ITC Freddo is the work of New York designer James Montalbano and was inspired by a sign lettering manual from the 1930s. Montalbano liked the character shapes illustrated in this manual but found many of the proportions odd. So he reinterpreted them to produce capitals and lower case letters which, according to today's standards, better complement one another.

German type designer Critzla created this display FontFont in 1997. The family contains 3 weights and is ideally suited for advertising and packaging, festive occasions, logo, branding and creative industries as well as music and nightlife. FF Bionic provides advanced typographical support with features such as ligatures and case-sensitive forms. It comes with proportional oldstyle figures.

Beata is a delicate, attenuated design with elegant proportions, modeled on the fifteenth-century inscription by Bernardo Rossellino for the Tomb of Beata Villana in Santa Maria Novella, in Florence. The font, consisting of caps and small caps, was designed by Garrett Boge and Paul Shaw in 1997. Beata is part of the LetterPerfect Florentine Set.

Futo Sans family is a modern & soft sans-serif family has 8 weights upright with matching italics. Its corners and shape give a soft feeling but straight strokes and solid structure make it strong. Each font includes opentype features such as Proportional Figures, Tabular Figures, Numerator, Superscript, Subscript, Case-Sensitive, Denominators, Scientific Inferiors, Ordinals, Ligatures and Fractions.

This is an experimental type, something of retro-futurism and modern robotics in one package, with letters of unexpected proportions and forms. It was inspired by the glorious imagination of the past, but it holds in itself themes that are bound with the future. The DBL Cheque family consists of incredible 22 styles, filling every need for demanding designers.

Record Title was designed by Frederic Goudy in 1927 as a proprietary commission for the Architectural Record magazine. Based on classic Roman letter proportions, Goudy considered this one of his most successful commissions ever. It is an all caps titling face originally digitized by Jim Rimmer for Lanston in 2001. It was remastered in early 2007.

Riga Screen is designed to work particularly well on screen. Especially responsive websites or office applications will appreciate its economic proportions. Riga has been specially engineered and optimized for exceptional readability in small sizes on all current computer monitors, including tablets and smartphones. This small family of four weights is the perfect companion for the Riga type family.

Noted British designer Phill Grimshaw designed Gravura in 1995. Gravura is a classic copperplate script with perfect strokes and proportions. The intricacy of its initial capitals blend beautifully with the simple elegance of its lowercase, whose letters have been designed to link together in the style of true handwriting. Text set in Gravura feels very personalized.

German type designer Jürgen Brinckmann created this blackletter FontFont in 1993. The font is ideally suited for advertising and packaging, poster and billboards as well as software and gaming. FF Humanist provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, and stylistic alternates. It comes with proportional oldstyle figures.

Alige is a humanist sans serif typefaces made for body text and display. Carried classic roman proportion in higher letterform for better reading experence. Inspired by Optima Nova which designed by Hermann Zaph in early 50's, alige contains 28 cuts which 14 style in text and 14 in display. Kindly visit Alige Playground for more detail presentation.

Mic32 New is a revival of the of the original Mic32 released in 2004. Keeping its futuristic appeal, this popular font has been re-drawn from the ground up, with new spacing and kerning. A range of Opentype features have been added, and the new version includes small caps, tabular, proportional and old style numerals and ligatures.

Mirsal Arabic typeface is a modern Arabic typeface designed by Ahmed Zaza. the design is inspired by the Kufi calligraphic style and influenced by the Naskh style. The result is a hybrid that combines modern proportions with Classic Arabic scripts it's suitable for branding, editorial, packaging, and advertising. Mirsal Arabic Features five weights from Light to Black.

Layla Arabic typeface is a modern Arabic typeface designed by Ahmed Zaza. the design is inspired by the Kufi calligraphic style and influenced by the Naskh style. The result is a hybrid that combines modern proportions with a Classic Arabic scripts it’s suitable for branding, editorial, packaging, and advertising. Layla Arabic Features five weights from Light to Bold,

Tobba is an Arabic typeface for desktop applications, for websites,designed for Newspapers, magazines and cover titles. Tobba font family is Modern style and contains 3 weights: Regular, bold and black. The font includes support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Sultan typeface comes with many opentype features.

