Sinkin Sans Narrow is a simple, pleasantly proportioned and easy to read sans-serif, available in all 9 standard web weights, 100 to 900, plus italics, so the face is a comprehensive illustration of the CSS web font numerical scale. Sinkin Sans fonts are designed with tiny, inconspicuous notches that sink into verticals at the intersections of strokes, adding highlights to congested corners. The incisions make right angles appear sharper and improve definition in more intricate characters. Sinkin Sans Narrow inherits the enviable clarity and readability of the luxuriously wide original family. The Narrow typeface, however, is designed to economise on space within busy web pages and has been sensitively condensed for maximum legibility. Each weight of Sinkin Sans Narrow is supplied with a free Italic.

Fontology-E is an experimental font designed by Fabrizio Schiavi. It was created for the cover of the Fontology catalogue. Schiavi's need was to build an optical false modulation effect with versions of the logotype and typical rectangles of an empty font chart. The basic idea was to create a page that contained many rectangles in order to demonstrate the modulation. At the same time, it was important to understand that Schiavi inserted 8 versions of the same logotype each time the corresponding letter is digitized in e, a, d, f, g, h, c and b. The inside of the catalogue has the same layout and text, which is revealed by fanning the pages. Schiavi confess that Fontology-E is a highly experimental typefont.

Introducing our newest font Kaboore, a retro condensed themed font, is a clean and modern typeface that gives off a strong, unique, and clean impression. Its thick, sturdy appearance is perfect for creating attention-grabbing titles and headlines. it is slightly compressed so it works well in medium or large font sizes while maintaining legibility. This Kaboore font is designed with 2 styles in the form of the slab and sans, also enriched with optional ligatures, so use this font immediately to get your project extraordinary. What’s Included : - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

From the abyss and the quarantine hell, drawn in absolute lonelyness, and finished during the darkest hours of confinement… "Guau" is born, the type that barks directly at your face! "Guau" is a high-contrast display font with as many weights and versions as there are types of puppies in this fantastic world. It is thought to bring up glances in middle and heavy boxing weights, although you can also take its compressed and italic styles just for a walk. "Guau" is a font with three axes (italic, weight and width) and 20 instances, and it also contains thousands of glyphs and Opentype features that means a "guaorld of posibilities". This name comes from the time when you could only go to the street to take a walk to your pooch. Definitely, "Guau!, your new best friend!".

The Klutz AOE Pro Family was inspired by the plethora of naive hand drawn lettering becoming commonplace in modern advertising. What I hadn't seen was a family of hand drawn typefaces, in a range of widths and weights, with both alternate capitals as well as small caps character sets...and so Klutz Pro was born. The letterforms started with a few letters my daughter had drawn which I expanded on from there. Pulling from inspirations in retro cartoon titling and modern hand lettering playfulness, the full font was born, with weights and width to follow. Quirky, eclectic, and just a bit ridiculous, it lends itself to a range of design typesetting - although I must confess, even though it all began with the Regular width, the Extra Condensed styles are my personal favorites. What's your favorite?

Slab-like sibling Why stop at sans? Rather than leave FS Silas Sans as an only child, the team wanted to extend the family, and create a complete system for brands and editorial. Unsure what the result would be, the team started experimenting with a slab serif version. ‘We didn’t know how it would turn out, but we really liked it and wanted to take it further. A fresh angle ‘We stuck with the angular theme of the sans by drawing angled slab serifs,’ says Phil Garnham, ‘as opposed to the square serifs that slab fonts usually have. That created an inner dynamism in words and sentences on the page, and a very distinctive, crafted character, like a Victorian soul in a contemporary body.’ These crafted touches include details such as the angled ascenders on the ‘i’ and ‘l’, while characters such as the ‘y’, with its abruptly-ending descender, add a mark of distinction. A perfect pair Silas Slab, like its sibling, offers a clear-cut range of five weights, from the elegant Thin to the monumental ExtraBold. Put it together with Silas Sans and you have the full complement, capable of performing the full range of tasks, above the line and below, in headlines, body copy and logotypes, B2B and B2C. Keep them together; they don’t like it when they’re apart.

