SansduskiMono is a sans-serif decorative/display family that is monospaced. Its very high x-height and tight spacing make it more suitable for use at large point sizes than small point sizes. (There are better options if one wants a readable text font.) The letter O is a rectangle with rounded corners and this shape motif is carried over to other characters that are usually rounded. The origin of this face is in a previous typeface, BigStripesMono. That family was designed to use the OpenType feature Contextual Alternatives (calt) to put stripes on letters. It had only upper-case letters in one weight. SansduskiMono adds lower-case letters and eight more weights plus italics and outline styles for the black weights. For a proportional rather than monospaced version of this design idea, see Sansduski. SansduskiMono is appropriate for titles, posters, advertising, and other uses that benefit from simple letter forms that are geometric and clean.

A type of “handwriting” discovered by chance, extremely abstract On April 8, 1948 a certain Walter Plaga wrote a crude poem about a hero on a commemorative plaque. The very poor reproduction of the handwritten original, etched into a metal sheet, produced extremely abstract forms so that — even if unintentional — a script completely void of bowls was created. That which originally was the normal clumsy handwriting of a layman thus transformed into a pseudo-modern deconstructive typeface, which in the 21st century appears contemporary. The capital letters especially reflect the original: in part they show forms labeled incorrectly ”old German“ handwriting, which is actually Latin, in the letters A D G I J K L S V W X Z , whereas C H N O P R appear very modern. Truly a form of handwriting: without joining the letters, especially between the lower case characters, a silhouette effect is formed. To a great extent Hero is impressive due to its driven-to-the-limit abstraction and to a lesser extent by retaining an antiquated and nearly illegible effect.

Pure and not-so-simple Maybe it’s the air of purity, openness and transparency that they transmit, but geometric typefaces are more popular than ever among leading brands. Based on near-perfect circles, triangles and squares, geometric letterforms look uncomplicated, even though making them readable is anything but – something the designers of the first wave of geometric fonts discovered nearly a century ago. Many of the world’s most recognisable brands in technology, retail, travel, food, manufacturing and other industries continue to be drawn to the straightforward, honest character that geometric fonts convey. Fontsmith set out in 2015 to develop a typeface in the same tradition, but optimised for the demands of modern brands – online and offline usage, readability and accessibility. And, of course, with the all-important Fontsmith x-factor built in. FS Lucas is the bold and deceptively simple result. Handle with care The letterforms of FS Lucas are round and generous, along the lines of Trajan Column lettering stripped of its serifs. But beware their thorns. Their designer, Stuart de Rozario, who also crafted the award-winning FS Millbank, wanted a contrast between spiky and soft, giving sharp apexes to the more angular letterforms, such as A, M, N, v, w and z. Among his inspirations were the colourful, geometric compositions of Frank Stella, the 1920s art deco poster designs of AM Cassandre, and the triangular cosmic element symbol, which led him to tackle the capital A first, instead of the usual H. The proportions and angles of the triangular form would set the template for many of the other characters. It was this form, and the light-scattering effects of triangular prisms, that lit the path to a name for the typeface: Lucas is derived from lux, the Latin word for light. Recommended reading Early geometric typefaces were accused of putting mathematical integrity before readability. FS Lucas achieves the trick of appearing geometric, while taking the edge off elements that make reading difficult. Perfectly circlular shapes don’t read well. The way around that is to slightly thicken the vertical strokes, and pull out the curves at the corners to compensate; the O and o of FS Lucas are optical illusions. Pointed apexes aren’t as sharp as they look; the flattened tips are an essential design feature. And distinctive details such as the open terminals of the c, e, f, g, j, r and s, and the x-height bar on the i and j, aid legibility, especially on-screen. These and many other features, the product of sketching the letterforms in the first instance by hand rather than mapping them out mechanically by computer, give FS Lucas the built-in humanity and character that make it a better, easier read all-round. Marks of distinction Unlike some of its more buttoned-up geometric bedfellows, FS Lucas can’t contain its natural personality and quirks: the flick of the foot of the l, for example, and the flattish tail on the g and j. The unusual bar on the J improves character recognition, and the G is circular, without a straight stem. There’s a touch of Fontsmith about the t, too, with the curve across the left cross section in the lighter weights, and the ampersand is one of a kind. There’s a lot to like about Lucas. With its 9 weights, perfect proportions and soft but spiky take on the classic geometric font, it’s a typeface that could light up any brand.

