles are in the works. As displayed in the posters, Neuliner works well, in any style, for headlines, by-lines, logos, titles, posters, signage, billboards, ads, main & end titles, monograms, numbering systems, wedding invites and stationary, etc. The Bold style works congruously with the Outline & Drop styles, for either 'trapped' or 'offset' effects. This family also has its roots and influence in Mid Century influenced architecture and design yet lends its style to contemporary and modern design in the 2020s. The Drop & Rough versions are unique styles that render well in Adobe Illustrator & Adobe Photoshop for use in a myriad of colors and effects. The rough-edged style resembles a stitched and weathered effect, while the drop version plays prominently as headlines in either bright or muted color combinations. The versatile, ever-classic outline style gives any image or photographs an impression of elegance and transparency without sacrificing legibility. Neuliner Rounded embosses and engraves either blindly or foil added with a lasting impression. Neuliner Family from Cozyfonts Foundry.

Tall, stately, and refined, with a showy contrast between thick and thin, a certain kind of titling Didone has become synonymous with fashion. Ermin Međedović’s latest type system amplifies the most theatrical aspects of this genre while bringing an uncommon flexibility of style and variation to any type palette — particularly those required for editorial design. Fino Stencil is a Rational (or Modern) display serif with sharp details. Its fairly Title proportions produce a regular beat of bold stems at frequent intervals. One can add an unexpected twist to this plot line by introducing the alternate ‘C, D, G, O, and Q’ (found in the uppercase); these replace the standard, Title oval shapes with big, full, show-stopping round ones. Other alternate forms, along with a grand ensemble cast of ligatures, lets the director continually flip the script. This stage is set in three acts: Fino Stencil, Fino Stencil, and Fino Stencil Stencil. Each of these offer six weights and italics, and each actor is comfortable speaking any Latin-based language, from standard Hollywood English to the many accents of Eastern Europe. Finally, every style comes in two optical sizes, with Title having the finest hairlines for the biggest parts. This lets you put Fino Stencil to work in a variety of productions, from short texts (24pt–48pt settings) to epic titles. The complete Fino Stencil family, along with our entire catalogue, has been optimized for today’s varied screen uses. All these talents let Fino Stencil perform a range of roles far broader than your typical Bodoni or Didot.

Haarlemmer is a recreation of a never-produced Jan Van Krimpen typeface that goes one step beyond authentic: it shows how he wanted it to be designed in the first place. The original, drawn in the late 1930s, was created for the Dutch Society for the Art of Printing and Books and was to be used to set a new edition of the Bible, using Monotype typesetting. Hence the problem: fonts for metal typesetting machines like the Linotype and Monotype had to be created within a crude system of predetermined character width values. Every letter had to fit within and have its spacing determined by a grid of only 18 units. Often, the italic characters had to share the same widths as those in the roman design. Van Krimpen believed this severely impaired the design process. The invasion of Holland in World War II halted all work on the Bible project, and the original Haarlemmer never went into production. Flash forward about sixty years. Frank E. Blokland, of The Dutch Type Library, wanted to revive the original Haarlemmer, but this time as Van Krimpen would have intended. Blokland reinterpreted the original drawings and created a typeface that matched, as much as possible, Van Krimpen's initial concept. While Van Krimpen's hand could no longer be on the tiller, a thorough study of his work made up for his absence. The result is an exceptional text family of three weights, with complementary italic designs and a full suite of small caps and old style figures. Van Krimpen would be proud.

Grafical is a contemporary take on 19th-century sans serifs. In this family, the amount of geometry inherent within the letterforms has been amped up. Many shapes have received further streamlining, too. All the geometric forms you see have been optically corrected, ensuring their delivery of better legibility. Grafical ships in two different formats: depending on your preference, you can install the typeface as two Variable Fonts or use the family’s 16 static OpenType font files instead. The static fonts offer eight weights, running from Extralight through Black. Each weight has an upright and an italic font available. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Fonts have vastly greater control over their text’s stroke width. The Grafical Variable and Grafical Variable Italic font’s weight axes allow users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. Grafical is the perfect tool for a range of design uses, including text on the web, text in print, and text in motion graphics. Its fonts are typographic workhorses – not just from their legibility perspective but also because of the amount of OpenType features they include. There are ligatures, for instance, as well as proportional and tabular lining and oldstyle figures, fractions, numbers placed inside circles, and even Roman numerals. Users can also substitute alternate versions of the “a”, “g”, “i”, “j”, “y”, “G”, and “Q” into their work.

