Schotis Text is a workhorse typeface designed for perfect reading on running texts. Its design is based in Scotch Roman 19th-century style but designed from scratch, with a more contemporary and not nostalgic look. It has seven weights plus matching italics, with 1100 glyphs per font, with a very extended character set for Latin based languages as well as Vietnamese, and shows all its potential with OpenType-savvy applications. Every font includes small caps, ligatures, old-style, lining, proportional and tabular figures, superscript, subscript, numerators, denominators, and fractions. The Scotch Romans were one of the most used letters during the 19th and early 20th century, but they don’t have their own place in the main typographical classifications. They appeared at the beginning of the 19th century with Pica No. 2 in the catalog of William Miller (1813) and assumed the British route towards high contrast and vertical axis modern Romans. In fact, they were called just Modern. In opposition to the continental route of Fournier, Didot, and Bodoni, the English way opted for a wider, more legible letter also resistant to bad printing conditions. The name Schotis comes from the misspelling of Scottish that gave the name to a popular dance in Madrid in the 19th-century. It first was called Schotis and today is knows as Chotis.

Slowglass is a geometric semi-serif accompanied by geohumanist italics. Softly rounded edges lend it a friendly tone. The typeface includes two categories of stylistic alternates, available as font features as well as complementary font subfamilies. Text forms for increased legibility (Slowglass Text) and uncial-inspired unicase variants (Slowglass Alt). At over 1500 glyphs per weight, the fonts support 80+ Latin-based languages (incl. Vietnamese), 14 Cyrillic-based languages and polytonic Greek. OpenType features: Six sets of figures: proportional / tabular × oldstyle / lining / petite (ss20) Superscript and subscript figures Fractions, numerators, denominators Optional slashed zero Case-sensitive forms Glyph composition/decomposition (support for Navajo and Greek) Localization (Dutch, Marshallese, Bulgarian) Stylistic Sets: ss01 Roman: Two-story a, loopy α / Italic: Loopy α ss02 Roman: Simple g / Italic: Simple k ss03 Unicase r ss04 Alt f t г п т γ ss05 Descending η χ ss06 Unicase β ζ θ ξ ss07 Alt в г д ж з к п т ю ss08 Latinized ς, cursive и й ss09 Round Δ Λ Д д Л л Љ љ ss10 Full-stem a q ss11 Seriffed I ss12 Unicase A ss13 Unicase E Ω ss14 Descending F T Г П ss15 Descending G P Q Y ss16 Unicase M N И H Y ss17 Extending Φ Ψ ss20 Petite figures

More than a century ago, Frank H. Atkinson presented this hand lettered style as Broken Poster. It was one of a hundred styles he demonstrated in his manual on sign painting. Even before his book was published (and certainly after), Broken Poster was a favorite with sign painters and letterers. It has graced show cards and movie posters, signs and windows displays, and advertisements of all varieties. We presented the our first digital revival of this classic in 2000. It is long overdue for an upgrade. Broken Gothic expands the basic Broken Poster to four weights, two specialty formats and some cool layed effects. The language base includes Greek, Cyrillic, Latin A, and some of Latin B and Latin Extended. There are also some nice alternates and ligatures. All weights are quite suited to posters, headlines, display copy, web headers, etc. At first glance, Broken Gothic may seem to have limited uses. Give it a chance and it will surprise you. Broken shouts out that there is a sale, a giant monster or the end of the world. Broken Gothic is comfortable in a wide range of themes and applications from zombie movie titles to salsa jar labels. While I can't recommend it for text, Broken is great for headers, banners, signs, titles, product presentation and other display applications. When you need a rough customer, Broken Gothic fills the bill.

Etelka was designed for purposes of corporate identities, branding, product package design and outside lettering. It works anywhere an extremely legible typeface is needed. Package and label design often requires a wide choice of weights and widths: light and narrowed fonts to fit huge amount of mandatory informations onto a small box, or to squeeze text lines around a bottle, fat and wide styles to emphasize information on a poster or vehicle. The regular styles will serve well for business card, small texts and for your website. Etelka’s design idea is wide, open rounded square. Some details are extremely minimized: lower-case “a, n” or “u” lack their typical spur. The typeface has a distinctive industrial expression with all diagonals slightly softened, and her overall strict mono-linear principle is exceptionally broken only for fine optical adjustments in joints. Cyrillic and Greek scripts are present for international business, as well as rich latin diacritics. Etelka is actually very well suited for all kinds of visual communication, especially orientation systems in modern architecture. The first drawing of the font, which was later named “Etelka”, was submitted in 2004 for the Czech Television identity competition and was rejected by the jury. We later concluded that the design was worth extending to the current superfamily of 42 fonts. It is a reliable typeface for corporate identities and websites.

Kubrick is an experiment in extremes. The Light font is very tall and slender, the Black font is very massive, and Kubrick's slender counters push some of its glyphs to the edge of recognition. The thin counters and negative spaces also give text set in Kubrick a definite visual sparkle, especially in all-uppercase settings. Because of its extreme letterforms, Kubrick is recommended only for large display use. The default letterspacing is set fairly wide to keep text legible. Kubrick was a double-experiment. One part of it was to see how heavy and massive a typeface I could make while still keeping it legible. The other part was to develop a Multiple Master font. Multiple Master fonts were a format developed by Adobe that allowed the user to change things like the weight and width of a typeface. Monollith started as just such a Multiple Master typeface, but when Adobe discontinued the Multiple Master format, I stopped work on the typeface. Later I decided to continue work on it, but as five separate font weights: Light, Medium, Bold, ExtraBold and Black. Very rectilinear letterforms with extremely narrow counters and negative spaces. The five fonts go from very thin and condensed to very heavy and extended. Use in large display settings where unornamented high visual impact is desired.

