Fourth Reign is a royal medieval typeface. With diamonds, borders and ornaments, this decorative typeface brings us to glorious worlds in the golden times of epic knight sagas. Fourth Reign is the typeface of queens and kings. Use it for a Middle Ages game, a fantasy headline, or as a logotype for anything of historical theme. To make heraldic symbols, copy these icons: 🐉 🐎 👑 🗡 🦁 🦅 🦌 + ♖ × ✝ ⚓ ＊ ⚔ † ‡ Alternatively write %A %B %C ... etc to create the heraldry. (Download required.) Dragon, Horse, Crown, Sword, Eagle, Deer, Cross, Anchor are some of the logos. Use [ ] for side borders. Example: [Magic⚔Thrones] The Fourth Reign family consists of four styles: The regular Plain style, and the beautiful Borders, Diamonds and Combo styles. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering Greek and Cyrillic, as well as all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Trump Gothic is a reconception of ideas from Georg Trump's seminal 1955 Signum typeface and its later reworking (Kamene) by Czech designer Stanislav Marso. Originally cobbled together for a variety of film projects in the late 1990s and early 2000s, the Trump Gothic family was made available for the general public in 2005. Shortly thereafter, it became a common sight in movie credits, on posters and magazine covers, in fashion branding and on corporate web sites. Though countless attempts have been made to emulate it, its unique totality and attractiveness to layout designers was never really topped. Its appeal is largely due to its double-duty toolbox: An economic functionality that allows it to pack large amounts of information in small spaces, and a clear, modular aesthetic that gives it the ability to emphasize short text in large sizes, all without sacrificing legibility or giving in to dated or over-rehashed industrial gothic forms. The typeface was redrawn, refitted, optimized and greatly expanded in 2013, and the result is Trump Gothic Pro, a multiscript family of six fonts, each containing over 1020 glyphs and a wealth of OpenType features, including small caps, caps-to-small-caps, stylistic alternates, unicase/monocase alternates, fractions, ordinals, class-based kerning, and support for Latin, Cyrillic and Greek locales.

Gogh is a geometric sans serif with a modern look and traditional spirit. It blends evenly without overly distracting the reader, yet still keeps a rich and distinctive character. The generous x-height, easily distinguishable glyph forms, and open terminals help the eye perceive a block of text smoothly, making it clearly legible. Gogh thrives when used both on-screen and on print media. Gogh type family consists of 10 weights from Hairline to Black and their matching Italics. Gogh is also available as a fully functional variable font, which gives unlimited opportunity to explore typography without the restrictions of predefined weights. Gogh Variable is also the best option if used on the web as it has a much-reduced size compared to the original font family. Regardless of which Gogh family you choose, the typeface covers a broad spectrum of languages, as it includes Extended Latin and Cyrillic. And it also comes with an alternative stylistic set that will completely change the overall look of a paragraph, giving it a more contemporary and display appearance. In addition to that, Gogh type family is enriched with an extensive list of OpenType features for advanced typographic layout, including standard and discretionary ligatures, tabular and small figures, fractions, language localizations, case sensitive punctuation, and more.

Fifth Reign is a decorative medieval typeface. This wonderful typeface of brings us to the golden times of epic knight sagas. Fifth Reign is the typeface of a Royal House, of vikings, kings and queens. Use it for a Middle Ages game, a fantasy headline, or as a logotype for anything of historical theme. With usage in any modern software, the letters will automatically overlap and embrace in an elegant way. To make heraldic symbols, copy these icons: 🐉 🐎 👑 🗡 🦁 🦅 🦌 + ♖ × ✝ ⚓ ＊ ⚔ † ‡ Alternatively write %A %B %C ... etc to create the heraldry. (Download required.) Dragon, Horse, Crown, Sword, Eagle, Deer, Cross, Anchor are some of the logos. The Fifth Reign family consists of three styles: The weights Thin, Bold and Medium, made to balance against each other and allow for usage in any scale. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering Greek and Cyrillic, as well as all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Stray might be the lonesome cowboy in this big odd world, but it's his just public façade. Stray is handsome player that works well with any team or in any environment. He doesn't have a horse, but he can be the one, he can carry any weight. OK, let's talk serious now: Stray is distinctive geometric sans serif family in 9 weights and matching Italics. By it's design, Stray flirts with humanistic typefaces in some elements, while on the other side, we can see vintage letter forms as well. It is well balanced typeface, fully legible in any (reasonable) size, with power to present versatile tasks and situations. Specific joining of letter stem and bowl is one of design characteristics of Stray, so it is not just another geometric sans family, it really differs in it's own details. Contains extended Latin character map support and Cyrillic (no localizations, sorry). As any serious working horse family, it is equipped with decent OpenType features like Small Caps (for basic Latin only), Fractions, Tabular Figures, Denominator, Numerator, Ordinals and Ligatures. It also comes with small interesting set of dingbats. This Stray is not homeless, he just looks for the proper job :-)

English HU Basic Sans is a body text font with simple Sans structure. It is well used in medias that are appropriate to use sensible font types. yet, its shows it's stylish aspects with it's wide main body. Greek Το HU Basic Round είναι μια γραμματοσειρά κειμένου σώματος με απλή δομή Sans. Χρησιμοποιείται καλά σε μέσα που είναι κατάλληλα για χρήση λογικών τύπων γραμματοσειρών. Ωστόσο, δείχνει ότι είναι κομψές πτυχές με το μεγάλο κύριο σώμα του. Υπάρχουν 1 βάρη του HU Basic Round : light Cyrillic HU Basic Round - это шрифт основного текста с простой структурой Sans. Он хорошо используется в средствах массовой информации, которые подходят для использования разумных типов шрифтов. тем не менее, это показывает его стильные аспекты с его широким основным корпусом. HU Basic Round имеет 1 толщины: light