Pure and not-so-simple Maybe it’s the air of purity, openness and transparency that they transmit, but geometric typefaces are more popular than ever among leading brands. Based on near-perfect circles, triangles and squares, geometric letterforms look uncomplicated, even though making them readable is anything but – something the designers of the first wave of geometric fonts discovered nearly a century ago. Many of the world’s most recognisable brands in technology, retail, travel, food, manufacturing and other industries continue to be drawn to the straightforward, honest character that geometric fonts convey. Fontsmith set out in 2015 to develop a typeface in the same tradition, but optimised for the demands of modern brands – online and offline usage, readability and accessibility. And, of course, with the all-important Fontsmith x-factor built in. FS Lucas is the bold and deceptively simple result. Handle with care The letterforms of FS Lucas are round and generous, along the lines of Trajan Column lettering stripped of its serifs. But beware their thorns. Their designer, Stuart de Rozario, who also crafted the award-winning FS Millbank, wanted a contrast between spiky and soft, giving sharp apexes to the more angular letterforms, such as A, M, N, v, w and z. Among his inspirations were the colourful, geometric compositions of Frank Stella, the 1920s art deco poster designs of AM Cassandre, and the triangular cosmic element symbol, which led him to tackle the capital A first, instead of the usual H. The proportions and angles of the triangular form would set the template for many of the other characters. It was this form, and the light-scattering effects of triangular prisms, that lit the path to a name for the typeface: Lucas is derived from lux, the Latin word for light. Recommended reading Early geometric typefaces were accused of putting mathematical integrity before readability. FS Lucas achieves the trick of appearing geometric, while taking the edge off elements that make reading difficult. Perfectly circlular shapes don’t read well. The way around that is to slightly thicken the vertical strokes, and pull out the curves at the corners to compensate; the O and o of FS Lucas are optical illusions. Pointed apexes aren’t as sharp as they look; the flattened tips are an essential design feature. And distinctive details such as the open terminals of the c, e, f, g, j, r and s, and the x-height bar on the i and j, aid legibility, especially on-screen. These and many other features, the product of sketching the letterforms in the first instance by hand rather than mapping them out mechanically by computer, give FS Lucas the built-in humanity and character that make it a better, easier read all-round. Marks of distinction Unlike some of its more buttoned-up geometric bedfellows, FS Lucas can’t contain its natural personality and quirks: the flick of the foot of the l, for example, and the flattish tail on the g and j. The unusual bar on the J improves character recognition, and the G is circular, without a straight stem. There’s a touch of Fontsmith about the t, too, with the curve across the left cross section in the lighter weights, and the ampersand is one of a kind. There’s a lot to like about Lucas. With its 9 weights, perfect proportions and soft but spiky take on the classic geometric font, it’s a typeface that could light up any brand.

Larisch is a hand-lettered design by the Austrian calligrapher and teacher, Rudolf von Larisch. The original was used for the title page of the 1903 edition of Beispiele Kunstlerischer Schrift (Examples of Artistic Writing). Larisch is an attractive, casual set of caps of even strokes with rounded terminals. Except for the terminals, it is similar in style to Kunstler Grotesk. The numerals are lining or ranging figures, meaning they line up with the baseline, unlike old-style text figures. All are of equal width for setting up columns of numbers. The letters are well formed and easy to read, as you would expect from a writing master. Ligatures includes CH (123), CK (125), FT (135), LA (137), LO (167), OO (172), CO (177) and TT (181. An alternative O with underscore is provided at position 111. Friendly, but not fancy -- a very useful all-cap font.

Mr Lucky is Mr Happy's slab brother and a hand-drawn narrow typeface designed for one of our books. You can layer different styles over the background style to achieve lots of colorful effects. Use just one style to get a single color letter or set Fill over Background or Stripped Background to get a two color mode. Mr Lucky has upper and lowercase characters with up to three alternate glyphs and special alternate uppercase diacritics. Build in OpenType Contextual Alternates feature will automatically set alternate glyphs depending on frequency of appearance of the same character (even in web font but only in HTML5 browsers). The script doesn’t throw random glyphs. For example in the word “HIPPOPOTAMUS” you will automatically get three different “P” glyphs and two “O” glyphs. It really works great but of course you can always fine tune it by hand.

