Fazeta Sans is a perfect companion to serif typeface Fazeta. Two light weights were added, so the complete typeface consist of 14 fonts (7 weights + matching italics). The fine gradation lets you choose perfect weight for any type of project. Every font have 1140 glyphs – just like the serif version and contains the same features, so use and combining of whole typeface is very comfortable. Also fixed kerning allows better comfort for eyes by reading and shortens the length of the text. I tried to preserve sharp and cold impression from serif version, but some straight lines had to be curved due to the natural limitation of sans typefaces (for example the upper arch of “f” is shaped more smooth). However it keeps extremely open form. A little playfulness was left at the end of letters “k, K, and R”, but if you want, this can be eliminated by using a rigorous SS01 feature. Serifs were here transformed into a small yaw from main stroke and so enlive the monotony of sans kind of types. Also slight cutting the top of the letters helping to surprisingly vivid final impression. Fazeta Sans is therefore suitable for wide range of type sizes – from small marginalies to huge poster sizes. To see more please check the PDF specimen.

SK Goldilocks is a grotesque font family. It is designed to meet all your typographic needs in your daily and professional life. You can use it in many areas from the title to the body texts, as well as in media such as logos, posters and packaging. SK Goldilocks takes its name from the "Goldilocks Zone" given to the habitable zone of the solar system and aims to open a new field in design for you. Thanks to the 14 different fonts and 6720 glyphs it contains, it contains many typographic materials that you will need. In this way, you can easily use it in your designs or in your daily life. You can visit my Behance account to examine the project images in more detail.

Hello, i'm Nakilla, a contrast, yet beautiful display serif font. In some vocal both in uppercase and lowercase, my designer made some tweak alternate to give me modern feeling, along with ligature, it would make your next project outstanding. You can see me in action, kindly swipe my preview image. I can be headline, i can be body, my Uppercase lookin cool right ? Modern, classic and minimalist. I'm ready for your next project, buy me now. Peace out!, Nakilla.

The first Clarendon was introduced in 1845 by R. Besley & Co, The Fan Street Foundry, as a general purpose bold for use in conjunction with other faces in works such as dictionaries. In some respects, Clarendon can be regarded as a refined version of the Egyptian style and as such can be used for text settings, although headline and display work is more usual.

The first Clarendon was introduced in 1845 by R. Besley & Co, The Fan Street Foundry, as a general purpose bold for use in conjunction with other faces in works such as dictionaries. In some respects, Clarendon can be regarded as a refined version of the Egyptian style and as such can be used for text settings, although headline and display work is more usual.

The first Clarendon was introduced in 1845 by R. Besley & Co, The Fan Street Foundry, as a general purpose bold for use in conjunction with other faces in works such as dictionaries. In some respects, Clarendon can be regarded as a refined version of the Egyptian style and as such can be used for text settings, although headline and display work is more usual.

Quarca's masculine power runs strong across the page with bold self-assurance and a raw energy that courses through its thick veins. Don't think the continuous, smooth geometry of this semi-modular face is captively chained to the grid, though. Quarca has been cautiously optimized to engage the reader's eye. Achieving an attractive balance to its sturdy design, the open forms of this "rounded square" geometric sans -together with a tall x-height- make the font legible even when using the compact widths. This high-impact typeface definitely doesn't sacrifice versatility for style. These compact widths, with their raw heart and strength, are perfect for callouts, while the extended widths provide you with the platform for a punchy and extremely efficient headline. The font has a thinner weight and transcends to an intense bold. The face's geometric or technological construction also tends to make it right at home on the web. The family consists of 36 fonts -six weights plus italics. Where Quarca truly stands out, though, is its wide number of OpenType typographic choices and optional glyphs, allowing you to design your piece with a personal, one-of-a-kind variant touch. These variations consist of Experimental Capitals, Angled Capital Terminals, and "Future Stencil". In all, you can find more than one hundred of these alternate glyphs. Quarca is well-suited for anything you are able to throw at it. Devised for today's multi-disciplined designer, this clear and infinitely versatile family provides tremendous value to your toolbox.

