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

I set out to design a contemporary font that is condensed with thick and thin strokes. The highly structured forms of this condensed font was made more interesting and softer by giving it a slightly calligraphic tone and by adding round corners. Atto's express purpose is to be both utilitarian, compact and technical but with a friendly face. The name "atto" was adopted since it refers to the measurement of "smallness" or detail. You will no doubt discover all the many pleasant nuances within Atto. Adopted in 1964, "atto" comes from the Danish "atten", meaning eighteen. Atto - (symbol a) a SI prefix to an unit and means that it is 10 to the power- 18 times this unit. Examples are one attosecond or one attometer/attometre. Atto is available in for Mac and Windows in Postscript, Truetype and Opentype. See also the companion font Atto Sans.

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

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

Introducing the Golden Youth Font Duo; A stylish & modern harmony of sans & script typefaces. With a tall condensed sans-serif font and a free-flowing script companion, Golden Youth offers beautiful contrasting typography for a diversity of design projects, including; logos & branding, packaging design, social media posts, advertisements & product designs. Golden Youth contains 2 font files, designed to work as a perfect companions or simply as strong standalone typefaces; Golden Youth Script • A clean, free-flowing, monoline script font containing upper & lowercase characters, numerals and a large range of punctuation. Also includes a full set of alternate characters and a large range of ligatures, accessible by turning on 'Stylistic Alternates' and 'Discretionary Ligatures' using OpenType software. Golden Youth Caps • A tall condensed sans-serif font containing uppercase only characters, numerals and a large range of punctuation. Creates a perfect pairing contrast with the Golden Youth Script fonts.

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

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

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

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

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.

Bound to rules, unbound in the usage. Hyper geometric, and minimal contrast. Circulo V1 is based on a font project I originally started because of a client I had. I wanted to create a display and text font for their product design brand, which is all about reducing the amount of necessary materials and production steps. Before I started the course at tipo-g it was called -“REDUCE“ and was more or less finished. The concept was based on the name. How far can letter shapes be reduced to their core geometric concepts and still be identified as letters? But in a way, it lacked a unique approach and was just a generic geometric Sans Serif with a lack of finesse. There was already a glimpse of characteristics visible which would later define Circulo V1. ‍ The high focus on geometric shapes was not of the same severity, and the angle on the stems was less intense. Those, as I call them, fake serifs turned out to be a significant factor in legibility and the characteristic of the font. Besides those changes and improvements, I decided to implicate a new feature to the concept, a condensed style. I quickly realised that it is impossible to keep my perfect circles and half-circles in this style without breaking my rules for the font. This „problem“ turned out to be the most crucial feature of the condensed set. Circular-based Letters will ignore the rules and boundaries of the condensed style and stay as they are. This feature allows the user to create a unique rhythm in their texts, and if you use the variable font, you can decide how intense this rhythm will be. In this situation, the user can choose which letters are allowed to keep their shapes and which will be put in their condensed corset. All, some or none of them, you decide.

So classic, so retro... it's Retrology! Introducing, Retrology. This monoline typeface will bring you to the good ol' days with its classic touch!

The purpose of Happy-Go-Lucky is to bring joy to the world. These cheerful little dingbats will brighten your day right up!

Bucintoro is a modern version of the rotunda blackletter, the Gothic book hand of Italy and Spain in the 14th, 15th, and 16th centuries. As the name implies, it's more "rotund" than the tall, angular Textur blackletter used in Germany that Gutenberg imitated. While the use of blackletter continued far into the 20th century in Germany and Scandinavia, the rotunda gave way to roman (and later also italic) letterforms in Italy, France, and Spain. It's less well known these days. Bucintoro has upper- and lowercase alphabets, numerals, punctuation, diacritics but lacks such modern characters as currency symbols. Has light, medium, and black weights.

Our Margarine Pro draws its roots loosely from numerous inspirations, but its unique thick marker weight and deliberate carrying of rounds into regularly straightened letterforms allows this typeface to stand on its own. The lively letterforms are legible yet slightly offbeat, while the SmallCaps and extensive figure sets expand the range of usability and appeal. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

Introducing a bold and uncompromising sans-serif font that refuses to bend or sway. Its angular curves and sharp corners give it an air of authority and strength, while its bold weight demands attention and respect. This font is perfect for designs that require an unyielding, no-nonsense attitude. With its right angles and minimal curves, it embodies a stark and severe aesthetic that leaves no room for ambiguity or indecision. Its austere personality is sure to make a lasting impression, making it the perfect choice for projects that demand an authoritative and uncompromising presence.

