Sana Sans is a humanist functional typeface with a modern feel. It is intended to be a face well-suited for multiple purposes, especially in publishing. Sana Sans looks perfectly legible and clean in long texts, and neat and simple in headlines. Thanks to its versatility, this font is also ideal for both screen and print usage. Sana Sans consists of 32 styles and 8 weights—ranging from Thin to Heavy—italics, small caps and an alternative family. The alternative family offers slight variants in many glyphs, some of which include the lowercase a, e, l, q, y and uppercase G, L, and Q. Sana Sans was designed by Felipe Sanzana, under the supervision of Latinotype Team.

The Sica Family was designed in order to address issues related to technology, while maintaining humanistic forms. Thus, a font with square shapes emerged, but with smooth curves and slightly rounded terminals making it friendly. The family has three widths – condensed, normal and expanded – each of them with six weights and their respective italics, resulting in 36 fonts. With particular details and open shapes that increase legibility, it can be used for both text compositions as well for display sizes. It has 774 glyphs, covering more than 50 languages, as well as ligatures, lining, oldstyle, tabular and proportional figures, fractions, superiors, inferiors, and small caps, all of them accessible through OpenType features.

Fellbaum Grotesk is a condensed typeface with both grotesque and cursive/humanist attributes. Fellbaum Grotesk Regular presents a clean, “grotesk” exterior, while the Italic version features faint slab-style flourishes. These characteristics, combined with a subtle stroke contrast and slightly extended x-height make for a distinct, and artisanal appearance. The family was inspired by the condensed & sterile, yet quirky, sans serifs found on a lot of vintage apothecary labels & municipal street signage. Both styles in the family are modest enough to work as secondary fonts, but also sport enough character to work as a primary sans face for wordmarks, logos, headers, etc. Fellbaum Grotesk Features: • 14 Fonts, 7 Weights, 2 Styles • OpenType Support • Adobe CE Language Support • Dingbats

Posterman is a cool sans-serif typeface. With tall letterforms in a grotesque appearance, this legible typography is a lettering for neo-classic headline or clean logotype. The Posterman font family consists of Regular, Bold and Black, and each weight as Italic, totalling in six styles. 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.

Neue Frutiger Devanagari was created by Mahendra Patel and Kimya Gandhi and a team of designers and font engineers from the Monotype Studio, under the direction of Monotype type director Akira Kobayashi. The family is available in 5 weights from Light to Extra Black, with matching italics to support the Devanagari script and languages such as Hindi. Neue Frutiger Devanagari embodies the same warmth and clarity as Adrian Frutiger's original design, but allows brands to maintain their visual identity, and communicate with a consistent tone of voice, regardless of the language. It is part of the Neue Frutiger World collection, offering linguistic versatility across environments – suited to branding and corporate identity, advertising, signage, wayfinding, print, and digital environments.

This font was created to look as close to a natural handwritten script as possible by including lowercase swash, ligature and underlines. Perfect for any awesome projects that need hand writing taste. Comes with regular and italic. Built in Opentype features, this script comes to life as if you were writing it yourself. Also support multilingual. It's highly recommended to use it in opentype capable software - there are plenty out there nowadays as technology catches up with design ... Other than Photoshop, Illustrator and Indesign, many standard simple programs now come with Opentype capabilities - even the most basic ones such as Apple's Text Edit, Pages, Keynote, iBooks Author, etc. Even Word has found ways to incorporate it.

In a world of fleeting trends, Silver Archer stands as a testament to enduring elegance and timeless design. Inspired by the classic sans serif typefaces of the mid-20th century, Silver Archer exudes an air of sophistication and refinement, making it an ideal choice for a wide range of typographic applications. With its meticulously crafted proportions and harmonious stroke contrast, Silver Archer strikes a perfect balance between traditional aesthetics and contemporary sensibilities. Its open counters and generous x-height ensure exceptional legibility, both on screen and in print, while its nine weights, ranging from Thin to Black, with each weight complemented by its italic counterpart, provide ample flexibility to suit any design mood or hierarchy.