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many line screen fonts, I wanted to take it to the extreme and use as few lines as possible, while keeping the grid of the fonts metrics. The result is a typeface that lives up to its name. Each individual line makes no sense on its own; individual letters are only recognisable in the context of all associated lines, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 100-unit or 25-percent increments increments to keep the grid. The »H« in the font name stands for horizontal (lines). The numbers in the font name refer to the brightness of the background and letters themselves, with the first number describing the background and the second the letters. Starting with »00« (white) to »200« (dark) See also my Family Kontext Dot

Elido (Odile in reverse) is the sans counterpart to the Odile type. Together they form a sans/serif superfamily with a wide range of variations for editorial use. Elido follows Odile’s proportions and matches the weight and typographic color of its serif twin. Elido is a sans with classical proportions. A slight geometric hint and open counters convey an airy feel. Elido’s family structure and relations within echo the conceptual approach of Odile. The arched stroke low off the stem reveals a script characteristic most pronounced in the Elido Upright Italic. This particular interpretation is gradually diminished in the Italic and becomes even less emphasized in the Regular. Six balanced weights, from an elegant Light to a pronounced Black, are in tune with three display solutions and a set of beautiful Ornaments. These variants allow for a diverse and multifaceted typography for the discerning type user. Sans serif initials amount to a rare finding. The charming monolinear Elido Initials come in two flavors, elaborate and rational, designed to hold their own in editorial and headline sizes. This type design boasts an extensive character set, many OpenType features including roman and italic Small Caps, five sets of numerals, beautiful ligatures, and many more. OT stylistic variants (with accents) offer a one-story “a” for the roman weights, alternate “g” and “s” designs for the italics, and a variant glyph “s” for the Upright Italic. These distinct qualities with its versatile and sincere traits make Elido an excellent choice for text and display use.

Cocomat has been designed by Francesco Canovaro and Debora Manetti as a development of the Coco Gothic typeface system created by Cosimo Lorenzo Pancini. It shares with all the other subfamilies in the Coco Gothic system a geometric skeleton with open, more humanistic proportions, a sans serif design with slightly rounded corners and low contrast proportions, without optical compensation on the horizontal lines, resulting in a quasi-inverted contrast look in the boldest weights. What differentiates Cocomat from the other subfamilies in Coco Gothic are some slight design touches in the uppercase letters, with a vertical unbalancing reminiscent of art deco design, notably evident in uppercase "E", "A","F","P" and "R" - while lowercase letters have been given some optical compensation on the stems, like in "n","m", "p" and "q". These design choices, evoking the second and third decade of the last century (Cocomat is also referred as Coco 1920 in the Coco Gothic Family) all give Cocomat a slight vintage feeling, making it a perfect choice every time you need to add a period vibe or an historical flair to your design, like in food or luxury branding. The typeface, first published in 2014, has been completely redesigned by the original authors in 2019 as Cocomat PRO to include eight extra weights (thin, medium, black and heavy in both roman and italic form), extra open type features (including alternate forms, positional numerals), and extra glyphs making Cocomat cover over two hundred languages using latin, cyrillic and greek alphabets.

The Vernacular trilogy was designed by Swiss designer Hans-Jürg Hunziker, who had worked for Adrian Frutiger in Paris for many years. Based on the concept of a transitional Linear Antiqua, he has developed a colorful bouquet of typefaces that contain the entire spectrum of typefaces for book design and corporate identity. Thanks to his "Swiss school" and his outstanding skills, he has succeeded in giving the typefaces a particularly noble and sympathetic expression. In addition to the Sans family, there is a Serif family and a Clarendon family, each of which, including the separately drawn italics, is equipped with 12 font weights that are finely tuned to one another. Each of the 3 font styles develops its own character, but thanks to a concept that brings the different font styles closer together, they also work well together and complement each other perfectly. Sans and Clarendon have a vertical axis and similar endings in contrast to the Serif, which has a traditional diagonal axis and horizontal endings. The straight stems and the proportions are used as an element to stress the closeness of the typeface-trilogy. They thus share a comon feature. All fonts contain tabular and proportional figures as well as old style figures. Small caps and small cap figures are also available in all fonts. In addition, some fonts have alternative characters available via style set, such as «g», which can be used to further vary the typeface. Vernacular offers all the options for well-kept typesetting for print and web - for small and large orders.

A playful caricature of a midcentury grotesque, Guzzo is a fresh addition to the Monotype Library. Somewhat eccentric and full of surprises, its unmistakable quirk can be found on closer inspection, stemming from details proudly borrowed from brush lettering and calligraphy. The wide range of weights and style can take you through any design space, from the condensed weights squeezing in larger headlines or dense blocks of text with the condensed range, to experimenting with small point sizes, labels or packaging with the extended cut. However, Guzzo’s real charm is probably best expressed through its wonderfully playful shapes, its unusual 'laid-back italics' feature cursive forms and a backslant. The different stylistic sets allow you to decide what you make of Guzzo, with several sets of alternate glyphs steering it in any direction you want. Guzzo is a happy-go-lucky character, and has a warm, humble and painterly quality that - at a glance - may be unrecognizable as a typeface. It can almost pass for hand-lettering. Guzzo pairs exceptionally well with scripts and slab typefaces, and feels most at home in situ with toys, packaging, menus, broadcasting, cartoons and merchandising! Guzzo encourages you to turn up the silliness and is for designers who want to emulate hand-painted and casual motifs. Taking its name from American artist Jeremy Pinc, aka the painter Guzzo Pinc, the typeface channels the quirky, funny and poignant qualities of his paintings - with wacky characters, loosely painted geometric forms and bright colors. For this mid century, authentic, nostalgic typeface - the story is really what you make of it.

