Quinoa is display typeface by Catharsis Fonts that unites the seemingly opposed concepts of clean geometric architecture and organic humanist warmth. While it is designed for display and editorial purposes, its accessible forms make for comfortable reading even at small text sizes. Its exuberant adaptive "f", "j", "Q" and refreshing titling alternates bring display text to life. Quinoa covers multilingual Latin, Cyrillic, Greek, Hebrew, Arabic, and Armenian. The Quinoa family spans four stylistic cuts (Quinoa, Quinoa Titling, Quinoa Round, and Quinoa Text) with matching hand-slanted obliques, each of which comes in nine weights. The Titling cut offers a number of alternate capital letter designs with lowercase-inspired forms for a refreshing unicase look, and the Round cut additionally removes the spurs from arched letters like n. The text cut introduces true diagonals and a two-storey "a" for a more sober, reading-friendly look. A host of other OpenType features including ligatures, contextual alternates, small caps, figure sets, and character variants are built into all cuts. Furthermore, the small caps of Quinoa, Quinoa Titling, and Quinoa Text are available as dedicated font files under the names "Quinoa SC", "Quinoa Unicase" and "Quinoa Text SC" for ease of use. Acknowledgements: I am thankful to the TypeDrawers and the Typografie.info communities for great feedback and support. In particular, Thorsten Daum has been tremendously helpful with suggestions and quality control. Thanks to Craig Eliason and Jan Willem Wennekes for their help with the Latin, Alexander L. Stetsiuk for Cyrillic, Ofir Shavit and Jonathan N. Washington for Hebrew, Khaled Hosny for Arabic, and Hrant H. Papazian for Armenian.

Originally inspired by the numerals on a vintage clock face, Roloi is a layered numbers font in the deco lettering style, and includes a full set of automatic clock symbols. Its geometric forms are typical of the deco style, but stop well-short of pure geometry. The irregular stroke and character widths work together to give the forms a warm and energetic, yet cohesive, feel. Roloi offers two layering styles—the personable Fill and the more dynamic Inline. Designed to be layered over the background Regular style, they both lend the forms an added level of interest. Roloi also includes a clock symbol for any and every time of day, rounded to the nearest five-minutes. The regular weight provides the circular clock background, while the Fill and Inline styles produce the clock hands. If ligatures are activated in your text-editing program, type out any time—such as 9:32, 12:05, etc.—and the proper clock symbol will be automatically substituted. Go ahead, type any time out below! To stop the automatic clock symbol substitution, simply deactivate ligatures. Because the clock symbols are standard ligatures, every major modern browser will support their use on the web. With some programing they could even be used to make a lightweight, text-only clock. In addition to the clock symbols and basic numerals, Roloi’s glyph range covers numeric superiors and inferiors, standard and arbitrary fractions, currency symbols, all of the punctuation and symbols commonly associated with currency, unicode clock Face symbols, the A M P / a m p letters, and alternates of the 1, 2, and 4, accessible by selecting Stylistic Set 1.

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.

A family of fonts with rhythm. Natom Pro is a modern and geometric font family adapted to the professional requirements of graphic designers, web designers and mobile application developers. Comprised of 19 styles including 8 styles designed especially for the design of headlines, Natom Pro is a very versatile family of fonts that can be used in many projects such as editorial design, branding or corporate identity creation, design of posters or logos, the creation of websites or the development of mobile applications. This font, with a resolutely contemporary aspect, also hides a unique typographic design since it has 2 distinct styles (Title and Roman) which have 2 different typographic rhythms in order to graphically differentiate the appearance of titles, subtitles and long paragraphs. With this design of rhythmically differentiated glyphs according to the styles, the headlines have a very graphic aspect while the long texts have a more classic aspect in order to keep optimal readability in all scenarios. Its architecture is also very modern since it was designed and drawn with particular attention to the geometry of the forms with clear and open endings cut at 90 degrees. The number of styles has also been simplified with the most used thicknesses (Extra Light, Light, Regular, Medium, Bold and Black) in order to speed up your graphic design process. For the more experienced designers, Natom Pro is also available in a variable version. Natom Pro is also equipped with powerful OpenType features like case sensitivity, true small caps, full ligature set, tabular figures for tables, « old styles figures » to elegantly insert figures into your sentences, numbers circled or even alternative characters to satisfy the most demanding professionals.

Now here's a font with an unusual backstory. You may recall that a while ago we discovered that Tim Burton was using an outdated version of one of our fonts for the interior titles in his The Corpse Bride. Well, our quest to get hold of him didn't bear any immediate fruit, but in a totally unrelated event we were contacted by the graphic arts company working with the overseas distributors for The Corpse Bride and it turned out that they needed a font based on the main title of the movie so they could keep the same style when they retitled it into other languages. The original title was either hand lettered or a heavily modified font, bearing some resemblance to our Ligeia and Tuscarora fonts, so we had to create a whole font more or less from scratch and extrapolate most of the letters from the very limited sample in the original title by identifying certain consistent characteristics and building new characters around them. It was a lot of work, but the good news is that they didn't want exclusivity, so we've got the font to add to our collection. We ended up calling it Beynkales which means 'Bone Bride' in Yiddish, which makes sense given the context of the movie. So here it is, in all its tattered glory, and bound to end up in our Halloween font selection later this year as well. Beynkales Alternate is a companion font that includes a full set of alternative upper and lower case characters which can be used on their own or in combination with the characters from Beynkales to create a more varied and handwritten look.

