Object is a geometric sans serif especially designed for contemporary typography and comes with 8 weights from ultralight to black plus handslanted obliques. A large x-height not only creates space for smaller sizes, but also lends Object an open and generous character for print and screen. Many OpenType features including 642 ligatures, contextuel alternates, inits and stylistic set built into all cuts. The font contains 1.118 glyphs with a wide range of flexibility for Latin language support for every typographical needs. Object is a contemporary geometric typeface, special for logotypes, brands, magazines and corporate design.

Badbad is a monoline script font. This another collection of script is perfect for your next personal branding project, excellent for "Logotype". Badbad have a smooth edges, so this font gives an authentic handcrafted feel style. Badbad is perfect choice for people looking for clean, modern, minimalist, elegant, beauty design styles. Suitable for almost any graphic designs such as logo, branding materials, business cards, gift cards, t-shirt, cover, thumbnail, print, poster, photography, quotes .etc sans-serif, legible, geometric, clean, sans, modern, display, grotesque, corporate, branding, magazine, contemporary, text, headline, elegant, sans serif, grotesk, advertising, classic, swiss, poster, logo, editorial, technical, logotype

Letterhead Studio makes both fonts and design with own fonts. The studio is started in 1998 by Yuri Gordon, Valery Golyzhenkov and Olga Vassilkova. We work in graphic design, branding and type design. Our collection of Cyrillic fonts includes more than 330 faces, generally it is display fonts. Letterhead is one of leading developers of custom-made fonts, lettering and digital calligraphy in Russia. Among clients of studio are magazines like Rolling Stone, Esquire, GQ, Empire, Interni, Harpers Bazaar. Also we develop corporate fonts, more often for banks. Letterhead co-operated with Gazprombank, Rosbank, the Alpha-group, Trust, Menatep, Orgres-Nordea and others.

Modica is a strong and agile Geometric Sans type family comprising 18 fonts. This typeface began life as “Meccanica” – a quirky, heavy, engineering typeface, that later evolved into the more conservative “Technica” type family. And now, the typeface has been distilled down to its simplest and most perfect form to become “Modica”. Modica is a nimble typeface that can handle a multitude of applications – everything from body copy to retail fashion to corporate identities... why not put Modica to task today? Key features: • 9 weights in Roman and Italic • Full European character set (Latin only) • 450+ glyphs per font.

Initially created for use in a logo and with a limited number of characters, Edgewater evolved into a full typeface suitable for everything from projects requiring a space-age, futuristic feel to logotype for the most refined, conservative corporations. Edgewater was joined in November, 2008, by Edgewater Hairline, which supports more than 30 languages and is especially attractive in larger point sizes. The hairline version also is a nice complement to the other fonts in the Edgewater series, though still striking enough to stand on its own as the dominant visual in a virtually unlimited number of displays. Timeless, unique and flexible.

Introducing Oxine Display new generation Typeface with 7 Weights. Oxine Typeface created with the vision of to attract the audience to your brand . The finest details of this typeface are methodically and mathematically created. Oxine is created with all the tasks of a corporate font and also for the usage in a variety of projects, including branding, logos, titles, headlines, servers, posters, screens, display, digital ads, and everything else. We are putting a lot of effort on this font as a long-term project. The Typeface includes Seven Weights. ExtraLight, Light, Regular, Medium, SemiBold, Bold and ExtraBold

Syabil is a sans serif font family designed by Eko Bimantara. This font crafted with the intention to present a clean, legible, multipurpose that easy to read wether it on screen or print. Fit for all purposes; Text, display, headline, print, corporate identity, logo, branding, product, infographic, photography and other application and medium. This font consist of 9 weight; Thin, Light, Book, Regular, Medium, SemiBold, Bold, ExtraBold and Heavy with each weight paired by italic. Also including Latin Plus language support with more than 11.700 glyphs in all weight which make this font contain broad language support.