The Vernacular trilogy was designed by Swiss designer Hans-Jürg Hunziker, who had worked for Adrian Frutiger in Paris for many years. Based on the concept of a transitional Linear Antiqua, he has developed a colorful bouquet of typefaces that contain the entire spectrum of typefaces for book design and corporate identity. Thanks to his "Swiss school" and his outstanding skills, he has succeeded in giving the typefaces a particularly noble and sympathetic expression. In addition to the Sans family, there is a Serif family and a Clarendon family, each of which, including the separately drawn italics, is equipped with 12 font weights that are finely tuned to one another. Each of the 3 font styles develops its own character, but thanks to a concept that brings the different font styles closer together, they also work well together and complement each other perfectly. Sans and Clarendon have a vertical axis and similar endings in contrast to the Serif, which has a traditional diagonal axis and horizontal endings. The straight stems and the proportions are used as an element to stress the closeness of the typeface-trilogy. They thus share a comon feature. All fonts contain tabular and proportional figures as well as old style figures. Small caps and small cap figures are also available in all fonts. In addition, some fonts have alternative characters available via style set, such as «g», which can be used to further vary the typeface. Vernacular offers all the options for well-kept typesetting for print and web - for small and large orders.

The Bonyad font family, designed by Naghi Naghashian, was developed considering specific research and analysis on Arabic characters and definition of their structure. Bonyad is a modern Sans Serif font family.The Bonyad innovation is a contribution to modernisation of Arabic typography; gives the Arabic font letters real typographic arrangement and provides for more typographic flexibility. Bonyad supports Arabic, Persian, and Urdu and includes proportional and tabular numerals for the supported languages. The Bonyad Font family is available in six weights; Thin, Light, Regular, Demi Bold, Bold and Heavy. Its intuitive design arrangement fulfills the following needs: It is precisely crafted for use in electronic and print media. Bonyad is not based on any pre-digital typefaces and it is not a revival. Rather, its forms were created with today’s ever-changing technology in mind. Bonyad is suitable for multiple applications, and gives the widest potential for acceptability. It is extremely legible not only in its small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bonyad's simplified forms may be artificially oblique with InDesign or Illustrator, without any degradation of its quality for the effected text. Bonyad is an eye-catching and classy typographic image that developed for multiple languages and writing conventions. Bonyad uses the very highest degree of geometric clarity along with the necessary amount of calligraphic references. The Bonyad typeface is of a high vibration that is finely balance between calligraphic tradition and the contemporary sans serif aesthetic commonly seen in Latin typography.

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many line screen fonts, I wanted to take it to the extreme and use as few lines as possible, while keeping the grid of the fonts metrics. The result is a typeface that lives up to its name. Each individual line makes no sense on its own; individual letters are only recognisable in the context of all associated lines, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 50-unit or 25-percent increments to keep the grid. The »V« in the font name stands for vertical (lines). The numbers in the font name refer to the brightness of the background and letters themselves, with the first number describing the background and the second the letters. Starting with »00« (white) to »200« (dark) See also my family Kontext Dot

Hanna has its roots in the Plato and Cilantro fonts published earlier by Wilton Foundry. It is an informal roman and very legible at any size - a rare combination for many applications. Hanna was specifically designed to generate additional income for an orphanage in Ethiopia. Hanna Teshome runs an orphanage of roughly 140 children in Addis Ababa, Ethiopia. She is an amazing lady with a deep passion for orphan kids as well as innocent kids that find themselves in jail because their mothers have been imprisoned - they are treated as prisoners and are typically sexually abused - it is not uncommon for them to commit suicide when they are released from jail at age 18. Most of the orphans end up with Hanna because one or both of their parents have died from AIDS. Hanna relies entirely on donations to keep her orphanage running and this font is a small but tangible way for you to help make a difference in the lives of the orphan kids. I am committed to helping Hanna after visiting the orphanage several times and seeing the jails from where the kids have been rescued. Hanna is my hero because she stepped out of her comfort zone, with no financial support, to take care of the kids. My hope is that you will use this font as a messenger of good. All of Wilton Foundry royalties for this font will go to the support of Hanna’s orphanage in Ethiopia. Thank you in advance for your support on behalf of Hanna and the kids!