Hopeless Diamond is a contemporary display typeface inspired by the sculptural muscle of 19th century carved lettering and the radical forms of the B-2 Spirit stealth bomber and the F-117 Nighthawk stealth strike aircraft. The typeface itself contains three different styles, each with an italic and an alternate character set that can be used to generate a number of interesting permutations. The name was taken from the derisive term that test pilots used for Have Blue, a late '70s stealth demonstration aircraft –and early prototype for the F-117— designed and built by Lockheed's Skunkworks division. Due to its unusual shape and departure from received aerodynamic wisdom, Have Blue was referred to as the ‘Hopeless Diamond’.

The typeface family Triump is a simple sans serif with 6 weights from Thin, ideal for use as an epigraph, to Black for head titles of special impact. Excellent for applying in graphic design as logos, trademarks, posters, editorial and web design. Inspired by the classic types of the late twentieth century with rounded corners that give the typography a smooth appearance with rounded ends, with a horizontal stroke that exceeds the vertical in the letters A, E, F, H, J and K which gives a distinct personality. Triump comes with a Black weight in normal and italic Line both upper and lowercase letters, especially to give a vintage look to the designs.

A unique design accurately revived by Steve Matteson in 2021. Frederic Goudy designed Companion Old Style for Women’s Home Companion in 1928. In his own words: “I believe the new letter I showed him, both in roman and italic, is one of the most distinctive types I have ever made. It incorporates features which deliberately violate tradition as to stress and curves, but which are so handled that attention is not specifically drawn to the innovations introduced.” Companion Old Style exudes the style of pre-World War 2 Americana. The unique characteristics are wonderful for greeting cards, wedding announcements and holiday invitations. Companion’s nostalgic letterforms are light hearted and quirky yet highly readable.

Please welcome our new Groovy Retro Typeface, Kelpo! Kelpo - Created from our explorations which were inspired by 70's retro style and pop culture visual design like old comics, cartoons, and posters. The strong bold character with groovy style makes us feel retro vibes and takes us to the 70's era Kelpo - Comes with 59 beautiful alternates which consist of 4 stylistic sets. Contains 2 styles regular and italic, this font is best used for headings, logotype, quotes, apparel design, posters, flyers, packaging, book cover, and many more. What you get : Letters, numbers, punctuation, multilingual support Has 59 beautiful alternates Come and say hello over on Instagram! https://www.instagram.com/dharmas.studio/ Dharmas Studio

Kwalett is a sans serif typeface family with low contrast and a high x-height. Kwalett has two widths, each with five weights and each weight has an italics. The family is derived from the thinnest member of the Qualettee family. As members of that family get bolder, their contrast increases. As members of the Kwalett family get bolder, their contrast remains very low. Kwalett is designed to work better as text than the Qualettee family. The family has two ways to get fractions. A few fractions are preformed and are accessed with the OpenType discretionary ligatures feature. The OpenType fraction feature uses the superscript and subscript numbers to create any fraction.

Clara is a set of alphabets of interconnected serif and sans serif fonts. The connection is not only in the intensity of the strokes, i.e. in the identical brightness of the typesetting, but also in the drawing principles of both alphabets. The typeface aims to offer a sense of calmness for a reader even in smaller scales of the typesetting. In large scales it builds on the purity of the image without additional decorations. The Clara system includes maximum equipment of a Latin font from Thin to Black in all versions of marking fonts, italics, capital letters and four kinds of numbers. The typeface allows typesetting of the vast majority of cultural languages of the world.