Kufi Mutamathil is an Arabetic (extended Arabic) typeface design with heavy Arabic Kufi calligraphy accent, both on a single letter level and in an overall text look and feel. Although Kufi, the earliest Arabic calligraphy style, is often described as “stiff”, it is in fact a very flexible style. The Kufi Mutamathil typeface design underlines this calligraphy style flexibility and openness through visualizing a very legible Mutamathil design with Kufi shapes. The Mutamathil type style utilizes only one isolated glyph per Arabic Unicode character or letter, as defined in Unicode Standards. It is a very light style which does not require any standard glyph substitution or the shaping engine. The Kufi Mutamathil font family employs variable, unrestricted, x-height values. It comes in regular and left-slanted italic styles. Kufi Mutamathil includes all required Lam-Alif ligatures. Soft-vowel diacritic marks, or harakat, are selectively positioned with the majority of them appearing on the same level, over or below, following a letter, to ensure that they would not interfere with individual glyphs appearance. Kashida, or tatweel, (shft-j) is a zero-width character. Keying it before Alif-Lam-Lam-Ha will display the Allah ligature. Kufi Mutamathil includes both Arabic and Arabic-Indic numerals, in addition to all Standard English keyboard punctuations and major currency symbols.

AW Conqueror Sans was born out of this desire to fuse geometric and humanistic sans. It remains a typeface fundamentally influenced by both Bauhaus spirit — with its simplified geometric forms — and Jan Tschichold’s attempts to link this modular spirit to Eric Gill’s humanist sans serif. AW Conqueror Sans is a claimed French synthesis of Germanic Modernism and English classical tradition. Spheres of influence The core set of capitals are based on the proportions of the Roman capitals like Futura, Erbar, Nobel, Johnston, Gill Sans. During the 1930s, the Futura was a true success. Since then, Monotype offered a geometric version of the Gill Sans, and Linotype added Futura-like variants to WA Dwiggins’ Metro. AW Conqueror Sans is kind of a “fusion” of this approach. The lower case “b, d, p, q” are also directly influenced by Eric Gill’s, while the “y” is influenced by some of Jan Tschichold’s alphabets. In italics, drawn narrower, AW Conqueror Sans reinterprets Gill’s idea: a rigorous italic like a roman but which sometimes reveals some aspects of a Renaissance italic. AW Conqueror Sans and its extensions AW Conqueror Sans is the initial reference point for an extended family, including AW Conqueror Inline, Slab, Carved, Didot. The potential of these mixed families is powerful. Because AW Conqueror typefaces are based on an identical structure, and compatible proportions.

Letterpress Studio -Crafted Vintage Goods Letterpress Studio includes following • 7 fonts - a textured and clean version of each • Ornaments • Catchwords • 25 Logo Templates Letterpress Studios core is seven fonts - textured and clean version of each. Fonts are designed in same proportions and work great together. Here’s a short introduction to the fonts: • Letterpress Script -A connected script with lot’s of OpenType features • Letterpress Script Bold -Bold version of Letterpress Script • Letterpress Condensed -A condensed sans-serif typeface with swash uppercase characters on • Letterpress Gothic -A sans-serif typeface with swash uppercase characters • Letterpress Sans -An extended sans-serif typeface with swash uppercase characters • Letterpress Wood -A woodcut style serif typeface with swash uppercase characters • Letterpress Black -A black woodcut style serif typeface with swash uppercase characters • Letterpress Ornaments -A set of pictograms, ornaments, borders and badges (OTF, AI & PDF) • Letterpress Catchwords -A set of over 100 woodcut-style catchwords (OTF, AI & PDF) All fonts have West European, Central European, Baltic, Turkish and Romanian character sets. Fonts come in OTF format. TTF are also available but OpenType features won’t work with them. Letterpress Templates -25 templates (AI) Letterpress Templates is a set of 25 ready made compositions with font pairings, shapes, ornaments and ready made 2-4 color schemes for each. Templates can be used as such or as a starting point for your own project. Download Letterpress Templates here.

Consisting of 5 fonts in 5 weights, it features an extended charset of over 520 glyphs, covering multilingual support, including Western European, Central European, and Southeastern European. Complete with advanced open type features like stylistic alternates, discretionary ligatures, ordinals, small caps, fractions, and case-sensitive forms. The elegant and refined details seen in this font provide a new aesthetic input, satisfy contemporary style, and give a range of choices for luxury typographic projects. This font is perfectly suited for high-impact headlines. Advance open-type features are stunning on logos, branding, magazines, website, etc. Supports languages: Afrikaans, Albanian, Asu, Azerbaijani, Basque, Bemba, Bena, Bosnian, Catalan, Cebuano, Chiga, Colognian, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Ido, Inari Sami, Indonesian, Interlingua, Irish, Italian, Javanese, Jju, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kinyarwanda, Kurdish, Latvian, Lithuanian, Lojban, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Morisyen, North Ndebele, Northern Sami, Northern Sotho, Norwegian Bokmål, Norwegian Nynorsk, Nyanja, Nyankole, Occitan, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sardinian, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, South Ndebele, Southern Sotho, Spanish, Swahili, Swati, Swedish, Swiss German, Taita, Taroko, Teso, Tsonga, Tswana, Turkish, Turkmen, Upper Sorbian, Vunjo, Walloon, Welsh, Western Frisian, Wolof, Xhosa, Zulu

First introduced by the American Type Founders Company in 1906, Railroad Gothic was the quintessential typographic expression of turn-of-the-century industrial spirit—bold and brash in tone, and a little rough around the edges. A favorite for the plain speak of big headlines, Railroad Gothic quickly gained popularity among printers. Its condensed but robust forms were likely a source of inspiration for later families of industrial sans serifs. The design feels like a cleaned-up version of some earlier Victorian gothics, notable for their uneven proportions and awkward letterforms. ATF offered a number of sizes of Railroad Gothic as metal type, with cuts varying in design considerably from size to size. Creating this new digital version involved interpreting the characteristics of different sizes and making some aesthetic choices: where to retain the design’s familiar unstudied gawkiness, and where to make improvements. The new ATF® Railroad Gothic features a measured, harmonious interpretation of the original, and has been extended with four new weights (each bolder than the last). The heaviest weights are carefully designed to keep counters open, no matter how dense the overall effect may be, maintaining legibility at any display size. This contemporary rendition of a historic American design boasts a full Latin character set, including glyphs undreamed-of in the heyday of railroads.