The fundamental in creating this typeface is the implementation of our interest in typography over the past year. Inspired by the elegance, consistency, and hard work of Times New Roman pull up our minds to a daunting blank canvas and began to think about what we had to do to take this idea even further. Whatever comes to our mind and when it is poured out, it will certainly remain within the rules of the letterforms. This typeface is created by a careful approach, consisting of 28 fonts 13 weights with matching true italics forms. Feature an extended charset of over 1800 glyphs, covering 219 languages using Latin, Cyrillic (basic to extended), and Greek alphabets. Included advanced open type features like stylistic alternates, terminal form, swash, discretionary ligatures, ordinals, small caps, positional numbers, fractions, and case-sensitive forms. BD Megalona provides a range of choices that will give luxury vibes in symmetrical layouts with selective deviations, and work well in a stylish look for your typographic project. This is a complete package of problem solvers perfectly suited for body text and high-impact headlines. Advance open-type features definitely stunning on logos, branding, magazines, website, etc. BD Megalona is our ego in expression that aims to supply the necessity of design nowadays while still in the corridors of the glory of past traditions as a source of our inspiration. We would like to show you a SHORT FILM about the process of designing BD Megalona Font Family, Click Here!!!

Kometa Sans is a contemporary grotesk with a certain personality. She has a steady geometric skeleton, but its appearance is rather humanistic. The precise details of the artwork, the carefully drawn true italics, the six types of numerals, the variety of alternates, the broad range of open-type features and the extensive glyph set can meet most of the contemporary typographer’s demands for a neutral, but not boring type family for both long text and display use. Among the distinctive qualities of Kometa are also the forms of ligatures (both default and discretionary). They follow the natural constructive transitions between oval parts and stems, which is an advantage to mark, at least for designers who respect the beauty of clean forms. Note the specially designed Kometa Unicase sub-family, substantially enough to exist as a separate typeface. Its elegant and expressive letterforms are boosting further the power to create outstanding design work. Kometa Unicase has original and playful, yet reasonable approach to letterforms variety. Kometa has a very broad usability range – from logotypes and poster designs to corporate identities and complex editorial projects. The contemporary Cyrillics of Kometa allows easily completion of graphically consistent multilingual corporate and artistic design projects. Designed by Kiril Zlatkov and Vassil Kateliev.

Encore Sans Pro is a sans serif which projects an image of reliability, authority and competence making it ideal for corporate applications. A functional typeface which combines utility with style. It’s subtle round characteristics such as the slightly curved-in edges, create a distinctly contemporary look, blending effectively traditional with modern details. Encore Sans Pro has received 3 international awards and distinctions including a Silver at the european ED Awards 2010. This is a contemporary typeface which may function as the perfect alternative to several overused classic sans. Encore Sans Pro does not pretend being different but it does claim its own personality. It is simple and stylish. Furthermore, it is extremely versatile. It comes with 22 weights and supports simultaneously Latin, Greek and Cyrillic. Each font contains 1535 glyphs and is loaded with 22 advanced OpenType features. Extreme weights, such as the elegant hairline, are carefully designed to establish an even color throughout, while ultra black despite its heavy characteristics is quite legible and powerful. Other intermediate weights such as light and book are ideal as body text for magazines and catalogs. Every font in this series has been completed with 270 copyright-free symbols, for packaging, public areas, environment, transportation, computers, fabric care and urban life.

The Mayberry® is an extensive family of 14 OpenType fonts. Mayberry was initially designed by Steve Matteson to emulate the technical behavior of a font family called Tiresias™ for use in set top TV devices and user interfaces. Mayberry is a significant improvement in aesthetics and functionality over Tiresias. Mayberry includes true italics and a wide range of weights to provide the highest quality and readability on low resolution devices, while also featuring a range of OpenType features that will appeal to creative professionals. Mayberry is a slightly condensed humanist sans serif which allows for more readable text in a narrower column. Open counters and upright stress help keep the design of Mayberry readable at low resolutions. A significant amount of care has been given to design subtleties allowing the design to function well at large sizes. The Mayberry character set supports Cyrillic, Greek, Central and Eastern European, Turkish and Baltic, Mayberry also includes a slashed zero for use where absolute distinction between 'O' and zero is a concern. Also included are typographic features such as old-style figures, fractions, superior and inferior numbers for use with applications that provide advanced OpenType typographic support. A set of closed captioning symbols and arrows add to the font's versatility in interface design.

Thalweg Poetica is a revival font that comes with a story created in 1993 by the Bulgarian artist Ivan Kyosev. It is a sequel to the Thalweg font family completed in 2020. The construction of characters combines the upright character of the Thalweg font and the handwritten character of Thalweg Italic. The font partners perfectly with the Talweg font family and gives designers a new opportunity for expression. Thalweg Poetica contains 4 widths / Normal, Semi Condensed, Condensed & Extra Condensed / and 8 weights ranging from Thin to Black with small caps versions, each style containing more than 1100 glyphs. The font comes with extended coverage of the Latin, Cyrillic, and Greek Scripts. All of the weights are specifically equipped for complex, professional typography with Open Type Features. These features include Small Caps, Ligatures, Discretionary Ligatures, Superscript, Subscript, Tabular Figures, Old-Style Figures, Circled Figures, Arrows, Matching currency symbols, and fraction. The Thalweg Poetica family is ideally suited for small text, books and magazines, branding, posters, as well as web and screen design, headlines, and more. The Regular and Medium weights are perfect for body text and they give an interesting texture to the text. The range of styles gives good flexibility to this family.

