Font design meets architecture – the unique and architectural design of the urban villa “Dupli.Casa” by the architect J.Mayer.H triggered the inspiration for the typeface “La Casa”.
Inclinations and curvatures mirror the linear, modern impression of the architecture. The overall impression of the sans serif accounts for the great readability, even in lower point sizes – perfect for the design of books and magazines. The fresh and modern appearance of the font is particularly suitable for corporate designs of enterprises. The seven-font weights support more than 100 languages and the Cyrillic characters ensure a versatile and international use. The low contrast, the reduction of the corner points and the clear nature of the font make “La Casa” perfectly applicable as a web font.

INDUSTRIAL-STRENGTH UTILITY. Designed for function. Cutmark fonts features common 45˚ chamfered corners, flattened ink traps and wide apex forms. Customize the look with alternates including an Angled Set, Straight Set, Beam I, single-story a, and hooked l. The OpenType version includes 10 weights in 3 widths with matching italics. Variable Font Cutmark Variable contains the full family of styles in a single file! Select variations along width, weight and slant axes. Test and explore at jfoundry.com. Cutmark Variable is included in the complete package at no additional cost. Use which ever font format you prefer! Please email hello@jfoundry.com for any questions. Variable Fonts require MacOS 10.14 or higher. For browser and software support visit: v-fonts.com/support

Chablis is a serif font with two different design colors including a cyliric typeface. Chablis comes in 2 styles, and each style has 5 weights, Chablis Basic shape with a harmonious and classic look that makes you feel nostalgic for precious memories from the golden years that have passed, Chablis Slow shape with a sharp look at the bottom corner of small letters but very elegant and classy, ​​very suitable for presenting a new atmosphere of corporate identity design, websites, publications, titles, books, magazines, business cards, logos, product labels, packaging or any kind of purpose advertising. Includes: Numbers & punctuation Classic Numbers Ligature Foreign language support I hope you have fun using zt Chablis Thanks for using this font ~ Khaiuns X zelowtype

Say hello to Grande Sans—a geometric typeface that features highly stylized capitals with sharp corners, circular forms and generous proportions. Specifically created for visual impact—use Grande Sans when you want your words to stand out from the rest of the crowd. The concept is modern, futuristic and non-traditional. Perfect for display text, logos and headlines. The development of Grande Sans started in 1997, inspired by Alex Kaczun’s best selling grotesque font family called Contax Pro. Grande Sans is specifically introduced here as a black weight, but Alex plans to expand the design to include many weights, styles and alternative design treatments. Stay tuned! If you like Grande Sans—check out Alex Kaczun’s Decrypt fonts as well as all of Type Innovations fonts here.

Gernsheim is a semi condensed display sans serif font family. This font family has been created for use in headlines and logo display fitted on showcase screen. 9 weights and 18 font styles make up the initial release. To increase the adoption of a wide range of display fonts, the individual glyphs' handle fluctuations were subtly applied. The compromise of disproportion between straight lines and curves improves glyphs autonomy and relieves tension. And by applying rounded corner effects to each style, it presents the reader with softness and comfort. It is designed so that the rebellious disproportion created by heavy styles transition to flat and classy tenderness as the thin style approaches. Try the uniqueness and excitement of individual styles for yourself

Toleis is a san serif font that we designed for you. Much attention is paid to the correct position of the accent. All overhead has its own height, which creates an additional level of readability. As well as numbers and punctuation, which are an integral part of any text. This pack includes alternative options for many glyphs — old-style figures, straps, style sets, and more. So you can customize the font to your liking and keep your look consistent.” of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

Ghimli Antique was created using the ping-pong method, based on the graphic idea of Artem Rulev and the participation of Vladimir Anosov in the future. Then we sent the font file to each other, adding something of our own and making corrections, and so on many times. Ghimli Antique has already managed to get 2nd place in the Granshan competition in the Cyrillic section. The name was obtained by combining the name of the dwarf Gimli and Studio Ghibli. The font is quite evil, incredibly dense, bold. It looks like when the dwarves closed ranks and go to defend their lands from the invasion of the orcs. Suitable for short word design, logo creation, menu layout and use in movies about gnomes and anything fantastic.

