FS Rosa is a free-spirited and optimistic serif typeface – reminiscent of those used on fanzines, film sequences and book covers of the 1970s, such as Cooper and Windsor, it has a laid-back nature with a touch of rebellion. It also reminds of type used in colourful protest graphics by nun-turned-designer Corita Kent, and its personality is akin with brands like Whole Foods - positive rather than preachy. While unconventional, it’s sensible enough to work perfectly for socially conscious brands, magazines, websites and campaigns that want a fairer and more responsible world. Hand-drawn digitally, FS Rosa is warm and open-minded – its irregular letterforms are rounded, with soft terminals, a large x-height and wide apertures. But it is also quirky and eclectic, with irregular shapes – its short ascenders and descenders have slanted serifs, its uppercase forms have unusually low crossbars and the letters are filled with oddities and surprises. The typeface looks to stand out against a sea of homogenous, geometric sans serifs, and celebrates beauty through imperfection. It comes in five weights of Thin, Light, Regular, Bold and Black. The heavier weights make an impact and are great for loud, headline statements. The Regular weight is functional, balanced and robust for text, and the lighter weights have an elegance and contemporary beauty. FS Rosa is eclectic yet with its soft roundness, also positive and progressive. Its name, inspired by the phrase “rose-tinted glasses”, reflects its optimism.

Marble is part of Asterisk Type Collection by URW Type Foundry. Marble is a modern sans serif with a distinct character and comes in 108 styles plus Variable Fonts. It grew from the desire to create full bodied letters in contrast to the economy of most sans serif faces. Designed for corporate and publishing use it is rounded and approachable, its three styles (Condensed, Normal and Wide) range from slender elegance to warmth and playfulness without ever being informal. Designed by Alessia Mazzarella and Vaibhav Singh, Marble derives its character from the generous roundness of the x-heights which is balanced by the striking horizontal or vertical cuts to the terminals. The result is a readable font that encourages the eye to move from one shape to the next and that offers a range of possibilities for digital and print. The Marble family has nine weights in Latin for each variant. Eminently versatile, it’s ideal for establishing hierarchies of information with a wealth of choices for headlines, subheadings, captions and body copy styles that are all in harmony with each other. The Wide style allows headlines to be set with width and presence.

The typeface family TV Nord is based on the corporate typeface NDR Sans which was developed by Elsner+Flake for the Norddeutsche Rundfunk (www.ndr.de) between 1999 and 2001. This new design came into being as part of a complete overhaul of the visual image of the NDR. This became necessary because the NDR, founded in 1954, incorporated the stations of the East German states Mecklenburg-Vorpommern (1992) and Brandenburg (1997) after the re-unification of Germany. The Hamburg advertising agency DMCGroup developed a new and unified image for the NDR which is in existence to this day. The typeface TV Nord relates to the design of the Trade Gothic and similar American sans serif typefaces of the early part of the last century. Its development concerns itself as much with good legibility for print, as it does for the reproduction on TV screens, which among others, is achieved through its high x-height. The logotype for the NDR as well was developed from the capitals of the NDR Sans. In 2014, the TV Nord was revised stylistically and expanded to incorporate all European-Latin languages. As part of this effort, further complementary cuts were added.

New-Yorker-Type was one of the first typefaces I tried my hand at in 1985. I meant it as a revival of the typeface used by the New Yorker magazine. I did not scan it. I just looked at the type and redrew it completely by hand. Only much later did I come to know, that there is a bundle of similar typefaces of that period. Rea Irvin's design for New-Yorker magazine was just one of them, maybe the best. In the next step I repaired some of the mistakes that I made more than thirty years ago. Now on the eve of 2020 I gave the font a complete overhaul and added a set of Swash Initials, Cyrillic and Greek glyphs and many ligatures. The font now has 1075 glyphs and is all set for most latin writing systems. On top of that I made two versions, a Classic one with rounded corners and a pointed Pro version for a more up-to-date look. Take your pick. Yours sincerely, honoring Rea Irvin a great type- and magazine-designer, Gert Wiescher