Flax Regular lives in a somewhat unusual space... it is not a normal “handwriting” font, nor is it a formal script, or a rounded italic. Flax is a slightly more formal handwriting script that is extremely legible and useful- it can stretch from invitations to packaging, to menus, to brochures to ads. The rough hand-drawn finish gives Flax some of its unique character. This is almost unnoticeable in smaller point sizes while clearly visible in display sizes. While Flax is slightly formal, it has a very friendly presence - mainly from the unpretentious rounded characters and rough finish. Flax is available in Postscript, Truetype and Opentype for Mac and Windows. You will enjoy putting Flax to work!

Candida roman was designed by Jakob Erbar and appeared after his death with the typeface foundry Ludwig & Mayer in Frankfurt am Main in 1936. Due to the original designer’s death, the italic was designed by Walter Höhnisch shortly thereafter. In 1945 the roman was reworked, the breadth of the figures was reduced and the strokes made heavier. The bold weight followed in 1951. Later the typeface was expanded with further weights, which have for the most part fallen out of use. Three weights can still be found in catalogues, available as early as 1937 for the Linotype machine. Candida is a modest text font which retains its legibility even in smaller point sizes.

Annonce is a digitization and expansion of a 1912 Johannes Wagner Foundry classic called Aurora Grotesk, which also circulated later on in metal under the name Annonce. Bold, extended and clear as a bell, Annonce stood out as the definite big sign font long before the Helveticas of the world. With angled cuts on some of the letters, it also shows humanistic traits that make it more appealing than any other face in its genre. The Annonce set comes in two fonts, a regular and an italic, and includes a very large character set that accommodates almost all Latin-based languages, including Turkish, Baltic, Celtic, Maltese, Esperanto, and the languages of Central and Eastern Europe.

Pure Malone is an stylish serif font with a elegant and modern look. Its stylish and sophisticated design adds a touch of refinement to any project, while the italic version brings a subtle yet captivating twist. This font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : Uppercase & lowercase Numbers and punctuation Alternates Multilingual PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Potent, clean and classy. Meguro serif has a modern-styled boxy shape with small glyphic serifs emphasizing the edge of its vertical and horizontal strokes. Inspired by iconic fonts of the 1900s, Meguro serif incorporates the sophistication of the digital age to strike its own unique character. Its mono-line oriented, pointy serifs and very high X-height ensure that it is extremely legible and creates a strong impression. The Meguro serif font family is comprised of 10 styles with 5 different weights from light to black, along with matching italics offering possibilities for use in web, print, package and sign design, all with the goal of building an established look for brands in wide range of industries.

Sregs Serif Display Family A Serif family inspired by popular 1960s-80s typography. Combined with modern nuances that are much in vogue in now days. Reflexive serifs with soft transitions make the letters easy to read and recognize. Its 7 weight with 2 style (Standard and Italic) variations provide several options that will help you find the ideal typographic feel for your project. Made for use in branding projects, large-scale printing such as billboards, signboards, titles, headlines, writing on short paragraphs, books title, page titles, taglines, websites, apps, logos, etc. Several Alternatives letters can be used to create a variety of design style or to make changed some letter in text.

Pontina is the name of a multilingual didone typeface. Its elegant character is built up of playful and lively strokes combined with high ascenders and high capital letters, that gives the classical forms a modern individual touch. It combines both: legibility and an ornamental curvy look for display purposes. The typeface provides true italic fonts for each weight, which fit harmoniously to the regular fonts. Pontina can be used for headlines and also works well in smaller text sizes. The text styles have slightly lower capitals and ascenders for better legibility. Also the font comes along with a set of different ligatures as well as swash letters and all necessary open-type features.

This typeface follows the principles of the numerous and diverse architecture and graphic design works from the most famous Slovene architect Jože Plečnik, and so unfolds a piece of Slovene’s rich, yet still undiscovered typographic legacy. Typeface Plecnik is defined by classical elements and shapes. With classic proportion, humanist stroke endings and low contast, Plecnik comunicates a modern, elegant and sophisticated message. Due to Plecnik's recognisable shapes the typeface remaines memorable and irreplaceable. When used for book and editorial designs, branding, packaging or display, Plecnik will perform in its purpose. Designed in four weights and accompanied with italics, Plecnik also offers a Display style, which is even more distinctive and perhaps even more attributable to Plečnik.