Libel Suit is a slim, efficient sans-serif typeface. This compact headliner has a unique industrial look with distinct post-modern curves. Using your application’s “stylistic alternates” functionality," you can access a more conventional “g” and “y.” OpenType numerical ordinals and fractions are included. Libel Suit is available in six weights and italics. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Bodoni Terracina is a legible, fun-formal script face, with lots of curls. Sometimes script faces are hard to read. Sometimes being formal means that there’s no personality and there’s no fun. Enter Terracina: one of the masterpieces of font design. Some of the most personable italics ever carved. Includes powerful new features for: • Dates • Pricings • Addresses Not is only Terracina formal but fun, it’s also fun to use! In a program like Adobe Indesign or Illustrator, just highlight a word and see lots of fun options. Bodoni himself etched these symbols, and his fun-loving personality shines through. As a semi-script, it can go together with many script fonts, but it is more readable. When you need something equal parts elegant and whimsical, Terracina strikes a perfect balance to let the fun shine through, such as for holiday designs or fairytales. Terracina is a subheads font, but Bodoni also used it for paragraphs. So Terracina works well doing subhead paragraphs, especially when contrasting with the mood of the first font. And because of the swash variety, it works well for setting German and other European languages. CAL Bodoni Terracina is a member of our Origins Series. Origin Fonts are designed to be true to the original designer's intentions and fonts. Our Bodoni origin fonts ARE Bodoni fonts, not imitations or interpretations. They were drawn by Bodoni, our team just expanded it for modern use. For Terracina, Bodoni's original weight is the "Quasi-Lite" option, all other weights have been meticulously matched by the CAL Origins Team.

Located in the Valencian Community, Spain, Manises is very famous for its pottery. In the Middle Ages and the Renaissance, Manises was the most important production center for Spanish-Moresca ceramics, which was exported throughout Europe. At the beginning of the 16th century, Manises tiles were very commercially successful, especially of the heraldic type. Much appreciated by the Aragonese crown, Manises ceramics was also exported to France, Italy, and especially to Naples. As a big fan of Paterna and Manises ceramics, Naples influenced other Italian courts. Calixto III and Alejandro VI continuously commissioned Valencian pieces and tiles for the halls of the Vatican. The export also extended to Sicily, Venice, Turkey, Cyprus and even Flanders and the Baltic countries. The palaces of all the courts of Europe were enriched with this art. Many painters reproduced it in his paintings. It can be seen in the work of Hubert and Jan Van Eyck, and in the central panel of a triptych by Hugo Van der Goes (Uffizi Gallery, Florence). In this city there are also some frescoes by Domenico Ghirlandaio in which the Arabic-Valencian earthenware appears. Manises font is inspired by a text written on a 16th century tile, but adapting it to our times and giving it a very modern air. It is characterised by being able to combine uppercase and lowercase letters in a conventional manner, or use only capitals, or only lowercase letters, or, a random combination of both. It comes with an extra of many ligatures, stylistic alternates, and a set of very useful catchwords, to give more modernity to your text. This OpenType features may only be accessible via OpenType-aware applications, or the Character Map to view and copy any of the extra characters to paste into your favourite text editor/app. Manises looks lovely on wedding invitations, greeting cards, logos, posters, labels, t-shirt design, logos, children's material, in ink or water-colour based designs, fashion, magazines, food packaging and menus, book covers and whatever your imagination holds!

Martin Wilke’s underrated yet influential deco classic from 1932 has both feet firmly planted in the high traditions of Western European calligraphy while carefully and subtly introducing some traits from the sweeping geometric/minimalist vision of the time. In a way, it was one of the representatives of the European anti-type typefaces of that era, when print media was searching for the elusive aesthetic balance between humanism and geometry. This typeface enjoyed some popularity in Germany for a few years, and went on to influence further type designs in Holland and Italy. After the second World War, the black hole that swallowed a big chunk of Europe’s print culture, new influences and technologies overtook the scene, and selective historical emphasis ensued, highlighting some of the era’s designs and overlooking others. Further selective picking in the digital era all but buried Wilke’s body of work - unfairly so, because he was just as important in German type history as Bernhard, Post, Schneidler, Tiemann and Trump. The original metal Wilke Kursiv came in one weight. This digital version goes a long way in expanding on that original offering. Now Wilke’s masterpiece comes in three weights, and with a full Pro treatment including swash caps, small capitals, five types of figures, automatic fractions, and plenty of other OpenType niceties. Each of the Wilke Kursiv Pro fonts comes with over 700 characters, and contains support for most Latin-based languages. Also available are three non-Pro fonts in each weight.

Introducing Mufferaw—a font that embodies the simple and endearing nature of the Ottawa Valley design. With its woodsy style, Mufferaw is a font that’s sure to charm and delight you. Its well-defined but expressive contours give it a unique personality that’s hard to resist. Mufferaw comes in two different weights and three widths, along with italics for added versatility. And if you’re looking to add a little extra depth to your design, be sure to check out the outline and 3D variations. Whether you’re designing a poster for a local event, a comic book, or anything in between, Mufferaw is the perfect font to add a touch of warmth and character to your work. So why not give it a try and see for yourself just how charming and uncomplicated this font can be? 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.