Minigap is a geometric sans serif family that has a minimal height difference between upper and lower case. In other words for those who are into typography, it has a very high x-height. The choice was made to finally have a typeface that could appear very neat, reducing ascending and descending parts of the glyphs (b, d, g, j, l, ...) that could interfere with the lines above and below. All of that without going to extremes in a unicase style but also without renouncing to a great legibility. This aesthetic, in fact, translates into a pleasant visual effect that creates well-defined lines and enhances the layout, looking excellent also on small screens. The pointed corners of capital letters and numbers have been kept even in the heavier styles, to give consistency to the family. Stylistic alternates are included: “i” and “j” can be set to the x-height, to have a more common aesthetic; by default they are set in the lower version, fitting better the purpose of this typeface. the two-story “a” is also available, to give you one more customizable option and extend the range of use. Minigap is available in 14 styles (7 uprights + matching italics), has OpenType features and supports multiple languages. The Regular weight is offered for free, try it!

A handwritten ”font for technicians“ from ca. 1900. Very geometrical, rigid forms borrowed from the typical characteristics of Jugendstil / Art Nouveau. This script is found in a magazine from the Otto Maier publishing house, Ravensburg, which was issued sometime in the years shortly before WWI. The magazine is entitled ”Schriften-Sammlung für Techniker: Verkleinerte Schriften der wichtigsten Alphabete“ (Collection of scripts for technical specialists: reduced scripts of the most significant alphabets) and published by Karl O. Maier. The original copy, produced by means of a galvanized plate, is just 7 centimeters wide. It served as the model for technical professions in which, at that time, the captions of drawings were still done by hand. The characters have been scanned, digitized and greatly magnified. Special attention was given to ensure the ”uneven“ edges, typical of handwritten script, remained effectively noticeable even in the digitized form. As a result, this ”technical“ font retains a handmade touch. Especially worthy of note are the Jugendstil forms characteristic at the turn of the19th century. In comparison, many alleged ”ultramodern“ font types of today suddenly look quite old-fashioned. Maier’s Nr. 21 Pro is suitable for all European languages. It includes ”Latin Extended-A,“ for Central and Eastern Europe incl. Turkish, and even Cyrillic and Greek, too. The font includes several stylistic alternates as well as a number of ligatures.

Meet Ollie, a casual signage script whose friendly, bouncy exterior belies a heart of sophisticated OpenType programming. This font is designed to make the most of OpenType savvy applications, and as such is recommended for professional design use. Or to put it another way: Make sure that contextual alternates and ligatures are always turned on! Ollie includes about 900 glyphs, many of which are automagical substitutions to keep the text flowing smoothly, and to pseudo-randomly pick different glyphs to avoid repetition. With contextual alternates turned on (as they should be by default), most lowercase letters will alternate between at least two different forms. The powerful OpenType programming makes the font itself ‘look back’ (up to eight characters) on previously used letters; typing “banana” will give you three different a’s and two different n’s (the last a is a special ‘end form’ character). The calt feature controls many other ‘special effects’ which all add together to give a smooth-flowing, hand-lettered look. These effects include start and end forms (and indeed, ‘loner’ forms) of many letters, which are automatically substituted in at beginnings or ends of words, or when the previous or next letter doesn't connect. Another special feature tests to see if there is room for the crossbar of t (or tt ligature) to extend further over the previous or next letter, or both, as is often the case. The last main effect of the calt feature is to substitute certain letters typed before any ‘e’ character, to make for a more natural connection (see the pe combination in ‘Eclectotype’ in the first poster). Ligatures should be on by default, for a much nicer looking tt combination, and a few others besides. The swash feature should be used sparingly (one glyph at a time, really) to apply a more extravagant look to g,j and y in the lower case, and quite a few of the upper case too. Oldstyle figures are included, as well as the lining defaults. Now to delve into the stylistic alternates... These are all included in the salt feature, or for uses of applications that support them, separated into stylistic sets thus: ss01 - (with swash feature on) L and G swashes get even swashier. ss02 - standard s changes to a connected script s form. ss03 - r takes on a script form. ss04 - z also gets a scriptier look. [the previous three sets also change any versions of s, r or z with diacritics] ss05 - a useful underline function. When enabled, typing two or more underscores will extend a cool underline under the previous letters. More underscores = longer underline. ss06 - the Polish script lslash changes to its more standard form. ss07 - E, S and B change to a more top-heavy alternate form. ss08 - An alternate form for A characters. ss09 - Alterative rounder forms of M and N. ss10 - An alternate ampersand. That about wraps up the features. Now all that’s left is for you to license the font and get experimenting!