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.

Cursed Stone is a spine-chilling display font that will transport your designs to a realm of dark enchantment. Designed in large letters and with a bold weight, this typeface demands attention and exudes an aura of haunting mystery. Each letter is meticulously crafted with eerie stone texture details, adding an ominous and cursed touch to the font. The large size of the letters enhances the font's imposing presence, making it impossible to ignore. The stone texture details in each letter of this font bring an authentic and sinister feel, as if the font was chiseled from the depths of an ancient cursed monument. These haunting details add an element of mystique and darkness, immersing the viewer into a world of malevolent enchantment. The combination of bold weight and stone texture gives Cursed Stone a rugged and formidable look, evoking images of cursed relics and forbidden ruins. The letters appear to hold secrets from the past, carrying a haunting energy that captures the imagination. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Cursed Stone fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed project. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

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”.

Originally released in 1987, Charter incorporates three important features: compact set width to give economical copyfit; generous x-height to give readability at small point sizes; and sturdy open letterforms to give reliable reproduction at both typesetter and laser printer resolutions. The design brings a clarity and freshness to everyday documents, such as newsletters, textbooks, directories and technical manuals, where the reader’s concentration must not be interrupted by unfamiliar letterforms but where typographic dullness can itself impair comprehension. The Italic has cursive letterforms - so is instantly distinguishable, while being readable enough in its own right for continuous text. The Charter BT Pro Pack features 6 fonts: roman, italic, bold, bold italic, black, and black italic. The fonts include characters originally developed for expert sets, such as ligatures, ornaments, old style figures, small caps, and superiors. The Pro Pack fonts support Western, Central European, and Eastern European languages. OpenType fonts are a cross-platform font format. The same OpenType font can be installed on Mac OS X, Windows, Linux, and Unix systems. Mac OS X and Windows 2000, XP, and Vista have built-in support for OpenType. OpenType fonts also work on Linux, Unix, and earlier versions of Windows, where they are recognized as TrueType fonts. OpenType includes many more features than the standard TrueType and PostScript formats, including the ability to install the same font on different platforms, crucial for document portability. OpenType fonts boost productivity because graphic designers and business professionals do not have to wrestle with many different fonts. With OpenType, customers have larger character sets to work with and fewer font files to deal with.

Genovaite Baroniene is former school teacher and a native of Lithuania who loves fancy letters. When she writes, she likes to add extra flourishes to her handwriting and printing. It simply appeals to her to do so. While living in the United States a few years ago and working in the health care field, she put pen to paper to provide a specimen of her writing from which a font could be developed. The process has taken longer than either of us expected. Now we are finally able to present Baroniene ML, a stylishly unique example of what we call Lithuanian Folk Baroque. Baroniene ML has a total of 362 glyphs, including the Unicode Latin Extended-A glyphs (0100 to 017F), covering the more widely-used Central European languages. To resolve the cedilla/undercomma conundrum, we have chosen to design a hybrid disconnected accent for use with C, G, K, L, N, R, S & T. We hope this solution is acceptable to users of Albanian, Catalan, French, Latvian, Portuguese, Romanian and Turkish. Baroniene ML also comes with four ligatures: gh, Th, th and Ch (167, 172, 177 and 181). Baroniene ML is certainly not the polished script of a professional calligrapher. It is very personal. The human source is still visible in its form. The letter spacing is uneven. Some of the curves are not quite perfect. In sum, the individuality has not been refined out of it. That is why it is so charming. If you want for a font that has a very different look, perhaps Baroniene ML is what you need.

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.

FF Good is a straight-sided sans serif in the American Gothic tradition, designed by Warsaw-based Łukasz Dziedzic. Despite having something of an “old-fashioned” heritage, FF Good feels new. Many customers agree: the sturdy, legible forms of FF Good have been put to good use in the Polish-language magazine ‘Komputer Swiat,’ the German and Russian edition of the celebrity tabloid OK!, and the new corporate design for the Associated Press. Although initially released as a family of modest size, the typeface was fully overhauled in 2010, increasing it from nine styles to 30 styles, with an additional 30-style sibling for larger sizes, FF Good Headline. In 2014, the type system underwent additional expansion to become FontFont’s largest family ever with an incredible 196 total styles. This includes seven weights ranging from Light to Ultra, and an astonishing seven widths from Compressed to Extended for both FF Good and FF Good Headline, all with companion italics and small caps in both roman and italic. With its subtle weight and width graduation, it is the perfect companion for interface, editorial, and web designers. This allows the typographer to pick the style best suited to their layout. As a contemporary competitor to classic American Gothic style typefaces—like Franklin Gothic, News Gothic, or Trade Gothic—it was necessary that an expanded FF Good also offers customers both Text and Display versions. The base FF Good fonts are mastered for text use, while FF Good Headline aims for maximum compactness. Its low cap height together with trimmed ascenders and descenders give punch to headlines and larger-sized copy in publications such as newspapers, magazines, and blogs.