Haboro is a powerful workhorse. It’s a neoclassical font developed for numerous uses, ranging from editorial and corporate to web pages and apps. This new face from insigne Design takes a modern twist on the high-contrast typeface genre known as the Didone. Recognized for their ability to convey clarity, the geometric simplification of the Didone genre adds a level-headed rationality to whichever work it’s applied. Didones are used to lend style and sophistication to a wide number of applications—everything from style or cosmetic labels to annual reports. With its unique take on this classic genre, Haboro—with its slight wedge-shaped serifs and unique terminals—is still defined by elegance, tradition and timelessness. Even more to its versatility, this multi-purpose text face features whimsical terminals, which liven up even the most serious texts. If you desire, you can also opt for the more usual ball terminals by activating OpenType alternates. The Haboro family consists of seven weights from a Thin to a Black along with matching italics. The contrast from the letters’ thick strokes and thin strokes draws the eye to your design, making Haboro a powerful visual tool for communicating your message. The typeface also contains numerous ligatures and alternates. Choose between serif variants such as ball terminals or standard serifs by utilizing OpenType alternates. We recommend using the default contextual alternates and discretionary ligatures in order to benefit from all members of this fantastic font family. In addition, Haboro has a sizable set of option glyphs and numerous other OpenType variables to give your text the unique touches it needs. Haboro has all of the attributes you need to undertake your next project. Use its modified elegance to shape and mold your next design, whether a web site, app, branding package, or magazine. You’ll find there’s no job Haboro can’t take on.

Introducing Gnuolane—the bold and compact display typeface that speaks volumes with its unique personality. Drawing inspiration from early twentieth-century grotesques and the no-nonsense characteristics of the 1960s, Gnuolane packs a punch with its distinctive and eye-catching design. The power of Gnuolane lies in its ability to convey your message with style and flair. With five weights and italics to choose from, you can choose the perfect combination to suit your needs. Whether you’re creating bold headlines or impactful titles, Gnuolane has the versatility to make a statement in any design. For added impact, check out Gnuolane Jump and Gnuolane Stencil. These variations take the unique personality of Gnuolane to the next level, with even more opportunities to create attention-grabbing designs. Don’t settle for ordinary typography. Choose Gnuolane and let your designs stand out from the crowd. 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.

Introducing Naked Power, a stunning sans-serif typeface inspired by the iconic geometric fonts of the early 1900s. In a world where minimalism reigns supreme, Naked Power brings a much-needed touch of retro charm to the modern design landscape. With its clean lines and distinctive shapes, Naked Power adds a unique personality and character to any project. Whether you’re creating a logo, designing a website, or crafting a poster, this font is sure to make a lasting impression. Available in eight weights, Naked Power offers incredible versatility and flexibility. From delicate lightweights to bold and powerful heavyweights, this font has everything you need to make a statement. And with its appealing italics, you can add even more emphasis and style to your work. Don’t settle for ordinary design. Bring your projects to life with Naked Power, the retro-inspired typeface that’s sure to turn heads and capture hearts. 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.

Introducing Xenu—the technical typeface of the future, designed for those who demand precision and efficiency in their communication. Inspired by industrial classics like DIN, Xenu exudes a cold, business-like demeanor that will immediately convey a sense of technical prowess and sophistication. Crafted with a unique blend of traditional scientific letterforms and contemporary aesthetics, Xenu’s impassive letterforms are a perfect representation of the future of industrial design. Its sleek lines and rigid structure make it a perfect choice for any project that requires a technical edge. Whether you’re designing a user manual, technical guide, or an engineering report, Xenu’s four weights and italics will instill your message with mechanical confidence and technological elegance. Its technical look and feel are perfect for businesses that want to project a cutting-edge image and convey a sense of precision. So why settle for a mediocre typeface when you can have Xenu—the ultimate expression of technical perfection? Choose Xenu and experience the future of technical communication. 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 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.

Jan Tschichold designed Sabon in 1964, and it was produced jointly by three foundries: D. Stempel AG, Linotype and Monotype. This was in response to a request from German master printers to make a font family that was the same design for the three metal type technologies of the time: foundry type for hand composition, linecasting, and single-type machine composition. Tschichold turned to the sixteenth century for inspiration, and the story has a complicated family thread that connects his Sabon design to the Garamond lineage. Jakob Sabon, who the type is named for, was a student of the great French punchcutter Claude Garamond. He completed a set of his teacher's punches after Garamond's death in 1561. Sabon became owner of a German foundry when he married the granddaughter of the Frankfurt printer, Christian Egenolff. Sabon died in 1580, and his widow married Konrad Berner, who took over the foundry. Tschichold loosely based his design on types from the 1592 specimen sheet issued by the Egenolff-Berner foundry: a 14-point roman attributed to Claude Garamond, and an italic attributed to Robert Granjon. Sabon was the typeface name chosen for this twentieth century revival and joint venture in production; this name avoided confusion with other fonts connected with the names of Garamond and Granjon. Classic, elegant, and extremely legible, Sabon is one of the most beautiful Garamond variations. Always a good choice for book typography, the Sabon family is also particularly good for text and headlines in magazines, advertisements, documentation, business reports, corporate design, multimedia, and correspondence. Sabon combines well with: Sans serif fonts such as Frutiger, Syntax. Slab serif fonts such as PMN Caecilia, Clairvaux. Fun fonts such as Grafilone, Animalia, Araby Rafique. See also the new revised version Sabon Next from the Platinum Collection."