Introducing Loominaire - A Modern Futuristic Font! Step into the future with Loominaire, a captivating and cutting-edge font that embodies the essence of modernity and innovation. Designed to make your designs stand out and leave a lasting impression, Loominaire brings a touch of sleek sophistication to your creative projects. With its clean lines and geometric precision, Loominaire exudes an aura of futuristic elegance. Each letter is meticulously crafted to create a harmonious balance between contemporary aesthetics and legibility, ensuring that your message is conveyed with clarity and style. This font is perfect for those seeking to add a touch of modernity to their branding, advertisements, websites, posters, and more. Captivate your audience with Loominaire's versatility, whether you're creating a high-tech logo, a sci-fi movie poster, or a forward-thinking website interface. Loominaire unleashes your creative potential with its extensive character set, including uppercase and lowercase letters, numerals, punctuation marks, and a variety of special symbols. Its versatility extends beyond the confines of traditional design, allowing you to explore endless possibilities and push the boundaries of visual communication. Embrace the future of typography with Loominaire - a font that bridges the gap between contemporary design and futuristic aesthetics. Let your creativity soar and watch as your designs come to life with a touch of modern elegance. Unlock the power of Loominaire today and revolutionize your creative projects with this extraordinary modern futuristic font.

Introducing Dienstag Variable, the latest addition to insigne's popular Montag family of fonts! With its extended sans-serif style, Dienstag boasts a sleek and sophisticated look that's perfect for a wide range of projects. Whether you're designing a website, creating branding materials, or producing print publications, Dienstag's refined elegance is sure to make a lasting impression. Compared to Montag, Dienstag has a slightly more formal feel, thanks to its lack of rounded terminators. But that doesn't mean it's any less versatile – in fact, Dienstag's four original weights have now been expanded to ten, giving you even more flexibility in your designs. With OpenType features that include simplified versions of many characters, you can easily create unique and eye-catching titles that stand out from the crowd. But Dienstag is just one part of the larger Montag superfamily, which also includes Mittwoch, and Donnerstag. Each font in this collection offers its own unique style and flair, giving you a wealth of options to choose from when it comes to your next project. Whether you're looking for a bold and dynamic font or a more refined and understated style, you're sure to find the perfect fit in the Montag family. So why wait? Check out Dienstag and the rest of the Montag superfamily today, and start creating designs that are sure to captivate and inspire! With its elegant style and versatile functionality, Dienstag is the perfect choice for designers who demand the best.

Flamenco is an Andalusian art. Who think in flamenco, think in Spain. Is the result of a cultural mix: Gypsies, Arabs, Jews and Christians mixed elements of their respective cultures with traditional Andalusian elements. It incorporate dance, song and guitar music. Known for its emotional intensity, flamenco is distinguished by the graceful arm movements, ferocious stomping’s flamenco dancer, deep groans and strumming guitar. Flamenco is an art of passion. Flamenca Regular and Flamenca Luz is a brush script inspired by the flamenco dance. Flamenca is an organic, modern and casual calligraphy family font that has preserved in its glyphs its original textured appearance for a more personalized effect even more authentic. 
As an exclusively Open Type release, with 747 glyphs, it has several special alternatives for all letters with lots of possibility an infinity of combinations. There are plenty of options to allow you to create something unique and special: standard and discretionary ligatures, several swashes, initial and terminal forms and stylistics alternates for each letter, catchwords, ornaments that can be added to the beginning or end of each letter, and much more. Ornaments has been created inspired in the bars of the Andalusian patios where flamenco is danced. These lovely fonts have already an extended character set to support Central and Eastern as well as Western European languages. 
As a whole, Flamenca was made to make your project more beautiful and attractive! Have fun with it! Flamenca is fancy, delicious & fresh!

Designed by Francesco Canovaro with help from Andrea Tartarelli and Maria Chiara Fantini, Kitsch is a typeface happily living at the crossroads between classical latin and medieval gothic letterforms. But, rather than referencing historical models like the italian Rotunda or the french Bastarda scripts, Kitsch tries to renew both its inspirations, finding a contemporary vibe in the dynamic texture of the calligraphic broad-nib pen applied to the proportions of the classical roman skeleton. The resulting high contrast and spiky details make Kitsch excel in display uses, while a fine-tuned text version manages to keep at small sizes the dynamic expressivity of the design without sacrificing legibility. Both variants are designed in a wide range of weights (from the almost monolinear thin to the dense black), and are fully equipped with a extended character sets covering over two hundred languages that use latin, cyrillic and greek alphabets. Special care has been put in designing Kitsch italic letterforms, with the broad-nib movements referencing classical italian letterforms to add even more shades to your typographic palette. The resulting alternate letter shapes have also been included in the roman weights as Stylistic Alternates - part to the wide range of Open Type features (Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms) provided with all the 32 weights of Kitsch. Born for editorial and branding use, Kitsch is fashionable but solid, self-confident enough to look classic while ironic enough to be contemporary.

Vast and untamed, the American West once stretched as free and wild as imagination itself. Still beautiful, the Wild West of long ago and the new West of today is now to be found in insigne’s new face, Plathorn. That’s right, folks. When the West called, Jeremy Dooley reached up like Pecos Bill, grabbed it by the reins and pulled it in, then using its wide, roaming elements to design this functional font that still has an unbroken spirit burning deep inside. This down right, no-nonsense, orthodox face leaves off any of that extra fancy stuff that doesn't belong on a ride. Plathorn comes with a family of cowhands as wide as the Rockies, bringing specifically tailored condensed and extended sub-families along with it too. By design, it’s not very obtrusive like its unorthodox reversed tension brethren. Leave those for the next font rodeo. This mount features barely a hint of a serif that hearkens back a hundred years or so to sign painters and package lettering artists of early twentieth century. They're sure to put the sharpness, gumption and grit you need into your copy. So grab a tall glass of Plathorn and drink in the deep taste of America’s big country. Put it in your next magazine. Put it in your brand. This typeface’s offbeat appeal is bound to bring a bit of wild U.S. to your free-spirited work.