Quizles is an elegant stencil serif with contrast. The font has classic proportions with bold serifs and fading thin lines. Quizles is easy to use in various design programs or without any program. The font is suitable for modern and vintage typographic compositions, design of books and fashion magazines, branding, packaging and social media design. Also use individual letters to create logos and monograms. The font has extensive language support, it includes English, French, German, Italian, Spanish, Portuguese, Danish, Norwegian, Swedish, Finnish, Estonian, Turkish. Quizles serif includes stylistic alternates for symbols: K, k, O, R. There are also ligatures: tt, ff, fi, gi, oo, ll, ra, ga, ca.

Hand drawn serif typeface designed for one of our books. It has upper and lowercase characters with up to three alternate glyphs. Build in OpenType Contextual Alternates feature will automatically set alternate glyphs depending on frequency of appearance of the same character (even in web font but only in HTML5 browsers). The script doesn’t throw random glyphs. For example in the word “HIPPOPOTAMUS” you will automatically get three different “P” glyphs and two “O” glyphs. It really works great but of course you can always fine tune it by hand. Mrs Ant has an older brother. Mr Anteater was designed for headers for the same book.

Futura is one of the best known and most widely used of modern typefaces. Designed by Paul Renner between 1924-1927 for the Bauersche Giesserei, it remains today one of the most successful typefaces due to its simplicity of features, perfect legibility, and meticulous finish of each of its letters. Its great variety of styles and weights makes Futura particularly fit for distinguished user interfaces, information displays, smart watches, e-readers, television apps, technical appliances, and internet-related uses. Futura is a Trademark of BauerTypes SL

Originally drawn in the style of 19th-century woodcut types with interior shading and ornate English swashes, Raphael was updated in 1974, and the interior shading was removed. It now exhibits modern design elements - very wide letter strokes offset by hairlines - and is easily identified by the swashes that curve over the tops of the capitals, turning into crossbars on the A, E, F, and R. Used sparingly, Raphael adds flash to advertisements, announcements, stationery, notices, and business cards. Featured in: Best Fonts for Logos

The Lazy Cat Writes is Handwritten Font This font describes about funny, dynamic, informal, easy going, humanist, easy to use and will bring a good harmony when the letters are connected and paired each other. FEATURES - 3 Alternates Uppercase letters - Numbering and Punctuations - Multilingual Support - Works on PC or Mac - Simple Installation USE The Lazy Cat Writes works great in any poster, book, magazine, typeface, quotes, print, social media posts, e-book, and any projects that need semi casual and informal taste. Enjoy using! Thanks. HIRO.std

The Raleigh Hotel at 18th Street and Collins Avenue on Miami Beach is an Art Deco landmark and part of the city's popular tourist district. A vintage matchbook from the hotel had its name hand lettered in what is now Beachfront Hotel JNL; available in both regular and oblique versions. The lower case letters have been made more traditional, eliminating the Deco-influenced "overhangs" present on the capital letters, and an alternate "E" from the original matchbook design is available on the bar and broken bar keys.

Mekon is a modern heavyweight typeface digitised and expanded from Peter Steiners Black Body (1973). Retro style Pacman shapes are combined with small keyhole counters to create a bold and witty font ideal for apparel, books, t-shirts and posters. Mekon is now available as version 2.0 (2021); the remastered version meets higher technical standards that modern-day users demand. Included in the font are over 460 characters, four unique styles, with a free gradient option. Opentype features consist of digital numerals, lining figures, fractions and alternate a, c, e, f, i, k, m, n, r, M and S with language support covering Western, South and Central Europe.

Stencil Package JNL has its design roots in the brand name hand-lettered on the paper sleeves for the short-lived Stencil-It line of lettering guides produced in 1955 as a direct competitor to Stenso Lettering Guides. Formed by Bernie Aronson [a relative of the Libauers who owned the Stenso Lettering Company and who once worked for them] along with a financial partner (noted artist) Sidney Levyne, the company was soon put out of existence by a court action. It re-emerged in 1956 as the E-Z Letter Stencil Company and existed until the 1990s. Stencil Package JNL is available in both regular and oblique versions.

