Driven Unicase Extended is sleek and modern, yet hearkens back to the first advertising to catch my eye as a kid in the glorious 1970s – automobile ads that captured the thrill of speed, for sports cars I dreamed of experiencing. Driven is available in 6 individual weights or as a family of 6 fonts, plus ornaments. Includes accented characters supporting for many European languages.

Another member of the JollyGood family, this unicase version is a great way to add some fun to your headlines. It has a very complete character set, with support for western and central european languages. I've also included ligatures, alternate characters and some fun dingbats. It has 7 weights, and a rough version too.

SK 1980 Unicase is a font that emerged with a modern interpretation of the 80's design concept. It was specially designed to create structural forms. Each character is the same size, so you can create structural designs without any difficulty. Includes 7 different versions and 2464 glyphs.

A fun, playful font using monospaced handwritten unicase letters. (Turn kerning off for true monospace)

Varial Two typefaces are new and updated versions of Varial family created 2014: Extra-condensed Opentype™ sans-serifs with small caps, extended character set (european languages support) and extra features (fractions, ligatures and alternatives). Varial Two Super Rounded family is versatile in all design applications, for example all headlines, branding, display use, infographics and more!

Moi Non Plus is a wonderful, handwritten font. It has a somewhat chaotic look, but is stylish nonetheless. The name was taken from a famous Serge Gainsbourg song called 'Je t'aime - moi non plus', which caused a bit of a scandal when it was released in the '60's, due to its overtly sexual content.

The Neue Haas Unica™ family is an extended, reimagined version of the Haas Unica® design, a Helvetica® alternative that achieved near mythical status in the type community before it virtually disappeared. Originally released in 1980 by the Haas Type Foundry and designed by Team ’77 — André Gürtler, Erich Gschwind and Christian Mengelt— for phototypesetting technology of the day, the design was never successfully updated for today’s digital environments – until now. Toshi Omagari of Monotype Studio has given this classic a fresh, digital facelift with more weights, more languages and more letters to meet today’s digital and print needs. Available in 18 styles, the Neue Haas Unica family is remarkably appropriate for a wide range of applications, possessing a delicate gradation of weights and clear character shapes. The family's lighter weights are perfect for headlines and other large settings, as well as small blocks of copy at typical text sizes. The regular, medium and bold weights know no boundaries and the heavy and black designs are ideal for when typography needs to be powerful and commanding. Like the Neue Helvetica and Univers Next typefaces, the Neue Haas Unica family can be used just about anywhere – or for any project. In addition to its 9 tailored weights and complementary italics, the Neue Haas Unica family also possesses additional characters for Eastern and Central European, Greek and Cyrillic language support, which did not exist in the original design. A cosmopolitan typeface for today's modern, discerning design needs, the Neue Haas Unica collection is a new classic in the making—one that every designer should surely have at their disposal.

Discovered in The Zanerian Manual of Alphabets and Engrossing was this quaint charmer, called simply "Italic Roundhand". The manual touts this face as plain, practical and rapid; it's lovely, luscious and nostalgic, as well.

This statuesque semiscript is based on Mirabelle, an in-house design from the German foundry of Wagner & Schmidt, released in 1926. Round, firm and fully-packed, it's sure to get attention anywhere it's used. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

NorB TypeWriter Roughen is the roughen version of my NorB TypeWriter typeface witch's my emulation of the IBM Selectric 'Light Italic' ball witch was used by my grand-brother for his correspondance during the 70’s and 80’s. It's however a slanted mono-spaced looking typewriter font. You may want to use this font with any word processing program for text and display use, print and web projects, apps and ePub, comic books, graphic identities, branding, editorial, advertising, scrapbooking, cards and invitations and any casual lettering purpose… or even just for fun! NorB TypeWriter Roughen features 677 glyphs, OpenType features and comes in 6 weights each with their matching italics and in a Light, Normal and Bold version.

NorB Architect Pencil Condensed fonts are the fruit from learning architectural lettering books so featuring 7 condensed weights going from Light to Extra Bold version. These Architectural fonts will add a beautiful architectural hand-lettering style to all your CAD project drawings. Architects have always wanted their CAD drawings to look more like they were drawn by hand, rather than by a CAD program. These AutoCAD fonts are the first step in bringing back that “artistic hand-drawn” feel to your CAD drawings or any graphic design project that can use true type fonts. They also can be used with any word processing program for text and display use, print and web projects, apps and ePub, Comics, graphic identities, branding, editorial, advertising, scrapbooking, cards and invitations … or even just for fun!

Fong Shay Noon JNL is a non-traditional approach to an Oriental-styled font as there are some letter forms with curves and others with straight lines. The name derives from a Chinese restaurant in North Miami Beach, Florida during the 1960s, which in turn took its name from a play on a Yiddish phrase.

TT Norms® Std Condensed useful links: Specimen | Graphic presentation | Customization options TT Norms® Std Condensed is the logical development of our bestselling TT Norms®. Since the release of TT Norms®, we received a bunch of requests to create its narrow version and even managed to make several custom projects of the narrow TT Norms® before we decided to start creating a full-fledged commercial version of the typeface. At the very beginning of the project, we did some research and tested several options for the possible width of the typeface. Despite the fact that TT Norms® Std Condensed has narrower proportions than the original family, it inherited the classic proportions of characters, attention to detail and meticulous elaboration of each character in the typeface. The TT Norms® Std Condensed font family consists of 18 faces (9 upright and 9 italics). Each style includes a sufficient set of characters that allow you to solve most of the problems that arise in the field of graphic design, branding, packaging design or website design.