This family was inspired by a Type Battle over at Typophile: How would you design a font metrically compatible with Helvetica, but better than Arial? Working with preset letter widths was an interesting constraint, both a relief and a limitation at the same time. I have done all the 4 basic weights, and the skewed obliques (done to a slightly less steep 10 degrees angle as opposed to the originals 12) has been optically adjusted. The letters have been designed quite close to the german/swiss grotesk tradition, but by using super-elliptical rounds, rounded dots and slightly curved outer diagonals the end result is a friendly looking font family that still looks... familiar. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Some words from the designer, Frantisek Storm... Designed by Josef Tyfa in 1959, digitalized by F. Storm in 1996. This Roman and Italic are well-known perhaps to all Czech graphic artists and typographers ever since their release. Although this type face in some details is under the sway of the period of its rise, its importance is timeless, in contradistinction to other famous types dating from the turn of the sixties which were found, after some time, to be trite. The italics live their own life, only their upper-case letters have the same expression as the basic design. Thin and fragile, they work excellently, emphasizing certain parts in the text by their perfect contrast of expression. When seen from a distance they are a little bit darker than the Roman face. Tyfa Roman was released in 1960 by Grafotechna in Prague for hot setting. Later on, Berthold produced letter matrices - "rulers" for Staromat devices, used for manual photosetting of display alphabets. In the eighties it was available on dry transfers of Transotype and today it is offered also by ITC. The meticulously executed designs of the individual letters in the 288 point size are arranged into a set of signs on a cardboard of about B2 in size. The yellowed paper reveals retouches by white paint on the ink. Blue lines mark the baseline, the capital line, the ascender and descender lines and the central verticals of the letters. With regard to the format of the flat scanner, the designs had to be reduced, with the use of a camera, to the format A4, i.e. to the upper-case letter height of about 30 mm. These were then scanned in 600 dpi resolution and read as a bitmap template to the FontStudio programme. The newly created bold type faces derive from Tyfa's designs of the letters "a", "n", "p", the darkness of which was increased further, approximately by 3%, to enhance their emphasizing function. The text designs have hairstrokes thickened by one third; the contrast between thin and thick strokes has been modified, in order to improve legibility, in sizes under 12 points. We have used electronic interpolation to produce the semi-bold designs. Josef Tyfa himself recommends to choose a somewhat darker design than the basic one for printing of books.

Irish Penny is based on the lettering from Percy Metcalfe's beautiful and influential pre-decimal coinage of Ireland, the Barnyard Collection. The font is more monoline than is conventional for Irish insular styles, almost giving the feel of a modern soft sans, and perfect for small and large scale display purposes. Irish Penny contains a full complement of Latin Extended-A accented characters, Irish lenited consonants with the dot accent, and the tironian et which is commonly used in Ireland instead of an ampersand. Lowercase characters are provided small caps style, slightly reduced in size and subtly thickened in weight. The licensed font comes with a faux italic, and although obliques are not common among insular typefaces, Irish Penny Italic is a useful smart and sporty extra. Although the insular G/g is usually understood, Irish Penny also includes a more latinised option as an alternate G/g. The supplemental 'Irish Penny Alternate G' font places the latinised G and g characters at the normal G/g keystrokes, and makes the original insular glyphs the alternates. An alternate E/e with an angled crossbar is also included. The font contains a selection of discretionary ligatures, these include the ligatures that were used for pre-decimal coins: AC/ac, AE/ae, AL/al, AO/ao, AU/au, AT/at (halfpenny, half crown), AX/ax, AY/ay CA/ca, CC/cc, CE/ce, CO/co (half crown), CU/cu, CY/cy EA/ea (halfpenny, half crown), EC/ec, EE/ee, ET/et, EU/eu (sixpence), EY/ey FE/fe (farthing), FF/ff, FL/fl (florin) GI/gi (penny), GU/gu KA/ka, KE/ke, KI/ki, KO/ko, KT/kt, KU/ku LA/la, LE/le (halfpenny, half crown), LL/ll (shilling), LO/lo, LT/lt, LU/lu, LY/ly RA/ra, RC/rc, RE/re (three/sixpence), RH/rh, RI/ri (florin), RK/rk, RN/rn, RM/rm, RO/ro (half crown), RR/rr, RT/rt, RU/ru, RY/ry TA/ta, TE/te, TO/to, TU/tu NOTE - Irish Penny contains some characters that are not accessible directly from your keyboard, but which may be copied from a font viewer such as Character Map, Font Book or FontExplorer, and pasted into documents. They can also be accessed from the Glyphs browsers within OpenType-aware applications like Adobe InDesign and Illustrator, and Affinity Photo and Publisher.

