Monocto is an upright italic, clearly evidenced by the lowercase letters a, e, f, g, i, k, l, v, w, x, y and several capitals. On one hand, the design is inspired by an historical German running hand written with a pen angle of 45°, and on the other, by rational, utilitarian monospace types, similar to those designed for the mechanical typewriter during the Industrial Revolution. As the writing tool touches the paper, a double-square with broken corners is produced, which then, according to ductus, transforms itself into letter components that are either 90°-verticals or 45°-diagonals. The systematic geometry of Monocto offers unexpected design possibilites.

Brushland was initially born as custom type project, where the goal was to achieve a natural feeling as if it was really written. The project raised some questions, how natural should be this script typeface? How to simulate this writing feeling? For this, four different glyphs were drawn for the same character. This “Feature” or “Behavior”, programmed in the font, combines the variants in the sequence of 1, 2, 3 & 4 and replaces the letters at the time the words are composed, in order to avoid the repetition of glyphs. Through the “Contextual Alternates” OT Feature, the user can decide if they appear or not.

Superbaquero es una tipografía simple que representa un estilo muy poco común en el estilo vaquero, una simple idea basada en un cuadro. Cómo siempre, buscando la inspiración al estilo ranchero.

Ragtag is an adventurous display font that’s fun, graphic and loud. The font features three irreverent, geometric variations for each letterform, plus a few extra goodies like eñes and diacritics so it’s ready to use En Español. Ragtag creates harmonies from the fully interchangeable collection of letters. Each letter is unique and designed so it composes beautifully with all others — but can also stand on its own as an accent piece or as part of a design. Ragtag is inspired by the scattered crew of makers and designers from design studio In-House International--a fully remote creative home based in Austin, TX. The design of Ragtag was led by Alexander Wright and digitized by Rodrigo Fuenzalida.

The characteristic ‘French face’ was originally made in 1899 under the supervision of Joseph Pinel. Thus, what was originally French 10 pt. Nº 2, got its present name. The Frenchman Joseph Pinel called himself a "typographical engineer", but was at the time employed as a type draughtsman at the Linotype Works in Altrincham. It appears that this and some other faces that he supervised, were, except for use on the Linotype, also meant for manufacturing matrices for the Dyotype. This composing machine was an invention of Pinel. The Dyotype was a rather complicated machine and consisted, like the Monotype, of two separate contraptions, a keyboard which produced a perforated paper ribbon and a casting machine which produced justified lines of movable type. Unlike the Monotype which has a square matrix carrier, the Dyotype had the matrices on a drum (in fact two drums, hence the name of the machine). A Pinel Diotype company was founded in Paris and a machine was built with the help of the printing press manufacturer Jules Derriey. As is often the case, a lack of sufficient capital prevented the commercializing of this ingenious composing machine. Coen Hofmann digitized the font from a batch of very incomplete, damaged and musty drawings, which he dug up in Altrincham. He redrew all characters, bringing up the hairstrokes somewhat in the process. The result is a roman and italic, while the roman font also includes Small Caps

This contemporary typeface is inspired by the neo-humanist and geometric industrial tones presented in late 2000s typefaces. The font family is also composed of the normal width and display width in order to support different applications in delicate designs.

Bella Copia is a font dedicated to the world of childhood, to the writing of primary school children, but can also be used to compose texts or express essential concepts. It can be used for food, fashion, logos and much more. The clarity in the sign wants to express simplicity and immediacy. As far as possible, what is "not needed" has been taken away from individual glyphs. In the illustrations an attempt has been made, by combining images with fonts, to express the concept of cleanliness, simplicity and clarity. It is composed of 314 glyphs to try to embrace as many languages as possible.

Casler Font is a display font designed for any creative project that needs to be stand out. While get inspired by some vintage aphotecary labels, Casler Font wrapped as firm yet unique font display that consists over 1000 glyphs and 26 icon as extras. A terrific combo that gives experimentally mood in classic and modern style. Casler Font is a best thought for any advertisements usage, logos, headlines or headings, book covers and many more. A must have display font collection!

Bisalir is a beautiful display font, so you can create beautiful headings or signature looks. Open type features 1000+ glyphs including stylistic alternates so you can fine tune your creations (this option works well also for other languages)

San de More is a Variable family Serif font. A Hype of summer-themed brings us to express a thirst for creating a product that can help you to choose fonts for your creations. Like as we are on the preview above, how the fonts can "stand" within your design. San de More is created on a 5 weight with italics style. You won’t be worried about which one fits your creative design. Also, You can Mix it up all of it without worrying about design collision. No special software is required to type out the standard characters of the Typeface. To access the Opentype Ligatures and Alternates you will need software that supports Opentype features in fonts. San de More Features: Multilanguage Alternates PUA Encoded Ligatures Very easy to use in any software (Instructions included). If you have any questions, please feel free to get in touch. Thank you