created in 2023, Tyneside is corporate and not too eccentric, but still has a strong character that makes it a the perfect starting point for the new Tyneside text font family. Clarity is very important when displaying a lot of information on the screen. The ranking table is full of names and times and while the display typeface should stand out, the text pieces should be eye-catching and very legitimate. We sharpened the corners, made some shapes easier to read and more modular, clean and sporty overall. We are very satisfied that Tyneside managed to capture the “spirit of sporting enthusiasm” in the personality of the typeface. We hope to create a growing family of typefaces in the future and maintain our partnership

The design of Sanity typeface is modernized by abandoning any characteristics associated with hand writing, such as curved lines or elaborate corner details. The design is based on a rigid geometric grid and radiates confidence with its daring contrasts and provocative style. In large amounts of text the font “Sanity” can be hard to read due to a «dazzle» effect caused by alternating thick and thin strokes, particularly as the thin strokes are hardly visible at small point si es. Due to this quality, the “Sanity” font-family is best suitable for titles or large print advertisements. There are five key stylistic principles taken as a main framework for the creation of the “Sanity”: symmetry, contrast, geometry, artificiality and monospacing.

Progeny is a single-stroke freehand informal script that began life as a logo for a fast food company. That logo was rejected but when I added a suite of swash caps and a few extra ligatures and my trademark underlines it all started to come together as a font. Then I used it successfully for another logo and I proceeded to complete the weight variations that emerged during the first logo design, rounding the lighter weights to give a more friendly, softer look. That treatment didn't suit the bold weight but sharp corners did not detract from the robust, legible headliner that emerged. All weights work in all-lowercase, all-capitals, lowers with swash or regular initial caps and surprisingly – in all-caps with swash initials.

Ciutadella Rounded is not only a font with soft corners, it has a real rounded terminal across all the weights. It was a challenge to achieve a rounded effect in close counters characters, especially in the heaviest weights where there is less space available to accommodate the round ending. Suitable to be used across a wide range of applications, from identity systems to publications. It is available in Open Type format and includes Alternate Characters (‘a’, ‘t’ and ‘&’), Ligatures, Tabular Figures, Fractions, Numerators, Denominators, Superiors and Inferiors. It supports Central and Eastern European languages. The type family consists of 10 styles, 5 weights (Light, Regular, Medium, SemiBold and Bold) plus italics. For more details see the PDF. See also Ciutadella and Ciutadella Slab.

Written with a blunt graphite pen, PiS Coalfield features a scruffy scribbled look, loosely inspired by the expressive handwriting on various posters by Sister Corita Kent, an influential pop artist experimenting with serigraphs in the '60s. There is one set of regular and 4 sets of alternate glyphs for each basic letter programmed to cycle through automatically with the contextual alternate feature (which makes 5 possible versions of each letter). You can also hand-pick the 4 alternate sets if you prefer that of course! A super-lively handwritten look is guaranteed, readability is given in display but also in smaller sizes too! Use it for your organic tofu brand, children’s books or that hip sweet coffee shop around the corner!

Arquitecta. The humanist typography as a rational project. Since the experimentation from the Bauhaus through modern sans history we looked for a new mix to construct a rational geometric typeface with humanist proportions suitable for text layout and continuous reading. Inspired by American & European hand lettering from the first half of the past century, Arquitecta finds his own space as a great alternative for paragraphs in front of classics like Futura, Kabel or Avant Garde. The family contains 8 upright romans and 8 italics with the following features: - European accents, Old Style Numbers, Numerators & Fractions. - Ink traps to avoid press impressing spots & hinting optimized. - Small X-height with accentuated ascenders y descenders. Upgrade Mar 2023: Contours were corrected and the set was extended to the current Latinotype.

Sinuous but sturdy; ornate but legible - Gambit Nouveau is modern-day design created in the spirit of Art Nouveau. This delicate and natural typeface features tapered spurs, compact swashes, and spiral curling. You will find it ideally suited for announcements and invitations as well as decorative headlines. And for your convenience, Gambit Nouveau comes equipped with corner and free-standing ornaments plus a wide range of alternate characters. Gambit Nouveau is also available in the OpenType Std format. Some new features including initial forms and old style figures have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

POSSIBLE is both sans and serif, either is possible. The typeface is a sans-serif impersonating a spur serif, or it’s a glyphic with the look and feel of a sans. This clean, contemporary family is inspired by Percy J Smith’s ’Petit Serif’ from 1928, and similarly takes inspiration from Johnston’s Underground, though more recent influences provide geometric and humanist elements that, together with the tiny micro-serifs, improve clarity and legibility. Spur serifs such as Petit Serif, Copperplate and Liberty are often caps-only fonts, but Possible contains a lowercase, as well as a full Latin Extended-A character set. Possible is available in five weights – Thin, Light, Regular, Medium and Bold – each supplied with a corresponding, optically-corrected italic.