American type designer Joel Decker created this script FontFont in 1997. The family contains 2 weights: Regular and Bold and is ideally suited for advertising and packaging, poster and billboards as well as software and gaming. FF Inkling provides advanced typographical support with features such as ligatures and case-sensitive forms. It comes with proportional oldstyle figures.

Claude Sans is the work of British designer Alan Meeks. The conservative roman weight is complemented by a more extravagant italic. The proportions are based on those of the original Garamond typeface of Claude Garamond, from whom this type gets its name. Claude Sans can be used alone or combined with Claude Sans italic and bold weights.

I think it is one of our most useful fonts in that it doesn't draw much attention to itself while it is quite refreshingly different. Almost all shapes in Vecta are rounded to provide a friendly effect. Proportions are somewhat condensed providing economic space usage. Vecta looks equally at home in headlines as well as body text.

This family started as a graduation project back in 2009, coming from calligraphic studies and sketches with a broad nib pen, based on humanist proportions and inclination. From its ink and paper origins it has come a long way until the current form, being digitalized and made into fonts through the course of the last 8 years.

This exclusive Monotype design by Cynthia Hollandsworth is named after a popular executive, Don Wile of Agfa Compugraphic as a gift on his retirement. Agfa Wile is a classic Old Style font with wedge-shaped serifs and open proportions, and is suitable for both text and display uses. Agfa Wile's capital letters are influenced by inscriptional forms.

M Ling Wai is a humanistic script based on a real handwritten style. It has a feminine, urban and lively character filled with literate finesse. M Ling Wai was written with a thin ball pen by a young woman in a unique, personal, running writing style, such that it is real, natural and feminine. Contrast of strokes is low and the text is visible and eye-catching. Its light to medium stems (豎) make it suitable for small text and subheading with little conglutination. All strokes are highly irregular, inconsistent, irregularly oriented and tightly coupled or connected. Spatial distribution, positioning, size and relative proportion of radicals fully reflect a natural and personal favor. It is one of the first proportional width font in a full scale. It is best suited for casual lively text, illustrations, set upright (non-slanted), non-condensed.

M Ling Wai is a humanistic script based on a real handwritten style. It has a feminine, urban and lively character filled with literate finesse. M Ling Wai was written with a thin ball pen by a young woman in a unique, personal, running writing style, such that it is real, natural and feminine. Contrast of strokes is low and the text is visible and eye-catching. Its light to medium stems (豎) make it suitable for small text and subheading with little conglutination. All strokes are highly irregular, inconsistent, irregularly oriented and tightly coupled or connected. Spatial distribution, positioning, size and relative proportion of radicals fully reflect a natural and personal favor. It is one of the first proportional width font in a full scale. It is best suited for casual lively text, illustrations, set upright (non-slanted), non-condensed.

Ganges is a condensed sans serif typeface inspired by Central European advertising typography from late XIX century. The font has condensed proportions and original letter shapes. Ganges is designed mainly for editorial design, especially for display use, as well as short paragraphs of text. Its narrow proportion makes it very practical to use for posters and magazine covers. Characteristic letter forms fit great for branding, logo and packaging design. It is also a very interesting choice for websites and e-book headlines. Ganges family consist of 27 fonts - 9 weights, 9 italics and 9 obliques. It supports extended set of latin languages, as well as broad number of OpenType features, such as case sensitive forms, standard and dicretionary ligatures, stylistic alternates, contextual alternates, lining, oldstyle and tabular figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Auntie Pat is a new script font in my continuing objective of designing scripts that I can really use. Of course, I am looking for readability in booklets. In many ways, Auntie Pat is a very unusual script in that it has caps, lowercase, small caps with the appropriate figures for each case. This is font has all the OpenType features in the set for 2009. I didn't bother with the CE accents (though I can add them upon request). There are several ligatures for your fun and enjoyment: bb gg ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, small caps, proportional lining figures, proportional oldstyle figures, & small cap figures, plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