“Luxury in simplicity”. A Family of Luxury Fonts called Fulgate. A Hype of summer themed bring us to expressing a thirsty of creating a product that can help you to choosing a fonts to your creations. Like as we are on the preview above, how the fonts can "stands" within your design. Since Fulgate are created on a 6 weight from Thin, Light, Regular, Medium, Semibold, Bold. You won’t be worried which one to fit to your creative design. Also, You can Mix it up all of it without worrying design collision. Fulgate also comes with opentype features. The one was stand out was Capital Swash, it’s replacing the First letter that typed on Capital. even if you are type with all caps, it still stand out. If you think that all caps are not quite fit, write on with lowercase and turn on the features of Small Caps, a shape of capital but with lower heights. Lowercase also have a few make up with Alternate Characters, just to be noted, not all lowercase characters have an alternates, to keep a luxury feel and avoiding messy. The last are a feature on the numerical, Ordinals, Subscript, Superscript, and Fraction.

A ”modern“ Gothic – designed according to principles of modern form in three variations Faber Gotik is a reminiscence of Gutenberg’s first script from around 1450. The heavily broken forms allow further development in the direction of a modern, strongly geometric and less formal type. It should be possible to push the principle of design so far to the limit that a type is created which, from the very start, extinguishes reminders of a dark past. The characters are composed of squares which are lined up straight or in a more or less slanted manner. The resulting corners similar to serifs were removed so that a sans serif type in the true sense without up and down strokes was created. The principle of ”breaking“ was applied according to the historical model. Even the form of the characters is based on the model from the Middle Ages. Only the characters which cannot be created with the principle described were modeled on today's forms. Faber Gotik includes three variations: - Faber Gotik Text — most similar to the historical model - Faber Gotik Gothic — pushes the applied principle of form the furthest - Faber Gotik Capitals —; a Gothic upper case font, contrary to tradition. 555 years after Gutenberg, interest in black-letter typefaces is nearly extinct. They are especially looked down upon in German-speaking countries because they are still associated with ”Nazi“ scripts. But yet, the very forms of blackletter, Gothic, Schwabacher and especially cursive have enormous potential with regard to the development of new advanced font forms.

The characters in this font are composed of rounded lines with even thickness, giving an impression of neon tubes. Although the design is completely new, it has its stylistic roots in the modernistic 20th century world of steel-tube chairs and fluorescent lamps.

Kareemah is humanist typography, composed of roman and italics with 16 styles and 8 weights (800 glyphs) including ligatures, alternates, small caps,old style figures, fractions, superiors, inferiors and more. Perfectly legible and clean for long, simple texts in headlines. "Specimen Kareemah PDF"

The original sketch of Joker was drawn by Viktor Kharyk in 1978 as experiment on creation type by a method of subtraction. In 2000 the font was digitized, modified and Hebrew, Greek, Georgian, Armenian and Arabi? alphabets and outline style were added. As a display face, Joker allows the creation of decorative compositions, easily combining a vertical and horizontal arrangement of words. Its characters are easy for filling with images. In line the face creates ornamental effect very appropriate for logotype design. The font is good to set small expressive advertising texts also. Joker type family received the third prize at TypeArt 2001 Cyrillic type design competition in Moscow.

The Arabetic Sans Serif type family follows the guidelines of the Mutamathil type style but also illustrates the effects of adding and removing Latin-like serifs on Arabetic scripts legibility. It has only one glyph for every basic Arabic Unicode character or letter as defined in Unicode Standards version 5.1. Arabetic Sans Serif employs variable x-height values. It includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph’s isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Arabetic Sans Serif family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. Fonts are available in regular, italic, bold, and bold italic styles.

Someri (English: Sumerian) is an Arabetic type design with a Cuneiform spirit. The Someri family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter, as defined in Unicode Standards version 5.1, and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Someri employs variable x-height values. It includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Someri family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. Fonts are available in regular and italic styles.

The Arabetic Serif type family follows the guidelines of the Mutamathil type style but also illustrates the effects of adding and removing Latin-like serifs on Arabetic scripts legibility. It has only one glyph for every basic Arabic Unicode character or letter as defined in Unicode Standards version 5.1. Arabetic Serif employs variable x-height values. It includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Arabetic Serif family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. Fonts are available in regular, italic, bold, and bold italic styles.

