The Målestok family (Light, Light Italic, Bold, Bold Italic) is an eclectic solution for a broad range of applications. The rounded outer corners combined with select stencil effects makes for an interesting and friendly face. In large sizes, the bold version is strong and engaging, while the lighter weights are stylish and friendly. Thanks to its distinctive slightly technical style, both print and interactive designers will find that Målestok provides a multitude creative options with the perfect solution to draw attention with style. Målestok family his ideal for branding, collateral, advertising and packaging design. Målestok also fits comfortably in fashion , retail and sport related categories. Målestok family was designed in Norway, The Netherlands and USA.

Introducing fresh PELORIC sans serif typeface which is well crafted for the classic and modern outlook. It can be read easily from a small size to a large size. Feeling fresh & trendy with it’s distinctive visual. It is well suited for branding, website & mobile layout and many more. It can also be used for branding materials, business cards, social media, packaging, prints, quotes & posters, etc. It comes up with 12 different weights as thin, thin italic, light, light italic, regular, italic, medium, medium italic, bold, bold italic, inline & inline italic. So, if you are looking for a new stylish and unique font, then here is the best font just designed for you and supporting any operating system and platform.

Say hello to Decrypt H1—a geometric typeface that features highly stylized capitals with sharp corners, circular forms and generous proportions. Specifically created for visual impact—use Decrypt H1 when you want your words to stand out from the rest of the crowd. The concept is modern, futuristic and non-traditional. Perfect for display text, logos and headings. The development of Decrypt H1 started in 1997, inspired by Alex Kaczun’s best selling grotesque font family called Contax Pro. Decrypt H1 is specifically introduced here as a bold weight, but Alex plans to expand the design to include many weights, styles and alternative design treatments. Stay tuned! If you like Decrypt H1—check out it’s alternate twins Decrypt 01, Decrypt 02 and all of Type Innovations fonts at: http://www.myfonts.com/person/Alex_Kaczun/

Rational is a contemporary representative of the Grotesk genre inspired by drawings dating back to the early 20th century. It is a highly utilitarian family focusing on clarity and simplicity by approaching the design with a strong modernist fused attitude. Rooted in Swiss traditional and pragmatic design, Rational contains ingredients like horizontal terminals and uniform widths which result in a highly functional and flexible font. This is juxtaposed with circular and subtle calligraphic elements creating a warm and approachable layer within an objective surrounding. With more than 800 glyphs per font, the family is optimized for numerous scenarios. It comes in 10 weights with matching italics containing opentype features like small caps, stylistic sets, case sensitive shapes, tabular figures and many more, making Rational the perfect choice for modern, contemporary and professional typography.

Galey is a modern and clean sans serif with a geometric and rounded style. Each style comes in 18 weights with italics + variable fonts, from thin to black, includes 592 glyphs in each weight. Each style has its unique characters include OpenType features and extended language support (+Cyrillic) to suit a different purpose. Designed with a modern minimalist in mind, Perfectly use for branding, display, logo, text, headline, web design, and many editorial design purposes. We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so you can see and access all Glyph variations. We hope you enjoy our font - please do let us know by emailing us at info@prestigetype.com or prestigetypestudio@gmail.com if you need something!

Lucida Handwriting is a casual, connected script designed for smooth and fun reading on screens and in print. Its relaxed personality and vigorous energy sends a distinctive message. Lucida Handwriting was originally released in one weight. It is now available in five weights, from Thin to Black. Lucida Handwriting was designed by Kris Holmes and Charles Bigelow based on historic blackletter style cursives. As with other joining script typefaces, all capital letters usage is not recommended: it is best to use upper and lowercase for optimal legibility. Lucida Handwriting is part of the Lucida superfamily of fonts from Bigelow & Holmes. Lucida is highly regarded for legibility and its extensive range of type styles. The Lucida Handwriting typeface family has a Standard character set with 255 glyphs supporting the basic range of Latin languages.