A fitting complement to the ever-popular Saturday Morning Toast is this book weight, monoline version, popular in the early twentieth century. Both versions contain the complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Introducing TT Norms® Pro Serif, version 1.100! The updated font now has new OpenType features and localization for the Serbian and Bulgarian languages. TT Norms® Pro Serif is a functional serif based on our studio's main bestseller—the versatile sans serif TT Norms® Pro. Together, they form an ideal font pair. Although these typefaces are made for each other, they can easily be used independently and paired with other fonts. So, TT Norms® Pro Serif is a self-sufficient and elegant serif, neutral at the same time. It is easy to recognize due to its gentle proportion dynamics, open aperture, slanted oval axis, and low stroke contrast. Another distinctive feature of this font is brutal serifs that adjust in length according to the weight of the font. As well as TT Norms Pro, there are Italic font styles in TT Norms® Pro Serif. However, for this serif, we have designed true italics instead of simple slanted font styles. Their key feature is the ability of the lowercase letterforms to change in reference to the roman font styles. They become more rounded, moving towards handwritten shapes. The nature of the italics turned out sharper than that of the roman font styles. It can be used to place accents that would attract attention without interfering with the process of reading. TT Norms® Pro Serif is capable of solving multiple design tasks. It is highly readable, which makes it convenient for small point sizes. This serif's application range is broad and diverse: it can be used for websites, printed materials, and packaging design. The font is well-suited for projects in the domains of culture, art, history, or literature and can be implemented into the designs of signs, posters, or premium products and services. TT Norms® Pro Serif, version 1.100, consists of: 24 font styles: 11 roman, 11 italic, and 2 variable fonts (one for the roman font styles and another—for italics); 1380 glyphs in each font style; 31 OpenType features, including options for localization.

Neue Haas Unica by Toshi Omagari: The original purpose behind the creation of the typeface Haas Unica was to provide a sympathetic update of Helvetica. But now the font designer Toshi Omagari has decided to make this typeface his own and has thus significantly supplemented and extended it. In the late 1970s, at the same time at which hot metal typesetting was being replaced by phototypesetting, the Haas Type Foundry commissioned a group of specialists known as "Team '77" consists of Andre Gurtler, Christian Mengelt and Erich Gschwind to adapt Max Miedinger's font The characters of Haas Unica are somewhat narrower than those of Helvetica so that the larger bowls, such as those of the "b" and "d", appear more delicate and have a slightly more pleasing effect. In general, the spacing of Haas Unica was increased to provide for improved kerning and thus enhance the legibility of the typeface in smaller point sizes. Major changes were made to the lowercase "a", in that the curve of the upper bowl became rounder and its spur was eliminated. The form of the "k" was additionally modified to remove the offset leg so that both diagonals originate from the main stem. The outstroke of the uppercase "J" was also significantly curtailed. In addition to many minor alterations, such as to the length of the horizontal bars of the "E", "F" and "G" and to the angle of the tail of the "Q", the leg of the "R" was extended and made more diagonal. In the case of the numerals, the upper curve of the "2" was reduced and the lower loops of the "5" and "6" were correspondingly adapted. The sweep of the diagonal of the "7" was also reduced. Several decades later, Toshi Omagari returned to the original sketches with the objective of reinvigorating this almost totally forgotten typeface. First, however, he needed to revise the drafts prepared by Team '77 to adapt them for digital typesetting. So Omagari carefully adjusted the proportions of the glyphs, achieving a more uniform overall effect across all line weights and removed details that had become redundant for contemporary typefaces. It was also apparent from the old drafts that it had been the case that the original plan was to create more than the four weights that were published. Omagari has added five additional styles, giving his Neue Haas Unica? a total of nine weights, from Ultra Light to Extra Black. He has also greatly extended the range of glyphs. Providing as it does typographic support for Central and European languages, Greek and Cyrillic texts, Neue Haas Unica is now ready to be used for major international projects. In addition, it has been supplied with small caps and various sets of numerals. With its resolute clarity and excellent typographic support, Neue Haas Unica is suitable for use in a wide range of new contexts. The light and elegant characters can be employed in the large point sizes to create, for example, titling and logos while the very bold styles come into their own where the typography needs to be powerful and expressive. The medium weights can be used anywhere, for setting block text and headlines.

This authentic, natural handwriting is slightly bubbly and slightly left-leaning.

This in-yer-face kinda face is based on a broad brush font from "The New ABC of Showcard & Ticketwriting" by C. Milne, published in Australia in the late 1930s. Brought to my attention by Ms. Kat Black, and named in honor of Ms. Kat's grannie, to whom the book originally belonged. The Postscript and Truetype versions contain a complete Latin language character set (Unicode 1252); in addition, the Opentype version supports Unicode 1250 (Central European) languages as well.

Albany, from Monotype Imaging, is a typeface family whose fonts have the same metrics as Arial. However, in contrast to Arial or Helvetica, Albany's letterforms are more open, with more generous apertures and counters. Also, punctuation is not square, as in Arial, but round

Are you looking for a modern typeface? Geometrico. Round without Compromises. Now 12 Italic Styles added. Even more futuristic than the classical Bauhaus typeface Futura, “Geometrico” is a geometric typeface based on round shapes as suggested by its name. Designed without compromises, neither in form nor in function: Geometrico is ideal for logotypes, headlines and other modern typographic purposes. Would Paul Renner be delighted? Or would he turn around in the grave? Make your own opinion. Try Geometrico for free. Download a free trial version of Geometrico with a reduced character set. Check it out!