The famous lettering “Capital Trajana” (inscription at the bottom of the column that bears its name erected in the year114 A.D.) is usually identified as the classic example that defines Imperial Capital forms. However, much earlier, there were already countless examples of Greco-Roman epigraphy of excellent execution, as evidenced by the monumental inscriptions from year 2 b.C. sculpted in the Portico di Gaio e Lucio Cesari in front of the facade of the Basilica Emilia, in the Roman Forum, erected by Augustus, dedicated to his two grandchildren for propaganda and dynastic needs. It has been more than two thousand years and the forms of these letters are still part of our daily life, product of their qualities of readability and beauty. It is probably the added semantic value that have made them an icon full of symbolism that expresses majesty, monumentality, order and universal power. Numerous authors, calligraphers and designers have studied this legacy such as Giovanni Francesco Cresci, Edward Catich, L.C. Evetts, Armando Petrucci, Carol Twombly, John Stevens, Claude Mediavilla, just to name a few. Marcus Traianus font is a fitted version of the two models mentioned, which is accompanied by Small Caps, lowercase (carolingas) and a set of numbers (Indo-Arabics) in addition to the Romans figures and diacritics for Central European languages Marcus Traianus is presented in two weight: Regular, Italic, Bold and ExtraBold.

Designed by Cosimo Lorenzo Pancini and Andrea Tartarelli with Maria Chiara Fantini, Lovelace is Zetafonts homage to the tradition of nineteenth century “Old Style” typography - a revival of Renaissance hand-lettered shapes driven by the desire to create a less formal and more friendly alternative to Bodonian serifs. While taking inspiration from the letter shapes created by Pheimester or Alexander Kay - with their calligraphic curves and heavy angled serifs that influenced Benguiat and Goudy’s typefaces in the 70s - we also tried to add elegance and contrast by following another 19th century revival style: the Elzevir. This digital homage to victorian typography, aptly named after the algorist daughter of lord Byron, is developed in two optical sizes, both in a six weights range from extralight to extrabold. The text variant offers maximum readability thanks to the generous x-height and screen-friendly design, while the display variant excels in the sharp contrast and thin details needed for editorial and large-size titling use. The italics, strongly influenced by calligraphy, have been complemented with a display script family, including luscious swashes and connected lowercase letters, lovingly designed by Zetafont in-house calligrapher. All the thirty weights of Lovelace cover over 200 languages that use latin, cyrillic and greek alphabets, and include advanced Open Type features as Stylistic Alternates, Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms.

Drummer is a large futuristic font family inspired by the Expansion TV series, old science fiction book covers and Honda Prelude and Porsche logos. The family contains a large number of styles and a lot of language support. 54 styles, 6 in width (Ultra Condensed, Condensed, Normal, Expanded, Extra Expanded, Ultra Expanded) and 9 in weight (Thin, Extra Light, Light, Regular, Medium, Semi Bold, Bold, ExtraBold, Black). The font also has a variable version. 573 glyphs, including 40 alternate characters. A lot of work has been done on the font. The fillets on the symbols have been well worked out and tested for a better visual and practical experience. The font combines the monospacing of many characters combined with kerning, which makes it very convenient for many purposes, such as vertical typography. The font is good in all sizes, both small and large, which makes it possible to use it anywhere. Branding, logos, titles, posters, texts, covers, merch, prints, web, titles, banners, games and design in games and much more. In the near future, it is planned to add another axis of variability - the slant. Consequently, the family itself will increase. It is also planned to add a small case (capital). If you want to say something about the font or get a font in other formats, then write to the mail: bunineugene@gmail.com .