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.

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.

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.

Now is a great time to dust off your old motor scooter and take a ride along the Italian Riviera. Let’s head to the flower city of San Remo, Italy - the namesake for this versatile, 1950s style script. Try San Remo on your next brochure or flyer project. You may want to consider using it to create a special logo or icon for your personal stationery. It’s perfect for any job that requires linked or connected letters. And for your convenience, this dashing design sports a variety of alternate characters plus lining and old style figures. San Remo Casual is also available as an OpenType font. It contains lining and oldstyle figures, prebuilt fractions, stylistic alternates, and a wide assortment of f-ligatures, plus more. These advanced features currently work in Adobe Creative Suite InDesign and Illustrator. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades. Ciao!

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Minimal" because of the minimal decoration and simplistic design. The first "Alef" has a "hamzit wasel", this indicates that the name can be pronounced both as "AR-RAHMAAN" or "R-RAHMAN" (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). This calligraphy is not only minimal in its design but easy to read, very few letters overlaps and the decorative symbols are at minimum. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He & Saad". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran. Here is a link to all the extra files you will need: https://drive.google.com/drive/folders/1Xj2Q8hhmfKD7stY6RILhKPiPfePpI9U4?usp=sharing ---------------------------------------------------------------------------------------------------------------------------

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Subhanahu Wa Ta'ala" because we have added "Subhanahu Wa Ta'ala" to each and every name. The first "Alef" has a "hamzit wasel", this indicates that the name can be pronounced both as "AR-RAHMAAN" or "R-RAHMAN" (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). The calligraphy is rectangular shaped, and the "fatha" is big and covers almost the entire name, in most of the names. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Ta, Kaf & Saad". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran.

The Novera family is a sharp geometric sans in ten weights plus matching italics, available in two versions – Modern and Classic. It has a contemporary, approachable and multifunctional yet characteristic design, that comes with an extensive glyphs set of 1000+ glyphs per font, meeting all typographic demands. The Design Vertical terminals, circular shapes and angular apexes – Novera truely breathes geometry! But the concept goes beyond the application of rational geometry. The intension was to create a highly legible family suitable for every day usage inspired by the work of Paul Renner, Eric Gill or Jakob Erbar, combining the geometric with the human and the functional with the unconventional. Although Novera is inspired by the past, its appearance is unmistakingly modern. Modern vs Classic Novera is available in two versions - Modern and Classic - born from the same source file but with different characters set as default. This creates subtle but effective distinctions such as the double-storey a (Novera Modern) which is optimized for legibility in longer text paragraphs, as opposed to the single-storey a (Novera Classic) which allows a purely geometric appearance. Another distinguishing feature are the ascenders on Novera Mondern, which extend above the cap height for an elegant presence, compared to the ascenders on Novera Classic, ending at the cap height, for a compact and helvetica-flavored look. Novera Modern was intended for usage in body copy, whereas Novera Classic was planned for headlines, short paragraphs or logos, but both versions can be used vice versa too, of course. Alternate Characters To maintain neutrality and a modern appearance, the standard character set largely dispenses with idiosyncratic forms. This is in contrast to the alternative forms with the gill-like lowercase letters g and t as well as a traditional shape of S and the German ligature t/z, which traces back to old German spellings. Also inspired by German poster designs from the early 20th century are the elongated i-dots and dieresis-dots that can create eye-catchers in headlines or logos. By the way, both versions, Novera Modern and Classic, can be created via stylistic set 1, 17 and 18. Opentype Features and Symbols The family comes with many opentype features to support modern typesetting. This includes ligatures, different number sets or alternative shapes for texts set in all caps. If you like arrows and other shapes, you will love Novera! The family has a built-in extensive symbols-set including 48 different arrows and various geometric shapes or icons. Weights With its 40 styles and 1000+ glyphs per font, the Novera family covers all thinkable design scenarios from branding to web, app or editorial usage. It blends in perfectly in text heavy paragraphs with its mid-weights like Light, Regular, Medium or Bold or stands out like a monument in headlines and posters with its extreme weights like Thin, ExtraLight, Black or Ultra. Testfonts If you like to test the fonts before buying the full version, please follow the link below. Please note, all test fonts are available for evaluation purposes only and contain a limited character set! A commercial license for the full version must be purchased separately. Please send a mail to contact@renebieder.com for more information. Download the test fonts here: https://www.renebieder.com/test-fonts