This fine lined display type face was named Allioideae because of the ascenders of the lower cases. They are rising upright with a single stroke and are ending - depending on the font style - into a spherical blossom. The name was chosen concerned to the plant allium, that forms an umbel at the top of a leafless stalk, when it is blooming. Allioideae is the name of a subfamily of monocot flowering plants in the family Amaryllidaceae. The name is derived from the generic name of the type genus, Allium. The wide and round capital letters are showing a nice contrast to the lower cases and giving the font a kind of female feeling. That provides a functional and lovely use in headlines for all beauty and cosmetics issues.The typeface appears in 4 different styles. a plain style – Allioideae, a stencil style - Allioideae Stencil, a (dotted) style for both - Allioideae Dot and Allioideae Stencil Dot. It supports multi language as it covers all the latin diacritics and a cyrillic character set. Lots of numbers as monospaced, lining figuers, old styles, sub- and superscript and many fractions in two different styles are giving a nice finish to that font. Also some matching ornaments are included.

Athelas Arabic, created by talented Iranian designer Sahar Afshar, is an elegant typeface for fine digital and printed books — perfect for Arabic literature’s captivating forms. Originally designed independently, it worked entirely on its own and yet already seemed a good fit for Athelas. So it was decided to give Athelas Arabic a thorough reworking to make them appropriate companions while maintaining the natural aesthetic qualities of Arabic. First, the Arabic letter sizes were readjusted so as to not appear larger next to the Latin, then weight and contrast were changed in the same way. Finally, the spacing and connections in the Arabic were considered to achieve comparable colour as the Latin in a block of text. Ultimately, both the Latin and Arabic are graceful designs based on classic proportions, prioritising the beauty, tranquility, and fluid nature of the wordsmith’s art. With extensive Middle Eastern language coverage and the expected OpenType features, Athelas Arabic is the counterpart for which Athelas Latin, Greek, and Cyrillic have been waiting. The graceful, elegant curves of the Athelas heritage have remained a hallmark in each script. With this release it will only gain a wider and quite appropriate audience. The complete Athelas family has been optimised for today’s varied screen uses, along with our entire catalogue.

Century Gothic™ is based on Monotype 20th Century, which was drawn by Sol Hess between 1936 and 1947. Century Gothic maintains the basic design of 20th Century but has an enlarged x-height and has been modified to ensure satisfactory output from modern digital systems. The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The Century Gothic font family is useful for headlines and general display work and for small quantities of text, particularly in advertising. The Century Gothic family has been extended to 14 weights in a Pan-European character set from Thin to Black and their Italics. The already existing 4 weights of Regular and Bold with their Italics are additionally still available in the STD character set. The W1G versions featuring a Pan-European character set for international communications supports almost all the popular languages/writing systems in western, eastern, and central Europe based on the Latin alphabet including several based on Cyrillic and Greek alphabets. Looking for the perfect way to complete your project? Check out Aptifer™ Slab, ITC Berkeley Old Style®, FF Franziska™, Frutiger®, ITC Legacy® Square Serif or Plantin®.

The Core Sans GS Family is a rounded version of Core Sans G and a part of the Core Sans Series such as Core Sans N, M, A, E, D. Core Sans GS is constructed of straight, circular or square shapes. These geometric shapes are inspired by classic geometric sans (Futura, Avenir, Avant Garde etc.). Every stem is a rectangle or a straight line and every letter, lowercase or uppercase, seems to be in perfect geometric form and even weighted. The small x-height makes readability clean and clear. Core Sans G can be used equally well in headings or in body copy. The Core Sans GS Family consists of 9 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy, Black) with maching Italics. It also includes alternate characters (a,g,t) and a bunch of ligatures. The Core Sans GS provides a wide range of character sets to support (Cyrillic, Central and Eastern European characters) and advanced typographical support with features such as proportional Figures, tabular Figures, numerators, denominators, superscript, scientific Inferiors, subscript, fractions, standard ligatures, discretionary ligatures and stylistic alternates. Core Sans G is an ideal font family for use in magazines, web pages, screens, displays, and so on.

Мир is Mir. The Russian word Мир (Mir) means both World and Peace. The rendezvous of the two terms seems quite unique and utopistic today, but it is comforting to see that it was natural at some time deep down in Russian history. Bits of both meanings were going through my mind while I was designing this typeface. Mir’s character set is multiscript – Latin, Cyrillic and Greek – and extends to many parts of the linguistic world. In fact it covers more than 100 languages. Stylistic consistency between the language systems make typographic border crossings painless even where national borders are still closely guarded. And in regions where mathematics, physics or chemistry are to be expressed, a rich set of OpenType features lets Mir master also these situations. Serious things are best be said in a relaxed, unpretentious way. So Mir doesn’t put on a show. Mir has authority without being authoritarian, it is serious but not stern. It can explain difficult things and stay calm and down to earth at the same time. Mir Medium has another useful feature: It can be freely downloaded and used by anybody anywhere. You can test the Mir Family with free Mir Medium and get more styles when you need them. @juliasys