ITC Jiggery Pokery is the work of British freelance designer Carol Kemp. ITC Jiggery Pokery evolved from lettering for a project which needed to be quirky, wacky and fun," says Kemp. "The name came to me as the letters appear to jig along - it just seemed to fit. 'Jiggery Pokery' is London Cockney slang which has a variety of meanings. It's used to describe behavior such as 'ducking and diving', trickery, juggling (especially of financial matters!), or 'hanky panky'. My grandparents were Cockneys, and my uncle would use colourful rhyming slang which I loved to hear as a child.""

Ballasticus is a controversial bold grotesque for logos, big headlines, posters, signage, gyms, and bodybuilders. The outer contour of the beech is rounded, while the inner space is square. The font contains two barbell icons that can be immediately inserted into your company logo. The character of Ballasticus is honest, stable, open, grounded like a weight. Ballasticus contains extended Latin, Cyrillic, ligatures, barbell and peace sign, as well as alternatives for some letters, the total number of glyphs is more than 700. It contains OpenType functions: liga, numr, dnom, calt, ss01. The font is also case sensitive, has fractions, currency signs, and arrows.

Introducing : "Gautters Mickey" is a unique modern serif font. comes with a large selection of alternative characters and ligatures. The distinctive shape of each character makes this font even better for any design, both personal and corporate. Create your own unique design by using this font. very suitable for formal and informal use. Available in two types of styles: regular & italic. Features : 1. standard character set 2. multilingual support 3. numbers and punctuation marks 4. many ligatures and alternatives What are you waiting for, get this premium font right away. Free updates. Any questions? just ask. Thank you

The Mramor family first appeared in the Stormtype catalogue in 1994. The first sketch arose in 1988 through the narrowing of Roman capitals. It has uniform width proportions and, above all, original lower-case letters, unprecedented with Roman Capitals. The text designs are discontinued since they were replaced by the related Amor Serif family (along with its -sans version). Now, Mramor has “only” 10 designs that each include true small caps, Cyrillics and a rich variety of figures, ligatures and alternates. Mramor excels in corporate identity or bottle-label design, also whenever there is a need for a “classic” looking face.

Vivala-Marbod is a versatile serif font that boasts a wide range of features and styles. With ten styles and 545 glyphs, the Marbod enables a wide range of applications. Whether subtle headings or easy-to-read body text, Marbod offers the necessary versatility. A set of symbols with fractional numerals, scientific numerals, and matching arrows makes them particularly suitable for informative design. Advanced language support makes it ideal for international projects. In addition to the upright font, Marbod contains a well-developed italic. This is great for making posters, brochures, and corporate designs that need to be precise and stylish.

Linotype Cutter was designed by Georg John in 1997. As the name suggests, the font looks like it was cut out of black cardboard pieces. Each letter has a irregular rectangle black background and they combine to form heavy rows of letter elements. The strong contrasts of the font make it good for short headlines or initials in larger point sizes and combines well with almost any text font. Georg John made a second version of this theme called Linotype Schere (scissors) it is a companion typeface where the conturs of the letters are even rougher in its form.

Gaspo Slab is a fresh slab serif typeface that features esthetically pleasing curves, strong serifs, ample counters, humanist proportions and ink traps. The result is a very functional font with a contemporary design and highly readable at small sizes. Gaspo Slab consists of 7 weights, from Ultra Light to Black, with matching italics. This family comes with a 434-character set that includes European diacritics, tabular figures, alternative characters, numerators and fractions, making it possible to use the font in 128 different languages. The font is well-suited for headlines, medium-length text, magazines, newspapers, advertising, corporate use and product design.

Originally ZionTrain was built as a (probably first in Cyrillic!) navigation typeface for the Kharkiv identity project and Kharkiv subway and airport navigation systems. We wanted comprehensible, distinctive letterforms, that can help everybody on the way from Babylon to Zion. The project was used in Kharkiv promotion at homeland and abroad, but was rejected by the new government. As a corporate typeface it was used for a few cultural projects. Now it is equipped with Slavic Cyrillic and Monotonic Greek and has special Stencil faces especially for low-budget navigations (don't forget to get your own Stencil Medium for free!).