Ferryman is a Blackletter typeface for the contemporary reader. Unfamiliar Blackletter characters have been replaced with adapted common Latin characters (Antiqua) or with letters from other historical scripts that are more legible to a modern audience. Ferryman is the antidote to the overused geometric and neogrotesk styles. An expressive display typeface with a strong character, it is perfectly suited for counterculture projects and progressive concepts e.g. in visual art, indie music, and alternative lifestyles. With nine weights and corresponding italics Ferryman offers a wide range of creative possibilities. Each style offers 590 glyphs supporting all Western-, Eastern- and Central-European languages and comes with four sets of numbers and various currency symbols.

The Modesto Text Family is text in name only. It’s called Text because it has a Lower Case, and also to distinguish it from the rest of the Modesto clan. Modesto is a loose-knit family based on a signpainters lettering style popular in the late-19th and early-20th centuries. It evolved from the lettering I used for the Ringling Bros. and Barnum & Baily Circus Logo. The Modesto family was not planned. It just happened, a few fonts at a time over about fifteen years. In 2014 seven new Italic fonts and two Chromatic families were added. There is a downloadable MODESTO USER MANUAL PDF in the Gallery section for this family.

Maleo is a contemporary display sans with grotesque roots, taking cues from typefaces such as Benton’s Franklin Gothic & Alternate Gothic and contemporaries such as Obviously & Mars Condensed. Designed by Aditya Wiraatmaja as his debut retail typeface, Maleo is primarily designed with large-size usage in mind. Its tiny flare and angled cut terminal lends itself a friendly and approachable presence. With a family of 14 styles that range from thin to black with matching italics, it is a versatile display type that stands out in headlines, yet one that emits a charming personality. Maleo support various languages and is equipped with many Opentype features including; Old Style Figures, Ligature, Fractions, Numerators and Denominators, and Stylistic Alternates.

The Sica Family was designed in order to address issues related to technology, while maintaining humanistic forms. Thus, a font with square shapes emerged, but with smooth curves and slightly rounded terminals making it friendly. The family has three widths – condensed, normal and expanded – each of them with six weights and their respective italics, resulting in 36 fonts. With particular details and open shapes that increase legibility, it can be used for both text compositions as well for display sizes. It has 774 glyphs, covering more than 50 languages, as well as ligatures, lining, oldstyle, tabular and proportional figures, fractions, superiors, inferiors, and small caps, all of them accessible through OpenType features.

Horst More is a retro soft serif typeface comprising 18 fonts. It can handle most typographic applications from branding to body copy with its range of weights and inherent legibility. Whatever you type will have a friendly message, but it really comes into its own when you start applying some of the additional ligatures and alternates that are built into this type family. You’ll soon be creating distinctive typographic compositions that are pleasing to the eye. There are 18 fonts, 9 weights altogether. It has an extensive character set that covers all Latin European languages. Key features: 9 weights in Roman and Italic Alternates Ligatures Thanks for visiting and purchasing my font! Ekayasa Mix.Jpg

Acústica is a display font family designed by Carlos Fabian Camargo G. Its styles were designed to form words and phrases related to delicate and feminine contexts. Acústica Caps, Italic, Swashes and Ornaments are drawn investigations with flexible tip pen inspired by Didot capitals. All ideal for mixing with Acústica Script whose idea represents the volatile sound of a fine tip brush against rapid tracing paper. Its script path in width condensed lowercase and uppercase letters in loose horizontal proportions are generous between letters laced with long, agile and thin connecting strokes. Its script sensitivity is in Italian calligraphy with uninterrupted lines of cursive English. Acústica was selected at the Bienal Tipos Latinos 2014. Photos by http://www.desdeesteladodemimundo.blogspot.com

Apollo is oddly one of the lesser known typefaces of Frutiger, perhaps due to the extreme fame of some of his other works, like the typefaces Frutiger® and Univers®. Stylistically, the very legible and harmonic Apollo is an old face. Frutiger designed it especially for the photosetting used at the time. The Apollo typeface family consists of the weights roman and semibold and their respective italics as well as expert sets. Frutiger optimized the relation between the two weights so that the roman is robust enough to present a legible text on soft paper but light enough to contrast with the semibold. The clear, elegant Apollo is perfect for headlines as well as long texts.