Upon numerous demands of highly esteemed users of our fonts I decided to supplement the Walbaum type family by display and poster cuts. Because I obviously cannot compete with world’s renowned type foundries which already offer a number of renderings of forenamed typeface, I thought proper to decline a bit from the original Walbaum’s design, strictly speaking, from the apprehension we commonly keep about this typeface. Therefore I didn’t set forth the way of modernizing (shame!), but rather the opposite direction: towards an analysis of the original neo-classical intention. I took the 10-point character, magnified it enormously and cut off progressively all the optically thickened bobbles which raised by small-size correction. I ended up at the size of about 120 points, where it became obvious that any further thinning would lead to an undesired manneristic fragility. Resulting 8-member family Walbaum 120 is naturally usable in variety of sizes, as well as cuts marked “10” you can use, say, from 6 to 30 points. I only hope that mister Justus Erich won’t pull me by the ear when we’ll meet on the other side...

Peridot is not just another typeface – it's a multifaceted sans serif type system crafted with passion and precision by Foundry5. Painstakingly developed through long hours and a keen focus on every minute detail, this typeface boasts a high-quality 10 weight family with matching italics in 6 widths, and the highly versatile variable format. Brimming with character, Peridot invites you to experiment with its various stylistic variants, allowing you to tailor the typographic tone to fit your creative vision perfectly. The diverse range of widths and styles in Peridot offers a dynamic typographic toolbox, ready to inspire and captivate even the most innovative designers. Peridot PE supports Cyrillic, Greek, and Latin and covers over 370 languages. It includes all required localised variants, tabular numerals and currencies, fractions, clever discretionary ligatures and many more features. Peridot performs in varied environments – from branding, display, corporate use, editorial, advertising, poster, web, screen usage etc. Think of any other use case as well, and Peridot will perform. Peridot comprises 120 static fonts, family packages, and variable support. It is the gem you ought to have in your collection.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.

Newbery Sans is a new contrasted sans serif designed by Alejandro Paul and the Sudtipos team. As Paul has lately found inspiration from different German instructional books, Newbery Sans finds its initial inspirations from the lettering work of E. Nerdinger and invokes the spirit of German designs but is imbued with personality all its own. The idea was to make the letterforms more usable and suitable for everything from corporate branding to editorial. It is an elegant, functional family with contemporary detail that will effortlessly meet the demands of the screen and printed page. From a condensed thin to an expanded black, Newbery Sans provides a usable workhorse system of three widths and seven weights, each with the original design of real italics, a selection of alternate glyphs and a complete set of small caps. Each weight is professionally crafted and includes extended Latin support for Central, East and Western Europe languages. The font’s name nods to its imagined uses in airports and street signage: Jorge Newbery was one of the first Latin American aircraft pilots, Newbery is the street where I live and it is also the name of Buenos Aires’s local airport.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.

Ozana Pro is a bracketed serif font family adapted to the professional requirements of graphic designers, web designers and mobile app developers. Comprised of 24 styles including 12 styles designed especially for headlines and 12 styles for text and long paragraph design, Ozana Pro is a very versatile family of fonts that can be used in many projects such as editorial design, branding or corporate identity creation, design of posters or logos, the creation of websites or the development of mobile applications. This serif font family, with a resolutely modern aspect, also hides a unique typographic design since it has 2 distinct styles (Roman and Display) which have 2 different optical sizes in order to graphically differentiate the appearance of titles, subtitles and long paragraphs. With this design of glyphs differentiated by the optical size according to the styles, the titles have a very graphic aspect while the long texts have a more classic design in order to keep an optimal readability in all cases. Ozana Pro is also equipped with powerful OpenType features such as case sensitivity, true small caps, ligatures, tabular figures, old styles figures, numbers circled. Ozana Pro is also available as a variable font family.