Kalexa, a name inspired by the fusion of kaleidoscope and hexagon, is a modern typeface created from geometric lines based on the hexagon's shape. It draws inspiration from low poly and heavy industrial typefaces, reflecting modernity, simplicity, and power. With its sleek and minimalist design, Kalexa emerges as a disruptive force. Thanks to its 6 font weights, it is highly versatile, making it suitable for a myriad of projects across various themes, ranging from sports designs and industrial brands to technology projects. It adheres to the trend of bold and unconventional shapes while maintaining excellent readability. Available in a variable version for precise control over font weights, Kalexa unlocks endless possibilities for designers to craft captivating visual experiences. Each line becomes a brush of creativity, walking the line to new frontiers of design expression.

Bommer Sans is a warm and friendly type with a distinguishable look. It has been designed to add our twist to the flavour of English humanistic sans serif typefaces. Bommer Sans works like a charm for editorial, headlining, exhibition, signage and wayfinding projects. The big x-height and ascenders close to cap height favor tighter interlinear spacing. The ‘Q’ tail, resting on the baseline, is an invitation to play vertical, stacking lines of caps. Curved strokes on the ‘i’, ‘k’, ‘l’, ‘K’ and ‘R’ bring a friendly touch without compromising the sturdy structure, a marked characteristic of the design of the figure set. With seven weights in the upright and its matching italics, Bommer Sans has 14 styles and is part of the Bommer family. Check Bommer Slab for a great companion!

Say hello to Decrypt 02—a geometric typeface that features highly stylized capitals with sharp corners, circular forms and generous proportions. Specifically created for visual impact—use Decrypt 02 when you want your words to stand out from the rest of the crowd. The concept is modern, futuristic and non-traditional. Perfect for display text, logos and headings. The development of Decrypt 02 started in 1997, inspired by Alex Kaczun’s best selling grotesque font family called Contax Pro. Decrypt 02 is specifically introduced here as a bold weight, but Alex plans to expand the design to include many weights, styles and alternative design treatments. Stay tuned! If you like Decrypt 02—check out it’s alternate twin Decrypt 01 and all of Type Innovations fonts at: http://www.myfonts.com/person/Alex_Kaczun/

Say hello to Decrypt He2—a geometric typeface that features highly stylized capitals with sharp corners, circular forms and generous proportions. Specifically created for visual impact—use Decrypt He2 when you want your words to stand out from the rest of the crowd. The concept is modern, futuristic and non-traditional. Perfect for display text, logos and headings. The development of Decrypt He2 started in 1997, inspired by Alex Kaczun’s best selling grotesque font family called Contax Pro. Decrypt He2 is specifically introduced here as a bold weight, but Alex plans to expand the design to include many weights, styles and alternative design treatments. Stay tuned! If you like Decrypt He2—check out it’s alternate twins Decrypt H1, Decrypt 01, Decrypt 02 and all of Type Innovations fonts at: http://www.myfonts.com/person/Alex_Kaczun/.

Bay Tavern is the first weathered version of our Tavern font that's based on Algerian. With three weights, open faced and outline versions to choose from you're sure to find the right style for your new project, restaurant menu, logo, t-shirt design or Pirate costume party. Bay Tavern includes all the same alternates as our regular Tavern font family. While our original Tavern font has been increased to include five weights additional weights for Bay Tavern will have to wait for now, adding the notched cut in's were all done by hand which causes a lot of cramping so a long break is needed before creating the extra weights. The Fill fonts in the Bay Tavern family are meant to be used with Bay Tavern Open fonts, if you're using Bay Tavern Open then select Bay Tavern Fill, if you're using Bay Tavern Open L then select Bay Tavern Fill L, if you're using Bay Tavern Open S then select Bay Tavern Fill S, if you're using Bay Tavern Open SL then select Bay Tavern Fill SL, the same rule goes for the Open X version.