Amagusi is a font that is inspired by Japanese culture with all its uniqueness and beauty that makes the bamboo curtain country very loved by many people, as well as in the art of writing kanji which has its own aesthetic value. The amagasi font is formed and made by combining the contours and anatomy of kanji letters so that it has a very beautiful value when used in a sentence and is very attractive to readers who see it and of course it will make your product more elegant and appreciated by everyone who sees it.

Centim is contemporary sans with sharp top endings of stems that give a bit technical charm to typeface. With a squarish look, it can be used widely in all modern publications or become a part of an corporate identity. In smaller sizes, Centim offers good readability due to its simple and good balanced lines. Centim is available in Regular and Bold weights, as an ideal high-contrasted combination where all characteristics of the typeface are purely effective. Centim is the archaic Serbian word for Centimeter, a word that was mostly used in tailoring during XIX and XX century.

Mahardika is a Retro Sport sans Serif family with variable font technology, and its axis weight range spreads from Light to black forms. Flexible and adaptable, it is 100% Latin Plus, Supporting 219 Latin-based languages, which are spoken in different 212 countries. This font is suitable for any project. Great for graphic design and any display use. It can easily work for web, signage, corporate as well as editorial designs. Jantur Type has 9 weights with a total of 9 styles. and legibility makes it suitable for any kind of text application, from brand design to extensive text layouts.

Montix is a narrow, constructed type family that developed by the German designer Diana Fischer in 2003. With five weights (light, light italic, regular, regular italic, and bold), Montix is a particularly effective small family, especially when used for headline or display purposes. Montix's letterforms have relatively long ascenders and descenders, which compared with its horizontally compact body gives it its unique style. Words or lines of text set in Montix would look best when some amount of white space is left around them. Because of this, the faces are well suited for logos and corporate identity uses.

Umberland Slab is an attractive family available in 3 different weights with italics. There’s a particular emphasis on simple geometric shapes and the way they interact with tall vertical strokes. Smooth curves and sharp angles blend together in a pleasing symmetry. Stroke widths are given variable degrees of contrast but serifs are consistent and heavy handed. Spacing is on the tight side with some lowercase pairs quite snug against each other. Umberland Slab would work well in small blocks of text, corporate logos, menus, or signage. This family is equipped with European accents/diacritics for international support, fractions, alternates, and ligatures.

Neue Frutiger Arabic was created by Nadine Chahine 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 10 weights from Ultra Light to Extra Black. Neue Frutiger Arabic 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.

Linotype Killer is part of the Take Type Library, selected from the contestants of Linotype’s International Digital Type Design Contests from 1994 and 1997. Designed by German artist Andre Nossek, the font seems to describe the Technosound of the 1990s with its electronically produced sights and sounds. It represents repetition, mass production and conformity. The alphabet consists exclusively of capital letters, all based on a rectangular form, all of the same height, and, with the exception of the I’, all of the same width. The cool and distant Linotype Killer is best suited to short headlines.

This American original was designed in 1901 by Frederic W. Goudy for the American Type Founders in Jersey City. Copperplate Gothic is an all caps font which looks like a sans serif at first glance. But closer examination reveals tiny, pointy serifs which almost seem to round off the letters. Designers rely on this font’s lofty and sublime impression and it is often seen in advertisements, but it has also made a place for itself in private and business correspondence and corporate design. The AB and BC designations in the style names refer to the relative sizes of the capitals and small capitals.

Prospera was designed without reference to existing roman faces. In its initial form, development was partially supported by a grant from the National Endowment for the Arts (Design Project Grant), as a design for use on 'low-res' digital output devices. Early releases had simplified detail in cross-bars and serifs, and hand-tuned bitmaps. As an original design, Prospera draws on principles of letterform developed during my studies of lettercarving (in Wales with Ieuan Rees) and Roman proportion. The design is idiosyncratic, perhaps more akin to Gill's Perpetua than to the monotonous corporate flavors so prevalent today.