To design a text typeface "at the top with, at the bottom without" serifs was an idea which crossed my mind at the end of the sixties. I started from the fact that what one reads in the Latin alphabet is mainly the upper half of the letters, where good distinguishableness of the individual signs, and therefore, also good legibility, is aided by serifs. The first tests of the design, by which I checked up whether the basic principle could be used also for the then current technology of setting - for double-sign matrices -, were carried out in 1970. During the first half of the seventies I created first the basic design, then also the slanted Roman and the medium types. These drawings were not very successful. My greatest concern during this initial phase was the upper case A. I had to design it in such a way that the basic principle should be adhered to and the new alphabet, at the same time, should not look too complicated. The necessary prerequisite for a design of a new alphabet for double-sign matrices, i.e. to draw each letter of all the three fonts to the same width, did not agree with this typeface. What came to the greatest harm were the two styles used for emphasis: the italics even more than the medium type. That is why I fundamentally remodelled the basic design in 1980. In the course of this work I tried to forget about the previous technological limitations and to respect only the requirements then placed on typefaces intended for photosetting. As a matter of fact, this was not very difficult; this typeface was from the very beginning conceived in such a way as to have a large x-height of lower-case letters and upper serifs that could be joined without any problems in condensed setting. I gave much more thought to the proportional relations of the individual letters, the continuity of their outer and inner silhouettes, than to the requirements of their production. The greatest number of problems arose in the colour balancing of the individual signs, as it was necessary to achieve that the upper half of each letter should have a visual counterbalance in its lower, simpler half. Specifically, this meant to find the correct shape and degree of thickening of the lower parts of the letters. These had to counterbalance the upper parts of the letters emphasized by serifs, yet they should not look too romantic or decorative, for otherwise the typeface might lose its sober character. Also the shape, length and thickness of the upper serifs had to be resolved differently than in the previous design. In the seventies and at the beginning of the eighties a typeface conceived in this way, let alone one intended for setting of common texts in magazines and books, was to all intents and purposes an experiment with an uncertain end. At this time, before typographic postmodernism, it was not the custom to abandon in such typefaces the clear-cut formal categories, let alone to attempt to combine the serif and sans serif principles in a single design. I had already designed the basic, starting, alphabets of lower case and upper case letters with the intention to derive further styles from them, differing in colour and proportions. These fonts were not to serve merely for emphasis in the context of the basic design, but were to function, especially the bold versions, also as independent display alphabets. At this stage of my work it was, for a change, the upper case L that presented the greatest problem. Its lower left part had to counterbalance the symmetrical two-sided serif in the upper half of the letter. The ITC Company submitted this design to text tests, which, in their view, were successful. The director of this company Aaron Burns then invited me to add further styles, in order to create an entire, extensive typeface family. At that time, without the possibility to use a computer and given my other considerable workload, this was a task I could not manage. I tried to come back to this, by then already very large project, several times, but every time some other, at the moment very urgent, work diverted me from it. At the beginning of the nineties several alphabets appeared which were based on the same principle. It seemed to me that to continue working on my semi-finished designs was pointless. They were, therefore, abandoned until the spring of 2005, when František Štorm digitalized the basic design. František gave the typeface the working title Areplos and this name stuck. Then he made me add small capitals and the entire bold type, inducing me at the same time to consider what to do with the italics in order that they might be at least a little italic in character, and not merely slanted Roman alphabets, as was my original intention. In the course of the subsequent summer holidays, when the weather was bad, we met in his little cottage in South Bohemia, between two ponds, and resuscitated this more than twenty-five-years-old typeface. It was like this: We were drinking good tea, František worked on the computer, added accents and some remaining signs, inclined and interpolated, while I was looking over his shoulder. There is hardly any typeface that originated in a more harmonious setting. Solpera, summer 2005 I first encountered this typeface at the exhibition of Contemporary Czech Type Design in 1982. It was there, in the Portheim Summer Palace in Prague, that I, at the age of sixteen, decided to become a typographer. Having no knowledge about the technologies, the rules of construction of an alphabet or about cultural connections, I perceived Jan Solpera's typeface as the acme of excellence. Now, many years after, replete with experience of revitalization of typefaces of both living and deceased Czech type designers, I am able to compare their differing approaches. Jan Solpera put up a fight against the digital technology and exerted creative pressure to counteract my rather loose approach. Jan prepared dozens of fresh pencil drawings on thin sketching paper in which he elaborated in detail all the style-creating elements of the alphabet. I can say with full responsibility that I have never worked on anything as meticulous as the design of the Areplos typeface. I did not invent this name; it is the name of Jan Solpera's miniature publishing house, in which he issued for example an enchanting series of memoirs of a certain shopkeeper of Jindrichuv Hradec. The idea that the publishing house and the typeface might have the same name crossed my mind instinctively as a symbol of the original designation of Areplos - to serve for text setting. What you can see here originated in Trebon and in a cottage outside the village of Domanín - I even wanted to rename my firm to The Trebon Type Foundry. When mists enfold the pond and gloom pervades one's soul, the so-called typographic weather sets in - the time to sit, peer at the monitor and click the mouse, as also our students who were present would attest. Areplos is reminiscent of the essential inspirational period of a whole generation of Czech type designers - of the seventies and eighties, which were, however, at the same time the incubation period of my generation. I believe that this typeface will be received favourably, for it represents the better aspect of the eighties. Today, at the time when the infection by ITC typefaces has not been quite cured yet, it does absolutely no harm to remind ourselves of the high quality and timeless typefaces designed then in this country.In technical terms, this family consists of two times four OpenType designs, with five types of figures, ligatures and small capitals as well as an extensive assortment of both eastern and western diacritics. I can see as a basic text typeface of smaller periodicals and informative job-prints, a typeface usable for posters and programmes of various events, but also for corporate identity. Štorm, summer 2005