HS Wamda is based on some modern style of Naskh calligraphy which supports Arabic, Persian and Latin with a Sans Serif with subtle round on stems and corners. The typeface has been optimized for corporate identity work, editorial design, book, magazine and modern projects when a contemporary and simple look with a similarity between Arabic and Latin is requested. It features a small number of ligatures. Its proportions allow high impact on the tightly set lines of big and small text alike. This font consists of five weights (Thin, Light, Regular, Mediums and bold). It can constitute a striking addition to the library of Arabic and Latin contemporary fonts models that meet the purposes of various designs for all tastes.

Pero is a condensed rounded sans-serif family designed by Ryoichi Tsunekawa and the whole family consists of 7 weights from ExtraLight to ExtraBold.The range of styles provides flexibility for title, headline and body text. And the large x-heights add to legibility. The basic skeleton of the letterform was designed modularly and minimalized by removing unnecessary stems and ends were rounded out. The minimalized modular design gives this family contemporary urbane taste and rounded corners make this family warm and friendly. This rounded feature will also accentuate your design work moderately. Pero supports almost all European languages: Western, Central, South Eastern Europeans and afrikaans. And superior figures, inferior figures, denominators, numerators and fraction can be accessed by using OpenType features.

The “Trixy Toy Educator” was a 1930s-era set of letters and numbers (along with a few animal shapes) for teaching children, and was manufactured by the Durrel Company of Gardner, Massachusetts. Die cut from thick cardboard, the 40 piece set also included a rack to display the characters, presumably for little ones to practice the correct order of the alphabet and basic numerals or to spell simple words like ‘dog’ or ‘cat’. Whomever came up with the idea, they used the most rudimentary and unusual ‘type design’ shapes in the A-Z and 0-9, but they were just odd enough to inspire a digital type version of them. School Age JNL is available in both regular and oblique versions.

New Old English was prompted by two Victorian coins, the mid nineteenth century gothic crown and gothic florin, which featured a gothic script lowercase with quite modern looking, short ascenders and descenders enabling it to fit snugly around the queen’s head or heraldic motif. With thicker hairline strokes than normal Old English, a less sharp, warmer feel than lettering scripted with a pen, and circular instead of rhombic punctuation, this font is an attempt to capture the round-cornered softness of the die-struck lowercase blackletter. To increase harmony and homogeneity between the cases, the uppercase is narrower and simpler than is customary, without the excessive width or antiquated flamboyance of the traditional blackletter. It might even allow text set in capitals to look acceptable.

Walking around Paris looking for inspiration for our latest people font, we encountered chic Parisians, yummy food markets, and bakeries on virtually every street corner with delicious baguettes and pastries. We were surprised how many people were cycling, motorcycling and rollerblading along the vast boulevards and side streets of Paris. We spotted classic French cars like the 2CV and Citroën CX and watched the world go by in one of the many sidewalk cafes whilst enjoying a 1664 or a café crème. With our latest people font, Paris, we tried to capture this unique Parisian atmosphere and hope we succeeded. All 64 illustrations are based on photographs taken on location over a period of time. The photographs are then hand traced to create high quality, detailed silhouettes.

Collager is a Modern Serif Family Font with 2 style Regular And Oblique.It's a very versatile font that works great in large and small sizes. Perfect for branding projects, Logo design, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image. Collager variable allows fluid design across 18 weights,The font broadens its use by supplying weights all the way from Thin to Black We pushed the concept into a usability focused direction, to work as a bold tool and beautiful communicator.The natural curves, swells and sloping trunks, grow in character as the font gains weight. Whilst the thinner weights have lowered contrast and optical corrections to create a warm and gentle appearance. Check my other Font here : https://gilarstudio.com/

A modern neo-grotesque typeface. Having grown up in Sheffield and been completely immersed in the work of The Designers Republic I became very drawn to their treatment of Helvetica, especially the close tracking of the letter space. This visual investigation led me to the study of the font Hass Unica, a so called improvement to Helvetica. In order not to replicate and become a clone of Unica I redrew all the characters from scratch improving optical appearance, developing subtle corrections and reshaping individual letterforms. The result is a remixed neo-grotesque font that has strong general optical balance with great rhythm under close tracking. Details include 10 weights, an extended European character set, true italic, manually edited kerning and Euro symbol.