Perhaps the greatest tragedy in all English history began in 1642 when, for five years, families and friends were divided by violent struggle. Respect for the monarchy was as great then as it is today; but it was squandered by Charles I and Civil War ensued. Out of Cromwell's eventual victory came a period of absolute rule just as arbitrary. In communicating the affairs of Court, Mercurius Aulicus can claim to be England's first regular newspaper, printed at Oxford and reprinted in London almost throughout the entire war. This typeface family echoes the calligraphic scripts of newspaper cartoons of the time.

Advertiser JNL is a simple A-Z only font used to make retro-styled titles and names. Based on a popular style of retail signage from the 1950s and 1960s, alternating keystrokes will create a contrast of positive and negative letters. The capital letters have the alphabet in white on black boxes, the lower case have the black letters alone—with the white space conforming to the width of the black boxes. In a pinch, the boxed characters can also be used as initial caps. For a more complete character set with the same style of lettering, use DuBois Block JNL.

It's time to celebrate when the air turns crisply chilly and we start planning festive projects for Christmas. Holly, a modern and fun Christmas typeface perfect for sleigh rides and carol singing. All of the necessary elements, such as numbers, punctuation, and multilingual letters, are included. Whatever your imagination conjures up, these ligatures will come in handy. 5 Styles (Dancer, Comet, Cupid, Donner, Rudolph) Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Ligatures Multilingual Support for ä ö ü Ä Ö Ü ... Free updates and feature additions Thanks for looking, and I hope you enjoy it.

Riga is a space-saving and legible typeface designed to work equally well on paper and on the computer screen. Its personality is clear and practical, yet warm and polite. Riga is suitable for a wide range of typography such as editorial, websites, packaging and corporate design. Economical proportions, high x-height and open letter forms guarantee good performance in narrow columns and tight headlines. Riga is exceptionally readable at small point sizes and elegant at larger ones. Riga comes in 18 styles and weights and contains a large number of OpenType features. For small sizes on screen Riga Screen is also available.

Humber is a rational sans serif typeface designed with a large X-height to provide clarity at both text and display sizes – with subtle features that really shine at larger sizes. Inspired by 20th century typefaces and modern European designs, Humber is suitable for a wide range of projects and audiences looking for a typeface that feels professional – without being overly familiar. Featuring seven weights and matching italics, discretionary ligatures, lining, old-style, and tabular figures, and conditional kerning for accented characters, Humber is truly versatile. With over 738 glyphs, Humber supports over 339 latin-based languages.

Simplo Soft is the soft companion of Simplo. In Simplo Soft, Simplo’s original sharp geometrics have been tempered by the moderate rounding of the edges of its characters — creating a softer and friendlier geometric typeface. Simplo Soft is ideal for use in display sizes. It is also quite legible in text, and is well suited for graphic design and corporate identity design. Simplo Soft has sixteen styles, extensive language support, eight different kinds of figures, sophisticated OpenType features — so it’s ready for advanced typographic projects. Free demo font available. For more information about Simplo Soft, download the PDF Specimen Manual.

FINALLY! We’re telling you for The Last Time! This is not a Threat! This is not a Negotiation! Refusal to cooperate with the terms of this font will be considered an Act of War! There can be no Dispute! The Crisp, Sharp hooks and corners of this typeface are Not To Be Reasoned With! Gosh Darn it, we have grown tired of asking and this is merely a formality precedent to the outbreak of hostilities. It’s a little corporate, it’s a little bureaucratic, but our lawyers insisted that we propose a settlement of compromise. Ipso Facto.

Memo, designed by Janet Valdez of Janworx, is a digital version of her own personal penmanship, currently displayed in abundance on sticky notes all over her desk and monitor. Although its basis is in actual handwriting, it's perfectly legible, offering a casual alternative typeface for everyday correspondence or simple things, ranging from event flyers to children's birthday party invitations. Memo performs well at regularly used correspondence sizes, but at a larger size can also be manipulated in graphics software for interesting effects. The letters can be moved randomly from the baseline, overlapped, and then contoured with good results for a casual look.