Pulse JP is a constructivist text and display font that differs from comparable fonts due to its special sharpness and harmonious balance. Its technical and constructed form creates a somewhat artificial impression of special appeal. It is ideal for display on the screen and is used in many projects. Pulse JP is a super family consisting of 48 weights from compressed to expanded in 6 fat gradations each. This opens up a wide range of designs and the possibility of combining typefaces of the same character in a wide variety of variants, or of being able to adapt typefaces to very different conditions. The details of the individual typefaces are coordinated with each other with great precision and perfectly implemented in terms of craftsmanship. In all variants, this leads to a well-balanced typeface with particular sharpness. The very extensive character set supports 120 Latin languages. Pulse JP meets the pulse of the times, which is in a transition away from the humanistic to the classicistic designs. jp Pulse outperforms many other fonts not only in terms of sharpness but also in terms of variety and is therefore always a good choice.

Delfino Script is a cool, connecting script that can appear both retro and contemporary. Curved on the outsides of strokes, and jagged inside, the forms look like an abstraction of strips of tape, folding and flowing, or even marker pen style lettering. This script is not created by any pen though - its forms are constructed, not painted. Typographic features like ink traps add sparkle to the text. OpenType features include ligatures, contextual alternates (for more realistic connections) and stylistic sets. Stylistic Set 1 changes certain upper case letters into forms more suited for all caps setting, although they can also be used freely with the lower case. Set 2 changes the r into a less scripty form and set 3 adds a connecting tail to the q. Delfino Script would find itself at home in cookery books, fashion blogs, vintage car magazines and set large and proud on expanses of concrete, or, most likely, whatever you might have in mind for it! Delfina Script is practically identical to Delfino save for round tittles, periods and any other dot shaped glyph components. Strangely for such a little change, it does seem to give the face a different character.

Galvantur is a sans serif font, suitable for a wide range of applications. The main characteristic of this font is the slightly alien feel it can invoke, allowing it to really appear different and stand out, comparative to what other sans serifs may look like. The multiple styles included can further help customize your designs and projects, whether it's a body of text or an attention grabbing title. For example switching a block of text from regular style to oblique, can drastically change the overall appearance and feel of said text. Comes in 7 different styles - Regular, Oblique, Bold, Bold Oblique, Outlines, Bold Outlines and Oblique Outlines. To get an idea of the various styles, please check out the preview pictures or use the preview field to type in text. A full list of the glyphs included in this font can also be seen in the preview images. Galvantur supports Latin and Cyrillic based languages. The font includes a single alternative character for the letter "h". Because of the lack of ligatures and alternates, the font is rather standardized and will work with any and all software/applications.

New-Yorker-Type was one of the first typefaces I tried my hand at in 1985. I meant it as a revival of the typeface used by the New Yorker magazine. I did not scan it. I just looked at the type and redrew it completely by hand. Only much later did I come to know, that there is a bundle of similar typefaces of that period. Rea Irvin's design for New-Yorker magazine was just one of them, maybe the best. In the next step I repaired some of the mistakes that I made more than thirty years ago. Now on the eve of 2020 I gave the font a complete overhaul and added a set of Swash Initials, Cyrillic and Greek glyphs and many ligatures. The font now has 1075 glyphs and is all set for most latin writing systems. On top of that I made two versions, a Classic one with rounded corners and a pointed Pro version for a more up-to-date look. Take your pick. Yours sincerely, honoring Rea Irvin a great type- and magazine-designer, Gert Wiescher

Cavole Slab is a new slab serif, designed in early 2011, that has a strong influence from Dutch typography. The name is an altered form of the Portuguese word for feather, emphasizing the typefaceís soft and friendly character. Slab serifs give this face plenty of impact and make it an excellent choice for contemporary designers. The font family includes a very dark and powerful black all the way down to a hairline thin weight, giving a tremendous versatility. The family also features dynamic italics that add plenty of emphasis and momentum. Cavole Slab is suitable for both headline and text settings and should easily find its place in a number of different settings, from corporate identity to magazine body copy. There are six weights that come with complementary italics, and each font includes over 450 characters and extended Latin-based language support. The typeface family comes in OpenType format, and OpenType alternates are easily accessible through OpenType enabled applications such as the Adobe suite or Quark. Please see the informative .pdf brochure to see what OpenType features are available and to see them in action.