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.

Chunky Retro is a modern, clean and smooth retro font style. This font comes with a unique shape where every corner is smoother and more rounded. You will also get extra shadow/outline fonts in this font pack to make your design projects perfect. Use this display font to add that special retro touch to any design idea you can think of!. Equipped with all complete characters ranging from uppercase letters, lowercase letters, numbers, punctuation marks and multi-lingual support, this font is ready to be used in any project. Very suitable for logotype, Stickers, Packaging design, Cricut Project, headlines, brand identity, t shirt or apparel industry, posters, magazines, books, YouTube, Instagram, websites, or any of your creative design projects. Enjoy!

Siruca is a font created specifically for the Al Hamra Complex, in Kuwait City, which includes the extraordinary Al Hamra Tower, one of the tallest skyscrapers in the world. Siruca is a stencil font designed to be used both by the classical forms, both for possible use with neon tubes. Indeed, the rounded ends and the total absence of sharp corners to prevent abrasion during the use of masks and, simultaneously, provide a realistic neon circuit designer. The typeface is accompanied by a series of pictograms (designed following the same guidelines described above) to be used on signs inside the building. The originality and versatility of the font Siruca™ makes it particularly suitable for the characterization of tainted brands from the strong recognizable.

Sansduski is a sans-serif decorative/display family. Its very high x-height and tight spacing make it more suitable for use at large point sizes than small point sizes. (There are better options if one wants a readable text font.) It comes in nine weights and one outline style, with an oblique style accompanying each of these ten styles to give a total of 20 styles in the family. The letter O is a rectangle with rounded corners and this shape motif is carried over to other characters that are usually rounded. For a monospaced rather than proportional version of this design idea, see SansduskiMono. Sansduski is appropriate for titles, posters, advertising, and other uses that benefit from simple letter forms that are geometric and clean.

Yumo is a new, textured remix of the original 2010 Yume typeface, and has plenty to offer of its own. Angular and blocky, this typeface creates impactful text with a hint of playfulness, expanded upon by its rough finish. There are no extraneous edges to this font because most of them have been subsumed into the characters themselves, so any sharpness it may have from the squared corners is removed by the lack of thin strokes or serifs. Perfect for headlines and large text that wants to stand out, Yumo’s big, bold text will help your message make an impact. Playing with colours on the textured surface only helps to strengthen this effect, so that Yumo will blow people away, whatever you want to say.

Ghimli Sans was created using the ping-pong method, based on the graphic idea of Artem Rulev and the participation of Vladimir Anosov after. Then we sent the font file to each other, adding something of our own and making corrections, and so on many times. Ghimli Sans has already managed to get 2nd place in the Granshan competition in the Cyrillic section. The name was obtained by combining the name of the dwarf Gimli and Studio Ghibli. The font is quite friendly, dense, kind, as if a dwarf is walking around the lawn with a mug of intoxicated ale on a pleasant sunny day. Suitable for short word design, logo creation, menu layout and use in movies about gnomes and anything fantastic.

Glot Round is a ten-member flared terminal sans serif family of typefaces based on a mix of proportions of Roman square capitals and hyper-readable sans serifs with slightly rounded corners. Glot Round comes in five weights with matching true italics: Light, Regular, Medium, Bold and Black. The Glot family has a wide range and is incredibly functional, working well for longer texts as well as display typography. After designing the house typefaces for a handful of the most predominant multi-player online games out there, we decided that it was time to bring the battlefield to the people. Glot Round comes armed with ample language support (Central, Eastern, and Western European) and OpenType ornamental spiked alternate characters for when one needs a hint of danger.