The font Eckmann is named after its designer, Otto Eckmann, and appeared with the Klingspor font foundry in 1900. The influence of the Jugendstil is clear to see in the flowing floral contours of the letters. This font was made for larger point sizes, like on posters, and while relatively legible, it is not meant for smaller print. The font was often used in book titles and advertisements of the 19th century and today Eckmann is often used to suggest a feeling of nostalgia and is often found on the Jugendstil facades in Germany, Austria and Switzerland.

Progressiva is a sans serif type family for text and display usage. With some unique playful forms and a little bit condensed structure, the family is ideal for texts that require some personality and titles with great visual presence. Progressiva family is composed by 11 roman styles, from Thin to UltraBlack, giving a lot of space for visual variance. Each font includes some standard and discretionary ligatures as well as some alternative letterforms included in stylistic alternates and stylistic sets OpenType features. It’s suitable for magazines, posters, packaging, advertising, signage systems, corporate material and so on.

Tolyer font is an extra large super family of 50 fonts! In many cases quantity doesn’t mean quality but here we have such a big abundance of contrast, styles, weights and special effects in one place that it actually doesn’t pay attention to the fact this is an all caps family. When it comes to strong headlines, titles, posters, masculine brand names Tolyer type family is probably one of the best choices in sans serif typography. You could easily pick from low to high contrast outlines, uprights and obliques, 3D effects or different artistic textured styles to make your work diverse, expressive and attractive. Tolyer font offers you maximum readability even in poor display conditions like low quality printing or low resolution monitors. In some cases poor print quality could even add more value to the final result, because Tolyer has a lot of potential to be used in difficult conditions. Letterpress and high embossing are one of those print effects that really suit Tolyer best. Use it in high contrast with background environment, higher ink flow, don’t think about the dot gain and you should definitely use a textured paper – this is what Tolyer really likes and deserves. It will thank you for this with authentic look, classic vintage style and strong but attractive presence.

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

Etelka was designed for purposes of corporate identities, branding, product package design and outside lettering. It works anywhere an extremely legible typeface is needed. Package and label design often requires a wide choice of weights and widths: light and narrowed fonts to fit huge amount of mandatory informations onto a small box, or to squeeze text lines around a bottle, fat and wide styles to emphasize information on a poster or vehicle. The regular styles will serve well for business card, small texts and for your website. Etelka’s design idea is wide, open rounded square. Some details are extremely minimized: lower-case “a, n” or “u” lack their typical spur. The typeface has a distinctive industrial expression with all diagonals slightly softened, and her overall strict mono-linear principle is exceptionally broken only for fine optical adjustments in joints. Cyrillic and Greek scripts are present for international business, as well as rich latin diacritics. Etelka is actually very well suited for all kinds of visual communication, especially orientation systems in modern architecture. The first drawing of the font, which was later named “Etelka”, was submitted in 2004 for the Czech Television identity competition and was rejected by the jury. We later concluded that the design was worth extending to the current superfamily of 42 fonts. It is a reliable typeface for corporate identities and websites.

Many local variants of the Greek alphabet were employed in ancient Greece during the archaic and early classical periods, until around 400 BC, when they were replaced by the classical 24-letter alphabet that is the standard today. All forms of the Greek alphabet were originally based on the shared inventory of the 22 symbols of the Phoenician alphabet, with the exception of the letter Samekh, whose Greek counterpart Xi (Ξ) was used only in a sub-group of Greek alphabets, and with the common addition of Upsilon (Υ) for the vowel /u, ū/.[1][2] The local, so-called epichoric, alphabets differed in many ways: in the use of the consonant symbols Χ, Φ and Ψ; in the use of the innovative long vowel letters (Ω and Η), in the absence or presence of Η in its original consonant function (/h/); in the use or non-use of certain archaic letters (Ϝ = /w/, Ϙ = /k/, Ϻ = /s/); and in many details of the individual shapes of each letter. The system now familiar as the standard 24-letter Greek alphabet was originally the regional variant of the Ionian cities in Anatolia. It was officially adopted in Athens in 403 BC and in most of the rest of the Greek world by the middle of the 4th century BC.