Averta Standard is the basic version of Averta. Bringing together features from early European grotesques and American gothics, Kostas Bartokas’ (Greek: ‘αβέρτα’ – to act or speak openly, bluntly or without moderation, without hiding) Averta is a geometric sans serif family with a simple, yet appealing, personality. The purely geometric rounds, open apertures, and its low contrast strokes manage to express an unmoderated, straightforward tone resulting in a modernist, neutral and friendly typeface. Averta Standard is intended for use in a variety of media. The central styles (Light through Bold) are drawn to perform at text sizes, while the extremes are spaced tighter to form more coherent headlines. The dynamism of the true italics adds a complementary touch to the whole family and provides extra versatility, making Averta Standard an excellent tool for a range of uses, from signage to branding and editorial design. Averta Standard comes with alternate glyphs, case sensitive forms and contextual alternates, in eight weights with matching italics and supports over two hundred languages with an extended Latin, Cyrillic (Russian, Bulgarian, and Serbian/Macedonian alternates), Greek and Vietnamese character set. It ships in three different packages offering different script coverage according to your needs: Averta Standard PE (Pan-European: Latin, Cyrillic, Greek), Averta Standard CY (Latin and Cyrillic), and Averta Standard (Latin and Greek). Averta's Cyrillic have received the 3rd Prize in the 2017 Granshan Awards in the Cyrillic Category.

Nexa Slab is a geometric slab serif font whose design is based on the already popular best-seller Nexa . The font family contains 3 basic forms: italics, obliques and uprights, each of which has 8 different weights. This visual richness makes it the ideal slab serif font family for the web as well as for print, for motion graphics, logos, t-shirts and so on. It is also great for headings, fitting nicely with both small and large typesetting text blocks. Nexa Slab draws from the rich traditions of the classic Neo-Grotesque slab serif fonts such as Lubalin Graph, Rockwell and Memphis, which conceal the richness of typesetting text in its crucial advertising function. Just like these fonts, it’s design is subject to rational, carefully thought-out, thick and thin bars with a low contrast between them. The letters are characterized by the strict geometry and square proportions of the original, extra-fortified by suitably balanced slab serifs. Nexa Slab is serious without being rigid and inflexible, finished and lacking in nothing, systematic without being monotonous, and though it may seem at first glance to be more suitable for short, direct messages; in the hands of a master designer... it can build and create exquisite and harmonic designs. Open Type Features: Lining figures (proportional and tabular) The “f” ligature set Alternate characters (a, g, y) Automatic fractions Automatic numerators Automatic denomerators Automatic subscript and superscript Automatic ordinals Extended language support (most Latin-based scripts supported)*

When type historians look back on Jim Rimmer, they will consider him the last type designer who just couldn't let go of metal type, even though he was just as proficient in digital type. Lancelot is one definite case in point: A face designed and produced in digital as late in the game as 1999, only to spring onto the new millenium a couple of years later as a metal type cast in three sizes. That was Jim, a time traveler constantly reminding the craft of its origins. This particular time machine was originally designed as a simple set of attractive caps that emphasize the beauty of the variable conventional dialogue between the drawing tool and the intended final form, and the one exchanged within the totality of the forms themselves. Jim designed two weights, with contrast and counterspace being the main difference between them. In 2013, the Lancelot family was remastered and greatly expanded. Lancelot Pro is now a wonder of over 840 glyphs per font, including smaller versions of the caps in the minuscule slots, and alternates and ligatures that can transform the historic spirit of the original design into anything from half-uncial to outright gothic. Language support goes beyond the extended Latin stuff, to cover Cyrillic and Greek as well. 20% of the Lancelot Pro family's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

Radona is a blast from the 80’s that's rader than rad. Radona is the typeface version of Synthwave, an electronic music subgenre that takes influence from the 1980s but builds on it, resulting in a construct that lives in the minds of both those who have experienced it and those who haven't. Radona expresses a nostalgia for 1980s culture, attempting to replicate and appreciate the era's vibe, but extends it further with something new. This sans family has plenty of 80's flavor, but with some fresh twists to push it to the limit. Radona is a geometric sans-serif typeface. Radona has a few quirky characteristics, but it has a generally neutral tone and structure that makes it ideal for usage in print, especially when a contemporary look is desired. It looks amazing in both body text and headlines. The geometric grotesques that were popular in the 1980s served as inspiration. It's a typeface that's been crafted for usage in a range of design fields, from branding to packaging, and it can be used in anything from interfaces to apps. Radona is an excellent typeface for use on websites and other digital applications. Radona comes with a wide variety of styles and a large selection of stylistic alternatives, ligatures, small caps and other special features. Along with parachute pants, synthesized guitar riffs, and VHS scanlines, Radona brings back the 1980’s.

ENGLISH: By installing or using this font, you are agreeing to the Product Usage Agreement: 1. This font is ONLY for PERSONAL USE || PROMOTIONAL & COMMERCIAL USE NOT ALLOWED! 2. FOR COMMERCIAL USE : https://creativefabrica.com/designer/tinyhandletter/ref/438703/ 3. Please contact us before using for any Promotional or Commercial Use! (Email: nasrunifajarita.project@gmail.com) 4. Follow our soscial media for update more great fonts and informations : Instagram: @tinyhandletter Please, let me know if you have any questions! :) Thank you :) ................................................................................................................... INDONESIA: Mengunduh dan menggunakan font ini berarti andan dianggap mengerti dan menyetujui semua syarat dan ketentuan penggunaan font dibawah ini: 1. Font ini hanya dapat digunakan untuk keperluan pribadi "Personal Use", yang berarti keperluannya tidak untuk "promosi" maupun "komersil" . Menghasilkan profit atau keuntungan baik dalam materi maupun efek promosi TIDAK DI IJINKAN! || Berlaku untuk Individu, Agensi Desain Grafis, Percetakan, atau Perusahaan/Korporasi. 2. TIDAK DIPERBOLEHKAN dalam menggunakan dan/atau memanfaatkan font ini untuk kepeluan Komersial, baik itu untuk Iklan, Buku, Promosi (social media), TV, Film, Video, Motion Graphics, Youtube, atau untuk Kemasan Produk (baik Fisik ataupun Digital) atau Media apapun dengan tujuan menghasilkan efek promosi maupun profit/keuntungan. 3. Menggunakan font ini untuk kepentingan Promosi dan/atau Komersial apapun bentuknya TANPA IZIN dari saya, akan dikenakan biaya EXTENDED LICENSE atau MINIMAL 100 kali lipat dari Lisensi Standard (biaya lebih besar berlaku untuk anda yang tidak kooperatif). 4. Hubungi kami untuk mendapatkan Informasi tentang Lisensi apa yang akan anda perlukan (Email: nasrunifajarita.project@gmail.com) Terima kasih.