Antikor is "mono geometric sans" family consist of 3 styles, 55 fonts with real italics... All fonts of family contains 800+ glyphs, and equipped with many typographic features. (Styles: Mono, Text and Display) Antikor Text is designed for those who prefer to use monospaced fonts not only in coding but in many different media of graphic design. The idea came from creating a typeface with monospaced aesthetic without disturbing aspects of monospaced typefaces . Antikor text has proportional spacing and precise kerning to avoid poor rhythm and track in reading text. It also provides wide range of useful features with extended glyph sets and opentype features. Antikor Mono is geometric sans monospaced typeface with all typographic features except spacing and kerning. As other styles it has many opentype features and extended character set including SmallCaps, Stylistic Alternatives, Scientific Numbers, Fractions, Oldstyle Numbers, Case Sensitive Forms, Arrows, Circled numbers and etc... It is designed to meet all the needs of the monospaced text medias... As Antikor is a versatile family, Antikor Display is a very alternative typeface with playful calligraphic curves. It is designed with the idea of creating a contrast and eye catching touch in display use of typography. It creates tasty contrast against the serious and solid monospace look. Each style has 11 weights ranging from Hairline to ExtraBold + real italics, consist of 22 fonts.

Kubrick is an experiment in extremes. The Light font is very tall and slender, the Black font is very massive, and Kubrick's slender counters push some of its glyphs to the edge of recognition. The thin counters and negative spaces also give text set in Kubrick a definite visual sparkle, especially in all-uppercase settings. Because of its extreme letterforms, Kubrick is recommended only for large display use. The default letterspacing is set fairly wide to keep text legible. Kubrick was a double-experiment. One part of it was to see how heavy and massive a typeface I could make while still keeping it legible. The other part was to develop a Multiple Master font. Multiple Master fonts were a format developed by Adobe that allowed the user to change things like the weight and width of a typeface. Monollith started as just such a Multiple Master typeface, but when Adobe discontinued the Multiple Master format, I stopped work on the typeface. Later I decided to continue work on it, but as five separate font weights: Light, Medium, Bold, ExtraBold and Black. Very rectilinear letterforms with extremely narrow counters and negative spaces. The five fonts go from very thin and condensed to very heavy and extended. Use in large display settings where unornamented high visual impact is desired.

Le Havre is a geometric sans serif inspired by the golden era of the passenger ship, when getting to your destination was a delight in and of itself. Compressed capitals, a low x-height and geometric construction give this art deco inspired sans a unique look that looks to the past for inspiration, but is a new contemporary design usable in a wide range of graphic settings. Le Havre features eighteen art deco titling alternates, ligatures and old style figures. Le Havre is named for the port where many a famous luxury cruise liner was launched in the 1930s. One of the best examples of art deco luxury cruise liner advertising can seen in the famous poster advertising the SS Normandie by the French designer Adolphe Mouron Cassandre. In 2009 the Le Havre series was updated with a new thin weight and Le Havre Rounded.

Velino is the most recent of our Premium Typefaces. The serif version comes in two packages with three widths: Velino, Velino Condensed and Velino Compressed. The Display package contains high contrast typefaces, with a modern flair, very feminine but with plenty of character, specially designed for fine print in big text sizes. The Text package was designed for any running text. It’s proportions and colors make it the ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a Slab Serif typeface with only one weight and it’s respective italic, but with plenty of muscle, for every time some extra strength is needed, like setting very big text, magazine covers or newspaper’s special sections. Finally we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

Velino is one of our most complete type families. The serif version comes in two packages with three widths: Velino, Velino Condensed, and Velino Compressed. The display package contains high-contrast typefaces, with a modern flair—very feminine but with plenty of character, specially designed for fine print in big text sizes. The text package was designed for any running text. Its proportions and colors make it ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a slab serif typeface with only one weight and its respective italic, but with plenty of muscle, for every time some extra strength is needed, such as setting very big text, magazine covers or newspapers’ special sections. Finally, we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