Aquawax FX was developed by Francesco Canovaro as a new variant of the Aquawax family, one of the most beloved Zetafonts classics. This new typefamily is characterised by a contemporary and elegant design, that revisits the original design of 2008 with new geometric inventions, twisted with the current fluid zeitgeist. Aquawax FX builds on the original Aquawax family by adding counter-inktraps to the letterforms and emphasizing the inner contrast of curves and corners creating a smoother, flowing and dynamic look. While inktraps are a design feature that prevents ink from bleeding or filling small spaces in letterforms to achieve a cleaner, more readable look, anti-inktraps characterize the design with a distinctive watery appearance, suitable for logo design and titles. This watery effect is possible through a slight rounding of the inner and outer corners, keeping the original cuts at the letter terminals. A Space variant pushes FX experimentation furthermore, providing an alternate stencil-like style that takes legibility to the extreme, ready for logos and sci-fi headings. This does not limit the usability of Aquawax FX to mere display intent. The Aquawax FX font family includes two versions (Roman and Space), each with nine weights, ranging from Thin to Heavy, and matching italics. With a total of 36 variants plus one variable version, Aquawax FX is a versatile type family that can be used for a variety of design projects, from branding and packaging to editorial design and advertising. Aquawax FX offers a fresh re-interpretation of the original Aquawax letterforms and proportions, with a dynamic and flowing look that is sure to make your projects stand out.

The new sans-serif Franzi typeface family – as neutral as can be, but at the same time individual and striking. Its unmistakable character lies in the detail, with no effect pushing itself to the fore. As a wide-running typeface with a relatively large x-height, the typeface family is perfectly suited to small text sizes but, with its elegant details, it leaves nothing to be desired in display applications either. Originally designed with constructed, often rectangular elements, Franzi has gradually been rounded during the development process and is now less hard in order to guarantee optimal legibility. Franzi Variable is designed alongside the italic and the weight axes. The italics are softly and elegantly drawn, while the upright characters appear much more severe. The design appeal reveals itself in the two-storey ‘a’ – a tribute to legibility in body copy; however, for those who prefer the geometric in applications, an alternative single-storey ‘a’ is also available. All styles have small caps, superscript and subscript lowercase letters, lining, non-lining and small caps figures, fractions as well as several ligatures, alternative fonts, symbols and arrows. The Latin uppercase letters are also available as discreet swash variants. In addition to the extended Latin alphabet, the typeface family also includes the complete Greek, Cyrillic and International Phonetic Alphabet IPA. Franzi was created as a further development of an order to produce a sign for a therapy practice in Vienna’s Franz-Hochedlinger-Gasse – hence the name, which is more common as an abbreviation for Franziska than as a diminutive for the male name Franz: Franzi is therefore a hybrid typeface name which has female tendencies.

Dick Jensen (USA) designed Serpentine, is a contemporary-looking display font, for the Visual Graphics Corporation in 1972. With the rise of digital typesetting and desktop publishing, this typeface quickly became both popular and ubiquitous. This dynamic, wide, boxy design is identifiable via tiny triangular swellings at the stroke endings - what might be called semi-serifs. Serpentine is available in six different font styles: Light, Light Oblique, Medium, Medium Oblique, Bold, and Bold Oblique. Serpentine" is a greenish rock that sometimes resembles a serpent's skin, and is often used as a decorative stone in architecture. Though this font doesn't seem at all snaky or sinuous, it does have an architectural, stone-like solidity. The subtle, almost non-existent curves and semi-serifs keep it from being too stern or cold. Although the underlying strokes of each weight are similar, the six members of the Serpentine font family all present their own individual personalities. Serpentine Light lends itself well to text for onscreen displays, for instance, while the numbers from typeface's heavier weights are seen around the world on soccer jerseys! Additionally, the oblique styles convey a streamlined sense of speed, furthermore lending Serpentine well to sport and athletic applications (especially the faster, high-speed varieties). Because of its 1970s pedigree, Serpentine has come to be known as a genuine "retro" face. This makes the typeface even more appropriate for display usage, in applications such as logo design, magazine headlines, and party flyers. If you like Serpentine, check out the following similar fonts in the Linotype portfolio: Copperplate Gothic (similar serifs) Eurostile (similar width) Princetown (another "athletic" font) Insignia (similar "techno" feeling)"

Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use. The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. All share a solid monolinear design and a tall x-height that makes body text set in Eastman extremely readable on paper and on the screen. Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, cyrillic and greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms). The most impressive feature of all Eastman fonts remains the huge choice of alternate characters and stylistic sets that allows you to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. Don’t want to lose too much time with the glyphs palette? Use the Eastman Alternate weights, thought for display use and presenting a selection of some of the more eye catching & unusual letter shapes available for the family.