Embark on a journey of refined typography with the Elio & Oliver Font Family v2, an exquisite upgrade that seamlessly integrates italics into its nine meticulously crafted weights, so you will get 18 fonts, 9 weights - from Thin to Black, and an italics version for each of them. Inspired by the timeless elegance and undeniable allure of Italy, this sans serif typeface captures the essence of sophistication and refinement, now enhanced with a touch of expressive flair. Italic Magnificence - A Symphony of Style The new italics bring a captivating dimension to the Elio & Oliver family, adding a graceful fluidity and dynamic rhythm to your designs. Each italic weight complements its corresponding roman counterpart, creating a cohesive and harmonious visual aesthetic. Unveiling the Full Spectrum of Elegance From the delicate Ultra Light to the bold intensity of Black, Elio & Oliver v2 offers an expansive range of weights, allowing you to tailor your designs to any project or mood. Whether you're crafting elegant editorial layouts, crafting impactful branding materials, or crafting sophisticated digital interfaces, this font family seamlessly adapts to your creative vision. Language Versatility for Global Impact Recognizing the power of language diversity, Elio & Oliver v2 boasts full language support, enabling you to communicate your message effectively to a global audience. With seamless compatibility across English, Italian, French, Spanish, and beyond, this font embraces the richness and cultural nuances of diverse languages. Captivate Attention, Leave a Lasting Impression Elio & Oliver v2 elevates your creative projects to new heights of sophistication, infusing them with an aura of refined elegance. Its graceful curves, captivating italics, and versatile weights will effortlessly capture attention and leave a lasting impression on viewers. Step into the Realm of Timeless Design Immerse yourself in the world of Elio & Oliver v2, where every letter narrates a story and every curve embodies the essence of impeccable design. Let the spirit of Italian chicness and timeless elegance guide your creative endeavors. Unleash the Power of Elio & Oliver v2 and Elevate Your Designs Discover Elio & Oliver v2 and transform your creative projects into masterpieces of timeless elegance. Join the ranks of designers who elevate their work with this exquisite typeface and unleash the power of sophisticated typography. Happy creating everyone!

Whether you call them slab serif, square serif, or Egyptian, you know them when you see them – sturdy, nearly monoweight designs with blunt, straight-edged serifs and a no-nonsense attitude. The Rockwell® Nova family is a fine example of this appealing and eminently usable type style. This is a design that is both robust and adaptable. Marked by the flat top-serifs on the cap A, unusual Q tail and high-legibility two-storied lowercase a, Rockwell has a bit of handmade charm that distinguishes it from the cool, more modern interpretations of the slab serif style. The family is excellent for branding, headlines and other display uses. The simple shapes and hearty serifs also make it a good choice for short blocks of textual content in both print and on-screen environments. The light and bold weights are perfect for setting blocks of text copy, while the extra bold and condensed designs bring authority to display copy. Throw in a little color, and you amp up Rockwell’s messaging power. The regular and italic designs perform handsomely, in the most modest of screen resolutions. With four weights of normal proportions, each with a complementary italic, and three condensed designs, two with italics, the family is a commanding and versatile graphic communicator. Rockwell’s large x-height, simple character shapes and open counters, make for an exceptionally legible design. It should not, however, be set so tight that its serifs touch, as this will erode legibility and impair readability. A benefit to Rockwell’s slab serifs, however, is that the design combines beautifully with both sans serif typefaces and a variety of serif designs. Rockwell OpenType® Pro fonts have an extended character set supporting Greek, Cyrillic, most Central European and many Eastern European languages, in addition to providing for the automatic insertion of ligatures and fractions. Looking for its perfect pairing? Look no further than ITC Berkeley Old Style, Between™, ITC Franklin Gothic®, Harmonia Sans™, Metro® Nova or Frutiger® Serif.