Velino is one of our most complete type families. The serif version comes in two packages with three widths: Velino, Velino Condensed, and Velino Compressed. The display package contains high-contrast typefaces, with a modern flair—very feminine but with plenty of character, specially designed for fine print in big text sizes. The text package was designed for any running text. Its proportions and colors make it ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a slab serif typeface with only one weight and its respective italic, but with plenty of muscle, for every time some extra strength is needed, such as setting very big text, magazine covers or newspapers’ special sections. Finally, we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

Trade Gothic Next is Akira Kobayashi's 2008 revision of Jackson Burke's 1948 design. Developed over many years, the original Trade Gothic was filled with many inconsistencies. Under the direction of Akira Kobayashi, Linotype's Type Director, the american type designer Tom Grace, a graduate of the MA Typeface Design in Reading, was commissioned to redesign, revise, and expand the Trade Gothic family. Kobayashi and Grace refined many details such as the terminals and stroke endings, symbols, and the spacing and kerning. Moreover, there are newly added compressed widths and heavy weights perfect for setting even more powerful headlines. The Regular weight has been beefed up making it stronger and more robust in text settings. Trade Gothic is a staple of the advertising and newspaper industries, and now Trade Gothic Next brings more features and better quality for today's astute typographers. In addition several weights are available as soft rounded versions.

Velino is one of our most complete type families. The serif version comes in two packages with three widths: Velino, Velino Condensed, and Velino Compressed. The display package contains high-contrast typefaces, with a modern flair—very feminine but with plenty of character, specially designed for fine print in big text sizes. The text package was designed for any running text. Its proportions and colors make it ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a slab serif typeface with only one weight and its respective italic, but with plenty of muscle, for every time some extra strength is needed, such as setting very big text, magazine covers or newspapers’ special sections. Finally, we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

Velino is the most recent of our Premium Typefaces. The serif version comes in two packages with three widths: Velino, Velino Condensed and Velino Compressed. The Display package contains high contrast typefaces, with a modern flair, very feminine but with plenty of character, specially designed for fine print in big text sizes. The Text package was designed for any running text. It’s proportions and colors make it the ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a Slab Serif typeface with only one weight and it’s respective italic, but with plenty of muscle, for every time some extra strength is needed, like setting very big text, magazine covers or newspaper’s special sections. Finally we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

Meet Donovan Display! She's a lovely, high-contrast Didone with lots of options. Do you like sweeping flourishes at the end of your strokes? She's got 'em! Prefer juicy ball terminals? She's got 'em! Like a simpler, cleaner terminal? She's got those, too! She also has a set of grand swash capitals and a trunkful of ligatures that will add panache and elegance to any project that requires display-size type. Even better, she comes in two widths: Slim, for standard display use, and Skinny, a compressed version for spaces that require a bit of a squeeze and/or a more (traditionally) masculine feel! Donovan's lines are inspired by classic Didone faces — most notably the work of Firmin Didot (for architectural detail) and Giambattista Bodoni (for the look of the skinny version). She's sexy and stylish and she'll give you exactly the fashionable, elegant look you're after.

Velino is the most recent of our Premium Typefaces. The serif version comes in two packages with three widths: Velino, Velino Condensed and Velino Compressed. The Display package contains high contrast typefaces, with a modern flair, very feminine but with plenty of character, specially designed for fine print in big text sizes. The Text package was designed for any running text. Its proportions and colors make it the ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a Slab Serif typeface with only one weight and its respective italic, but with plenty of muscle, for every time some extra strength is needed, like setting very big text, magazine covers or newspapers’ special sections. Finally we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

Velino is the most recent of our Premium Typefaces. The serif version comes in two packages with three widths: Velino, Velino Condensed and Velino Compressed. The Display package contains high contrast typefaces, with a modern flair, very feminine but with plenty of character, specially designed for fine print in big text sizes. The Text package was designed for any running text. It’s proportions and colors make it the ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a Slab Serif typeface with only one weight and it’s respective italic, but with plenty of muscle, for every time some extra strength is needed, like setting very big text, magazine covers or newspaper’s special sections. Finally we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