Offense is an unyielding rectangular slab-serif face designed with consistently balanced letterforms and a refined finish. It’s extremely angular geometric form commands attention in display settings, yet is also legible in short text blocks. Numerous alternate character sets allow room for customization, while the expanded ligatures push letter combinations to the limit. Stylistically, Offense’s almost crude, sharp-cornered construction is balanced by it’s sophisticated finish and attention to detail, often unrealized in similar faces of this genre. The upright weights are complimented by pairings of true italics, completely rebuilt, slightly narrower in width with modified letterforms, increasing their contrast and flow. Features include: Precision kerning Standard Ligatures set including 'f' ligatures (fi, fl, ff, fh, fj, ffl, ffi, ffj) Discretionary Ligatures set including (ft, rt, ae, oe, st, ft, ct, oc, oo, ry, AE, OE, AL, TH, HE, AK, AN, TT, HD, AM, AP, AR, NF, NE, NH, NL, NB, FL, ND, FE, AB, OB, OD, OF, OG, OH, OK, OL, OM, ON, OO, OP, OQ, OR, OU, AH, UE, UF, UB, UD, UH, UK, UL, UM, UN, UP, UR, UU, MP, XY, YX, KY, WY, VY, AF, FF, FI) Alternate characters (O, o, S, s, a, h circumflex, @, ®, ¶, $, &, _, and various ligature alternates) Case forms (shifts various punctuation marks up to a position that works better with all-capital sequences) Capital Spacing (globally adjusts inter-glyph spacing for all-capital text) Slashed zero Full set of numerators/denominators Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Lythmore This font is called Lythmore and is inspired by Lithos. Lithos was originally designed for Adobe by Carol Twombly in 1990, based it on the lettering from ancient Greek inscriptions. The Capitals are similar in feel and design, but is totally original and built from scratch. It is designed to be similar intentionally, but it is not a clone or rip off. Lithos is an example of a simple blocky san serif font style, with subtly concave sides, angled ends, and off centred curves. Lythmore is also an example of that same style. But is also different in places where I felt it could be improved. And it has a complete lower case set, which Lithos doesn't. I built Lythmore with 8 different weights. Lythmore can be very effective when used in advertising and general display work, but it can also be used for much more. Although it was never designed to be body copy, when used as such, it is still perfectly readable and adds its own version of sans serif style and flavour. I have included two versions of the Lythmore family. Lythmore A and Lythmore B. In the Lythmore A family, the lighter 4 weights all vary in weight in both the horizontal and vertical axis. The heavier 4 weights all vary in the horizontal axis only. In the Lythmore B family, the transition is even in both directions across the entire family. The result of this difference is that the A and B versions difference is most noticeable between the Regular and Medium weights. While the extreme ends of each family version are virtually identical.

The designer of ITC Medea , Silvio Napoleone said: “I've always had an interest in early letter shapes, particularly how they influenced modern typographic designs. While I was on vacation in Greece, I had a chance to see, first-hand, examples of early letterforms and typography. They really made an impression on me.” The idea of combining the ancient and the modern to create something new was the primary inspiration behind ITC Medea. ITC Medea is essentially a careful blending of the modern sans serif with the elegant forms of the uncial. At first glance, Medea appears to be constructed of geometric shapes. However, closer inspection reveals many calligraphic subtleties. Stroke terminals are flared slightly in characters like the 'e' and 'c.' The top curve of the 'd' is more pronounced than the bottom, and characters like the 'o' are elliptical rather than round. “I gravitated towards the simplicity and legibility of the uncial and half-uncial,” Napoleone recalls. “I thought it would make a great titling font, and I was surprised at how attractive ITC Medea looked in a body text.”

Crypto-typography - the passion for unknown, weird and unusual character shapes - is a disease commonly affecting type designers. Cosimo Lorenzo Pancini has celebrated it in this typeface family, aptly named Hagrid after the half-blood giant with a passion for cryptozoology described by R. K. Rowling in her Harry Potter books. Extreme optical corrections, calligraphic counter-spaces, inverted contrast, over-the-top overshoots: all the inventions that abound in vernacular and experimental typography have been lovingly collected in this mongrel sans serif family, carefully balancing quirky solutions and solid grotesque design. Hagrid is a typeface designed for editorial & display use, bringing dynamism to the printed and digital page thanks to its extreme contrast and unique details. It has been developed in a range of six display weights ranging from the monolinear and more traditional thin to the expressive heavy weight. For better readability in small sizes and on the web, a companion text family has been developed, with a slightly different selection of weights, wider metrics, and fine adjustments to keep the dynamic expressivity of the design without sacrificing legibility. This is evident in the design of italics: while the display italics sport a cursive feel with calligraphic terminals to lowercase letters, the text design is more restrained, with a more classical geometric grotesque slanted look. Given the crypto-typographer love for foreign specimens of letters, special care has been put into making Hagrid ready for multilingual projects, giving it an extended character sets covering over two hundred languages that use Latin, Cyrillic and Arabic alphabets and adding a selected range of OpenType features to handle alternate forms and stylistic sets.

Discover the complete Eastman type family: Eastman Grotesque and Eastman Condensed! Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use. The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. All share a solid monolinear design and a tall x-height that makes body text set in Eastman extremely readable on paper and on the screen. Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, cyrillic and greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms). The most impressive feature of all Eastman fonts remains the huge choice of alternate characters and stylistic sets that allows you to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. Don’t want to lose too much time with the glyphs palette? Use the Eastman Alternate weights, thought for display use and presenting a selection of some of the more eye catching & unusual letter shapes available for the family.

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.