Forget everything you know about TT Smalls because we have re-released the font! TT Smalls useful links: Specimen | Graphic presentation | Customization options TT Smalls is now a decorative font that makes it easy to attract attention. Use it to design expressive headings, in the packaging design or to highlight text on a site. Be sure that the text set in TT Smalls will arouse the interest of the audience. Once TT Smalls was a neutral geometric sans serif, and the inline version was an alternative stylistic set. However, the TypeType collection of universal fonts is extensive, so we focused on creating a unique and expressive font and released an updated TT Smalls. The font contains only uppercase characters in the inline version, and glyph designs are based on a geometric sans serif. With an increase or decrease in weight, the number of strokes in the font goes up or down, respectively. Stylish and easy to use, the TT Smalls font can complete a collection of eye-catching decorative typefaces. Font TT Smalls contains 12 styles: 6 upright and 6 inclined. The character set of the font is 172 glyphs. It has basic Latin and Cyrillic and the main punctuation marks. The standard OpenType feature calt has been added to the font.

Press Gothic is a revival of Aldo Novarese's Metropol typeface, released by Nebiolo in 1967 as a competitor to Stephenson Blake's Impact (designed by Goeffrey Lee). Though Metropol enjoyed a few short months of popularity and use in Italy, Germany and France, Impact won the technological outlasting battle by moving on to film type then to computer outlines bundled with mainstream software, while Metropol never made it past the metal state until now. Too bad really, since this is one of the few faces that could have played well with all the horrendous stretch'n'squeezing of the 1970s. Just like its inspiration, Press Gothic aims to be a fresh alternative to big economical poster fonts with clear sans serif forms and an urgent, strong, yet elegant design appeal. In the summer of 2008, Press Gothic underwent a major linguistic and aesthetic reworking for an international publishing company. The result of this on the retail side are new small capitals and biform/unicase additions to the main font, as well as expanded language support that includes Cyrillic, Greek, Turkish, Baltic, Central and Eastern European, Maltese, and Esperanto. Press Gothic Pro, the OpenType version, combines all three fonts into one, taking advantage of the small caps feature, and the stylistic alternate feature for the biform shapes.

'1812' type family is a revival and further development of the typeface '1812' by Lehmann Type Foundry (St. Petersburg). It was created for the centenary of the French invasion of Russia, known in Russia as the Patriotic War of 1812 along the lines of decorative engraved inscriptions and ornamented typefaces of that time, presumably by the artist Alexandre Benois. It was used mainly for the decoration of luxurious elegant publications. Later, in 1917, this typeface was used on the Russian Provisional Government banknotes. In the Soviet period of time '1812' appeared to be one of the few typefaces included in the first Soviet type standard OST 1337. It was produced for manual typesetting until the early 1990s. This typeface could be seen on Soviet letterheads, forms, posters and even air tickets. The digital version development was launched in 2010. The original version was supplemented with lowercase letters and alternative symbols, the extended Latin and Cyrillic alphabets were fully supported. The font was evolved into a family of 14 decorative styles which can refine any design giving it a festive and elegant but at the same time strict and nostalgic look. Despite its decorative nature, '1812' is perfectly readable in small emphasized text blocks due to its classic shape and careful spacing.

Los Angeles’ distinctive “shotgun” style street signs were last produced over sixty years ago, but these durable porcelain and steel signs are still in use all over the city, by both humans and birds, who like to build their nests between the panels. The street names were drawn at wildly different widths to fit on panels which were manufactured in only one size. Beachwood faithfully re-creates the extreme range of widths & weights on these vintage signs, and adds a new matching lowercase. Use the Beachwood Variable font file to access any width, weight or italic angle between the presets — a technology 20th Century sign painters could only dream of! Each weight of Beachwood includes numbers based on the street signs, plus four alternate number sets based on the jerseys of Los Angeles' pro football teams. Beachwood is named for Beachwood Drive, the street which leads to the famous HOLLYWOOD sign, so we just had to include a bouncy HOLLYWOOD mode! FAMILY FEATURES: Five widths (from XTall to XWide), with eight Weights (from ExtraLight to UltraBold), each with matching italics Variable font to access any width, weight or italic slant EACH WEIGHT INCLUDES: 584 glyphs to support 223 languages in Western Europe, Central Europe, Vietnam and Oceania, plus Cyrillics Five styles of numbers, plus Tabular Lining for screen display Ordinals, Fractions and Arrows Hollywood mode!

Kudry is an elegant and noble typeface for extra large sizes. It looks good in cultural projects and exhibitions, logos, book covers, theater posters, wedding invitations, cosmetic and cake packaging,— basically any case in need of a beautiful typeface. It is a type family that consists of the modern serif and the contrasting sans serif, the weird serif and the stencil type. Both serif and sans have three options for different point sizes: Display for extra large sizes (from 72 pt or 96 px), Headline for large sizes (from 36 pt or 48 px) and Text for medium sizes (from 14 pt or from 24 px). Each style has a variety of alternate characters, swashes and ligatures, linear and old style figures, arrows and case-sensitive punctuation. The typeface supports major all European Latin and Cyrillic-based languages and all European Latin scripts. The authors of the typeface are Isabella Chaeva, Alexandra Korolkova and Nikolay Nedashkovsky. The character design of Kudry, details of the letters and alternates are an original contemporary solution based on the proportions and construction of the sans serif by N. N. Kudryashev. Digital versions of this typeface are Kudryashev and Petersburg, which can work in pair with Kudry in case you need a combination of a text serif and a display typeface. ITC Franklin Gothic, PT Root or Ida suit well as a paired text sans serif.