It all began with an ellipse. Like an artist who goes from a pictorical logic to a more abstract one, in Elipses geometry is stripped of any distractive or ornamental detail. The font is naked and it shows that it does not need complex shapes or decisions in order to be very attractive. The font is a compendium of ellipses and stems, with a didone 'pensiero'. It also gets some inspiration from the art-deco letters and architecture, due to obvious reasons. Geometry at its best. Elipses will be useful for magazines, books, ads, or any piece of design that needs elegant letters. Note about the styles The styles named "Alt" (from Alternative) have their swashes with less loops. Use them if you are more into naked geometry. Apart from many alternates and ligatures, I've included some different sized glyphs in all the styles so you can also play on the rhythm! Have fun!

Manhattan Midnight owes its style to Art Deco fonts of the early 20th century. It has the opulence of New York City in the 20s and 30s, the glitter of city lights, the glamour of movie stars, the razzmatazz of Manhattan in the bad old days. You can use Manhattan Midnight for all advertising with an art deco flavor, for music media needing a bluesy, retro look, for movie posters reminiscent of the era, and so many more applications. The font has all the features usually included in a fully professional font. Language support includes all European character sets.

Morris Fuller Benton’s 1910 contribution to the Art Nouveau sanserif, designed for ATF, with all descenders eliminated to encourage combinations of this typeface with other shapes.

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

Our new Hamburger font is based on the old classic Brush Script design with many new additions. We've added many alternates to the design including lowercase swash tail letters, swash underscores and a few alternate uppercase letters. Upright scripts are popular these day so new to this old type design is a near upright script version, a lot of hand work went into producing it. One of the biggest problems with the old Brush Script font is that people use it as all caps, which doesn't look good because of the extended swash on the top left side of the caps letters. We've fixed that problem by making an all caps version where the caps in the lowercase position have the top left swash tucked in to help the letters display better as an all caps font. We've also created a small caps version, again the small caps lowercase have all the top left swashes tucked in to bring the letters closer together for a better display. Also new to this font are two higher x-height versions that are ideal for signage. The first is Hamburger X which stands for extra x-height and the second is Hamburger SPX which stands for super x-height. Both of these higher x-height fonts are suitable for signage on a building, billboard and vehicle lettering where you're looking for faster readability from moving traffic. We've designed a new lowercase b and moved the original to an alternate position. We've also redesigned the uppercase C bringing the bottom up to the baseline and moved the original C to an alternate position. The original lowercase g was open at the top, we've closed it and we're not offering the original g as an alternate.

The Bree font family is a spry sans serif by Veronika Burian and José Scaglione that delivers a spirited look and feel for branding and headline usage. As an upright italic, Bree shows a pleasant mix of rather unobtrusive capitals with more vivid lowercase letters, giving text a lively appearance. Bree is clearly influenced by handwriting. As such, some of its most characteristic features are the single-story ‘a’, the cursive ‘e’, the outstroke curves of ‘v’ and ‘w’, the flourished ‘Q’, and the fluid shapes of ‘g’, ‘y’, and ‘z’. Alternates of these letters are available when a more neutral look is desired. Bree has a touch of cheekiness, a wide stance for each character, and an extra-large x-height. All this adds up to a big personality, so even when set in small text there is no skimming past the words Bree voices. In 2019, the Bree font family got a huge update. A few shapes were updated or added (the ‘k’ and German capital ‘ß’), two entirely new weights were added (Book and Book Italic), and spacing was perfected. More than that, Vietnamese support was added to Bree Latin, and the Bree Greek and Bree Cyrillic scripts were designed from scratch to parallel the Latin’s tone. Additionally, Bree was designed in variable font format for those who want complete control over the font’s appearance while simultaneously saving digital weight in the form of kilobytes and megabytes. Bree is in the perfect position for the next digital revolution. The complete Bree font family, along with our entire catalogue, has been optimised for today’s varied screen uses. Bree has been chosen for such wide-ranging uses as Breast Cancer Awareness Month in the US, the branding for the country of Peru, and numerous layouts including mobile apps, magazines, newspapers, and books. Awards – Tipos Latinos exhibition 2008 – Several best-of-the-year typeface lists of 2008 MyFonts Top 10 Fonts of 2008 Smashing Magazine: 60 Brilliant Typefaces For Corporate Design https://www.smashingmagazine.com/2008/03/60-brilliant-typefaces-for-corporate-design/ Die besten Schriften 2008 http://www.fontwerk.com/619/die-besten-schriften-2008/ – Selected for Typographica’s Best Typefaces of 2008 – Won Bronze for Original Typeface in the 2009 European Design Awards