TT Firs Neue useful links: Specimen | Graphic presentation | Customization options TT Firs Neue is reborn! We have rethought the font to introduce the next-generation typeface. After analyzing each contour and graphic element, we rebuilt the font, preserving its best features while making any necessary adjustments. We have created a flawless and modern sans serif using the new technical capabilities of the studio. TT Firs Neue is a Scandinavian sans serif that combines expressive graphic elements with the versatility of use. In the latest 2023 edition, the font's display elements have become even more attractive, while the overall font balance has also been improved. This is the result of the visual research we did before working on the update. Here is what has changed. The visual elements of the font are now logically coherent. We got rid of the ones that did not suit the font's concept and kept the most attractive ones. The changes affected letters with diagonal strokes "M, N, И", and figures "2, 3, 6, 9". All round characters' shapes have been standardized for all font styles. In the previous version, all glyphs looked different: more square or oval, depending on the font's weight. We made the shapes consistent for the font to feel more integral. Glyphs containing bowls have also changed. We have worked on the balance, altering the height and shape of the bowls. Like rounded ones, we aspired to make the glyphs more balanced for all font styles. The shapes of the letters "J, M, N, S, W, З, И" and Black font style characters have changed. The individuality of these glyphs was slightly different from the whole set, which became apparent in larger sizes. We have improved the shapes and made them more suitable for the font's style. Letters with diagonal strokes and triangular glyphs, such as "A, V, Y, D". We have brought the characters to a consistent logic in their shapes by refining the angles and weight of diagonals in different font styles. The glyphs' terminals follow the same logic in the new version. We have preserved and perfected the old shapes. Ligatures and stylistic sets have been updated entirely and expanded. We have researched Scandinavian languages and designed ligatures and diacritical sets that would definitely be useful for designers. We have redesigned diacritical marks, figures, and punctuation marks. Now all characters follow the same logic and contribute to a well-balanced impression of the font. The character set in each font style has been increased from 934 to 1719, and the number of OpenType features—from 24 to 40. The new font includes 23 font styles: 11 roman, 11 italic, and 1 variable font. The variable font has also become a significant technological advancement for TT Firs Neue. We retained a warm sentiment towards TT Firs Neue's previous success while redesigning the font and implementing substantial alterations. The 2023 font has been developed according to new technical standards that have become significantly higher in the past 5 years. TT Firs Neue is a font well-suited for a wide range of contexts. It can be used for headings, text fragments, visual merchandising and building decoration, and the web. The font is visually aesthetic on podcast and video covers and is an ideal choice for packaging design and brand identity. TT Firs Neue OpenType features: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, tnum, onum, lnum, pnum, case, dlig, liga, c2sc, smcp, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, ss13, ss14, ss15, ss16, ss17, ss18, ss19, ss20, calt. TT Firs Neue language support: English, Albanian, Basque, Catalan, Croatian, Czech, Danish, Dutch, Estonian, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Latvian, Lithuanian, Luxembourgish, Maltese, Moldavian (lat), Montenegrin (lat), Norwegian, Polish, Portuguese, Romanian, Serbian (lat), Slovak, Slovenian, Spanish, Swedish, Swiss German, Valencian, Azerbaijani, Kazakh (lat), Turkish, Uzbek (lat), Acehnese, Banjar, Betawi, Bislama, Boholano, Cebuano, Chamorro, Fijian, Filipino, Hiri Motu, Ilocano, Indonesian, Javanese, Khasi, Malay, Marshallese, Minangkabau, Nauruan, Nias, Palauan, Rohingya, Salar, Samoan, Sasak, Sundanese, Tagalog, Tahitian, Tetum, Tok Pisin, Tongan, Uyghur, Afar, Asu, Aymara, Bemba, Bena, Chichewa, Chiga, Embu, Gikuyu, Gusii, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Kirundi, Kongo, Luba-Kasai, Luganda, Luo, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Mauritian Creole, Meru, Morisyen, Ndebele, Nyankole, Oromo, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sena, Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Swahili, Swazi, Taita, Teso, Tsonga, Tswana, Vunjo, Wolof, Xhosa, Zulu, Ganda, Maori, Alsatian, Aragonese, Arumanian, Asturian, Belarusian (lat), Bosnian (lat), Breton, Bulgarian (lat), Colognian, Cornish, Corsican, Esperanto, Faroese, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Interlingua, Judaeo-Spanish, Karaim (lat), Kashubian, Ladin, Leonese, Manx, Occitan, Rheto-Romance, Romansh, Scots, Silesian, Sorbian, Vastese, Volapük, Võro, Walloon, Walser, Welsh, Karakalpak (lat), Kurdish (lat), Talysh (lat), Tsakhur (Azerbaijan), Turkmen (lat), Zaza, Aleut (lat), Cree, Haitian Creole, Hawaiian, Innu-aimun, Lakota, Karachay-Balkar (lat), Karelian, Livvi-Karelian, Ludic, Tatar, Vepsian, Guarani, Nahuatl, Quechua, Russian, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Macedonian, Serbian (cyr), Ukrainian, Kazakh (cyr), Kirghiz, Tadzhik, Turkmen (cyr), Uzbek (cyr), Lezgian, Abazin, Agul, Archi, Avar, Dargwa, Ingush, Kabardian, Kabardino-Cherkess, Karachay-Balkar (cyr), Khvarshi, Kumyk, Lak, Nogai, Rutul, Tabasaran, Tsakhur, Buryat, Komi-Permyak, Komi-Zyrian, Siberian Tatar, Tofalar, Touva, Bashkir, Chechen (cyr), Chuvash, Erzya, Kryashen Tatar, Mordvin-moksha, Tatar Volgaic, Udmurt, Uighur, Rusyn, Montenegrin (cyr), Romani (cyr), Dungan, Karakalpak (cyr), Shughni, Mongolian, Adyghe, Kalmyk.