The Yasmine Mutlaq type family follows the guidelines of the Mutamathil Mutlaq type style. It has one glyph per basic Arabic Unicode character or letter. Each glyph is completely symmetrical around its vertical axis to facilitate bi-directional ordering. This family does not include any required ligatures and does not use glyph substitutions or forming but it does use marks positioning. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Yasmine Mutlaq employs four x-height values, two above and two below the x-axis. Its design uses curves with equally distributed weight. This family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, in addition to all standard English keyboard punctuations and major currency symbols. It is available in regular styles. Also included is an additional font, Yasmine Mutlaq bidi that encodes same glyphs as symbols to facilitate user input from left to right using a Latin keyboard. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

The digital font Technotyp is based on the hot metal typeface created by the German typographer and type designer Herbert Thannhaeuser (1898-1963) for the former East German type foundry Typoart in Dresden. In the typography book ‘Der Schriftsetzer’ (Fachbuchverlag, Leipzig, 1952), by Paul Fritzsche, this absolutely beautiful slab serif design is presented in all its variations. Fritzsche remarked that – because of its rather condensed form and its relatively long ascenders – the 'Werkschrift' of the Technotyp (comparable with our 'Regular') seemed to be very well suited to serve as a text face, and recommended for this purpose that the face be cut for the composing machine. However, this never happened and the entire Technotyp family was made available for hand composition only. This is finally changing and being remedied for good now: URW++ proudly presents the new digital version of this really charming font family with its distinct flavor of the 1950s, adding it to the other digital renditions of Herbert Thannhaeuser fonts at URW++, namely Garamond No. 4 and Magna. The original Typoart family had an italic style for the light version only. The new digital version of Technotyp includes italic styles for the regular, medium and bold weights as well, enhancing the family to meet today’s standards and requirements for professional type setting. To further increase its usefulness, Cyrillic faces were created, too. True to the standard for all digital fonts at URW++, the character set for Technotyp covers all West- and East European languages.

Welcome to the new font! An elegant slim handwritten font created from childhood memory. This is how my grandfather wrote. He seemed very beautiful to me when he was little and I really wanted to write "when I grow up" too:) Perfect for captions in photo albums, on photos, birthday invitations, calendars, magazines, Instagram posts and more! A vector font is composed of uppercase and lowercase letters. Feel free to email me shabanovasprt@gmail.com if you have any questions. :)

We've gathered the old characters together, and added a bunch of young new hotshots, to create the long-anticipated sequel to our STORMTROOPER font! The digitally remastered Special Edition STORMTROOPER is now a trilogy, with two new weights -- outlined ARMOR and inlined BLASTER -- each containing more than 100 autoconnecting letter combos*. Yes, you'd have to be crazy to attempt a font like this; our man JG certainly has courage... * Hutts, dewbacks and point blank misfired laser shots not included

Pumice is a modern sans-serif typeface with characteristic and defined features. This font Name was inspired by the Aden pumice. Its design is composed of diverse 8 styles. Create unique designs by combining any of the upright weights with matching italics. Pumice includes a matching Latin design and support for Arabic, Persian, Kurdish, and Urdu. Pumice was specially designed for branding, advertising, editorial design, Web, and use on Tv and social media. Designers: Sultan Maqtari Publisher: Sultan Fonts

Vidocq is a single weight typeface designed for use in headlines and titles, inspired by the woodcut styles of the 19th century. Its rounded forms and dark stroke translate into a bold yet friendly appearance coupled with a narrow proportion that let’s it set well in condensed settings. Thanks to an extended character set and wide range of Opentype features that includes arrows and fleurons, Vidocq was created to allow designers to play with various styles while composing layouts.

The concept of Biscotti rised from a personal research into a system of styles that we commonly consider “vintage”. One above all, the Victorian typography that has been rediscovered and widely re-studied during the 70s. Today, thanks to the technology innovation in digital typography fields, Biscotti is certainly an interesting subject which expresses an appassionate and nostalgic homage to a vintage font, seen from the perspective of a technical inspiration. Biscotti is composed of two styles: the “default” and the alternative one. The first is of course more conservative and formal, while the alternative formally chooses a change of the diagonal lines into curves, so it creates a much more friendlier reading. Biscotti consists of 4 styles that can be combined by layers in order to form different ways of reading. This renewed effect increases exponentially the potential use range of this typography. Biscotti has 517 characters; and are composed for 220 latin languages.

Isabel was made out of necessity to create a new font for children and teenagers, that could be enough friendly and versatile for text in words or even easy-to- read long texts. The purpose of Isabel is to combine all the nice and friendly features of the simple letters that the teachers teach to the pupils at primary school, as they starting to learn to read, together with the normal editorial fonts we read every day. In this way it generates a very joyful serif font, or even friendly font, with some conservative aspects. In other words, Isabel is a font that, despite of being a “classic features” typography, is proud to show its innocent and ingenuous elements, this gives to the font a new point of view. The family is composed of 3 parts: the regular version, the italic version and the unicase version. Each one of them has 5 weights, 551 characters and is composed of 208 languages.

Jana Thork is a synthesis of stone engraved capital letterforms and uncial and half-uncial calligraphic styles. The idea of the typeface designer Ricardo Esteves was to seek for the limits between our uppercase and lowercase mental concepts. This family can be useful to compose titles, short texts, labels and letterings that need to look attractive to the eye. The family includes Regular and Bold styles, so it can be used in graphic designs that need more complex hierarchic relations or greater visual impact.