Quirky and irregular FS Split is no ordinary typeface. Its irregular proportions make it unique, with round letters appearing wide, and straight letters narrow. Other quirks include its eclectic crossbars – the uppercase ‘A’ has an unusually low bar, while the bar on ‘G’ is particularly long. The uppercase has many interesting features in fact, including large counters, closed terminals on certain letters like ‘J’, and a cap-height that lines up with ascenders. The lowercase also holds surprises – the dots on ‘i’ and ‘j’ are unusually large, and some characters, such as ‘g’, feature double-storey counters. An extreme but stylish italic The italic versions of FS Split Sans and Serif are particularly striking. While similar in style to their upright, Roman versions, they take on a larger-than-usual 18-degree angle, making the forward-slant more dramatic. Although the main purpose of any italic is to help words and phrases stand out, this unique execution helps to make the italic variants of FS Split stylish fonts in their own right – they would work brilliantly on magazine covers, in titles and headlines, pull quotes, and even used commercially in logos and corporate branding. Serif and sans: a split personality FS Split Sans and Serif have their differences but also their similarities, contrasting and complementing each other perfectly. This ‘love hate’ relationship inspired the name of the typeface family, and means the two variants provide a versatile, typographic palette for use in graphics and branding. While its proportions are similar to the sans, the serif has a bigger contrast between its weights of bold, regular and light, bracketed serifs, and different styles of terminals, some being straight and others ball-shaped. FS Split Sans has more subtlety and simplicity, with a smaller weight contrast, less flamboyant terminals, and more consistent counter sizes. The two variants are distinct yet alike, so can be used successfully either in isolation or together.

Quirky and irregular FS Split is no ordinary typeface. Its irregular proportions make it unique, with round letters appearing wide, and straight letters narrow. Other quirks include its eclectic crossbars – the uppercase ‘A’ has an unusually low bar, while the bar on ‘G’ is particularly long. The uppercase has many interesting features in fact, including large counters, closed terminals on certain letters like ‘J’, and a cap-height that lines up with ascenders. The lowercase also holds surprises – the dots on ‘i’ and ‘j’ are unusually large, and some characters, such as ‘g’, feature double-storey counters. An extreme but stylish italic The italic versions of FS Split Sans and Serif are particularly striking. While similar in style to their upright, Roman versions, they take on a larger-than-usual 18-degree angle, making the forward-slant more dramatic. Although the main purpose of any italic is to help words and phrases stand out, this unique execution helps to make the italic variants of FS Split stylish fonts in their own right – they would work brilliantly on magazine covers, in titles and headlines, pull quotes, and even used commercially in logos and corporate branding. Serif and sans: a split personality FS Split Sans and Serif have their differences but also their similarities, contrasting and complementing each other perfectly. This ‘love hate’ relationship inspired the name of the typeface family, and means the two variants provide a versatile, typographic palette for use in graphics and branding. While its proportions are similar to the sans, the serif has a bigger contrast between its weights of bold, regular and light, bracketed serifs, and different styles of terminals, some being straight and others ball-shaped. FS Split Sans has more subtlety and simplicity, with a smaller weight contrast, less flamboyant terminals, and more consistent counter sizes. The two variants are distinct yet alike, so can be used successfully either in isolation or together.

Lasta is small serif font family with simple elegant shapes, refreshing Italics and poetic endings. Containing 2 weights and 2 italics, with lower x-height which brings more air (empty space, white space...) into paragraphs making text more graceful and legible. Thin serifs bring small touch of dynamic into letter forms, just enough to bring specific tone to paragraph. Beside being mainly imagined as fully text family, Lasta is suitable titles or decorative typography as well for, especially the Italics with fancy curvy endings.

Klartext [plain talking, clear words] A modern monospaced type family of 10 weights. Klartext Mono combines a classical monospaced font and modern monolined sans-serif with a humanistic touch. It is characterized by a large x-height, slightly condensed glyphs with well shaped curves and soft strokes. As a special feature, Klartext contains a bunch of uncommon glyphs like the German capital sharp S, a nice arrowset and a basic phonetic alphabet (20 letters in IPA Extensions, some more in Latin Basic thru Extended B).