DF Korolev is a 72 weight geometric sans serif family based on lettering by an anonymous Soviet graphic designer from the propaganda displays at the Communist Red Square parade in 1937. It has been named in honor of Sergey Pavlovich Korolyov, or Korolev, considered by many to be the father of practical astronomics. Rational and robust, it is also elegant and refined. Tracings done in Illustrator over a photograph featuring this type pinned down some of the basic character shapes. These were then imported into FontLab, where the full glyph complement was developed. The lower-case has been designed from scratch, and adheres to the structural logic of the uppercase as closely as possible. The complete Korolev super-family includes standard, italic, condensed, and compressed versions, each in five weights. Try the ‘rounded’ and ‘rough’ companion families. The Alternate families come with a double-story “a”.

Velino is one of our most complete type families. The serif version comes in two packages with three widths: Velino, Velino Condensed, and Velino Compressed. The display package contains high-contrast typefaces, with a modern flair—very feminine but with plenty of character, specially designed for fine print in big text sizes. The text package was designed for any running text. Its proportions and colors make it ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a slab serif typeface with only one weight and its respective italic, but with plenty of muscle, for every time some extra strength is needed, such as setting very big text, magazine covers or newspapers’ special sections. Finally, we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

Velino is the most recent of our Premium Typefaces. The serif version comes in two packages with three widths: Velino, Velino Condensed and Velino Compressed. The Display package contains high contrast typefaces, with a modern flair, very feminine but with plenty of character, specially designed for fine print in big text sizes. The Text package was designed for any running text. It’s proportions and colors make it the ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a Slab Serif typeface with only one weight and it’s respective italic, but with plenty of muscle, for every time some extra strength is needed, like setting very big text, magazine covers or newspaper’s special sections. Finally we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

George Ryan's ITC Migrate is a highly condensed sans serif display face that effectively complements ITC Adderville. Migrate represents what Ryan calls a “more highly evolved version” of a typeface he designed for Bitstream in 1991 called Oz Handicraft. “Both faces,“ says Ryan, “are based on designs of the popular early 20th-century type designer Oswald Cooper.” His inspiration came from drawing samples found in the Book of Oz Cooper, published in 1949 by the Society of Typographic Arts in Chicago. “Oz worked extensively with the sans serif form long before it became popular in the States, eschewing a popular belief of the time that sans serifs were only skeletons of letters.” Where Oz Handicraft was informal and quirky, ITC Migrate has a more restrained feel. “The uppercase characters and figures, in particular, have been reworked,” says Ryan, ”resulting in a more formal and traditional, compressed sans serif typeface.”

CA Oskar came into being as a custom typeface for the international Traumzeit music festival. As a substantial part of the new corporate identity, it had to be characteristic, but also flexible in use. Starting with the design of compressed caps for headlines, the typeface was soon expanded by a condensed weight for setting of text and further developed into a fully functional font with two widths and two weights. Both weights are very space-efficient, which was -- apart from aesthetic considerations -- an important issue in the process of the design. CA Oskar is a mixture of industrial harshness and friendly round forms, reflecting the spirit of fusion, which is basically what the whole festival is about. Its very slim proportions in two widths make it an attractive alternative to fonts like Alternate Gothic, but CA Oskar adds an extra portion of personality and a coherent choice of weights.