Originally drawn in 1985, Jovica Veljović had intended to add a few kerning pairs and make some minor refinements to the letterforms. However, his work lead him to take a fresh look at the family. Veljović recalls, … I soon realized that some characters could benefit by more refined shapes and proportions. By the time I was done, I had worked on just about every character in the original design." In fact the end result is two systems: one optimized for extended texts; the other for display settings. The original elegance of the design is not lost, but the new design brings with it letterforms that are altogether more harmonious and balanced. The roman is dynamic and spirited, just oozing character. The italic by contrast is a little more restrained, but nonetheless an elegant and fitting accompaniment. The text-optimized fonts come with a generous x-height, and slightly less contrast; though its marginally wider proportions let in the light, making it very legible even at small sizes. ITC New Esprit ® is a versatile family, brought to you in four weights from regular to black. OpenType features like small caps, alternates, and a broad character set make this a welcome addition to everyone's font library. Whether you want elegant and legible text, or dynamic and personable headlines, then you'll want to click through to see more of ITC New Esprit. "

The name suggests it: the Chiq is based on a well-known system font from Apple's classic Mac OS operating system. By revamping and expanding good old “Chicago“, I want to make that 90s tech charm available for the future. The model consisted of just a single style and inspired me to create “Chiq Bold,” which later became the starting point for the entire font family. The shapes of the Chiq are constructed according to a very simple principle. The contrast of stems and hairlines becomes more pronounced towards the bolder cuts. A few basic shapes form the framework for all characters. The shapes are very regular and sometimes form somewhat unusual figures, which has a negative effect on readability and makes the font rather unsuitable for long passages of text, but results in a very even typeface. This is particularly true for the extra-wide “UltraExpanded,” which is so wide that you can no longer recognize word images but literally have to spell them out. In this way, words are turned into letter bands with a great decorative effect. With variants from “Light” to “Black”, from “Normal” to “Ultra Expanded” and the italics, Chiq reaches beyond its archetype. This opens up a wide range of uses. It is even clearer, even more sober, and to a certain extent speaks an even more modern formal language. Chiq is also a variable font!

Many street nameplates in Britain use versions of Kindersley serif capitals designed by David Kindersley in the 1950s. K-Type Kindersley Sans is an unfussy alternative to the signage stalwart, perfectly suited to newer environments and more contemporary tastes. Kindersley Sans is a humanist sans-serif that conserves the Gill-inspired character and some of the calligraphic qualities of Kindersley’s lettering, it retains the Roman proportions and its Britishness, but traditional prettiness and intricacy are discarded in favour of a clean modernity. For purposes where Transport (MOT) is considered too formal and Kindersley too old-fashioned, Kindersley Sans offers an open and amiable up-to-date alternative. The typeface is comfortably spaced and carefully kerned to deliver beautiful results with ease, and although designed with nameplates in mind, it excels as an all-purpose text face in print and on screen. The tail of the uppercase Q has minimal descent to avoid constriction. Kindersley Sans includes a lowercase designed for signage with short descenders to prevent unsightly congestion. A generous x-height assists legibility, and characters are designed for easy reading and distinctiveness. The curved foot of the lowercase L distinguishes it from the uppercase i. The six fonts contain a full complement of Latin Extended-A characters, Welsh diacritics and Irish dotted consonants, so European language nameplates need not be a source of frustration. The ascent and descent of accented characters has been kept to an acceptable minimum.

Rothek is a geometric sans serif type family with a strong and unique character. It comes in 22 weights — 11 uprights and 11 italics — and is a perfect tool for any designer who needs a versatile font for a variety of projects. While retaining its uniqueness and whimsicality, Rothek is highly legible even at smaller weights, which makes it a perfect fit for app and web design. But what’s really great about Rothek is its OpenType features, which make it really stand out. Not only does it know how to do fractions, but it also does subscript and superscript; it’s equipped with case-sensitive punctuation, which adjusts the height of your parentheses, hyphens (and many more) to the height of your capital letters. But there’s still more: Rothek is loaded with various figures — from default proportional numerals to oldstyle figures, tabular figures and tabular old style figures. Throw in a bunch of stylistic alternates and you’ve got a perfect typeface for any project. Rothek supports all European languages and Vietnamese. On top of that there’s Extended Cyrillic set for most Slavic languages. As a cherry on top, there are stylistic alternatives for selected glyphs both in Latin and Cyrillic layouts and lots of extra symbols to work and experiment with. With 900+ glyphs in each style, Rothek is a perfect workhorse font for those who need a modern sans serif font with a strong character. Two weights are free to try and use!