Moire™ Regular is a block-style sans serif font designed by Jim Ford in the spirit of typefaces popular during the 1950's. The Moire Regular font is slightly more streamlined for a more contemporary voice than its predecessors. Moire Regular is useful for all modern display settings in signs, publications, reports and presentations. The Moire Regular font will also reproduce well in on-screen uses from User Interfaces to web graphics. Character set: Latin 1.

Touch Tone introduces a condensed lowercase and oblique italics to the uppercase font inspired by the "Dr. Strangelove" movie titles – designed by Pablo Ferro. Touch Tone's naive hand-drawn strokes rely on a quirky variable width-brush. They are looser, more textured, tactile, more informal, with quirky nervous lines. A family of four fonts: it includes two weights, light and medium, and both with roman and italics. All the fonts include the same patterns and ornaments. However, many of the “medium” font weight ornaments are beefed up to visually match. Touch Tone utilizes OpenType features. It imitates handcrafted lettering by including 2 glyphs for each U&lc letter (4 sets) – all kerned with care. This medley avoids a repetitious appearance so each sentence looks original and hand-drawn. The uppercase includes two widths – extra condensed and extended. Add whimsy and eccentricity by mixing the extra condensed caps with extended caps and the lowercase alphabet. Use the Contextual Alternates, or Stylistic Alternates features panel, or select the alternates in the Glyphs palette. Touch Tone includes oldstyle numerals, a variety of retro patterns, dingbats, speech bubbles, icons, banners, graphic arrows and ornaments. Each font includes 403 glyphs. Suitable for display or text and many European alphabets. Purchase both weights, roman and oblique italics to emphasize words. Touch Tone combines cool graphics and patterns with OpenType. Generously apply Touch Tone for added warmth and a "Rat Pack" groovin' message.

Tambau is a display typeface crafted by Matheus “Fio” Gonçalves, a Brazilian design student, still in college, inspired by Brazilian concert urban posters and wood type that I saw at the Oficina Tipográfica São Paulo. The font was first made for a magazine project in design school, making it beautiful on giant pages headlines, billboards, signs, etc. There’s no lowercase, the character set is dramatic and objective. The uppercase is actually expanded letterforms causing some eyes and breathing paths to the very condensed and very modular glyphs, which creates a quite interesting striped texture between form, counterform and spacing. The lots of ligatures come to give it more closure between the letters, when they try to form blank spaces. So do the diacritics, fitting in the space given to them by the dynamic letterforms, making dense rectangular blocks. You may use Tambau as big as you can or do a high tracking to it and still it will be pretty. The titles can be dynamic, just condensed or just large. It’s on your own. Don’t be afraid to play with Tambau, it’s an alive typography. Curiosity: For the magazine in design school, the pilot project of Tambau was cut in a MDF board, to print it with texture and paint. Later was added more characters, languages and special glyphs to it. Set: Tambau is a singular font typeface, with extended and condensed characters, numbers, ligatures, punctuation and symbols for Basic, Western, Central and South Eastern Latin languages.

Originally inspired by the numerals on a vintage clock face, Roloi is a layered numbers font in the deco lettering style, and includes a full set of automatic clock symbols. Its geometric forms are typical of the deco style, but stop well-short of pure geometry. The irregular stroke and character widths work together to give the forms a warm and energetic, yet cohesive, feel. Roloi offers two layering styles—the personable Fill and the more dynamic Inline. Designed to be layered over the background Regular style, they both lend the forms an added level of interest. Roloi also includes a clock symbol for any and every time of day, rounded to the nearest five-minutes. The regular weight provides the circular clock background, while the Fill and Inline styles produce the clock hands. If ligatures are activated in your text-editing program, type out any time—such as 9:32, 12:05, etc.—and the proper clock symbol will be automatically substituted. Go ahead, type any time out below! To stop the automatic clock symbol substitution, simply deactivate ligatures. Because the clock symbols are standard ligatures, every major modern browser will support their use on the web. With some programing they could even be used to make a lightweight, text-only clock. In addition to the clock symbols and basic numerals, Roloi’s glyph range covers numeric superiors and inferiors, standard and arbitrary fractions, currency symbols, all of the punctuation and symbols commonly associated with currency, unicode clock Face symbols, the A M P / a m p letters, and alternates of the 1, 2, and 4, accessible by selecting Stylistic Set 1.

Great Western is an engraved roman font that reminds you of the old railroad days when steam locomotives made their way across the countryside.

Hi, presenting a modern decorative font set named "Fiver". It consists of five fonts with different lines variations. Thank you & have a great day!

Rearranging the conventional disposition of thick and thin strokes in the Modern (Didone) class of typeface.