FF Signa Rounded is a natural complement to the rest of the FF Signa super family – and can stand on its own in a variety of print and on-screen applications. The design is Ole Søndergaard’s rounded branch in his FF Signa family three. In it, he took the distinctive shapes and proportions of FF Signa Sans and created a warm, inviting design for text and display copy. Like its parent design, FF Signa Round is not a humanistic sans, nor is it based on 19th-century grotesques. Its characters are minimalist interpretations of letterforms – distinctive, yet easy to read. Thanks to FF Signa Round’s large x-height, open counters and simple character shapes, the design does not overpower the message – and draws the reader in. At substantial sizes, especially in the bolder weights, the design communicates with amiable conviction. At text sizes, FF Signa Round remains inviting and legible. It can be used as a companion to the rest of the FF Signa family, providing depth of style and breadth of reach. The collection of designs can also be used on their own for brand, brochure, publication, and way-finding design in digital and hard copy environments. Like the rest of the FF Signa family, OpenType® Pro fonts of FF Signa Round provide for the automatic insertion of ligatures and alternate characters, and also offer an extended character set supporting over 100 languages, including most Central European and many Eastern European – in addition to Cyrillic and Greek.

Vox Round is the softer version of the Vox family. The original brief for Vox was a extensive monoline typeface that can be both precise and friendly, yet contain enough choice of seamlessly interchangeable variants for the user to be able to completely transform the personality of the typeface depending on the application. Basically, a sans serif with applications that range from clean and transparent information relay to sleek and angular branding. When the first version of Vox was released in 2007, it became an instant hit with interface designers, product packagers, sports channels, transport engineers and electronics manufacturers. This new version (2013) is the expanded treatment, which is even more dedicated to the original idea of abundant application flexibility. The family was expanded to five weights and two widths, with corresponding italics, for a total of 20 fonts. Each font contains 1240 glyphs. Localization includes Cyrillic and Greek, as well as extended Latin language support. Built-in OpenType features include small caps, caps to small caps, four completely interchangeable sytlistic alternates sets, automatic fractions, six types of figures, ordinals, and meticulous class-based kerning. This kind of typeface malleability is not an easy thing to come by these days.

The original brief for Vox was a extensive monoline typeface that can be both precise and friendly, yet contain enough choice of seamlessly interchangeable variants for the user to be able to completely transform the personality of the typeface depending on the application. Basically, a sans serif with applications that range from clean and transparent information relay to sleek and angular branding. When the first version of Vox was released in 2007, it became an instant hit with interface designers, product packagers, sports channels, transport engineers and electronics manufacturers. This new version (2013) is the expanded treatment, which is even more dedicated to the original idea of abundant application flexibility. The family was expanded to five weights and two widths, with corresponding italics, for a total of 20 fonts. Each font contains 1240 glyphs. Localization includes Cyrillic and Greek, as well as extended Latin language support. Built-in OpenType features include small caps, caps to small caps, four completely interchangeable sytlistic alternates sets, automatic fractions, six types of figures, ordinals, and meticulous class-based kerning. This kind of typeface malleability is not an easy thing to come by these days. For additional versatility, take a look at Vox Round, the softer, but just as extensive, counterpart to this family.

Baystar Script is a high-quality script typeface. Drawn and created by Mans Greback in 2021, this calligraphic font has power, style and stamina. The type’s organic, handwritten lettering is well suited for a variety of applications: from happy, playful designs, to super sleek web graphics and vivid logotypes. It has velocity like a mustang, a brilliant look and–with its hundreds of alternates–is truly dynamic. It flows with quick turns, marking out brush strokes and connecting tails, like a genuine, hand-painted writing should. Write multiple underscores to make swashes of different lengths. Example: Corvette_______ Baystar Script is legible and professional while retaining the personality that is valued in handwriting. Drawn in accordance with the latest trends in design, but is inspired by retro logotype lettering such as Chevrolet Chevelle and Camaro. A modern calligraphy, fast as a sport race car or sharp as a stingray, the letters are characterized by thorny edges and tall ascenders. It comes in three weights; Light, Medium and Bold, making it useful in any size and context. The font is built with advanced OpenType auto-functionality and guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more automatic and manual features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europa to South Africa, from America to South-East Asia, as well as Cyrillic (Russian, Serbian, Bulgarian) and the Greek alphabet. It contains all characters and symbols you'll ever need, including all punctuation and numbers. Let this font help you to transform your professional work into an energetic piece of handmade art!