RAN Reformed Typeface for Beginners by Georg Salden - 
a headstrong and courageous approach to an improved handling of handwriting. Diverse and sometimes irreconcilable theories exist about how beginners are supposed to learn writing and reading. This has led to fierce discussions among experts already. We don’t want to pour more oil on the fire, but hope to create a new awareness for this topic, which is important to everyone of us. For beginners the combination of single characters (sounds) to whole words is essential during the acquirement of reading and writing. In this process they develop the skill to recall entire terms from memory. Therefore, after current practice, every word shall be written in a single stroke without lifting the pen in between. Georg Salden contradicts this postulate and warns, that coercively holding the pen down within a word can easily lead to exaggerated loop formations and a general meandering of the written text. The intellectual process in connecting single sounds to words while writing would happen anyway and the prohibition to lift the pen would often lead to tensions. 
To still support the necessary connections in general and to simplify the connecting, he teaches to write all round letters like a, e, g, o with inclusion of the connecting stroke, so that the spacing and combining with the next character arise by themselves. By settling the stroke at certain points and with a clear and logical writing method, a conscious and careful contact with the various strokes arises. All this automatically leads, together with a certain deceleration, to an increase of beauty and readability in the handwriting. 
The repeatedly discussed topic »connected or unconnected« appears to be solved in the most comfortable way as, depending on the particular character combination, both solutions are possible.

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though; in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from ultralight to heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic.

CAPITALIZED, geometric, bold and round. If the typo­grapher sees a font like that, it's enough to make his toes curl. But sometimes it just has to be that way. Geometrically constructed fonts do not necessarily have to be pointed and angular; It also works consistently around. And if I say it consistently, then in this case, that's done consistently. The basis for the BOULE is the circle. The letters are drawn with constant line width, the “corners“ and endings all have the same radius, the lines are all the same thickness. The BOULE consists only of capitals. There is only one difference in the use of uppercase and lowercase letters: in the uppercase letters, the round letters are circular, while the lowercase letters are narrow. The character set of the Boule contains all letters and accents to support the Western, Northern, Central and Eastern European languages with Latin alphabet. The BOULE is not only very fat, it also runs very tight; that is, the glyphs are very close to each other. To avoid "holes" due to unfortunate letter combinations, the BOULE contains ligatures for FT, ST, TT and TZ. There are also other versions of the font: BOULE Brillant on the one hand. In this version, simple highlights simulate a light incidence from the top right. These light edges give the font a decorative effect that makes it easy to think of wet sausages or balloons in some shapes. And finally the BOULE Contour. As the name implies, it is the outer contour of the letters, combined with a shadow at the bottom left. The name BOULE (French for ball) says it already: this font is globated. Therefore, it is also very suitable for all three-dimensional alienation effects. With simple light and shadow you can achieve a very convincing 3D effect with little effort.

Are you ready to infuse some laid-back vibes into your design game? Look no further than Bleeker! This hand-lettered typeface is like a breath of fresh air, with casual letterforms and relaxed line-treatment that make your message feel effortlessly conversational. But don’t let the carefree nature of Bleeker fool you—this font is also smart and sophisticated. Thanks to custom letter pairings, it looks totally natural in OpenType-savvy applications. And let’s be honest—who doesn’t want to look natural and effortless while still being totally cool? So if you’re yearning for a typeface that feels like a sunny day and a good conversation rolled into one, give Bleeker a try. It’s the perfect blend of whimsy and sincerity that your designs have been craving. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The Bullpen font is not for the faint-hearted. It embodies the spirit of ruggedness and durability with its mechanical curves and harsh serifs. This audaciously sturdy typeface is not afraid to make a bold statement, and neither should you. When you need to convey authority and unapologetic confidence, Bullpen is the font you can rely on. Its seven weights and italics provide a range of options for emphasis and clarity, while the unique 3D style adds a touch of depth and dimension to your message. Whether you’re creating marketing materials, branding assets, or any other type of communication, Bullpen will help you stand out from the crowd. With its bold presence and unmistakable style, this font demands attention and respect. So, if you’re ready to make a statement and leave a lasting impression, choose Bullpen and let its toughness do the talking. 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.