Velino is the most recent of our Premium Typefaces. The serif version comes in two packages with three widths: Velino, Velino Condensed and Velino Compressed. The Display package contains high contrast typefaces, with a modern flair, very feminine but with plenty of character, specially designed for fine print in big text sizes. The Text package was designed for any running text. It’s proportions and colors make it the ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a Slab Serif typeface with only one weight and it’s respective italic, but with plenty of muscle, for every time some extra strength is needed, like setting very big text, magazine covers or newspaper’s special sections. Finally we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

An intoxicating blend of rare flavours is what makes the new transitional typeface Wermut (German for vermouth) resemble its alcoholic namesake. Bitter and thorny at first glance, it proceeds to surprise the palate with a complicated taste that leaves a pleasant aftertaste. Wermut may not be taken in hastily, but needs to be thoughtfully enjoyed at a measured pace. Its dark colour, compressed, spring-like, shapes, well-built proportions, and agreeable letterforms all look safe enough until one is jolted to encounter the clipped serifs that lend the page an unexpectedly edgy appearance. The font comes in two weights with an extended character set in Latin and Cyrillic scripts supporting 66 languages. A product of slow, careful distillation, this infusion of multiple ingredients comes together to form a unique mature taste which will be appreciated by true connoisseurs of typographic cocktails. Desined by Gayaneh Bagdasaryan and Vyacheslav Kirilenko.

In 1948, Mergenthaler Linotype released the first weights of Trade Gothic, designed by Jackson Burke. Over the next 12 years Burke, who was the company’s Director of Typographic Development from 1948 through 1963, continued to expand the family. Trade Gothic Next is the 2008 revision of Jackson Burke’s design. Developed over a prolonged period of time, the original Trade Gothic showed many inconsistencies. Under the direction of Linotype’s Type Director Akira Kobayashi, American type designer Tom Grace, a graduate of the MA Typeface Design in Reading, redesigned, revised and expand the Trade Gothic family. Many details were improved, such as the terminals and stroke endings, symbols, and the spacing and kerning. Moreover, there are newly added compressed widths and heavy weights perfect for setting even more powerful headlines. Trade Gothic Next brings more features and better quality for today’s demanding typographers. Trade Gothic Next® font field guide including best practices, font pairings and alternatives.

DF Korolev is a 72 weight geometric sans serif family based on lettering by an anonymous Soviet graphic designer from the propaganda displays at the Communist Red Square parade in 1937. It has been named in honor of Sergey Pavlovich Korolyov, or Korolev, considered by many to be the father of practical astronomics. Rational and robust, it is also elegant and refined. Tracings done in Illustrator over a photograph featuring this type pinned down some of the basic character shapes. These were then imported into FontLab, where the full glyph complement was developed. The lower-case has been designed from scratch, and adheres to the structural logic of the uppercase as closely as possible. The complete Korolev super-family includes standard, italic, condensed, and compressed versions, each in five weights. The Alternate families come with a double-story “a”. Authoritative yet friendly, Korolev Rounded is a versatile addition to the Korolev range.

Cadmium has a comprehensive latin character set and many Opentype features to enhance text, including small capitals, case-sensitive forms, superscript and subscript. Plenty of numeral variants include old-style figures, lining figures and fractions. Default numerals are proportionally spaced. Alternative styles for a handful of key characters provide some useful variations where stylistic sets can be implemented. The fonts are presented as four width-based sub-families: Expanded, Normal, Condensed and Compressed. Each width has a matching range of six weights and italics (obliques). Regular and Bold weights are style-linked, together with their respective oblique forms. Each width differs in its basic construction but all fonts share the same vertical metrics and may be used in combination with each other. Letter spacing is optimised for text sizes but is tolerant of significant tracking changes. Cadmium is good for signage, publicity and packaging, screen credits and titling, general print and publication, as well as web and screen applications.