Relax. Deep breath. And step away to font nirvana with Cabrito Semi. Like its Cabrito relatives, Semi’s handwriting-inspired feel is mellow and care-free. But don’t misunderstand us. Even with its fun-loving peculiarities, this free spirit will command whatever party you invite it to. It’s a perfect blend of unique and functional. So what’s the secret of this little one’s strength? It’s pure balance. Cabrito Semi’s energy surges from deep within the relaxed, balanced tones of its humanist structure and calligraphic crafting. The 36 fonts of this well-crafted semi serif originate from the popular Cabrito, an insigne design slab serif developed for the kid’s book, The Clothes Letters Wear. Along with its other amigos, Inverto and Sans, Cabrito Semi rounds out this easy-going household of fonts. The four fonts play well together on anything from meals and candy to toys and cars. With the support of the other three, Semi makes a great choice for titles and moderately long text like you would use for websites, flyers, and packaging. Semi’s complete pack of alternates is accessible in any OpenType-enabled system. This kiddo has loads of alternates, swashes, and alternate titling caps to add a bit of sweetener to the balance. Also bundled are swash alternates, old style figures, and compact caps. Preview any and all of these features in the interactive PDF brochure. This font members of the family also consists of your glyphs for 72 languages. So who says you can’t love quirky? Take a look at Cabrito Semi--and any of the other members of the Cabrito family. You’re bound to find yourself loving fun all over again.

Upton is a modern and condensed sans serif. The initial inspiration for its design came from lettering Wim Crouwel created for a poster design. It also takes some cues from neutral grotesks like Helvetica and Akzidenz. Because of its narrow letterforms, Upton is best applied to headlines and poster-sized typography. Upton’s italics were designed with high-quality compensation for all circles and strokes. Upton ships in two different formats. Depending on your preference, you can install the typeface as two Variable Fonts or use the family’s 14 static OpenType font files instead. Those weights run from Extralight to Extrabold. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The weight axes in Upton’s Variable Fonts allow users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. In its fonts, Upton has several ligatures. That includes optional “discretionary ligatures,” which bring a unique tone to display usage. For instance, the fonts include optional ligatures for the letter combinations “E-T”, “F-l”, “L-E-T-T-E”, “L-E-T-T”, “L-E-T”, “L-E-L-O”, “L-U”, “i-j”. and “m-m”. There are also many alternate glyphs. Stylistic Set 1 substitutes in new forms for “G”, “R”, “a”, “f”, “g”, “i”, “r”, “t”, and “y”. Six more Stylistic Sets have alternates for the “æ”, “g”, “k”, “o”, “K”, “O”, and “Q”. Additional OpenType features activate other useful features, such as fractions, numbers in circles, or symbols.

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many rasterised fonts, I wanted to take it to the extreme and use as few dots as possible. The result is a typeface that lives up to its name. Each individual circle makes no sense on its own; individual letters are only recognisable in the context of all associated circles, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from a higher building, an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 100-unit increments to keep the grid. The numbers in the family- and style-names refer to the (ca.) grey value of the respective background and the font itself. Kontext Dot 00-33 has e.g. a white background (0%) and 33% grey value. Kontext Dot 66-33 has a 66% background and 33% grey value. »Positive« styles (first number smaller than the second number) have kerning, »negative« styles (first number bigger than the second number) can have none.

Clean and welcoming, the distinct look of Yorkten is remarkably satisfying to the eye. Straight to the point, Yorkton features a fashionable, geometric composition with angled main stems. There are no fewer than fifty-four fonts in the family, all of which are characterized by one of three widths – extended, normal or condensed. Each individual subfamily is equipped with eight weights from Thin to Black with respective Italics, giving Yorkten a breathtaking range of fonts to boast. The greater value for you, though, is its members’ ability to work well together. With a deep toolbox of weights and widths to choose from, this family provides you with significant value and a broad number of design solutions, making sure you have the tools you need for each challenge. So where should you use the font? Jeremy Dooley designed Yorkten’s underpinning structure to be compact. Combined with its superior features and terrific legibility, this versatile font can be used effectively for many jobs, whether in print or on screen. Use it freely for e-books and apps. Yorkten is particularly great for headlines, banners, posters, and websites. As with all insigne fonts, fonts that are well received by the market are expanded into future variants such as rounded or slab serif types. Yorkten’s later expansions will increase the versatility and functionality of the family. There’s no need to wait for these future releases, though. This new face already complements a number of other insigne faces, such as Grayfel, Look, or the Cabrito Superfamily. So what are you waiting for? Get Yorkten today and bask in the rich potential it offers! Get Yorkten and luxuriate in its straightforward multifunctionality!