Youbee is a casual serifed font that is highly legible. It has a bit of contrast, but not much. It could be used as book text, but is better suited for less formal uses such as newsletters and pamphlets. Youbee gets its name from it origin, the Ultimate Blend (UB) of four very different typefaces: Euroika, Ingriana, BetterTypeRight, and KampFriendship. The earliest members of the family were constructed in 1996, with a shadow version added in 2011, extra weights in 1999, and two different widths in 2022.

Vonique 43 is a stylish display font designed to stop passerby in their tracks. Curvaceous lowercase members define this font along with a consistently thin line weight throughout. Most are elegantly styled after circles featuring very short descenders and matching the cap height of capital letters. Vonique 43, like its predecessors, was not designed for everyday text, but eye catching logos. It's equipped with support for many different languages including Russian and Greek. Use it for a luxury brand, clothing line, or a company logo.

Rotis is a large typeface family consisting of, Serif, Semi Serif, Semi Serif and Sans Serif font styles. Agfa Rotis was created for Agfa Compugraphic. The font styles are matched for weight and height to give consistency when mixed. Certain round characters have a distinctive calligraphic treatment which is apparent in all styles. A versatile family which can be used for text as well as display setting. Designed by Otl Aicher at Druckhaus Maack, Agfa Rotis is very readable and good for use in any contemporary texts.

Erbaum is a display square sans serif type family. It is straight-forward in overall structure, simple and rational in details. Erbaum was designed to maximise clarity, with an emphasis on construction and pragmatic aesthetics. The concept behind this typeface was uncompromisingly function driven, which was to provide a clear and effective medium for communication and a modern alternative to similar fonts in the aforementioned category. Extended x-height and sharp details aid legibility. Other features include seven weights, Cyrillic, alternative characters and various OpenType features.

Lettering designer Ray Cruz, creator of Bitstream’s VeraCruz, Fat Albert and Cruz Cantera, and many other typefaces, introduces Homeland BT, a finely drawn family of six weights, including two italics. This text and display typeface has a generous x-height and overall body width for great legibility at small text sizes. The exaggerated serifs impart a sense of stability and comfort, and give headlines a unique styling. Available in PostScript OpenType format, Homeland’s extended glyph set covers the Western and Central European, Baltic and Turkish languages.

The Sommet series has been updated with a rounded variant. Sommet rounded retains its predecessor's high-tech web 2.0 character but features blunted terminators, making for a much warmer and friendlier impression. Sommet Rounded features a tall x-height, and its letterforms are compressed, perfect for when layout space is at a premium Sommet Rounded can be easily mixed and matched with its non-rounded relative. Sommet Rounded includes four weights and italics for plenty of design options and is suitable for body copy and display text.

Campan, is a new semi-linear face which unites mono-line and classic elements. It is very strong in headlines and its tall x-height lends itself to comfortable reading in text applications. The Campan family comprises 12 styles and is well suited for ambitious typography. It comes in OpenType format with extended language support. All weights contain ligatures, small caps, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and matching arrows.

The Stempel foundry in Germany produced this version of Garamond in 1925 as a replica of a typeface of a French punchcutter Claude Garamond (middle of the 16th century). This design has an angular incised appearance which is unlike other Garamond types. It is also slightly heavier in weight, and is highly readable as a text face. Well suited for a wide range of applications and treatments. Original Garamond is the Bitstream version of Stempel Garamond. Cyrillic version was developed for ParaType in 2002 by Gayaneh Bagdasaryan..

Rotis is a large typeface family consisting of, Serif, Semi Serif, Semi Serif and Sans Serif font styles. Agfa Rotis was created for Agfa Compugraphic. The font styles are matched for weight and height to give consistency when mixed. Certain round characters have a distinctive calligraphic treatment which is apparent in all styles. A versatile family which can be used for text as well as display setting. Designed by Otl Aicher at Druckhaus Maack, Agfa Rotis is very readable and good for use in any contemporary texts.