Grotesques can answer a really wide variety of design problems and go from small sizes to large without missing a beat. Vinila is Flora de Carvalho's take on the genre. The family’s multi-purpose intention comes from having 4 widths - from compressed to extended, each with 6 weights and obliques. Rhythm and music played an important part in the design of this font, which started off as the lettering for a Brazilian Music album. Its distinctiveness comes from having powerful ink traps that go from elegant and supple in the lighter styles to commanding and impactful in the heavier styles. A distinct rhythm is achieved, making it a strong face for editorial design, branding projects and so much more. Vinila is the ideal companion to expressive display faces, where it serves a supporting role with a marked presence. We use Vinila every day in our own brand identity. We've had some of the best designers use it and test it in many different environments, printed, digital, mobile and more (they really like it!). Also in the package, Vinila Variable is an experimental version of Vinila, where you can have a virtually infinite mix of weights, widths and slant, all from a single font file. Available when you license the complete family. Vinila pairs happily with our cheerful Manteiga , elegantly with our organic didone Tenez and mechanically with our monospaced Odisseia . What other matches can you think of?

Introduction to Monaz – Bubble Font Monaz – Bubble Font, a playful and airy display font, is inspired by the lightness and roundness of bubbles and balloons. Perfect for creating eye-catching headings, logos, and children’s books, this font not only grabs attention but also serves as an ideal choice for fun and whimsical projects. Design and Aesthetics In its design, Monaz – Bubble Font features characters that resemble bubbles, with rounded edges and a bouncy feel. Furthermore, the letters mimic the floating appearance of balloons, thus adding a cheerful and lighthearted touch to any design. Additionally, its rounded forms are easy on the eyes, ensuring readability while preserving its playful charm. Versatility and Usage Monaz – Bubble Font boasts high versatility, fitting a variety of design needs effortlessly. Not only does it shine in party invitations and product packaging, but it also excels in promotional materials. Moreover, its effectiveness extends to educational materials for children, making learning engaging with its friendly appearance. As a result, its readability and unique style make it a top choice for designers seeking to add a fun element to their projects. Accessibility and Appeal Designed for a wide audience, Monaz – Bubble Font features a simple and clear style that is easy to read. It appeals to all ages, capturing the whimsy of childhood while still being sophisticated enough for adult projects. In summary, this font brings a unique joy and playfulness to any design, making it a valuable addition to any font collection.

An exquisite Didot font in 18 series Ambroise is a contemporary interpretation of various typefaces belonging to Didot’s late style, conceived circa 1830, including the original forms of g, y, &; and to a lesser extent, k. These unique glyphs are found in Gras Vibert, cut by Michel Vibert. Vibert was the appointed punchcutter of the Didot family during this period. It is the Heavy, whom sources were surest that Jean François Porchez has been used as the basis for the design of the typeface family. In the second half of the 19th century, it was usual to find fat Didots in several widths in the catalogs of French type foundries. These same typefaces continued to be offered until the demise of the big French foundries in the 1960s. Ambroise attempts to reproduce more of what we see printed on paper in the 19th century; a more accurate representation of Didot punches. So, the unbracketed serifs are not truly square straight-line forms but use tiny transitional curves instead. The result on the page appears softer and less straight, particularly in larger sizes. The illustrious Didot family of type founders and printers Every variation of the typeface carries a name in homage to a member of the illustrious Didot family of type founders and printers. The condensed variant is called Ambroise Firmin. The extra-condensed is called Ambroise François. Ambroise Pro brought back to life: fifteen years in the making! Club des directeurs artistiques, 48e palmarès Bukva:raz 2001

The idea that mathematical precision and the supposed "purity" of geometric forms are part of the discourse of us graphic designers is not new. Studying typography for some time now and learning about all the small alterations and adjustments that this geometry undergoes to better adapt to the imperfect human eye, I found myself with a new way of seeing things. Compasso is, in a way, a result of my growth as a designer. Established and recognized fonts like Futura, Avenir, and their predecessors (including Tempo - published by the Ludlow foundry in the early 20th century) informed the result of Compasso at some level. Others opened my mind to possibilities. Mallory, Azo Sans, the font designed for Audi by Bold Monday, and many other contemporary sans-serif fonts that left me speechless are also responsible for details present in this font. From the first sketch, the family grew on both sides, gaining condensed and extended counterparts. From there - and from a brilliant insight from designer Nicole Rauen - I learned that Compasso was not about geometry. Compasso is about rhythm. It's about the rhythmic movement that provides a foundation, supports, and also makes you dance and swing. My musical taste is too eclectic, I can go from classical to funk in less than two songs on Spotify. Compasso is also eclectic. It's a font to take your project anywhere, a record to listen to on any occasion.

Macaroni Sans evolved from our search for an extended font family consisting of a range of weights in both uprights and obliques, with a contemporary appeal. The desired character was to be sympathetic with a range of high-tech consumer products so a friendly, soft approach was called for. The resulting mix of geometric shape, rounded terminals, subtle italic angle of just six degrees and a few quirky stroke endings met with an enthusiastic response. As its subject product line exhibits brilliant color and imagery, a style was called for that conveyed contemporary appeal and readability but would not compete with the savvy products. We arrived at a clean, modern, sociable look that would suit a broad subject field in either text, semi display or signage. Its simple lines and monoline strokes fit well with logo usage or screaming posters, enhancing letterheads or websites, for foodstuffs to autos, insurance to swimming pools, lawfirms to babyfood. Macaroni Sans is the perfect typeface for branding, logotypes, may even flatter challenging viewing conditions. Rounded types have been around (pardon the pun) for centuries; numerous examples can be seen on old wood type posters, which in a small way prompted the name: in fashion Macaroni was a term used in mid-eighteenth century Europe to describe a dandy, a chap who displayed flamboyance in dress and hairstyle and spoke outlandishly or in an effeminate manner. Hence the term macaronic verse.