With the publication of the “Today Sans Now” Elsner+Flake extends its offering of the “Today Sans Serif” type family, developed in 1988 by Volker Küster for Scangraphic, by another cut so that the gradation of the stroke width can now be more finely calibrated. The type complement is available for 72 Latin-based languages as well as Cyrillic. Where available, small caps were integrated, and mathematical symbols as well as fractions were included. In order to make the symbols for text applications in regard to headlines more flexible, the insertions which were formerly added, for technical reasons in order to sharpen the corners, were eliminated, and the optical size adjustments of the vertical and diagonal stem endings (I, v, H, V) to the horizontal bars (z, Z) were scaled back. Already since the end of 1984, Volker Küster experimented with broad sticks of chalk and a broad felt pen in order to develop a new sans serif typeface which, in the interest of easy legibility, would be built on the basic structures and proportions of the Renaissance-Antiqua. Using a normal angle of writing, his experiments lead to the form structure of the characters: a small contrast between bold and light weights, serif-like beginning and end strokes in some of the lower-case characters, and the typical, left-leaning slant of all round lower-case letters and the typical left-leaning axis of all round letter forms. In this way, a rhythmization of a line of type was achieved which created a lively image without being “noisy”. With this concept, Volker Küster has enlarged the Sans Serif by a distinctive, trend-setting form variation.

EngelNewSans is sans serif family of 12 weights and an upgrade of the typeface Engel also published by Die Gestalten Verlag. The project began with an extension to the original Engel character set and freshening up the typeface to suit the OpenType format. EngelNewSerif came about as a sibling to EngelNewSans as a corresponding serif family also of 12 weights, matching those of EngelNewSans. Both families are designed for a wide usage in running text and headlines. EngelNewSans is an evolved version of the original Engel typeface, which undergone improvements to the individual letterforms and the overall look which resulted in this sans serif type family with a more mature confident character and with softer, rounder and more harmonious shapes. The characteristics between the two could perhaps, very fittingly, be compared to a person showing different sides to their personality at different stages in life. With EngelNewSans portraying the more mature role while the original Engel shows traits of a cool teenager with rough edges, not yet fully developed. To make the light weights function with serifs attached for EngelNewSerif, the same low stroke contrast as seen in EngelNewSans was applied. Further discovery found that the serifs and the stem width had to be optically similar for the light weights not to appear too fragile. In the heavy weights however, the stroke contrast was higher than in the Sans versions, this was done to open up the counters and make room for the serifs to breathe. The intention of the families is to motivate an element of play and give the designer a larger selection to work with.

Dederon Serif has been specifically designed for book setting. Preliminary sketches were drawn in 2004. Its inspiration – particularly its weight and width proportions – can be traced to the Liberta typeface from the TypoArt type foundry in former Eastern Germany. After a careful study of the model, the design of Dederon branched off into its own direction, finding its distinctive voice and becoming a wholly original type family. Dederon Serif kept most of the elements typical for the Old Style Roman lettering, such as the angle of the stress, the medium x-height, and lower contrast. In large sizes, the typical shapes of the letters stand out – the calligraphic feel characteristic for the Czech typefaces by Oldrich Menhart, the unusual serifs hinting at the angle of the pen, the shapes of the stems, or the terminals of dots and ears. Upon finishing the serif version, a Serif-serif variant called Dederon Serif was added. The construction principles are also derived from the Old Style Roman model, which lends the lettering its open, humanist feel. Yet the design also conforms to the rules of the modern Serif serif. Most characteristics of Dederon Serif match the serif version – the weight of individual cuts, the width proportions, x-height, ascenders' and descenders' length, and the slope of the italics. Each version of Dederon Open Type Std contains the standard Western Latin character set and the Central European characters; a number of basic and accented ligatures, small caps; old style, small caps and caps, table, fraction and superscript numerals; expert glyphs and alternative characters. This brings the total to a comfortable 820 glyphs per weight, permitting truly professional use in the most demanding projects.

Mono-Spec Stencil is a monospaced family of sans-serif type. At least in default settings, all characters across the typeface share a common width, which is immediately noticeable for its condensed nature. Mono-Spec Stencil is a sibling of a non-stencil family, simply named Mono-Spec. Characters in each are just as wide, allowing Mono-Spec Stencil to be used together with Mono-Spec, as a secondary typeface. As a typeface whose characters are stencil-shaped, this design channels the spirit of resistance and street culture. When you look at the family, remember that it ships in two different formats. Depending on your preference, you can install the typeface as a single Variable Font or use the family’s five static OpenType font files instead. Those weights run from Light through Bold. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The Mono-Spec Stencil Variable Font’s weight axis allows users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. Whatever format you choose, the Mono-Spec Stencil fonts are equipped with several OpenType features. The most striking of these can be activated via a Stylistic Set. That will replace several letters – like “B”, “E”, “F”, “H”, and “I” with double-width alternates. Those alternates take up as much space as two characters placed next to each other otherwise word. The effect of Mono-Spec Stencil’s double-width alternates is striking, and their use strikes a strong chord in any display typography applying them.