Silver Thread is a hairline thin geometric sans serif font with both art deco and 1970s elements to it. Perfect for any project that needs a typeface which evokes elegance and sophistication. Digitally revived from an older photo-typositing face, Silver Thread is named after a waterfall in eastern Pennsylvania. The font contains alternate versions of B, Q, W, &, a, e, k, n, s, t, u, w, y and 4 for added variety. They can be found under the Stylistic Alternates OT feature. Jukebox fonts are provided in OpenType .otf format and all fonts contain basic OpenType features as well as support for Latin-based and most Eastern European languages.

Johny Fyn Handwritten font is a seductive font that is made with a touch of elegance and feeling to give the best touch. Johny Fyn Handwritten font an elegant combination of a script. It is slender, feminine and classy, while still maintaining a friendly feel. Johny Fyn Handwritten font is versatile and will work perfectly for fashion, e-commerce brands, trend blogs, wedding boutiques or any business that wants to appear upscale and chic. With its stylistic character Johny Fyn Handwritten font is perfect for creating original and functional designs. It has extensive language support and alternates, stylistic sets that add visual interest to every letter.

Akira Kobayashi modified his Eurostile Next design into a fun unicase version. Ascenders and descenders have been traded in for alternates of letters that all share the same height. The effect is similar to using all caps, although this is quite a bit more quirky. For example, letters like the lowercase a and e are now the same height as their capital versions and the lowercase y has been raised to fit between the baseline and top height. Odd relationships such as these give Eurostile Unicase a fresh and funky feeling. Try using it for headlines and titles, then use Eurostile Next for the body text!

Soulmotion is a seductive script font that is made with a touch of elegance and feeling to give the best look. Soulmotion an elegant combination of a script. It is slender, feminine and classy, while still maintaining a friendly feel. Soulmotion script is versatile and will work perfectly for fashion, e-commerce brands, trend blogs, wedding boutiques or any business that wants to appear upscale and chic. With its ton of ligatures variants and stylistic characters, Soulmotion is perfect for creating original and functional designs. It has extensive language support and tons of ligatures, alternates, stylistic sets that add visual interest to every letter.

Komet is a sturdy typeface with a calm and upright feel. Although it derives inspiration from classical English sans-serifs, it’s not too closely related to that model. Komet, instead, feels rather more lively and contemporary. Its compact spacing, low stroke contrast and heavy dots and accents give it an almost monolinear quality. The diagonals are slightly curved and the counters of the round letters such as b, o and q are generously wide. The muted, understated middle weights are built for extended body copy, while Komet’s thin and dark weights look brisk and assertive and make for subtly expressive headlines. Komet is an ideal choice for editorial design, branding and corporate design. The Komet Pro family comes in eight weights with matching italics, from Thin to Black. Each font contains around 850 glyphs, including a rich repertoire of OpenType features. Small caps, ligatures, ten different figure sets with matching currency symbols, stylistic alternates and arrows make Komet Pro a comprehensive toolkit for ambitious typography.

The typeface family Triump is a simple sans serif with 6 weights from Thin, ideal for use as an epigraph, to Black for head titles of special impact. Excellent for applying in graphic design as logos, trademarks, posters, editorial and web design. Inspired by the classic types of the late twentieth century with rounded corners that give the typography a smooth appearance with rounded ends, with a horizontal stroke that exceeds the vertical in the letters A, E, F, H, J and K which gives a distinct personality. Triump comes with a Black weight in normal and italic Line both upper and lowercase letters, especially to give a vintage look to the designs.

Fontfamily “Compotes” was created with love and with care about small collections of "hand-made" fonts. We have created a perfect product for the decoration of home design, small barber’s shops, cafes and bakeries. This fonts is ideally combined with any type of design, for example, you can use them on labels homemade jams and pickles and “Compotes” perfectly can be used in logos and in the press. We did 5 main main typefaces by alphabetical list: A - Apple, B - Basilic, C - Citro, D - Dew, E - Espresso In addition, we have developed five “supplements” for each font!