Accia Sans is a humanist sans-serif typeface with character. Its strong features make an outstanding performance in branding applications, as well as in editorial designs. The font family contains 8 weights from Thin to Extra Bold, with matching true italics. It supports extensive language support including Cyrillic, as well as numerous OpenType features such as small caps, ligatures, several sets of figures, case-sensitive punctuation, ordinals. Accia Sans is a member of Accia Type System. It encompasses five typefaces ranging from sans-serif to expressive serif, giving you the possibility to create sophisticated cohesive designs. Accia Type system consists of Accia Sans, Accia Flare, Accia Piano, Accia Moderato, and Accia Forte.

Chelsea Queen was built with OpenType features and includes numbers, punctuation, alternates, ligatures, swash and icon sign and it also supports other languages. Chelsea Queen is a very unique font, because there are 85 sets of ligatures that will make writing natural and elegant. This is very suitable for use Logo, Wedding, Fashion, Poster, Menu, Invitation and there is still much that can be done with this font. Chelsea Queen File Downloaded: - 85 set of LIGATURES (make your natural handwriting) - Both OTF and TTF file formats (Regular, Italic, and swash and sign) - UPPERCASE and lowercase - Swash and sign font ( A-Z and a-z ) - Panctuation and numeral - extended Latin characters for language support.

Before the mid-to-late 1970s, when retailers started to embrace UPC (universal price code) technology on a grand scale, pricing merchandise took on many forms. One method especially popular with variety stores (such as Woolworth's, McCrory's, Kress, etc.) were pre-printed price tags that came in small pads and were inserted into metal holders. Shelf Tags JNL recreates a vintage price tag based on examples seen online, and allows the user different ways to create their own vintage-style price tags. You can either utilize the round pen nib style numbers and price marks to place on any size or type tag, or type out prices using the reversed characters (white on black) along with the two end caps provided to form a complete tag unit. For the more adventurous, a complete blank tag is also provided in case the desire is to print a solid color tag background and [using the regular numbers] crate prices in custom colors. Two sets of smaller number (for "floating" cents prices) are also provided in regular numbers and reverse panels. As an extra bonus, there is a set of 1 through zero, dollar sign, cents sign and decimal point individual black-on-white outlined panels for making individual pricing numbers. The keyboard layout for the various characters is as follows: asterisk key - regular cents sign (no panel) dollar sign key - regular dollar sign (no panel) period key - regular decimal point (no panel) left and right parenthesis keys - panel end caps (to form price tags) colon key - reverse decimal point on black panel 1 thru 0 keys - regular numbers (no panels) A through J keys - small regular numbers (no panels) K and L keys - truncated [shorter width] end caps M through Y keys - individual price numbers (black on white with black border a through j keys - reverse numbers on black panels k key - reverse dollar sign on black panel l key - reverse cents sign on black panel m through v keys - reverse small numbers on black panels w through z keys - blank rectangular panels of varying widths equal sign key - full black panel price tag hyphen key - blank rectangular black panel based on the width of most number panels