With its extended complement, this comprehensive redesign of Bank Gothic by Elsner+Flake offers a wide spectrum for usage. After 80 years, the typeface Bank Gothic, designed by Morris Fuller Benton in 1930, is still as desirable for all areas of graphic design as it has ever been. Its usage spans the design of headlines to exterior design. Game manufacturers adopt this spry typeface, so reminiscent of the Bauhaus and its geometric forms, as often as do architects and web designers. The creative path of the Bank Gothic from hot metal type via phototypesetting to digital variations created by desktop designers has by now taken on great breadth. The number of cuts has increased. The original Roman weight has been augmented by Oblique and Italic variants. The original versions came with just a complement of Small Caps. Now, they are, however, enlarged by often quite individualized lower case letters. In order to do justice to the form changes and in order to differentiate between the various versions, the Bank Gothic, since 2007 a US trademark of the Grosse Pointe Group (Trademark FontHaus, USA), is nowadays available under a variety of different names. Some of these variations remain close to the original concept, others strive for greater individualism in their designs. The typeface family which was cut by the American typefoundry ATF (American Type Founders) in the early 1930’s consisted of a normal and a narrow type family, each one in the weights Light, Medium and Bold. In addition to its basic ornamental structure which has its origin in square or rectangular geometric forms, there is another unique feature of the Bank Gothic: the normally round upper case letters such as B, C, G, O, P, Q, R and U are also rectangular. The one exception is the upper case letter D, which remains round, most likely for legibility reasons (there is the danger of mistaking it for the letter O.) Because of the huge success of this type design, which follows the design principles of the more square and the more contemporary adaption of the already existing Copperplate, it was soon adopted by all of the major type and typesetting manufacturers. Thus, the Bank Gothic appeared at Linotype; as Commerce Gothic it was brought out by Ludlow; and as Deluxe Gothic on Intertype typesetters. Among others, it was also available from Monotype and sold under the name Stationer’s Gothic. In 1936, Linotype introduced 6pt and 12pt weights of the condensed version as Card Gothic. Lateron, Linotype came out with Bank Gothic Medium Condensed in larger sizes and a more narrow set width and named it Poster Gothic. With the advent of photoypesetters and CRT technologies, the Bank Gothic experienced an even wider acceptance. The first digital versions, designed according to present computing technologies, was created by Bitstream whose PostScript fonts in Regular and Medium weights have been available through FontShop since 1991. These were followed by digital redesigns by FontHaus, USA, and, in 1996, by Elsner+Flake who were also the first company to add cursive cuts. In 2009, they extended the family to 16 weights in both Roman and Oblique designs. In addition, they created the long-awaited Cyrillic complement. In 2010, Elsner+Flake completed the set with lowercase letters and small caps. Since its redesign the type family has been available from Elsner+Flake under the name Bank Sans®. The character set of the Bank Sans® Caps and the Bank Sans® covers almost all latin-based languages (Europe Plus) as well as the Cyrillic character set MAC OS Cyrillic and MS Windows 1251. Both families are available in Normal, Condensed and Compressed weights in 4 stroke widths each (Light, Regular, Medium and Bold). The basic stroke widths of the different weights have been kept even which allows the mixing of, for instance, normal upper case letters and the more narrow small caps. This gives the family an even wider and more interactive range of use. There are, furthermore, extensive sets of numerals which can be accessed via OpenType-Features. The Bank Sans® type family, as opposed to the Bank Sans® Caps family, contains, instead of the optically reduced upper case letters, newly designed lower case letters and the matching small caps. Bank Sans® fonts are available in the formats OpenType and TrueType.

Bague Sans is an award-winning monoline typeface with a distinct and eye-catching personality. Despite its inspiration from early 20th century geometrics, it diverts from the mechanical rigidity of those typefaces by incorporating humanist characteristics, such as subtle variations in stroke width and open counter shapes with vertical endings. This is a very clean and legible typeface with a warm and well-balanced texture which is ideal for intense editorial use in magazines and newspapers. The most remarkable feature of Bague Sans is its vast array of uppercase alternates and ligatures which truly shine when set at display sizes. This typeface is automatically transformed into a flexible, charming and stylish typeface with strong modern aesthetics. Explore its dual personality, switch from Humanist to Geometric and vice versa by using alternate characters such as the single-storey a and single-storey g. From classic to modern, from excessive to neutral, Bague Sans is a multipurpose typeface which offers enormous possibilities and variations for editorial design, branding and corporate identity while it performs amazingly well on web. This superfamily includes 18 weights from Hairline to Ultra Black with a consistent and well-refined structure. It supports extended Latin such as Central European, Baltic, Turkish, Romanian and includes numerous alternates and ligatures for unlimited text variations. You may also want to check out Bague Sans Pro which supports Cyrillic and Greek as well.

Sedid, “solidity; It is an Arabic term meaning “righteousness”. In particular, the correctness and soundness of a word is indicated by this word. The fact that I gave this name to the writing family is to point out its accuracy and robustness. This typeface, which is sans serif, consists of three families: ▪ Sedid: Font family containing Latin letters ▪ Sedid Pro: Font family including Latin, Arabic and Hebrew alphabets ▪ Sedid World: A family of typefaces including Latin, Cyrillic, Greek, Arabic and Hebrew alphabets Those who want to meet a new face of writing for their works and projects and make a difference in their work should meet the Sedid writing family. This typeface is as serious as it is affectionate, and solid as well as elegant. The Sedid font family can be used as a text and title font in all publishing and printing areas, magazines, newspapers, books, banner and poster designs, and websites. Sedid also has a pleasant-looking, flexible face with smooth lines and transitions. The inner and outer spaces of the font are proportioned so that the text can be read easily. Sedid font family consists of 14 fonts, seven plain and seven italic. The font family includes open type features, as well as a large number of ligatures, small caps, modifiers, and currency symbols of many countries.

Copyman is an experimental one for the creative ones. Monumental & minimalistic, great for the contemporary & urban design, this font is a good choice for confident branding & logotypes as well as for brutal or futuristic interfaces. Copyman’s title is an anagram for a Company. First of all, this font was created for branding purposes of businesses, who want something as practical as a little bit different from what they already get used to. This chamfered typeface contains 8 styles, Regular & Italic, both Cyrylic & Latin, 287 glyphs, 8256 pairs, 119 groups, has well–balanced kerning & clever spacing.