Dayna Silva - Elegant Script Font is a modern handwritten script font with a lovely touch. Dayna Silva Font will work perfectly for fashion, e-commerce brands, trend blogs, wedding boutiques, or any business that wants to appear upscale and chic. Dayna Silva Font multilingual support: Afrikaans, Albanian, Catalan, Danish, Dutch, English, Estonian, French, Finnish, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanish, Swedish, Zulu, and many more. What’s Included : Standard & Multilingual glyphs Ligature Works on PC & Mac Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and even work on Microsoft Word. Hope you enjoy our font!

Calypso I (Italian) draws its inspiration from type founders' plentiful show-off-letters, which were typical on title pages and lithographs in the early 19th century. It borrows luscious details from these but inherits a stiff modern backbone from its parent, Calypso E (Egyptian). Within the Calypso type family all fonts share the same dimensions and work together consistently. Calypso I supports many languages and includes, for example, four sets of basic numerals, circled numbers, alternative characters, case sensitive forms and dingbats. Give it a go on drop caps and headlines or even set short paragraphs with it. It loves colour and effects.

Clearface Gothic first appeared in 1910, designed by Morris Fuller Benton, the world-famously prolific typeface artist. In addition to Clearface Gothic, Benton also designed classics like Franklin Gothic, Century Expanded, and many other types. Clearface Gothic is a sans serif face with light forms displaying the Zeitgeist of the turn of the 20th century. Distinguishing characteristics are the open forms of the a" and "c," the arched "k," and the upward-tilting horizontal stroke of the "e." The relatively narrow typeface, with its open inner white spaces, is extremely legible even in small point sizes. There is no accompanying italic."

Fontfamily “Compotes” was created with love and with care about small collections of hand-made" fonts. We have created a perfect product for the decoration of home design, small barber’s shops, cafes and bakeries. This fonts is ideally combined with any type of design, for example, you can use them on labels of homemade jams and pickles and “Compotes” perfectly can be used in logos and in the press. We did 5 main main typefaces by alphabetical list: A - Apple, B - Basilic, C - Citro, D - Dew, E - Espresso In addition, we have developed five “supplements” for each font!

Woolworth is a modern sans serif font inspired by the grotesque designs of the late 19th century. Each letter has been developed with careful attention towards balance and purity of form, creating a clean, functional and optically correct typeface. These handcrafted details make a warm personality throughout the design without any single character being too overwhelming. It's a contemporary grot typeface fully equipped to tackle a wide variety of text setting scenarios. Woolworth is now available as version 2.0 (2022). Details include six weights and italics, over 600 characters with alternative lowercase a, e, g, and basic punctuation. Open type features include seven variations of numerals, small caps, ligatures, and language support covering Western, South and Central Europe.

Fallen Angels Is a modern take on a classic serif style. The stylised capitals add romantic curves and a rebellious elegance to the strong standard character set. It's a bold choice of typography for logo designs, product packaging, album artwork, quotes, posters, apparel & more. Accessing Extra Characters • Alternate characters are available for E, F, r & k. These can be accessed by switching on 'Stylistic Alternates' or via a Glyphs panel. 6 icons are also included within the font (3 halo's and 3 stars) which can be accessed via a Glyphs panel. Language Support • English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

A modern humanist sans serif made for the screen. Broad open letter forms are combined with precise geometry to create a functional and legible font that’s ideally suited to the web and on-screen applications. To reinforce readability and create more distinction at small point sizes serif like details have been drawn into uppercase ‘I’, ‘J’ and lowercase ‘i’ and ‘j’. Other characters of distinction include a serifed number 1 and a crossed out zero. Nauman is a highly legible font family aimed at large interface based projects. Details include over 800 characters with alternative lowercase a, e, I and M. 7 variations of numerals, true small caps with accents, manually edited kerning and Opentype features.

Eclectic PixelWeb is a collection of three sizes of popular web icons in the pixel aesthetic. With 80+ icons designed for creating e-commerce, navigation, and interface designs. Use it as a starting point in your favorite vector program, or use the icons as is - they are optimized for sizes at 20 point and will work in Flash and other web graphics programs. Shopping carts, directional arrows, buttons galore! It's like a pinata in font format, surprises for everyone! This font includes: a new and search buttons, home, security, email, search, and a host of other icons and images to make designing your next website a breeze!. Available in Mac and PC formats, in TrueType, PostScript and OpenType formats.