Eleven out of ten typographers have confirmed that Tabac Big Slab can be used both on the facades of majestic villas and on the most ordinary typesetting of labels and medication package inserts, where it saves both space and tired eyes. Even width compression doesn’t take away from the typeface’s well-distinguished characters, while its huge x-height optically enlarges typesetting in small sizes. Aside from the lightest weights, we can recommend Tabac Big Slab for all applications where there is a lack of space or paper.

Tarocco is a typical book face with good readability and rather tall x-height. The origin for this typeface is found in Nordisk Antikva. A typeface especially constructed with attention for the Swedish language. Waldemar Zachrisson was determined to realize his ideas and in 1906 he began to cooperate with the foundry Genzsch & Heyse, based in Hamburg. Some influences of Jugendt can be found and the typeface were released in 1910. It became rather popular until around 1930. The MRF version includes 7 weights all together.

Talbot Type Klamp 105 Mono is a monospaced variation of Talbot Type Klamp 105. The clean and pure geometry of Klamp 105 makes it highly suitable for adaptation to this monospaced variant. It has an even look and retains its legibility at very small sizes. Klamp 105 Mono is available in a family of four weights and features an extended character set to include accents for Central European languages. Klamp 205 Mono, with some character variations, is also available as a monospaced variant of Klamp 205.

Talbot Type Klamp 205 Mono is a monospaced variation of Talbot Type Klamp 205. The clean and pure geometry of Klamp 205 makes it highly suitable for adaptation to this monospaced variant. It has an even look and retains its legibility at very small sizes. Klamp 205 Mono is available in a family of four weights and features an extended character set to include accents for Central European languages. Klamp 105 Mono, with some character variations, is also available as a monospaced variant of Klamp 105.

Transat Text is a geometric sans serif typeface, and is the more rational sibling to the unabashedly Art Deco "Transat". Transat Text has a slightly taller x-height than its counterpart, making it easier to read at small sizes, but also performs admirably in larger display settings. Transat Text includes many OpenType features, such as ligatures, small capitals, case sensitive forms, stylistic alternates, arbitrary fractions, and a full complement of proportional, tabular, and oldstyle figures. The Transat Text family includes 5 weights plus optically-corrected obliques.

Gayle Sato, longtime friend of MVB Fonts, has amazing handwriting. It’s a natural, simple hand, with perfect rhythm. Devoid of flourishes, it doesn’t try to be beautiful. It’s just genuine, quick, and clean — the handwriting we all wish we had. The digitization by Mark van Bronkhorst captures these qualities. Retaining the roughness of a felt pen, MVB Calliope is a handwriting typeface that feels much more authentic than most, highly legible but still raw. The Regular was released in 2005, with the other weights shortly thereafter.

The Toriga typeface was named after the Portuguese grape variant known as Touriga Nacional. This fun typeface boasts the features of a well-balanced, versatile, modern sans which is highly legible as a text font and with a clean, elegant look as a display font at larger sizes. The rounded terminals give it a friendly, approachable look. Comprising 6 weights with equivalent italics, this font family is perfect for your more playful designs. It was created to be enjoyed, so enjoy creating with it!

Curve is a modern neo-classical typeface family with some features of the Didone genre, but especially designed for contemporary typography. A large x-height not only creates space in the letters for extra-bold styles, but also lends Curve an open and generous character in the more narrow and semi-bold versions. It has 616 glyphs with small caps, numbers and ligatures in 10 weights. Curve is a contemporary serif typeface, special for logos, brands, magazines and editorial and for setting trends in fashion and design.

Insan, designed by Ihsan Al-Hammouri in 2005, is a modern Arabic typeface in three different weights. The design is based on simplified Naskh with a very low modulated stroke treatment. It is suited for text settings, especially in brochures and magazines. It is characterized by a large body height and open counters and as such can be used in small sizes. The font includes a matching Latin design and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages.