»Artis« is the name for my latest art-project-font. Obviously I just chopped off the last »t«. Then I looked it up on Wikipedia and what do you know, it is of latin descent. »Ars Gratia Artis« which means »art for arts sake« or in French »l’art pour l’art«, a perfect font name. If I would cut off the »s« as well it would mean disambiguation and that in turn is, what I just did here. Enough disambiguation! »Artis« is a modern classical beauty with extreme contrast between up- and downstrokes that make it unique with a touch of art deco and showing Renaissance roots. But – »Artis« is a twin-font that has an elegantly decorated twin sister »Artis-Swing«. Between the 2 fonts you have endless possibilities for combination. I love these twins! It is a great everyday workhorse with seven weights from ExtraLight to Bold and all the necessary weights in between. Great for short copy and elegant headlines! With 879 Glyphs it is a truly European font designed for all Central European and Latin using countries. »Artis« has a set of Cyrillic that is – besides Russia – also good for Serbia, Macedonia and Ukraine. It has oldstyle- and lining-, tabular- and tabular-oldstyle-figures and many ligatures. »Artis« comes in Sans and Swing and is an elegant, playful and friendly font. Enjoy!

Gerard Unger’s new typeface Alverata is a twenty-first-century type-face inspired by the shapes of romanesque capitals in inscriptions of the eleventh and twelfth centuries, without being a close imitation of them. It is additionally based on the early twentieth-century model, but tweaked so as to prevent blandness and monotony. Alverata performs beautifully in both screen and on paper, delivering excellent legibility. Its letters are open and friendly in small sizes and lively and attractive in large sizes. They are robust, and show refinement in their detail. It is an extensive type family, with versions for both formal and informal applications. Alverata consists of three different fonts: Alverata, Alverata Informal and Alverata Irregular, that variate in form and width, but maintain the same spirit. The ‘irregular’ version is particularly inspired by the Insular letterforms, the uncials, and their constantly changing positioning. Alverata PanEuropean includes Greek and Cyrillic relatives. The typeface strikes a balance among Europe’s diversity of languages, combining contemporary typographical practices with features of medieval letterforms, from the time when Europe came into being. Visually, some written languages, such as Czech and Maltese, differ quite strongly from languages like English and German, notably because of their many accented characters. While other typefaces will show this difference, Alverata removes it. As a result, Alverata enables harmonious convergence of languages.

Operina is based on a 16th-century lettering model of the scribe Ludovico degli Arrighi (Vicentino Ludovico degli Arrighi) used in his 1522 instructional lettering book, "La Operina da Imparare di scrivere littera Cancellarescha." This book contains what is considered to be the earliest printed examples of Chancery Cursive. Rather than try to reproduce a perfect, smooth, type-like version of Ludovico's hand, which has been attempted in the past, the designer opted to leave in some rough edges and, thereby, create a look that mimics the endearing artifacts of quill and ink lettering on parchment. When reviving an old style, a designer is faced with many challenging decisions, such as whether to aim for ultimate authenticity or to modify the alphabet for modern use. The decision here was to create a font that resembles the 16th-century Italian hand-lettering master's, but is also useful to the contemporary user. Because the letters U u W w J j and our modern Arabic numerals were not in use during the advent of these original letterforms, these had to be interpolated. To make a complete and useable font set, we also had to fashion many of the extra and diacritical characters to match the look of the alphabet. There are three fonts in this set: Romano(simple), Corsivo(more complex), and Fiore(swash). Romano is the most subdued, it contains Roman looking caps and has lining figures. Corsivo is more elaborate, it has more decorative capital letters and an alternate version of the lowercase with longer ascenders and descenders, and old style figures. Fiore, the swash font, is the most elaborate with the longest ascenders and descenders. You may not wish to use the Fiore version on its own, especially as all caps; it is meant to enhance the other two alphabets because it contains the most elaborate capitals and has many extra ligatures. P22 Operina Pro is an OpenType version that contains over 1200 characters. It features Small Caps, Old Style Figures, full European, Cyrillic and Greek character sets and a new OpenType first with automatic Roman Numerals. Just type any number and with the feature, it will convert to Roman Numerals!

Fragua Pro is a family of 14 fonts (Latin Extended-A and the Cyrillic alphabet) Condensed Sans Serif of geometric construction inspired by the Russian constructivism of the mid-20th century; the typography has a rounded finish in all corners to avoid the coldness of the rectilinear fonts and providing warmth and docility, the ascending and descending short and a high height of the x make it very compact, all this results in a unique typeface with maximum readability due to the careful configuration of metrics and Kerning. The cursive styles have an inclination of 8 degrees and a narrower proportion than the regular ones, they also have their own letters and meticulous optical corrections to compensate for the deformations produced by the inclination. Fragua Sans has Advanced Open Type functions, several alternative letters, full support for numbers, monetary symbols and crypto currencies and more. 681 glyphs. This typography is specially designed for advertising and editorial composition, behaving correctly in both short and medium texts and headlines where horizontal space saving is needed, being an ideal typographic system for signage, editorial or corporate design. This typography is dedicated to the memory of my grandfather C·ndido (Pa), the blacksmith of my town. THE COMPLETE 14 FONTS PACKAGE INCLUDES THE REGULAR VERSION IN "VARIABLE FONT" FORMAT, compatible with Adobe CC 2018.