Gimbal Egyptian is a richly-featured font family providing many style options across a broad range of languages. It is twinned with Gimbal Grotesque, a sans-serif family with an identical range of weights and features. Originally conceived as a small webfont family, the letterforms have been revitalised to put a spring in their step and the family has been extended to create a versatile multi-script text face equally at home on the printed page. Carefully crafted at all weights, Gimbal also lends itself to headlines and display applications such as posters, exhibitions and signage while resolving well on-screen for general document creation and web-based applications. The letters are spaced for best readability on-screen and in the usual printed body text ranges but are tolerant of tracking adjustment to suit other uses. The styles are divided by width into four families (Compressed, Condensed, Normal, Extended), each family possessing six weights plus corresponding italics. Within each family, the 'regular' and 'bold' weights are style-linked, and all upright forms have an italic counterpart. The full opentype character set includes latin, greek and cyrillic scripts with appropriate local variants (also as stylistic sets) for Turkish, Polish and Romanian (latin) and Russian, Bulgarian and Serbian (cyrillic). All fonts contain small capitals for all scripts, superscript for latin and commonly used greek together with the usual numeral style, size and positioning options. The default numerals are 'proportional lining'. Other opentype features include case-sensitive marks, fractions, and some discretionary ligatures. A set of circled numerals and circled latin capitals is included, along with an unusual feature that composes 2-character country codes.

The Geometry Pro family has been designed to be the final word in purely geometric fonts, and this rounded Script sub-family is a nod to the 50s style of connected logomarks. Words set with both the Regular and the Alternate (with its more flourished capitals and alternate stem connections) can be extended by using the underscore character between letters. You can freely mix and match glyphs from both fonts to create a little bit of variety, and finding that perfect combination. For a matching set of capitals (and disconnected lowercase letters): check out the Regular weights of the Geometry Soft Pro family. All the Geometry Pro fonts are strictly geometric (as drawn with a compass and a ruler fixed to 90 and 45 degree angles) but they are not slavishly modular. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Poligon is a large family of geometric sans serif fonts. It is inspired by classic typefaces from the geometric-sans genre, like Futura and Avant Garde Gothic, whose shapes were constructed from circles and straight lines. Every character has been crafted to give it a distinct and individual feel. The family is an excellent choice for both corporate design and editorial design projects because of its range of weights, as well as its legibility in text. The typeface family ships in two different formats. Depending on your preference, you can install the typeface as two Variable Fonts or use the family’s eight static OpenType font files instead. Those weights run from Thin to Black. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Fonts have vastly greater control over the stroke width in their upright and italic texts. The weight axes in Poligon’s Variable Fonts allow users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. But even the static fonts satisfy the need for flexibility, creating harmonious variations of texture and emphasis. Despite their rigid geometry, the fonts have a playful air to them. That playfulness and uniqueness can be dialed up by applying stylistic alternates via the fonts’ four Stylistic Sets. The first of these replaces “G”, “M”, and “&” with alternate, more outgoing shapes. Stylistic Set 2 has an alternate “ß”; Stylistic Set 3 has a “Q” with a longer tail and another “G”. Stylistic Set 3 has alternates for “A”, “K“, “Q”, “R”, “S”, “Y”, and “Z”.

Step back in time to the glamour and glitz of the 1950s with Bouffant, the font that will transport you straight to the heart of this iconic era. This unique script style combines compact retro curls with genuine grit, making it the perfect choice for those looking to add a touch of vintage charm to their designs. With its bespoke ligatures, Bouffant is able to reduce noticeable repetition, resulting in a more natural and realistic impression. Whether you’re creating t-shirts, posters, or any other form of design, this font is guaranteed to give your work an authentic 1950s vibe. Why wait? Start incorporating Bouffant into your designs today and let the retro magic begin! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Dederon Serif has been specifically designed for book setting. Preliminary sketches were drawn in 2004. Its inspiration — particularly its weight and width proportions — can be traced to the Liberta typeface from the TypoArt type foundry in former Eastern Germany. After a careful study of the model, the design of Dederon branched off into its own direction, finding its distinctive voice and becoming a wholly original type family. Dederon Serif kept most of the elements typical for the Old Style Roman lettering, such as the angle of the stress, the medium x-height, and lower contrast. In large sizes, the typical shapes of the letters stand out — the calligraphic feel characteristic for the Czech typefaces by Oldrich Menhart, the unusual serifs hinting at the angle of the pen, the shapes of the stems, or the terminals of dots and ears. Upon finishing the serif version, a sans-serif variant called Dederon Sans was added. The construction principles are also derived from the Old Style Roman model, which lends the lettering its open, humanist feel. Yet the design also conforms to the rules of the modern sans serif. Most characteristics of Dederon Sans match the serif version — the weight of individual cuts, the width proportions, x-height, ascenders' and descenders' length, and the slope of the italics. Each version of Dederon Open Type Std contains the standard Western Latin character set and the Central European characters; a number of basic and accented ligatures, small caps; old style, small caps and caps, table, fraction and superscript numerals; expert glyphs and alternative characters. This brings the total to a comfortable 820 glyphs per weight