Designed over three years after the second World War, and published in 1949 by the Nebiolo foundry, Normandia was Alessandro Butti’s take on the fat face. As it usually was with Butti’s designs, this face effectively injected a catchy yet expertly calculated calligraphic spin into its source of inspiration — which was the essentially geometric/deco, thicker model of Bodoni’s very popular aesthetic. The metal Normandia saw some widespread use for a handful of years after its publication, not least because of the multitude of sizes in which it was available. It stepped out of the limelight by the mid-1950s, due to a combination of the popularity of cold type and Nebiolo’s refusal to retool its faces for new technologies. It was copied by a few small film typesetting outfits on both sides of the Atlantic, but never really found its way back to the mainstream. By the time computer type became the norm, Normandia was pretty much relegated to a type historian’s collection of anecdotes. This digital update of the classic series revives and refines the three original metal designs (Tonda/Regular, Corsiva/Italic, and Contornata/Outline) and expands the character set to more than 600 glyphs per font, including small caps, six types of figures, fractions and nut fractions, a full set of f-ligatures, some stylistic alternates, and other fine typography niceties.

‘Skiart Serif Mini’ is now available online. Originally inspired by the san serif font ‘Skia’ by Mathew Carter for Apple. ‘Skiart’ was designed to feel more like a serifed font, but without any serifs. It took a step between sans serif and serif fonts. Next on the path towards a serif font comes Skiart Serif Mini, with tiny serifs added. This is a true serif font, all be it on the small side. It remains fully readable and feels as clean and normal as any of the best body copy serifs, and yet still has the strong solid bones of all the other Skiart font familys. If compared to one of the more commonly used serifs like ‘Times New Roman’, the ‘Skiart Serif Mini’ lowercase is more open with a taller x-height, increasing its readability and friendliness. The serifs are smaller and less distracting. They are not pretending to be ligatures. Where ‘Times’ makes its p q b d forms out of a barely touching oval and stem, the ‘Serif Mini’ forms are much more firmly attached, appearing clearly as single letters. The standard setting for the g’s are round single storied, (the italic a’s are also), feeling warmer and more inviting in the ‘Serif Mini’ font. Much more friendly than the stuffy double storied versions in fonts such as ‘Times’ etc.

As its name suggests, Multiple is a family with multiple font styles. The idea that sums up the concept behind the typeface is “workhorse”. The challenge was to develop a useful font fit for any scenario and suitable for any design needs: editorial design, packaging, branding, screen use, etc. Multiple features soft, rounded shapes and large counterforms which make it well-suited for both text and display usage. The proportions are based on classic typefaces yet its design was specially created to provide a high degree of versatility. Multiple contains different stylistic sets whose variety of glyphs provides a wide range of choices for any design project. Partly humanist and partly grotesque, Multiple comes with a number of font variants that will help you choose the style that will best meet your needs. The font also includes a serif version with the same number of variants as its sans counterpart. The sans version includes 4 stylistic sets while its slab companion comes with 3 sets, both available as separate alt family packages (ideal for those seeking ready-to-use alternate glyph sets). These alternate characters are also available as OpenType features in the regular versions. Multiple comes in 5 weights—ranging from Extra Light to Bold - with matching italics, and contains a 395-character set that supports 207 different languages. Multiple: one font, multiple faces.