Velino is the most recent of our premium typefaces. The serif version comes in two packages with three widths: Velino, Velino Condensed, and Velino Compressed. The display package contains high-contrast typefaces, with a modern flair—very feminine but with plenty of character, especially designed for fine print in big text sizes. The text package was designed for any running text. Its proportions and colors make it the ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a slab serif typeface with only one weight and its respective italic, but with plenty of muscle, for every time some extra strength is needed, such as setting very big text, magazine covers or newspapers’ special sections. Finally, we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

Inspired by the streamlined lettering of trains, cars and advertisements from the 1930s and 1940s, Silver Streak is a font family that combines Art Deco elegance with refined craftsmanship and modern features. Silver Streak's contrasting strokes and tastefully rounded corners conjure an era of refined, vintage elegance. An extravagant palette of 25 weights — from gracefully tall and thin to commandingly wide and heavy, along with a variable font for unlimited options between — provide unforgettable branding possibilities for luxury items ranging from jewelry, clothing and perfume to the sleek badges of high performance sports cars. Features: Five widths from Compressed to Extended Each with five weights from Light to Heavy Complete family includes a Variable font for precise control of weight and width Support for 223 languages, including Western & Central Europe, Russian Cyrillic, Serbian/Macedonian, Ukranian and Vietnamese Alternate hook-cornered capitals (accessible as Opentype Discretionary Ligatures) Alternate round-topped A in two versions, each with international accents (accessible as Stylistic Alternates)

Retro style is hip, so are early 20th century poster fonts. Size is based on these extra condensed letter forms. In the 19th century the need to communicate commercial messages on limited poster space brought up extremely condensed fonts creating a new typographical look. Since not really legible in small sizes these fonts nearly disappeared with the change in the commercial communication in the 20th century. For a couple of years now, these extra condensed fonts have a revival copying the exact historical appearance of its predecessors. Size, though also seeking the inspiration in the historical draft, furthermore aims to interpret this compressed look in a more vivid way by not closing in on the open counters of the round letters, but having its stroke endings slightly curved. Since other characters are defined by straight strokes, Size displays a look more vital and candid, but still distinct, compared to its historical predecessors.

Modica Pro is here to expand upon the success and versatility of the original Modica typeface (2019). Modica has been compressed, condensed, narrowed, widened, and extended to a mega-family of 108 fonts that now includes small caps as well as additional language coverage. Modica Pro 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 Pro to task today? There are 108 fonts in this family, ranging from Hairline to Ultra weights across six widths in both roman and italic. A single variable font (included with the full family) covers all weights, widths, and italic angle with every increment in between to suit whatever style you prefer. Modica Pro has a character set that covers all Latin European languages. Key features: 1 Variable Font 9 Weights in Roman and Italic 6 Widths Small Caps Full European character set (Latin only) 650+ glyphs per font.

Looking like gifted jelly and falling in between cushions and cat food, this plump and inviting letter mixes simplicity with organic style for a wide range of uses. Jellybrush's compact cursive forms and robust friendliness draw on artbrush scripts, blending brush effects with synthetic forms. A versatile workhorse suitable for: * Dairy & beverage * Sweets & soft drink * Five minute food & sauces * Pet food & accessories * Bathroom & kitchen * Cushions, pillows, rubber & swimming pool, etc. Jellybrush is designed to take squishing and outline treatments and still look good. Squish it down in your application of choice, the letter proportions withstand horizontal compression easily. Jellybrush italic is a subtly-slanted fully cursive variant with the character width, counter size and hanging figures required for good text performance. Designed for supplementary text for packaging and advertising comps and any application requiring readable text matching the main font. The font packages contain two (2) formats of Jellybrush, in OpenType & TrueType flavors.

In 1948, Mergenthaler Linotype released the first weights of Trade Gothic, designed by Jackson Burke. Over the next 12 years, Burke, who was the company’s Director of Typographic Development from 1948 through 1963, continued to expand the family. Trade Gothic Next is the 2008 revision of Jackson Burke’s design. Developed over a prolonged period of time, the original Trade Gothic showed many inconsistencies. Under the direction of Linotype’s Type Director Akira Kobayashi, American type designer Tom Grace, a graduate of the MA Typeface Design in Reading, has redesigned, revised and expanded the Trade Gothic family. Many details were improved, such as the terminals and stroke endings, symbols, and the spacing and kerning. Moreover, there are newly added compressed widths and heavy weights perfect for setting even more powerful headlines. Trade Gothic Next brings more features and better quality for today’s demanding typographers. Trade Gothic Next Soft Rounded introduces a new friendliness and warmth to the family.