Altivo is a proper workhorse sans serif. Sixteen OpenType fonts in eight weights (with true Italics) range from Thin to Ultra. Meticulous care was taken to ensure high legibility in text sizes on the screen. The typeface is designed to have wide proportions, generous x-height, loose spacing, ink traps, large apertures and low stroke contrast. Altivo’s ink traps are not only a functional design feature, they also look interesting and lend character to the typeface in headlines. True Italics, small caps and multiple sets of figures, as well as a complete set of lowercase superscript were all included in the family to accommodate high typographic standards. If you need to pair it with a serif font, you can’t go wrong with Chiavettieri, since both typefaces were made with the same basic proportions, and their tabular figures are the same width.

This classified version of Monkton, with its expanded proportions and extended serifs can be used at small sizes for classified advertising, newspaper text or larger displays. Its semi-medium weight (heavier than Book weight) makes it robust to be legible when smaller and cope with various printing methods. The inspiration for this typeface family came from my childhood experiences at Monkton, amidst an historic part of the South West of England. Studies of the original incised capitals of the Trajan column in Rome were analysed and polished for this modern version. The lower case letterforms and numerals were then created in sympathy, taking their proportions from the incised letters of local gravestones. Its name honours not only the area where the original alphabet was conceived and drawn, but also the people responsible for fostering my initial interest in letters.

Flight Feather is a font that has a modern and elegant design. This font has smooth and firm lines, as well as balanced and proportional letter proportions. Each letter in this font has interesting details and a beautiful appearance, making it suitable for classy and elegant designs. View of the Flight Feather font with supple and smooth lines. This font has a light and alluring impression, but still strong and firm, so it is suitable for graphic designs, posters or brochures that require an elegant and professional impression. The combination of thin and thick lines in the Flight Feather font provides an interesting visual effect and helps make words or sentences stand out and impress. With its uniqueness, the Flight Feather font can be the right choice to strengthen the message you want to convey in visual design.

35-FTR was custom drawn specifically for the book Analogue Photography which required the timeless elegance of Futura and the compact utilitarian typesetting of Helvetica. It combines the best of both with the foundation of a geometric sans but the proportions and rhythm of the Swiss classic. The result is a versatile font that bridges the gap between information design and high-end sophistication. 35-FTR can effortlessly traverse the spectrum of friendly and approachable to aspirational exclusivity. This functional elegance excels in the bolder weights and is perfect for setting display and readable body copy. Version 2.1 includes refinements to the two-story "a" and "g", new superior and inferior figures and improved kerning for German text. Original features: 7 weights with obliques, open type features, European characters, symbols, transit icons, circled figures, old style figures, tabular figures, proportional figures fractions, arrows.

It was my first attempt to drawing a Hebrew alphabet to mach directly with other typeface (Latin) which I already designed. The Latin version is an handwriting display typeface influenced by chancery handwriting from the Italian Renaissance (broad-nib pen). One of the most typographic characteristic is there wavy forms, especially the serifs, where contains some of the main calligraphic references from this font family. The Hebrew script contain reverse contrast, the vertical proportions are more tall and the stroke weight is slightly more strong than latin lowercase to produce a correct visual balance between them, especially on small sizes (text proportions). This Hebrew square book-hand was influenced by Sephardic script style. The Latin characters contains interrupted strokes, the same was made for Hebrew letterforms to transpose correctly the same calligraphic approach between these two different alphabets.