Unlike the modest fonts in your menu content with discreetly imparting information, Carnival is conspicuous by design. Deliberately engineered to attract eyeballs, the typeface’s unmistakable silhouette produces a dramatic visual texture that stands out in print, on screen, or in any environment where your message demands to be noticed. The steady yet vibrant rhythm created by its letterforms also makes Carnival ideal for fashioning alphabet patterns and graphic devices. Flaunting a lean slender body anchored by stout stroke endings, Carnival turns conventional typographic thinking on its head by inverting the relative thickness of its stems and serifs. This reverse-contrast approach stretches all the way back to the roots of modern advertising, when similar types became the favorite for posters, packaging, and loads of consumer products during the 1800s. The striking style prevailed well into the next century, as Harold Horman, co-founder of New York City-based Photo-Lettering. Inc., modernized a version for the company’s popular film-typesetting service in the early 1940s. Digitized and expanded by Dan Reynolds in 2013, Carnival had previously been used exclusively for House Industries projects. Now you can get in on the action, and use this stunning slice of type history anytime you want your work to turn heads. SUGGESTED USES Carnival’s unique character commands attention, making it the perfect voice for promotional pieces, editorial design, labels, packaging, posters, and any other application that needs to strike the right tone. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Space Armada - A Science-Fiction Font for Out of this World Designs! Space Armada is inspired by a 1980s interpretation of the future, referencing blockbuster sci-fi action movies of the period, along with the emerging video-game consoles and home computer technologies. It's nine unique fonts are designed to work together in a variety of ways, so you can layer it's different styles on top of each other to retro-futuristic effect!* Here's an example of how it works: Start by placing the Regular font on top of the Bold for a simple base outline. Add contrasting gradients to both fonts for an instant metallic or chrome effect. Take it a step further with one of the readymade Outlines for an embossed look. Overlay the Wireframe font for a glimpse inside the machine! This looks particularly good when you apply a glow effect and reduce it's opacity so the other layers show through. That's just one way to use it. Check out my visuals for more usage ideas! You can also follow my short tutorial! Space Armada is an all-caps font with unique uppercase and lowercase characters, along with a range of alternatives for experimentation with different looks. It also includes punctuation, numerals and language support, plus a selection of underlines and symbols. It's a highly customisable font, perfect for retro designs such as movie titles, posters, games, book covers and more! Every care has been taken to ensure that all fonts align perfectly when layering. Due to the variations in how different software handles text tracking, some minor tweaking may be required for pixel perfect alignment.

Gimbal Grotesque is a richly-featured font family providing many style options across a broad range of languages. It is twinned with Gimbal Egyptian, a slab-serif family with an identical range of weights and features. Originally conceived as a small webfont family, the letterforms have been revitalised to put a spring in their step and the family has been extended to create a versatile multi-script text face equally at home on the printed page. Carefully crafted at all weights, Gimbal also lends itself to headlines and display applications such as posters, exhibitions and signage while resolving well on-screen for general document creation and web-based applications. The letters are spaced for best readability on-screen and in the usual printed body text ranges but are tolerant of tracking adjustment to suit other uses. The styles are divided by width into four families (Compressed, Condensed, Normal, Extended), each family possessing six weights plus corresponding italics. Within each family, the 'regular' and 'bold' weights are style-linked, and all upright forms have an italic counterpart. The full opentype character set includes latin, greek and cyrillic scripts with appropriate local variants (also as stylistic sets) for Turkish, Polish and Romanian (latin) and Russian, Bulgarian and Serbian (cyrillic). All fonts contain small capitals for all scripts, superscript for latin and commonly used greek together with the usual numeral style, size and positioning options. The default numerals are 'proportional lining'. Other opentype features include case-sensitive marks, fractions, and some discretionary ligatures. A set of circled numerals and circled latin capitals is included, along with an unusual feature that composes 2-character country codes.

FangsALot is a bizarre typeface family that was designed to alternate two character sets. These sets are alternated automatically in applications that support the OpenType feature Contextual Alternatives (calt). The template used to design characters is a distorted triangle that resembles a curved tooth or a fang. This shape can be flipped horizontally, vertically, and both horizontally and vertically to give four orientations. Two of these orientations are used in the regular style and two in what is called the italic style. I thought the fang motif did not come through clearly in the regular and italic styles. Rather the impression they give is more like graffiti lettering. To emphasize the fang motif I added two more members to the family by filling fang outlines with unadorned sans-serif characters. Then to allow more color in lettering, I added two more styles with letters on black. I then had six styles based on triangles skewed left and right. Why not fill the family out with three more styles based on an isosceles triangle? The end result is a family of nine. All members of the family are monospaced and are hard to read. The three graffiti-like styles have some alternative letters that can be accessed with the OpenType feature Stylistic Sets. Also, for each style it is possible to use only one set of characters by adding a space after each letter and then adjusting the character spacing. The graffiti-like styles can be useful in situations where the hard-to-read property is not important but where a menacing and vicious touch is needed, such as topics of sharks, teeth, biting, and vampires.