Buntype’s new Bunday™ Sans Font Family consists of four main states with different moods: the crisp and distinctive sans, the cute script styled upright and the matching italics (these upright styles are currently not available). All states of Bunday™ Sans share the same contemporary, clear and open base forms and create a space-saving and homogeneous text colour. Despite the fact that the overall width is space-saving or narrow, Bunday™ Sans offers good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure perfect appearance in all media.  Bunday™ Sans ships with 9 standard, 9 upright italic, 16 italic styles from a considerable thin “Hair” to a pretty fat “Heavy” weight. It supports at least 99 languages and provides OpenType® features for ligatures, alternative glyphs, localised forms and more.  Please take a look at the other members of the Bunday superfamily: Bunday™ Clean Bunday™ Slab Further information: Bunday Sans Specimen PDF Bunday Sans OpenType® Quickguide Feature Summary: 9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy 4 Moods: Sans, Upright, Sans Italic and Upright Italic Overall width: Narrow or Space-Saving Advanced “f” ligature set* “s” and “c” ligatures* Alternates Characters: a, ç, e, f, g, l, t, y and more* Capital German Esszett* Supports at least 99 Languages * Available only in applications with advanced OpenType® support

Brother To create a truly global font family, FS Albert needed an Arabic script sibling. Emanuela Conidi set about the delicate task of creating an alphabet to harmonise visually with its Latin sans serif counterpart so that the two could be used side-by-side in bilingual publications. Working with the Kufic style of script, with its simpler, geometric forms, Emanuela sculpted letters with the a similar optical size, weight and rhythm as FS Albert, with open counters and monolinear strokes. It never hurts to Naskh But there’s more to FS Albert than a simple, geometric structure. To match Albert’s cheery, charming character, FS Albert Arabic needed an injection of warmth and informality. Emanuela incorporated some of the more expressive, calligraphic shapes of the Naskh script style, which lent the letterforms a looser, softer, more handwritten quality, while remaining functional and structured. The Naskh influence is most noticeable in the bowl of characters such as Jim, Qaf and Nun, in the curved tail of Waw and Reh, and the deep joining of Tah. Follow the script The end result is an Arabic script that’s the perfect partner to FS Albert: open counters, monolinear strokes and a friendly, rounded appearance. FS Albert Arabic is available in Opentype format, in five weights from Thin to ExtraBold. It supports Persian and Urdu, with proportional and tabular numerals for both, plus full vocalisation and the Hijra feature.

Rigel was inspired by one poster by American artist and illustrator Katherine Milhous. It was a poster promoting the Ephrata Cloister in 1936. The letters from the Ephrata title on this poster are very concise and expressive, reminiscent of blackletter, but have a simplified look, which looks quite fresh even today. It was very inspiring to bring this font to life. In the process of redrawing and redesigning, the font has been slightly modified, but retained the character of those six letters from the reference poster. This is a header font consisting only of uppercase letters. It contains 6 styles from Light to ExtraBold. Despite the fact that the font has the character of blackletter, due to simplified forms, increased contrast and sharp lines, the font looks like a modern rethinking of Gothic script and it has found a new life. The name Rigel is taken for a reason. Rigel is a star, an blue supergiant in the constellation of Orion, and the Ancient Egyptians associated Rigel with the Sah - king of stars and patron of the dead. The human body after mummification was also seen as the embodiment of the soul. Of course, there is no direct connection between the font and Egyptian mythology, but indirectly in this way I wanted to emphasize even more the idea of incarnation, rebirth. Rigel is good for posters, large headlines, logos and any other large font compositions.