The design of Graublau Sans Pro took Georg Seifert over 5 years. With 7 weights and over 1000 glyphs per style, Graublau Sans is a type family that suits all typographic tasks. The regular styles have a rather clean and neutral appearance. The italics on the other hand, have a vivid design based on handwriting. For the use in headlines or logotypes Graublau Sans Pro offer 6 additional display styles with rounded corners and tighter spacing. Beside the typical western codepages, Graublau Sans Pro also supports Greek, Cyrillic, CE (Central European) and Turkish. There are also several sets of figures available: oldstyle figures and lining figures (both proportional and tabular), small caps figures, fraction figures, subscript and superscript figures and figures inside circles.

Step into the chilling world of 70s Italian horror with Giallo Rossa, a giallo inspired typeface. This macabre creation captures the essence of classic Italian giallo films, evoking a sense of foreboding and terror in every letter. With its sharp edges and jagged lines, Giallo Rossa has an unsettling energy that will leave you mesmerized. Immerse yourself in a typographic nightmare as you unleash the power of Giallo Rossa. Its letters embody the twisted beauty of giallo cinema – every curve reminiscent of a shadowy figure lurking in the dark corners. No matter what you’re designing, Giallo Rossa is your perfect accomplice. This horrifying typeface will set your creations apart from the mundane. Beware though: once you delve into Giallo Rossa‘s sinister embrace, there’s no turning back!

Iliad was designed to bridge the gap between traditional serif faces and modern humanist fonts. It uses a gentle, traditional, partial serif combined with a subtle curving of many of the "corners" in the characters. The combination of these two elements makes it decidedly contemporary yet it retains the readability that is associated with more traditional typefaces. The contemporary look is enhanced by a gentle tapering and shortening of the terminals and by less dramatic shifts in stroke width than is found in traditional typefaces. The lowering of the midline provides just a hint of "moderne". It has carefully crafted spacing and kerning, making it easy to use in any display setting. It also includes all punctuation, symbols, special characters and diacritical marks.

Aquawax FX was developed by Francesco Canovaro as a new variant of the Aquawax family, one of the most beloved Zetafonts classics. This new typefamily is characterised by a contemporary and elegant design, that revisits the original design of 2008 with new geometric inventions, twisted with the current fluid zeitgeist. Aquawax FX builds on the original Aquawax family by adding counter-inktraps to the letterforms and emphasizing the inner contrast of curves and corners creating a smoother, flowing and dynamic look. While inktraps are a design feature that prevents ink from bleeding or filling small spaces in letterforms to achieve a cleaner, more readable look, anti-inktraps characterize the design with a distinctive watery appearance, suitable for logo design and titles. This watery effect is possible through a slight rounding of the inner and outer corners, keeping the original cuts at the letter terminals. A Space variant pushes FX experimentation furthermore, providing an alternate stencil-like style that takes legibility to the extreme, ready for logos and sci-fi headings. This does not limit the usability of Aquawax FX to mere display intent. The Aquawax FX font family includes two versions (Roman and Space), each with nine weights, ranging from Thin to Heavy, and matching italics. With a total of 36 variants plus one variable version, Aquawax FX is a versatile type family that can be used for a variety of design projects, from branding and packaging to editorial design and advertising. Aquawax FX offers a fresh re-interpretation of the original Aquawax letterforms and proportions, with a dynamic and flowing look that is sure to make your projects stand out.