San Giuseppe is a serif font with finesse and unique charm. Inspired by the romantic, ornate style of the Victorian era and the bold, captivating geometry of Art Deco, San Giuseppe is the perfect blend of neo-classic and vintage aesthetics. This serif font family is designed to infuse your work with an air of grace and refinement that is sure to leave a lasting impression. Ideal for wine labels, luxury branding and high-end packaging, San Giuseppe is an all-capitals font, featuring a stunning array of alternate characters that allow you to create a truly bespoke typographical experience. With its fine, intricate serifs and delicate, artistic letterforms, this font is a testament to the beauty and craftsmanship of yesteryear, created for a modern setting. The San Giuseppe font family consists of six high-quality styles: In addition to the Regular font, it is provided in both Bold and Light, and each of the weights as Italic. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Varygraphie is a modern Art Deco sans-serif family. This expressive typeface is provided as a variable font, and was designed by Mans Greback between 2019 and 2023. It gives any project a modernist appearance, as a reinvention of the hundred-year-old style of design, adapted and adjusted to fit in present-time purposes and technology. The Varygraphie family contains 12 high-quality styles: Thin, Light, Regular, Medium, Bold and Black, and each weight as Italic. Mix the weights to see how they balance perfectly against each other. Or use the variable font and set any weight between Thin and Black: Only one font file, but the file contains multiple styles. Use the sliders in Illustrator, Photoshop or InDesign to manually set any weight and width. This gives you not only the predefined styles, but instead more than a thousand ways to customize the type to the exact look your project requires. More info about variable fonts: https://mansgreback.com/variable-fonts The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive language support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you’ll ever need, including all punctuation and numbers.

FF Bauer Grotesk is a revival of the metal type Friedrich Bauer Grotesk, released between 1933 and 1934 by the foundry Trennert & Sohn in Hamburg Altona, Germany. The geometric construction of the typeface, infused with the art deco zeitgeist of that era, is closely related to such famous German designs as Futura, Erbar, Kabel and Super Grotesk that debuted a few years earlier. However, FF Bauer Grotesk stands out for being less dogmatic with the geometry, lending the design a warmer, more homogenous feeling. The oval “O” is a good example of that, as well as characteristic shapes like the capital M or the unconventionally differing endings of “c” and “s” which make for a less constructed look. The design was started by Thomas Ackermann, and he collaborated with Felix Bonge to evolve his original ideas into this fresh, modern geometric typeface family. FF Bauer Grotesk contains 6 weights with accompanying italics, and a wide range of OpenType typographic features including small caps, figure styles, fractions and contextual alternates. NEW: the new FF Bauer Grotesk W1G versions features a pan-European character set for international communications. The W1G character set supports almost all the popular languages/writing systems in western, eastern, and central Europe based on the Latin alphabet including Vietnamese, and also several based on Cyrillic and Greek alphabets.

Flamante Sans is a group of eight corporate typographies of geometric construction, without serifs and neo-grotesque style, are fonts with an excellent readability for titles, short texts or for use in signage. The group of fonts is made up of 4 weights: Light, Book, Medium & Bold plus their respective italics. This initial development of Flamante Sans typography has been the basis for the drawing of the "Flamante family" fonts composed of 5 styles (Sans, Serif, SemiSlab, Round & Stencil) making a total of 40 fonts that are perfect corporate use, advertising or editorial titles or signage of public spaces for example. They include the Bitcoin symbol. Swiss-style fonts built on a 4 ◊ 6 building grid, formed with 144 x 119 units (Medium version), two digits taken from the fibonacci and Perrin sequences, these measures define the width and height of the vertical and horizontal antlers and the overall proportion of the font. The metrics and kerning have been carefully set up for fluent reading in paragraph texts. ================================== - OpenType Features: Standard Ligatures, Additional languages, All Alternates, Alternate Annotation Forms, Superscript, Kerning, Superiors, Capital Spacing, Localized Forms, Superior letters, Discretionary Ligatures, Subscript, Fractions, Slashed Zero, Inferiors, Extended Fractions, Scientific Inferiors, Ordinals, Denominators, Oldstyle Figures, Numerators, Historical Forms, Historical Ligatures. They include the Bitcoin symbol. - 500 glyphs. Latin Extended-A ï OTF & TTF

My motivation for designing the Lalibela family (which is based on Bodoni) was to pay homage to Ethiopic script. The script has been around for about 3 000 years, but I took artistic licence to deviate from the original model and add personal touches. I chose Bodoni as a historical model because of its display value and not its text size use because the extreme contrast made it difficult to read at small sizes. A Modern typeface characterized by consistently horizontal stress, flat and un-bracketed serifs, and a high contrast between thin and thick strokes, were the final step in typography two-hundred-year journey away from calligraphy. The austerity, simplicity and greater contrast style was perfected.Contrary to all the refinements in Bodoni, I have revisited calligraphy with the font Lalibela that mimics Ethiopic Script. It was drawn with a much larger x height and less geometric than Bodoni for its primary use as a display font. For example, a lot of italic serifs were added to the roman face as well as 16 additional ligatures to obtain more a feel of calligraphy. I made the serifs thicker and bracket one side with straight steps obtaining a reduced contrast to withstand breaking up at smaller sizes.An additional variant, "Lalibela Alternate" was designed to provide an interesting mixing possibilities with the Bold face for more expressive headlines.