Hello Berlin is a sweet, all round and flexible handwritten font. Warm, romantic and jolly, this font will turn each of your project ideas into real works of art. This font is PUA encoded which means you can access all of the glyphs and swashes with ease!

Society Dame JNL is a stripped-down version of Jeff Levine's Florida JNL without all of the extra embellishments. Retaining all of the same characteristics, this solid letter typeface is a perfect compliment to the original, or as a stand-alone design that fully embodies the Art Deco period.

Inspired by the sign outside a beauty salon, it is an art-deco all-caps font. This font will NOT make you more attractive to the opposite sex.

Friedrich Bauer’s Senatsfraktur, coming in two styles, regular and bold, released by Genzsch and Heyse, Hamburg, in 1912, has come to life again. Both styles contain the traditional long s which can be accessed by either the OT feature historical alternatives or by typing [alt] + b. To get access to all ligatures, it is recommended to activate both Standard and Discretionary Ligatures.

Dealova Script is the font of choice for writing things beyond words. This typeface is designed with great detail to convey stylish elegance. So, it can be said, the character of the transformation is very beautiful, a kind of classic ornamental copper script. Dealova Script provides alternative variants of most fonts, binders and many calligraphy tips, ideal for elegant labels, high-end packaging, stationery and composition for specific brands, beautiful titles, paragraphs, fonts and short text intended for read only with the eye or intended to be whispered into someone's ear. Dealova Script has 691+ glyphs and 440 alternate characters, including multiple language support. It features OpenType with alternate styles and elegant binding. The OpenType features don't work automatically, but you can access them manually and for best results your creativity will be required in combining variations of these Glyphs. And also a touch of ornament makes this font look elegant. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac).

Preview Text The quick brown fox jumps over the lazy dog Auriga Example 1 of Font More information about this Font Auriga is a calligraphy script font that comes with beautiful alternative characters. a mixture of copper calligraphy with handleting style. Designed to bring style elegance. Auriga attracts such a subtle, clean, feminine, sensual, glamorous, simple and very readable typeface. The classic style is perfect to apply in various formal forms such as invitations, labels, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Auriga has 671 glyphs. including multiple language support. With OpenType features with stylish alternatives, ligatures and characters, allowing you to mix and match pairs of letters to fit your design, as well as a touch of ornament to make this font look elegant. To install fonts follow these simple steps: .Open the zip folder you downloaded. .Double-click on the font as if you were opening an application. .Now the font installation window will open. .Click Install and wait for it to finish. .You have now installed the font. .Be sure to restart your application (and if that doesn't work restart your computer).