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

Caroni is a cute handmade typeface, which was originally created in 2018 as a free font. It has a simple and clean look, and works great for longer texts. Caroni has already been used in numerous children's books, so now it was time to extend Caroni's look, and add more styles. The Caroni Family at a glance If you like Caroni, you will love the Caroni font family! Caroni now comes in bold and italic, and it has nine awesome siblings: Avenue (all dressed up with stylish serif strokes) Lime (the skinny version of Caroni) Avenue Lime (the skinny version of Caroni Avenue) Tabanca (dark and heavy, this is Caroni's brush version) Doubles (enhanced with fine lines) Fete (with fun little dots) Coconut (Caroni's outline style) Soursop (Outline with dots, a great display font) Carnival (a quirky and fun all-caps version) Caroni was created while staying with a friend in Trinidad, hence the names :) Languages supported: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Cebuano, Chiga, Colognian, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Ido, Inari Sami, Indonesian, Interlingua, Irish, Italian, Javanese, Jju, Jola-Fonyi, Kabuverdianu, Kalenjin, Kinyarwanda, Kurdish, Latvian, Lithuanian, Lojban, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Morisyen, North Ndebele, Northern Sami, Northern Sotho, Norwegian Bokmål, Norwegian Nynorsk, Nyanja, Nyankole, Occitan, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sardinian, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, South Ndebele, Southern Sotho, Spanish, Swahili, Swati, Swedish, Swiss German, Taita, Taroko, Teso, Tsonga, Tswana, Turkish, Turkmen, Upper Sorbian, Vunjo, Walloon, Welsh, Western Frisian, Wolof, Xhosa, Zulu

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though; in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from ultralight to heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic.

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

Secession is a very readable typeface, suitable for short blocks of text. If you have grown weary of the standard sans-serif faces one sees all the time, you may want to use Secession as a fresh and distinctive substitute. Like Kunstler Grotesk, Secession is one of a number of typeface designs that attempts to reconcile Germany’s blackletter tradition with the international familiarity of roman letterforms in a simple, robust design suitable for meeting the demands of a modern industrial economy, while rejecting the extraneous ornamentation of the departing Victorian era. Unlike Kunstler Grotesk, Secession was designed with a lower case. Secession Bold was originally jointly released as Halbfette Secession by Bauer & Company of Stuttgart and H. Berthold AG of Berlin around 1898. The rest of the family was designed by HiH. The basic family of four: Text, Oblique, Bold and BoldOblique are available in two versions: one set with the standard contemporary lining or ranging numerals for spreadsheets and tables and one set of old-style figures (with OSF in font name) for use with text. The two versions of the basic family, Secession and Secession OSF were released in July 2006. Cousins include ExtraBold, SCOSF Text, and two multi-lingual versions of the text weight. Secession ML includes the Latin Extended-A character set in unicode format plus 17 ligatures and a few strays. Secession GreekML has all the characters of the ML version plus the unicode Greek set and 17 Greek ligatures. Release of the cousins took place in August and October of 2006. Click on BUYING CHOICES. Click on GLYPHS and use drop-down menus and slider to see the all the glyphs for the various fonts. Similar: Birmingham (Ref 100 Ornamental Alphabets, Solo); Spartana (Art Nouveau Display Alphabets, Solo)

Looking for a typeface that embodies both grit and grandeur? Look no further than Lerku. This crispy font takes its inspiration from the timeless classic Bold Antique by Morris Fuller Benton, but it adds a grungy edge that’s perfect for today’s contemporary designs. With letter pair ligatures that help break up the monotony of repeating characters, Lerku is perfect for OpenType-savvy applications that demand a bit of variation. Whether you’re designing a website, a logo, or a marketing campaign, Lerku will give your message a bold, authoritative voice that’s sure to make an impact. So if you want to add a touch of vintage charm to your design, while still keeping it fresh and modern, Lerku is the perfect choice. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The dearJoe series of fonts came to life around the year 1999, when I created dearJoe 1, which was a first (and half-assed) attempt to convert my own handwriting into a working font. Being able to type in my own hand had always been a childhood fantasy, and even though I only partly understood the software, a working font was generated and I decided to put it on the internet for people to use in their own personal projects. Which they did: at this moment the dearJoe 1 font has been downloaded millions of times and can be found on Vietnamese riksjas, Tasmanian gyms and chocolate stores on 5th Avenue for instance. The font is not something I am particularly proud of, but it started me of in building what's now the JOEBOB graphics foundry. Inbetween creating other fonts, the dearJoe series has become a theme I revisit every once in a while, trying to create an update on how my handwriting has evolved, along with my abilities in creating fonts that mimic actual handwriting. In the last decade or so I started implementing ligatures and alternate characters, which helped a lot in coming to a result that can almost pass for actual handwriting. The 2019 dearJoe 7 font is the latest addition to this font family. All characters were scanned from handwritten notes, cherrypicking the characters and letter-combinations I liked best. They were written with a Lamy M66 B pen and only minor adjustments were made to the original scans, leaving most little flaws and rough edges as they were for a convincing ball-point on paper result. The font comes with over 150 ligatures, making sure the font has a variated and credible overall look and feel.

Drawn by George Ryan and named after Robert Givens, the co-founder and first president of Monotype Imaging, the Givens Antiqua™ typeface speaks with elegance and subtle authority. The design's open proportions, generous x-height and soft serifs lend Givens Antiqua a gracious quality that invites reading. I didn't work from any single design model," Ryan recalls. "The face grew out of my experimenting with several characters from a hand-lettered headline in a magazine. I worked on the shapes and forms for some time before I put the drawings in a drawer." At that point Ryan had finished the basic alphabet in two weights, but had not yet tackled the italics. A new project came along that demanded his full attention, and it was two years before he revisited the drawings. He liked what he saw and decided to finish the job. "The italics were the most problematic designs in the family," says Ryan, "but once I had their basic shapes and proportions, the rest was basically a production project." Another year of sketching, testing, editing and reworking characters ensued before Givens Antiqua was ready for release. The result is a four-weight family of roman designs and small caps, with complementary italics for the lightest three weights and a suite of swash caps for the italic designs. Givens Antiqua and Givens Antiqua Light show a modest stroke weight stress and a light, even text color. Givens Antiqua Bold is an effective emphasizer for text copy and an authoritative communicator at display sizes. The Black weight performs best at large sizes and makes a powerful statement without shouting, while the italic swash capitals possess enough vitality to serve as standalone initial letters."