Bringing together features from early European grotesques and American gothics, Kostas Bartokas’ Averta (Greek: ‘αβέρτα’ – to act or speak openly, bluntly or without moderation, without hiding) is a new geometric sans serif family with a simple, yet appealing, personality. The purely geometric rounds, open apertures, and its low contrast strokes manage to express an unmoderated, straightforward tone resulting in a modernist, neutral and friendly typeface. Averta is intended for use in a variety of media. The central styles (Light through Bold) are drawn to perform at text sizes, while the extremes are spaced tighter to form more coherent headlines. The dynamism of the true italics adds a complementary touch to the whole family and provides extra versatility, making Averta an EXCELLENT tool for a range of uses, from signage to branding and editorial design. Take advantage of Averta’s extended OpenType features including alternate glyphs, small caps, fractions, case sensitive forms, contextual alternates, oldstyle and lining (proportional and tabular) numerals, small cap numerals, numerators/denominators, superiors/inferiors, and a variety of symbols. Averta comes in eight weights with matching italics and supports over two hundred languages with an extended Latin, Cyrillic (Russian, Bulgarian, and Serbian/Macedonian alternates), Greek and Vietnamese character set. It ships in three different packages offering different script coverage according to your needs: Averta PE (Pan-European: Latin, Cyrillic, Greek), Averta CY (Latin and Cyrillic), and Averta (Latin and Greek). Averta's Cyrillic have received the 3rd Prize in the 2017 Granshan Awards in the Cyrillic Category.

Welcome Amica Pro, a workhorse sans designed to give your branding a friendly, approachable look. What is it that makes a typeface friendly? Eclectotype undertook extensive research* in this and the results are in! To cut a long story short, friendliness in sans serif fonts can be summed up in two words – short and fat. Basically, think Danny DeVito in letter form. The shortness in Amica Pro is achieved (somewhat counterintuitively) by pushing up the x-height. This, coupled with short ascenders and descenders, gives the text a squat appearance. For the fatness, that's easy in the bolder weights, but how to carry this through to the lights? Here, the fatness equates to roundness, so the letterforms, even if the stroke weight is light, have a rotund appearance from the wideness and roundness of the circular glyphs. When thinking about friendliness, we think about inclusiveness. To this end, Amica Pro supports a super wide range of latin-based languages, as it uses Underware's Latin Plus character set, as well as extra support for Vietnamese. Amica Pro is best used for branding, logos, infographics etc. It will give your UI a friendlier feel, but that doesn't mean it's not serious. There are many useful typographic features, including alternates, numerous figure styles, automatic fractions and case-sensitive forms. The italics are carefully optically corrected "sloped romans" and as such they are the same width as their upright equivalent, so changing your copy to italics will not mess around with the spacing. *I looked at a few fonts and drew some lazy conclusions.

Please note: Acorde webfonts are exclusively available at willerstorfer.com Acorde is a reliable workhorse for large, demanding design projects. It was designed to be perfectly suited to all different sizes, from small continuous text to large headlines and big signage. The typeface’s name is derived from ‘a’ ‘cor’porate ‘de’sign typeface, however Acorde is not only suitable for corporate design programmes but for information design and editorial design purposes as well. Acorde’s inception was in early 2005 as Stefan Willerstorfer’s final project in the Type and Media course at the Royal Academy of Art in The Hague (NL). It is a humanist sans serif with noticeable diagonal contrast and shows clear influences of the broad nib pen, especially in the Italics. Acorde’s characterful details give it a distinctive appearance in large sizes and contribute to its high legibility in small sizes. It comes in 14 styles – seven weights in Roman and Italic each. While the proportions of the Regular style were chosen to guarantee optimal legibility without being too space consuming, the heavier the weight gets the more suitable it is for headline purposes. The heavy weights are relatively narrower than the lighter ones, which gives them a strong appearance. The huge character set contains 925 glyphs per font and covers a vast range of latin-based languages. Various accented letters, small caps, eleven figure-sets, superscript and subscript are all included. OpenType features allow for a comfortable use of the large set. Acorde was honored with the 2010 Joseph Binder Bronze award for type design by DesignAustria.