“Chalkís” or “Chalkida” was the capital of the Euboea island in old Greece. The name derived from the Greek and it means copper - bronze. Colonist from this area founded several important cities in the Magna Graecia, such as Cumae (coastal area of Southern Italy), where our alphabet come from. At the beginning, first scribes draw the signs in mono-line, but later on, the influence of materials, tools and the skill of calligraphers, developed the refinement of the lettering. “Calcis” is a family of sans serif fonts, characterized by its austere, functional and clear style, emerged from straight lines and primary shapes; but enriched by the contribution of countless anonymous calligraphers who have polished and embellished their forms over the years. “Calcis” is presented in five weights and italic style. It has good legibility in small sizes, elegance and strong visual impact in headlines as well. Each font of the family contain 377 glyphs with accurate kerning pairs careful controlled, and advanced typographical support with OpenType features such as: old style numerals, ligatures, discretional ligatures and case-sensitive forms. It also contain diacritics for Central European languages.

Richard J. Neutra became an icon of Modern architecture as an artistic visionary, social commentator and outspoken defender of the environment. He refined his unique approach to design, for which he coined the term biorealism, over half a century ago. Regarding humankind and its surroundings as two inseparable halves to a greater whole, Neutra created habitats with the welfare of man and nature as his utmost concern. His ideas of evolutionary growth and adaptability compelled House Industries to develop Neutraface Condensed, built upon the original typeface and driven by the enduring spirit of the revolutionary who inspired it. “I have tried to be a feeling observer of life in all its manifestations, not a cold rationalist.” House Industries adopted this precept of Neutra as the guiding principle when the foundry commissioned Christian Schwartz to draw Neutraface Condensed. Instead of being exactingly compressed, the new companion fonts were composed around a complementary structural framework in order to better reflect the sensibilities of their predecessor. The result is an individualistic design with a restrained exuberance that shuns stylistically ersatz imitation. This compact yet lively presence allows Neutraface Condensed to lend flexibility and economy to headlines without sacrificing the simplicity and charm of the original. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Ebratho is a superhero-themed display font that brings strength, courage, and modernity to your projects. With a strong, bold, and full-of-character style, this font is the perfect solution for creating an impressive and aggressive look. In every letter, Ebratho radiates soul-stirring power. Each character is designed with meticulous detail and a unique style, creating a strong and compelling impression on your audience. With a modern and charismatic look, this font will give your project an unforgettable touch. Ebratho is packed with creative tools, including ligatures and alternates, that allow you to combine elements of this font in various ways to create interesting and unique stylistic variations. Additionally, multilingual support allows you to use Ebratho in multiple languages, making your project accessible to a global audience. If you’re looking for a strong, bold, modern, and bold font with a superhero touch, Ebratho is the right choice. With benefits that include the ability to create impressive looks and creative features such as ligatures and alternates, this font will quickly catch the attention of your potential customers and make a memorable impression in no time. What’s Included : File font 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

Welcome King Hoshun, a display font with a superhero style ready to take your projects to a higher level. If you need a strong, bold, and action-packed theme like those in movies, games, or bold designs, King Hoshun is the right choice. With King Hoshun in attendance, your designs will be in the spotlight. Each letter is filled with strength and heroism that will make an unforgettable impact on the audience. The impressive and bold look of this font will make your message feel even more powerful and compelling. Not only does it look impressive, but King Hoshun also offers special features that enrich your creativity. With the available ligatures and alternative characters, you can explore unique and interesting typography combinations. Plus, this font supports multiple languages, so you can present a strong and inspiring message to a global audience. Join the power of King Hoshun and let your projects light up the world. With its bold superhero style and superior features, this font will give your designs an unforgettable impression. Don’t miss the chance to own King Hoshun and create amazing works that amaze and inspire. What’s Included : File font 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