Biennale is a geometric typeface with a strong character and a large x-height which make it an excellent choice for a wide range of applications, such as headlines or branding. Although common in style, Biennale distinctive details and color on the page allow users to create really unique designs. The font comes in 11 weights, from Hair to Heavy, and includes matching italics. As you would expect from Latinotype, this typeface comes with a standard set of 417 characters that support over 200 Latin-based languages.

Art deco The inspiration for FS Blake’s elegant, lightly geometric forms can be traced back to design of the 1930s; designer Emanuela Conidi was influenced by the typography of cool, European, art deco posters. FS Blake bears traits of the art deco style, from its thin weights to its heavy weights, giving a set of faces each with their own distinct character, but still with a strong family resemblance. Mechanical type Mechanical and organic shapes combine in FS Blake to create a harmonious whole of generous curves and cursive spikes. A strong, punchy contender in display sizes, it’s also got a gentle touch with small text in lighter weights. Lively, versatile and with plenty of character contrast between weights, the FS Blake family offers impact in whatever task it’s given.faces each with their own distinct character, but still with a strong family resemblance. Sketch book Great fonts still emerge from a combination of hand, paper and pencil. After filling her sketch book with ideas, Emanuela and Jason extracted the elements that both felt could work in a font. The process yielded a whole crop of starting points for future designs as well as a focus for FS Blake as a striking, characterful, almost industrial font.

Rothorn™ is a modern, minimalist geometric sans with its own personality derived for subtle design details, such as cut diagonal corners, pointed t, very small contrast and closed aperture. The letterforms give the typeface a lot of charisma, keeping a very minimal, clear and well balanced look at the same time. Its powerful and sharp shapes together with the variety of weights from Hairline to Black make it a perfect choice for headlines and branding. Generous x-height, careful spacing and distribution of weights give it a color and legibility great for long paragraphs of text. Rothorn is a geometric member of a large type system including such families as Montreux Grotesk (Swiss-style grotesk), Lütschine (narrow headline family) and Conthey (narrow headline unicase family). The Rothorn family consists of 10 weights with corresponding italic styles, giving a total of 20 styles. Italic styles were hand drawn to get sharp and fine letter shapes. It includes a 2-axis variable font letting you adjust the weight and italic slant to your exact needs. The family has extended latin language support, as well as broad number of OpenType features, such as, case sensitive forms, ligatures, contextual alternates, lining, oldstyle, tabular and circled figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Introducing OVERLAND, a modern and minimalist Sans Serif typeface with a touch of daring exploration. With slightly rounded corners, it has a strong and distinctive personality that makes it perfect for branding, editorial design, web, and mobile applications. OVERLAND is a versatile typeface that adapts to any environment. Its simplicity makes it highly legible, ideal for communicating clear and direct messages. But its imposing presence makes it stand out in any context, making it an ideal font for those looking to create designs with a touch of originality and style. With six different weights and designed in both uppercase and lowercase, it's a complete typeface family. Its minimalist style is elegant and refined, with its Super and Bold weights ideal for branding or headlines, while its lighter weights allow you to use it for medium or long texts. OVERLAND is a versatile and stylish choice for any project. Thank you for visiting our store, and please don't hesitate to contact us if you have any questions. We're here to help you create stunning designs.

Polydot is an experimental Font, built following its own rules. It has interesting letter shapes, making it a perfect choice for creative packaging and magazine design. At the same time it makes a beautiful, neat but vivid text pattern when used in smaller sizes: Use it for children’s books, food and beverage, cosmetics or health topics. Each Glyph is based on at least one dot on the body line, and has up to two more on the lower case level and the ascender level. Since they have the same size and are on the same height on all letters, no matter what weight and shape, these dots give a strong structure to the typeface, allowing for dynamic and easy letter shapes, inspired by brush strokes. It’s not a hand font but it has the dynamics of one. It has no serifs but provides the structure and readability of a roman type. It has an extensive choice of weights, but it’s characteristic dots have the same size and it has the same tracking through all weights. Try it, it’s special.