Introducing "Riseria" – a bold and avant-garde typeface that seamlessly blends the raw power of brutalism metal with the intricate elegance of blackletter, enhanced by haunting thorn decorations. This font is a striking testament to the fusion of divergent design elements, resulting in a visually arresting and unique typographic experience. With 839 meticulously crafted characters, Riseria stands as a versatile typeface that transcends conventional boundaries. Its design exudes an industrial and unapologetically bold aesthetic, drawing inspiration from the robustness of brutalist architecture and the mystique of blackletter scripts. The fusion of these elements creates a harmonious balance between strength and intricacy, making Riseria an ideal choice for projects that demand a powerful and visually captivating presence. The font boasts a comprehensive set of ligatures, allowing characters to seamlessly merge and create a fluid and organic appearance. Alternatives provide additional flexibility, enabling users to experiment with different stylistic variations for a truly customized look. Riseria's multilingual support ensures its adaptability across a wide range of languages, making it a globally accessible and inclusive typographic tool. One of the most distinctive features of Riseria is its spine-chilling thorn decorations. These frightening adornments add an element of darkness and mystique to the font, elevating it beyond mere letters and transforming it into a visceral and evocative design element. The thorns, intricately intertwined with the characters, create an otherworldly aura that is both mesmerizing and unsettling. In essence, Riseria is not just a font – it's an artistic statement that pushes the boundaries of conventional typography. Whether used in branding, album covers, posters, or other design projects, Riseria is sure to leave an indelible mark with its brutalist metal aesthetics, blackletter charm, and spine-tingling thorn decorations.

Night Train is a new font built from the ground up; while Night Train may resemble an old classic wood type there are a few lines that make this font a little more modern setting it apart from other wood type revivals. If you're a railroad enthusiast you're sure to enjoy the steam locomotive graphic located on the less than and greater than keys on all versions of this font, due to the fine detail of this train illustration the best printing results will be at 600dpi or higher on a laser printer. An alternate K and R are within the Night Train fonts, for Win Type1 these alternates are on the left and right bracket keys, for Truetype and OpenType you may access the alternates by using the Character Map in Windows or Adobe Illustrator, for OpenType you may also find them on the stylistic alternates page of the glyph map in Illustrator. There's something new with Night Train that the sign making people will love, for the first time FontMesa is pleased to offer a block shadowed version in four directions. One fill font is all that is needed for all four open faced fonts, you'll need an application that works in layers in order to use the fill font with the open faced fonts, simply place the fill font in its own layer then move it behind one of the open faced fonts of Night Train. The Night Train name has been on my list to use as a font name for a few years, a friend from years ago used to sail his boat in the Mackinac race from Chicago to Mackinac Island, the name of that boat was the Night Train. Watching the 2010 Olympic four man U.S. bobsled team win gold with their sled also called Night Train has inspired me to complete this font.

• Composed of 3 sets: Normal, Compact, Expanded. • Consisting of 3 distinct optical sizes: Display and Text, Expanded. • Comprises 102 fonts • Support for 28 languages: Afrikaans Albanian Catalan Croatian Czech Danish Dutch English Estonian Finnish French German Hungarian Icelandic Italian Latvian Lithuanian Maltese Norwegian Polish Portugese Romanian SlovakSlovenian Spanisch Swedish Turkish Zulu Swedish Turkish Zulu • Contains OpenType features with alternates or substitutes • Tabular Figures • Ordinal numbers • 74 icons (It will keep updating.) • 72 graphic patterns for designer (It will keep updating.) • 28 brand symbols (It will keep updating.) • 27 arrows glyphs • 0-99 line circled glyphs • 0-99 solid circled glyphs • A-Z line circled glyphs • A-Z solid circled glyphs Halenoir is a modern sans serif with a geometric touch that support for 28 languages. It comes in 10 weights, 102 uprights and its matching outlines, Obliques, pattern, so you can use them to your heart’s content, in each of which there are more than 801+ glyphs. Halenoir is composed of 3 types: Original, Compact, Expanded, and each is designed to be suitable for mobile, graphic, and editorial design. Halenoir comprises 102 fonts, consisting of three distinct optical sizes: Display and Text. Each one has been carefully tailored to the demands of its size. The larger Display versions are drawn to show off the subtlety of Halenoir and spaced with headlines in mind, while the Text sizes focus on legibility, using robust strokes and comfortably loose spaces. In the typeface, each weight includes extended language support, fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for branding, web, signage, corporate as well as for editorial design. documents and folders, mobile interface. Useful links: Gravitica PDF Type Guide and Specimen (You can know how to use icons and arrows, other glyphs.)

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