The font series Andron MC introduces a new feature to the repertoire of the Andron family: middlecase glyphs (intermediate between upper- and lowercase) – and uncial letters. Middlecase glyphs reach a medium height compared to full caps height and lowercase x-height. However, ‘uncial’ means the historic transitional lettershapes of the medieval ages which have gained no status in the bicameral typographic system of modern times. In all three of the Andron MC fonts middlecase (“MC”) glyphs dwell on the lowercase positions. These are coined in uncial fashion in the MC Uncial and MC Medieval fonts but appear as capital glyphs in MC Capital. The same variation occurs with the uppercase positions: whereas standard Roman/capital glyphs are there in MC Uncial and MC Capital, MC Medieval features uncial majuscules here instead. At the end that makes three different combinations of uncial and capital sorts. These fonts can be used for a great variety of purposes. The uncial sets are particularly well-suited for any typographic matter related to the middle ages. MC Capital is a worthwhile alternative choice when titling is to be possibly set in CAPITALS or Small caps. Andron MC adds a fascinating new aspect to the classical Andron fonts family. It enhances again the unique scope of typographical possibilities Andron is praised for since quite some time now. All three Andron MC fonts support full Latin, Greek (monotonic), Coptic and Gothic character ranges. Each font contains about 1000 glyphs.

Anca typeface started as a comission work for Fest Anca, an international animation festival. They needed something to complement the corporate identity of the festival. Inspiration came from a sketch made by my friend long time ago, which had a tremendous potential. As letters were digitized and the basic alphabet was completed, a very practical and universal typeface resulted. The whole type family has a playful and simple look with rounded stroke endings as well as long ascenders. The construction skeleton uses the minimum number of strokes and as a consequence, some original letter shapes (Q, w, j, &, A, §) were produced. Despite the fact that most letter shapes are based on geometry, some strokes are intentionally irregular, which creates a very natural feeling. Anca is appropriate for setting short paragraphs, headings and big inscriptions.

Aphrosine is a font based on pointed pen script. A huge lot of alternatives and smart OpenType features allow it to look almost indistinguishable from real live handwriting. Aphrosine is something between handwriting and calligraphy: it took too much effort for being “just handwriting” but lacks seriousness and regularity comparing to true calligraphic fonts. That’s why it was called after a peculiar character from a children’s book: a witch who was very fond of dressing, makeup and writing letters. Aphrosine has three faces. But unlike most other type families, the glyphs from one face do not match exactly the glyphs from another one. The faces are based on writing with different nibs but by the same hand. The type is designed by Alexandra Korolkova and Alexander Lubovenko and released by ParaType in 2015.

Klapt Arabic is a geometric sans serif family that is soft on the outside and sharp on the inside. It is based in the Arabic Kufic style. Klapt Arabic can be bold or very elegant and is well suited for designs ranging from branding and corporate identity to editorial design or web design. It has a timeless style and is great for display purposes, especially for headlines, posters, magazines, book covers, logos... you name it! This font family of four weights includes an extended character set supporting most Latin languages ⁠and extended Arabic, including Persian and Urdu. Feel free to share your designs using Klapt Arabic or just get in touch via email to hi@seventype.com. Klapt Arabic is the extension of Klapt https://www.myfonts.com/fonts/seventype/klapt/.

Auto-Techno-Motive Stance in a softer package. Bruno Ace Rounded Pro is a fresh derivative of our Bruno Ace Pro typeface. It draws its inspiration from modern automotive logotypes. This geometric sans-serif has a wide stance with a tall x-height for a strong look and appeal, as well as ease of legibility. The SmallCaps and extensive figure sets offer a more extensive range of use as well as a more intense vibe. Bruno Ace Rounded Pro has an obviously softer feel to it compared to the original. See the 5th graphic for a comprehensive character map preview. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

Utily Sans emerges from the question: "What would the world be like if Paul Renner had had greater inclination towards humanism rather than geometry?" Utily Sans glyph proportions and shapes make it suitable for long-form text. This typeface shows geometric simplicity with humanist shapes. It looks like Futura, but has a feel closer to Garamond. Utily Sans is composed of 6 weights with their matching italics, an alternate character set that brings it back to its geometric origin, uppercase discretionary ligatures for expressive titles, as well as small caps, lining figures and old style numbers. These features make the font well-suited for large and small sized compositions, for short or long text. Utily Sans is the first Latinotype font with Cyrillic support, additional to the usual support for over 200 Latin-based languages.