Burdigala X Serif is an open and spacious typeface inspired by the classic Didones. The X Serif is ideal for larger amounts of (printed) texts in brochures, magazines and books. Being wider than usual, it works especially well in media intended for on-screen reading, such as in Pdf-documents and e-books etc. Burdigala is the ancient Roman name of the city of Bordeaux France.

Schreibmeister is my interpretation of Arno Drescher’s design for Ludwig Wagner, Leipzig, completed in 1958. The letters X and x were improved as well as some ligatures. The letter E has an alternative, and the small d comes with two alternatives, of which one form can be reached by typing the partial different key. Generally it is recommended to activate both Standard and Discretionary ligatures.

Girly Love is modern handwritten script with dancing up and down the baseline, and comes with lovely alternates. It works perfectly for logos, fashion, stationery, letterpress, magazines, menus, books, invitations, wedding and greeting cards, packaging, labels, apparel, marketing and more. Girly Love also includes alternates, ligatures and multiple language support. If you need help or advice, please contact me by e-mail letterfreshstudio@gmail.com.

Sortie Super is a take on one of the kings of display lettering - Caslon's high-contrast, reversed stress 'Italian' style. It looks great at big sizes and in short flurries... and shouldn't be used in confined spaces.  When compared with the original face, the weight and contrast of Sortie Super has been exaggerated. To add gravity to the letters I've increased their width overall and reduced the spacing to a hair-line fracture for added visual impact. Characters like 'S', 'E','O' and 'Z' are relatively close to their historical precedents - however the terminals on the 'C-G-S-З-Є', which have been drawn so to be more consistent. Other aspects, such as the leg of the 'R' and 'Я', the apex of the 'A' and the spur of the 'G' are revised and simplified, to help spacing and optical weight across the alphabet. Also, to reduce visual noise terminals in characters like 'C', 'J' and 'R'' are horizontally aligned. Meanwhile, the central horizontal strokes in the 'B', 'P' and 'R' etc are reduced to a hairline, so as to create a more simplified system of thick-to-thin.  The temptation when drawing this kind of esoteric display alphabet is to start to rely on modular components. Which, while copy-paste-repeat is a sure-fire way to make the face more visually consistent, it's a lazy method that risks allowing the font become soulless and mechanical. An early experiment I made was making a monospaced version, which was useful in headlines, but it lost that loving feeling. So, by maintaining a handful of flourishes – the tail of the '?', the inky drop of the '!', the bulbous gloop of arms of the 'Ж' and 'К', the swirling legs in the 'R', 'Я' and 'Л', the big-bowling weight of the 'J' and 'U' – plus a few in-built inconsistencies and a bit of its own silliness, Sortie Super retains some of the organic warmth of its ancestor. Conversely, the counters, apertures and negative space are largely rigidly geometric, which helps give the revival font a bit of a modern touch. Sortie Super is an uppercase-only display font that comes with Western, Central and East European Latin, extended Cyrillic, Pinyin, as well as a set of hairline graphic features and symbols.

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

This is my new, completely worked over and fine-tuned Bodoni Classic for Europe (no Greek and Cyrillic). I have added a set of elegant Swashes (B) and 2 alternating uppercase swirly Initials (C) as well as two lowercase end-letters (D). The fonts A and B have extensive kerning, which the initials (C) don't need, they are aligned to replace the standard capital letter. The lowercase end-letters (D) are aligned to replace the standard lowercase letters, so you might need to add a blank after the swirl. For good measure I throw in an extra set of swings for 1 Dollar (E). Your Bodoni maniac, Gert Wiescher

Nauman Neue is a modern humanist sans serif typeface made for the screen. Broad open letter forms are combined with precise geometry to create a functional and legible font that’s ideal for web and on-screen applications. In 2021 Nauman was expanded to sixty styles, including two helpful widths condensed and semi-condensed. Included in the font are 900 characters per style, ten weights and three widths with matching italics. Opentype features consist of seven numerals variations, including inferiors, superiors, fractions, tabular, lining, and old style. It also has alternate lowercase a, e, I, M, small caps, arrows and language support covering Western, South, Central Europe and Vietnamese.