A modern sans serif – large x-height, lively forms The Lech Sans Pro is businesslike-modern but at the same time present the effect of liveliness and movement. The shapes of the individual characters follow the "humanistic" form language of modern faces. In this way, Lech Sans Pro offers an attractive alternative to most of the sans serif fonts used today. The proportions have been selected to be very legible even as a body type for longer texts. The font is so robust in detail that a title in large capitals is very eye-catching. It can function positively as well as negatively and is also still legible from a great distance. Lech Sans Pro supports West European languages including Scandinavian, Central and Eastern European languages, also including Turkish, Vietnamese as well as Greek and Cyrillic. Along with ligatures for the letter combinations fi, ff, fl, tt and tz the font also includes stylistic alternates for N, R, f, l as well as for the German sharp s and the figure 3. Additionally, Lech Sans Pro offers several sets of figures: proportional standard figures of equal height lining figures in height of the capitals proportional medieval figures with ascenders and descenders disproportional tabular figures of equal width superior and inferior scientific figures and numerators resp. denominators for fractions circled figures

Yazan is a New Arabic display typeface for desktop applications, inspired by oriental kufi and Qairawani kufi . Designed and developed by Sultan M. Saeed, Yazan has updated proportions and details, and is distinguished by its traditional serenity, modern aesthetics, This makes it suitable for large display sizes, especially in the area of advertising, while still functioning well as a text face.

Dutch type designer Donald Beekman created this display FontFont in 2006. The family has 10 weights, ranging from Light to Ultra and is ideally suited for festive occasions, music and nightlife as well as poster and billboards. FF Softsoul provides advanced typographical support with features such as ligatures, case-sensitive forms, fractions, and super- and subscript characters. It comes with proportional lining figures.

Milford is a font with its feet planted in several styles of design. It has aspects of Art Deco shapes and proportions, but has modern additions and tweaks that make it a handsome substitute for your tired heading fonts. Because of its tight spacing and filled, super-black forms, it responds nicely to treatments such as negative letter spacing and outlining.

ITC Kallos is the work of British designer Phill Grimshaw, a text typeface family with traditional calligraphic flair. It is the result of Grimshaw's first experiments with text typeface design. The long ascenders and descenders of the lowercase alphabet lend them a look of sophisticated elegance. The capitals display the unmistakable influence of the pen and the proportions of classic inscriptional forms.

Jeames brings familiarity to the often detached feeling extended serif genre. The curved, heavy, joints let the letters bounce along while the proportions and contrast keep your eyes grounded. This mid century inspired family of three weights is intended for large titles and display. The set includes language support, opentype fractions, and other fun glyphs. You can learn more about its development here.

Syntho is a modular typeface with 18 variants and a Variable Font. Its structure is geometric and modular, but its proportions resemble those of classic grotesque typefaces, giving it a familiar feel to the designer. It also includes two subfamilies, 200 and 300, which are expansions of the typeface in width, providing greater possibilities for the designer in any project.

Centima – a geometric sans serif typeface family, built in six styles. The typeface is intended for use in display sizes, but also is quite legible in text and is well suited for editorial and brand design. Centima is released in OpenType format with support for most European languages and includes some OpenType features – proportional/tabular, lining/oldstyle figures, slashed zero, ligatures, fractions.

Stibium is a mix between a garalde character and a transitional character. It is inspired by the humanist calligrahy of the Renaissance, the axis is oblique but with more compact proportions and pointed serifs inspired by the pen drawing. It has 7 different styles with the italics. Each contains 685 glyphs with an alternate "A", small caps, Old Style numbers and symbols.

Dutch type designer Donald Beekman created this display FontFont in 1999. The family has 8 weights, ranging from Regular to Bold in Normal and Expanded (including italics) and is ideally suited for music and nightlife and poster and billboards. FF Tsunami provides advanced typographical support with features such as ligatures and case-sensitive forms. It comes with proportional lining figures.

Inspired by bold & retro typefaces in the ’90s, Cleodify comes with a retro-ish style. The bold design combined with classical proportions gives a choice for creative work. Cleodify Sans is available in two style : Regular and Rounded. Features : Full Set of standard characters and punctuations. Alternates, ligatures and multilingual support characters. PUA Encoded | no special software needed to access extra characters.

Compilation Grotesk is a variable font concept that includes 9 sort of adjustable heights inspired principally on Matterhorn Headliners 2. The "height" axis allowes the glyphs expand along the Y-axis upward from the baseline as the values increases from 700 to 1100. Due to it, the system adapts keeping the contrast and the original proportions. Don't stretch it out, just adjust it!