Here is a "Decorative Braille font". The initial design was indeed drawn on a K.I.S.S digital sketchpad, the Windows default drawing tool (Microsoft Paint, classic version). A. Glyph Concept The Braille 2x3 dot matrix is weaved around a diamond-shape. a.1. Each "dot" is represented by a "right-angle isocel triangle". a.2. Braille dots in Diamond Braille a.2.I. "Dots" are outside the diamond for first Braille row (Braille dots 1, 4) and third Braille row (Braille dots 3, 6). a.2.II. "Dots" are inside the diamond for second Braillle row (Braille dots 2, 5). a.3. Diamond lattice Glyphs are connected horizontally (to/bottom diamond's corners) and vertically (left/right corners) to each other (see poster 5). a.4. Special Glyphs - Space: its is either empty ("Empty cell") or a "non Braille shape" { _, ° } depending on your display needs (as explained in b.3.II) - 6 dots: { £, =, û } - 6 empty dots: { ç, ¥ } B. Font user guide b.1. Lowercase glyphs { A..Z } In these glyphs the "dots" are represented as a white right-angle isocel triangle filled with a smaller black triangle. b.2. Uppercase glyphs { a..z } In these glyphs, the "dots" are represented as an empty triangle (this is an "empty dot"). b.3. 'Space' vs 'Empty Cell' b.3.I. 'Space' - 'Space' glyph is an empty shape - '¶' glyph (at the end of each line in Microsoft Word) is also an empty shape b.3.II. 'Empty cell' glyphs: _ (underscore), ° (degree). In these glyphs there are 2 "empty dots" at top and bottom corners of the diamond, which differentiates them from regular Braille glyphs (which dont have a "dot in the middle"). b.4. Diamond Lattice To display text as a 'diamond lattice', replace each 'Space' by an 'Empty cell' (as explained in b.3.II, see poster 5) b.5. Connectors The connector glyphs allow the creation of "circuit like" designs (see poster 1). Here are the connector glyphs: { µ, à, â, ä, ã, è, é, ê, ë, î, ï } b.6. Domino feature Some Glyphs represent numbers 1..6 in a way which is similar than on dominos (see poster 6) C. Posters Poster 1: the "Font Logo", it displays "Diamond Braille" text together with the Connectors feature. Poster 2: a pangram which is published on pangra.me ( "Adept quick jog over frozen blue whisky mix" ). Poster 3: an illustration of the Domino feature. Poster 4: a DiamondBraille version of the Periodic table. Poster 5: illustration of the Diamond lattice using only 6 dots ( û ) and 6 empty dots ( ç ) glyphs.

Discover Cocogoose Pro Narrow Weights! Designed by Cosimo Lorenzo Pancini in 2013, Cocogoose was first expanded in 2015 with the help of Francesco Canovaro who co-designed the decorative display weights and Andrea Tartarelli who developed the condensed widths. In 2020 a full redesign of the typeface has been published: Cocogoose Pro now includes new widths, weights, open type features and characters, thanks to the help of Mario De Libero. Influenced by vernacular sign-painting and modernist ideals, Cocogoose is drawn on a classic geometric sans skeleton, softened by rounded corners and slight visual corrections. Its very low contrast, dark color and tall x-height make it a solid choice for all designers looking for a powerful display typeface for logos, headings and vintage-inspired branding. The tall x-height makes texts set in Cocogoose very readable even at small sizes, while the bold regular weight allows for maximum impact when used as a branding, signage or decorative typeface. Cocogoose Pro was designed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs, starting from its wide range of widths and weights. Its 2000+ latin, cyrillic and greek characters make sure it covers over 200 languages worldwide, while its comprehensive set of open type features allows faultless typesetting thanks to small capitals, positional numbers & case sensitive forms. A wide range of alternate letterforms, developed along nine different stylistic sets, gives you an extra level of design fine-tuning. The layerable and color-ready display variants include inline, outline, shadow and a letterpress version that can simulate the effect of old print, also thanks to programmed randomization of its letters. Cocogoose Pro has been completely re-engineered in 2020 to include extra features and technologies. A variable font version allows you to fine tune precisely the appearance of the text while minimizing download size on the web. A darkmode weight range has been added to the whole family, to keep consistency of effect when the typeface is used in reverse on the web and in dark mode interfaces. Also, a new text subfamily has been developed for body text usage, to keep the look and feel of Cocogoose while maximizing readability on screen and on the printed page.

Vonnes was designed by David Berlow working closely with Neville Brody on corporate redesign for Jim Von Ehre at Macromedia. Core weights are loosely based on Bauer’s Venus, 1907–1910. Berlow expanded the ideas behind the series to 56 fonts, the heart of the redesign. The Macromedia program was hailed as one of the most successful models of modern total design for innovative cutting edge companies; FB 2007

Introducing our latest product Biancha Script! Connecting script, designed to convey elegance and style. It is slender, feminine and friendly. Biancha is perfect for fashion, e-commerce brands, trend blogs, or any business that wants to appear classy and chic. Biancha Includes: Uppercase, lowercase, numeral, punctuation & Symbol Stylistic alternates (lowercase and uppercase) Stylistic Set01 - Stylistic Set02 Ligatures PUA Encoded Characters Fully accessible without additional design software. To access the alternate glyphs, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. If you have any question please do not hesitate to contact me. Thank You!