An open-hearted humanist sans-serif. Playful and friendly. Faible is everybody’s darling. You cannot not like this good-natured humanist typeface. Sure, it’s a typeface for serious work—but all serious work is better when you put a smile on your face and a whistle on your lips. The typeface itself isn’t rooted in calligraphy, but there are quite some details in Faible that reference handwriting and add a friendly, humanist facet to its appearance. Take the bowls of B, P, and R: they are merrily bulged, like balloons about to take off. The curved leg of the R adds to this joyful mood. Faible’s italics are rendered playfully, too: they’re not merely sloped Roman styles. Rather, they were designed independently with an internal dynamic that sets them apart on the page. With its trademark glyphs, the swooshin’ K and k, and its friendly details, Faible will radiate optimism in display sizes, titles, and headlines. That makes it a great choice for book covers, posters, editorial design, branding, corporate design, advertising, and packaging. Nontheless, it’s carefully spaced and equipped with plenty OpenType features—a reliable tool for short texts and body copy, too. The font family consists of six weights (ranging from Thin to Black), each with its corresponding italic style. Faible’s glyph set contains more than 600 characters, allowing you to enhance your layouts with ligatures, different sets of figures, case sensitive forms, arrows, and other necessities for the ambitious typographer. Faible is the typeface that puts “fun” back into “functional”.

About Royalis: Royalis is an expressive and extravagant serif typeface family. It is characterized by a high contrast and dynamic features in the details, such as long terminals or deep inktraps. Royalis is available in three versions: a display version in six weights, a corresponding condensed version also for display applications, and a text version for body text in four weights. It also comes with all the corresponding italics. This makes Royalis versatile, especially for editorial, packaging, branding and advertising. The wide range of weights and possibilities allows Royalis to be used variably. The thinner weights are characterized by their elegance, while the thicker weights captivate with their powerful contrast. They complement each other like the three musketeers once did. Be it the charmingly elegant Aramis, the sober strategist Athos, the powerful ruffian Porthos or the charismatic d'Artagnan, who led the group. Features: The Royalis family has a total of 32 weights, from extralight to black with matching italics, as Display, Display Condensed and Text versions. With over 1027 characters, it covers more than 200 Latin-based languages, with a whole range of Open Type features. There are alternative characters as stylistic sets, small caps, automatic fractions - just to name a few. Arrows and numbers: In particular, the extensive selection of arrows and numbers should be mentioned here. Thanks to Open Type features and a simple system, the various designs of arrows and numbers can also be easily "written" without first having to select them in a glyph palette.

Thrace (/θreɪs/; Greek: Θράκη, Thráki; Bulgarian: Тракия, Trakiya; Turkish: Trakya) is a geographical and historical region in Southeast Europe, now split among Bulgaria, Greece, and Turkey, which is bounded by the Balkan Mountains to the north, the Aegean Sea to the south, and the Black Sea to the east. It comprises southeastern Bulgaria (Northern Thrace), northeastern Greece (Western Thrace), and the European part of Turkey (East Thrace). Trakya Sans is a modern sans serif with a geometric touch. Futura, Avant Garde and the like. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Ideally suited for advertising and packaging, editorial and publishing, logos, branding and creative industries, posters and billboards, small text, way-finding and signage as well as web and screen design. Trakya Sans provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Trakya Sans 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Trakya Sans" comes in 5 weights with matching italics plus "Trakya Sans Alt", also 5 weights and italics so a total of 20 styles. The family contains a set of 630+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just with one easy touch in all graphic programs. Trakya Sans is the perfect font for web use. You can enjoy using it.

Aure Nox inspires the chill whimsy of a haunted forest. The roughhewn forms of this decorative, sans-serif font engage the reader with a subtext of rakish charm. Surprisingly legible, Nox adds a bit of rebelious sass to text and titles, and a daring stance to astrological expressions and chartwheels. Nox is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets in regular, italic, bold, and bold-italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Though Nox stands well on its own as a text font, the more traditional sans-serif forms of Aure Jane pair well as an innocuous foil to Nox's brazen presence. Give Aure Nox a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

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

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