Century Gothic™ is based on Monotype 20th Century, which was drawn by Sol Hess between 1936 and 1947. Century Gothic maintains the basic design of 20th Century but has an enlarged x-height and has been modified to ensure satisfactory output from modern digital systems. The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The Century Gothic font family is useful for headlines and general display work and for small quantities of text, particularly in advertising. Century Gothic family has been extended to 14 weights in a Pan-European character set from Thin to Black and their corresponding Italics. The already existing 4 weights of Regular and Bold with their Italics are additionally still available in the STD character set. For international communication, the W1G versions offer the appropriate character set. They contain Latin, Greek and Cyrillic characters and thus support all languages and writing systems that are in official use in Western, Eastern and Central Europe. Century Gothic Variable is features two axes: Weight and Italic. The Weight axis has preset instances from Light to Black. The Italic axis is a switch between upright and italic. Looking for the perfect way to complete your project? Check out Aptifer™ Slab, ITC Berkeley Old Style®, FF Franziska™, Frutiger®, ITC Legacy® Square Serif or Plantin®.

Century Gothic™ is based on Monotype 20th Century, which was drawn by Sol Hess between 1936 and 1947. Century Gothic maintains the basic design of 20th Century but has an enlarged x-height and has been modified to ensure satisfactory output from modern digital systems. The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The Century Gothic font family is useful for headlines and general display work and for small quantities of text, particularly in advertising. Century Gothic family has been extended to 14 weights in a Pan-European character set from Thin to Black and their corresponding Italics. The already existing 4 weights of Regular and Bold with their Italics are additionally still available in the STD character set. For international communication, the W1G versions offer the appropriate character set. They contain Latin, Greek and Cyrillic characters and thus support all languages and writing systems that are in official use in Western, Eastern and Central Europe. Century Gothic Variable is features two axes: Weight and Italic. The Weight axis has preset instances from Light to Black. The Italic axis is a switch between upright and italic. Looking for the perfect way to complete your project? Check out Aptifer™ Slab, ITC Berkeley Old Style®, FF Franziska™, Frutiger®, ITC Legacy® Square Serif or Plantin®.

The design of Beau Sans was inspired by Bernhard Gothic which is considered one of the first contemporary American sans serifs and was designed by Lucian Bernhard in the late 1920s. Panos Vassiliou came across this font while attempting to reduce the design elements of a text typeface, by introducing Bauhaus-like minimal forms to the characters. The first version was completed back in 2002 and introduced one year later in Parachute’s 3rd catalog, under the name PF Traffic. Some time later it was decided to make a few improvements but the project was so carried away that the new typeface which emerged needed urgently a new name. Beau Sans Pro is a modern sans-serif family of 16 fonts which includes true-italics. Just like all other Parachute fonts, it covers a broad range of languages by incorporating 3 major scripts i.e. Latin, Greek and Cyrillic in one font. Furthermore, every font in this family has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life. This typeface is totally recommended for titles and/or body text when you want to give a distinct and contemporary identity to a product or service.

THE SPARK Uniform started as a spark of inspiration one day while I was shopping at the store. I was looking at some typography on a can of dog food and the idea popped into my head, “What if there was a geometric typeface with a circular O that when condensed, the O became straight sided, instead of becoming an oval?” I quickly sketched out the concept of Uniform and liked what I saw, the only problem was I was working full time as a graphic designer, and as a newly married husband, I didn’t have any time to make the extensive typeface. LETDOWN A year and a half later, shortly after the birth of my first child, my boss cut my hours in half. Although stressful, I saw this event as an opportunity to finally have time to complete the typeface I had in my head. I spent a couple months putting together a Kickstarter campaign, thinking it would be a smashing success, and I would be able to live off the donations long enough to complete the typeface. Wrong! The campaign was a flop and I was left discouraged and dejected, thinking that the great idea I had in my head would never become a reality... PERSEVERANCE At the end of the year, in December 2013, I decided to go for it and make this new type family no matter what it took. I began waking up a few hours before work each morning (getting only four hours of sleep each night) carefully crafting each individual glyph day by day. After nine months of hard work (and just about killing myself in the process!) in October 2014, I finally had a finished product ready to be released to the public! THE PINNACLE Fast forward a few years and now Uniform has reached it's pinnacle, Uniform Pro. Uniform Pro now offers extended language support including Cyrillic and Greek character sets, integrated italic styles, additional weights, and additional OpenType features.

English HU Life Style is a headline font designed by using curves and straight lines in harmony. The end of the stroke is designed with a rounded diagonal line, and the horizontal stroke is relatively thin, giving a sense of rhythm. It is a font that is thick and large, so it is a good font to be recognized at a glance. There are 1 weights of HU Basic Round : ExtraBold & Italic Cyrillic HU Life Style - это шрифт заголовка, в котором гармонично сочетаются кривые и прямые линии. Конец мазка представляет собой закругленную диагональную линию, а горизонтальный штрих относительно тонкий, что дает ощущение ритма. Это толстый и большой шрифт, поэтому его легко узнать с первого взгляда. HU Life Style имеет 1 толщины: Экстра жирный и курсив Greek Το HU Life Style είναι μια επικεφαλίδα γραμματοσειρά σχεδιασμένη χρησιμοποιώντας αρμονικές καμπύλες και ευθείες γραμμές. Το τέλος της διαδρομής έχει σχεδιαστεί με στρογγυλεμένη διαγώνια γραμμή και η οριζόντια διαδρομή είναι σχετικά λεπτή, δίνοντας μια αίσθηση ρυθμού. Είναι μια γραμματοσειρά που είναι παχιά και μεγάλη, οπότε είναι μια καλή γραμματοσειρά που αναγνωρίζεται με μια ματιά. Υπάρχουν 1 βάρη του HU Life Style : ExtraBold & πλάγια