Aristotelica Pro is the 2020 redesign of the rounded geometric sans designed by Cosimo Lorenzo Pancini and Andrea Tartarelli developing the original philosophy of one of the classic and best-selling Zetafonts typefaces, Arista by Francesco Canovaro. Originally conceived as an exercise in restraint and simplicity, Aristotelica is typographic eulogy to the simple beauty of circular shapes, aptly named after the greek philosopher who pioneered formal logic. It shows its strengths mostly in display uses and logo design, with a palette of moods ranging from the stark elegance of the uppercase hairline weights to the playful softness of the lowercase bold weights. True to its universalist calling, it has however been developed in a variant text version that applies slight corrections to design and metrics to allow for better legibility in long body copy. In Aristotelica Pro both the display and the text subfamilies have been complemented with a condensed version, though especially for mobile screens and other situations where space-saving is a concern. Also the original language coverage (extended latin, greek and cyrillic) has been expanded with the inclusion of arabic language glyphs, bringing the typeface to a total of over 1100 glyphs and 200 languages covered. The family is further enriched by the inclusion of Aristotelica Icons, a set of matching variable-width monoline icons that can be used to faultlessly match the typeface line width. OpenType features includes stylistic alternates, old style and lining figures and small caps.

The Roos family is a digitization and expansion of the last typeface designed by Sjoerd Hendrik De Roos, called De Roos Romein (and Cursief). It was designed and produced during the years of the second World War, and unveiled in the summer of 1947 to celebrate De Roos's 70th birthday. In 1948, the first fonts produced were used for a special edition of the Dutch Constitution on which Juliana took the oath during her inauguration as the Queen of the Netherlands. To this day this typeface is widely regarded as De Roos's best design, with one of the most beautiful italics ever drawn. In contrast with all his previous roman faces, which were based on the Jenson model, De Roos's last type recalls the letter forms of the Renaissance, specifically those of Claude Garamont from around 1530, but with a much refined and elegant treatment, with stems sloping towards the ascending, slightly cupped serifs, a tall and distinguished lowercase, and an economic width that really shines in the spectacular italic, which harmonizes extremely well with its roman partner. The Roos family contains romans, italics and small caps in regular, semibold and display weights, as well as a magnificent set of initial caps. All the fonts contain extended language support, surpassing the usual Western Latin codepages to include characters for Central and Eastern European languages, as well as Baltic, Celtic/Welsh, Esperanto, Maltese, and Turkish.

Ghost Sign JNL is a spurred serif type design based on the faded lettering of an antique brick wall sign for Homer Hardware [located in Homer, NY] and is available in both regular and oblique versions. From Wikipedia: “A ghost sign is an old hand-painted advertising sign that has been preserved on a building for an extended period of time. The sign may be kept for its nostalgic appeal, or simply indifference by the owner. Ghost signs are found across the world with the United States, the United Kingdom, France and Canada having many surviving examples. Ghost signs are also called fading ads or brickads. In many cases these are advertisements painted on brick that remained over time. Old painted advertisements are occasionally discovered upon demolition of later-built adjoining structures. Throughout rural areas, old barn advertisements continue to promote defunct brands and quaint roadside attractions. Many ghost signs from the 1890s to 1960s are still visible. Such signs were most commonly used in the decades before the Great Depression. Ghost signs were originally painted with oil-based house paints. The paint that has survived the test of time most likely contains lead, which keeps it strongly adhered to the masonry surface. Ghost signs were often preserved through repainting the entire sign since the colors often fade over time. When ownership changed, a new sign would be painted over the old one.”

Demetria is a font created in 2012 by Carlos Fabián Camargo and works to form words and headlines with medieval expressiveness. Thus his concept mix uncial, Roman and italic letters resulting serifs some here and there, extended width and high amount of contrast between thick and thin strokes. That way its vigorous ups and downs are higher than its “x” height, highlighting it as a font with regular caliber,outstanding to design headlines with strong proportions and texture. Consequently, typographic and aesthetic possibilities of Demetria are visually appealing by its chaotic forms that are embedded and remain fixed in the minds of its viewers; also, “Demetria Pro” has OpenType features such as “Swash”, “Titling”, “Discretionary Ligatures”, “Standard Ligatures”, Ordinals, Fractions and Superscript that make shine what is written by their abstract shapes resembling elongated paths of black ink diluted in water. This font also works in software without opentype features, so it is recommended to use the remaining files NON-PRO. In short, the expressiveness and mysticism of Demetria is reaffirmed with some capital letters with lower height designed to be interchangeable with similar metrics to lowercase but aesthetically different.Thus the font mimics strong imperfections and splashes that get slim or grow depending on their degree of spontaneity. In that sense Demetria is recommended to compose words, phrases and typographic textures in graphic design projects related to epic, historical or legendary matters.

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

The original Frutiger typeface was designed in the early 1970s by Adrian Frutiger and his studio for the way finding system of the Roissy Charles de Gaulle airport in Paris. Soon after the airport was opened, a huge demand for the typeface arose from companies wanting to employ it in other signage systems, as well as in printed matter. The Frutiger typeface came out as part of the Linotype library in 1977. Epitomizing functionality and clarity both in signage and as a bread-and-butter typeface in print, Frutiger became a modern classic. Neue Frutiger® is the 2009 version of the Frutiger typeface family. It was revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. While Frutiger Next, the 1999 revision, introduced a new concept (including a larger x-height, a more pronounced ascender height, narrower letter-spacing and, most notably, an italic with calligraphic traits), Neue Frutiger returns to the original 1977 design. The result is a well-balanced range of 10 finely-graded weights. Despite the various changes, the ‘New Frutiger’ still fits perfectly with Frutiger and serves to harmoniously enhance the styles already in existence. Neue Frutiger Variable are font files which are featuring two axis and have a preset instance from UltraLight to ExtraBlack and Condensed to Extended. Featured in: Best Fonts for Resumes, Best Fonts for Websites, Best Fonts for PowerPoints, Best Fonts for Tattoos