The branding agency's client wanted an ultra modern"" typeface that was ""futuristic without being gimmicky or ephemeral,"" according to the design brief. Designer Sebastian Lester took on this intriguing custom font assignment, but soon, a bureaucratic decision cancelled the project. ""I was left with a sketchbook full of ideas and thought it would be a shame not to see what came of them,"" says Lester. He decided to finish the design on his own. Lester's research confirmed that the principal ingredient of an ""ultra modern"" typeface was simplicity of character structure: a carefully drawn, monoline form, open letter shapes and smooth, strong curves. To conceive a typeface that crossed the line from modern to futuristic, Lester decided to amplify these qualities. About a year after Lester's initial conceptual work, two highly functional and versatile typefaces emerged. These are Neo Sans and Neo Tech, designs Lester describes as ""legible without being neutral, nuanced without being fussy, and expressive without being distracting."" Both the Neo Sans and the more-minimalist Neo Tech families are available in six weights, ranging from Light to Ultra. Each has a companion italic, and Neo Tech offers a suite of alternate characters. While engineered to look modern as tomorrow, Neo Sans and Neo Tech display the functional and aesthetic excellence that earns them a place in the list of classic designs from the Monotype typeface library.

Amorie is a tall and skinny hand drawn font. It comes in various weight and styles, and with an array of opentype options. Built to appear completely hand crafted, different designers could produce completely different results, selecting either Modella (classic and chic), Nova (fun and fancy) or SC (Small Caps and all business.) Each style comes in light, medium and bold and has an accompanying italics version. Opentype for this font includes Contextual Alternatives, which produces three versions of each character, making sure no two identical letters appear next to each other thus giving your design a fully authentic look. There are also stylistic alternatives, which offer different style to a select few characters, including capital letters: A, K, R, Q, Y and lowercase letters: a, e, k, t, y. Lastly, is a large set of swashes, 3 for each letter they accompany. For the most part this includes the whole uppercase alphabet as well as lower case letters with an ascender or descender. Amorie includes a large set of graphic extras, including stylish frames, arrows, line breaks, corners, flourishes and more. The complete package gives you one unbeatable font family. If you do not use Opentype but are using a program that includes a full glyph panel, you will be able to access each of the style variations you want.

The branding agency's client wanted an ultra modern"" typeface that was ""futuristic without being gimmicky or ephemeral,"" according to the design brief. Designer Sebastian Lester took on this intriguing custom font assignment, but soon, a bureaucratic decision cancelled the project. ""I was left with a sketchbook full of ideas and thought it would be a shame not to see what came of them,"" says Lester. He decided to finish the design on his own. Lester's research confirmed that the principal ingredient of an ""ultra modern"" typeface was simplicity of character structure: a carefully drawn, monoline form, open letter shapes and smooth, strong curves. To conceive a typeface that crossed the line from modern to futuristic, Lester decided to amplify these qualities. About a year after Lester's initial conceptual work, two highly functional and versatile typefaces emerged. These are Neo Sans and Neo Tech, designs Lester describes as ""legible without being neutral, nuanced without being fussy, and expressive without being distracting."" Both the Neo Sans and the more-minimalist Neo Tech families are available in six weights, ranging from Light to Ultra. Each has a companion italic, and Neo Tech offers a suite of alternate characters. While engineered to look modern as tomorrow, Neo Sans and Neo Tech display the functional and aesthetic excellence that earns them a place in the list of classic designs from the Monotype typeface library.

Flexible elegance in one font, as creamy as you can imagine...

Arabetics Symphony is a Sans Serif Latin typeface with a comprehensive support for the Arabetic scripts, including Quranic texts. It is designed with a uniform glyph thickness and weight throughout, using a combination of simplified and clear open lines and curves and plenty of spikes and visual hints to compensate for the missing Latin serifs or traditional cursive Arabic calligraphic influence. This type family is suitable for both text and display applications. Additional Latin spacing is added to match an overall open-looking Arabic and is further maintained by a careful implementation of a typical Latin font kerning process. The design of this font family, including metrics and dimensions, was intended to make its Latin harmonize with other Arabetics foundry fonts. Arabetics Symphony fully supports MS 1252 Western and 1256 Arabic code pages, in addition to all the transliteration characters required by the ALA-LC Romanization tables. Users can either select an accented character directly or form it by keying the desired combining diacritic mark following an unaccented character. For Arabic, it fully supports Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks. The Arabic design of this font family follows the Mutamathil Taqlidi design style with connected glyphs, emphasizing vertical strokes to bring added harmony, and utilizing slightly varying x-heights to match that found in Latin. The Mutamathil Taqlidi type style uses one glyph for every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Arabetics Symphony includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph. Keying the “tatweel” key (shft-j) before Alif-Lam-Lam-Ha will display the Allah ligature. Arabetics Symphony includes both Arabic and Arabic-Indic numerals, in addition to generous number of punctuation and mathematical symbols. Available in both OpenType and TrueType formats, it includes two weights, regular and bold, each has normal, Italic, and left-slanted styles.