Colonna is an inline roman typeface with some very elegant letterforms, based on artwork obtained by Stanley Morison during 1926 as part of a program to increase the range of display faces in the Monotype library. The letters of the Colonna font have an inscriptional feel about them, figures are non-ranging. Originally developed as an advertising face, Colonna is at its best when used in large sizes.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Dario Handwriting is a beautiful typeface that mimics true handwriting closely. Use Dario Handwriting to create stunningly beautiful designs easily.

Chinese Monoline is a Chinese style monoline font, with a modern twist. It has 2 styles: regular and slant. Chinese Monoline is perfect for branding and promotional material for Asian-themed designs The fonts works best as display typefaces or as beautiful headline fonts, but can also be used in other ways to create stunning designs. Features : - Chinese Monoline Family Font - Ligatures - Multilingual, US Roman, Latin 1 Support

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Josh Handwriting is a beautiful typeface that mimics true handwriting closely. Use Josh Handwriting to create stunningly beautiful designs easily.

Introducing our newest gothic font called WAXEN, presenting a vintage and elegant style. With a classic Roman typeface, this font evokes confident elegance with striking details on each side of the lettering. This font can be used in a variety of projects to create a vintage and elegant style. Use it to enhance visual projects, titles, or banners, packaging with a bold classic look that exudes style, elegance, and strong personality.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. “Theo Handwriting” is a beautiful typeface that mimics true handwriting closely. Use Theo Handwriting to create stunningly beautiful designs easily.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. “Volker Handwriting Pro” is a beautiful typeface that mimics true handwriting closely. Use Volker Handwriting Pro to create stunningly beautiful designs easily.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Brouet Handwriting is a beautiful typeface that mimics true handwriting closely. Use Brouet Handwriting to create stunningly beautiful designs easily.

Modet is a versatile and friendly humanist sans-serif prepared for all typographic tasks. It is quite readable in smaller sizes and shows its character in larger sizes. You can change the face of Modet through its many alternate characters and OpenType features. This versatility makes it a great performer in editorial and branding projects. Modet comes in 10 roman styles, from thin to 'ultra black' and speaks 289 languages.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Salew Handwriting is a beautiful typeface that mimics true handwriting closely. Use Salew Handwriting to create stunningly beautiful designs easily.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. “Lennart Handwriting” is a beautiful typeface that mimics true handwriting closely. Use Lennart Handwriting to create stunningly beautiful designs easily.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. “Teje Handwriting” is a beautiful typeface that mimics true handwriting closely. Use Teje Handwriting to create stunningly beautiful designs easily.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. “Kris Handwriting Pro” is a beautiful typeface that mimics true handwriting closely. Use Kris Handwriting Pro to create stunningly beautiful designs easily.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Fabio Handwriting is a beautiful typeface that mimics true handwriting closely. Use Fabio Handwriting to create stunningly beautiful designs easily.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Juri Handwriting is a beautiful typeface that mimics true handwriting closely. Use Juri Handwriting to create stunningly beautiful designs easily.

This font is packed with over 1,100 glyphs and gives you vast possibilites to give handwritten feel to your text - be it in English, Íslenska, Russian, Cymraeg or Čeština. Apart from featuring great number of letters there are also dingbats, roman numerals and mathematical operators included. Recommended to use in projects where personalized, legible, cheerful and straightforward look is required. The design is inspired by mature handwriting, unisex in expression.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Foster Handwriting is a beautiful typeface that mimics true handwriting closely. Use Foster Handwriting to create stunningly beautiful designs easily.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Federico Handwriting is a beautiful typeface that mimics true handwriting closely. Use Federico Handwriting to create stunningly beautiful designs easily.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. “Pablo Handwriting” is a beautiful typeface that mimics true handwriting closely. Use Pablo Handwriting to create stunningly beautiful designs easily.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Phil Handwriting is a beautiful typeface that mimics true handwriting closely. Use Phil Handwriting to create stunningly beautiful designs easily.

Arsinoe is a condensed geometric typeface noted for their unorthodox long ascenders and low x-height. Family consists of five different weights plus two special versions accompanied by their italic version. The Arsinoe type family includes extended Latin characters, ligatures, lining figures, OSF (Old Style Figures), scientific inferiors and many OpenType features. From poster design to editorial layout, Arsinoe is intended for a wide range of uses but use in small sizes are not recommended. Important technical notice: Combining diacritical marks (U+0300, U+0301, U+0303, U+0309, U+0323) are only 'compatibility characters' for codepage 'MS Windows 1258 Vietnamese'. Combining diacritical marks (U+0312, U+0315, U+0326) are only 'compatibility characters' for Czech, Latvian, Romanian and Slovak language. OpenType features 'Mark to Base' and 'Mark to Mark' is not supported. Kerning is prepared as single ('flat') table for maximum possible compatibility with older software.

Campeche is an expressive yet functional typeface family. Seeking to express its beauty, it twists the conventions of classic typography when necessary. Campeche finds its inspiration in the grotesque typefaces of the late 19th century coupled with a typical Latin American playful sense that gives it a modern freshness. The initial form arises from the idea of expanding Seriguela, evolving along the way, becoming its own system with a unique personality. Campeche is designed for today's requirements. It is available in two styles and three widths, from condensed to extended, with 9 weights each, totaling 54 fonts, in addition to the variable version. Campeche is a comprehensive typographic system that provides versatility for almost any use. It can be used for packaging, editorial, branding... etc. The mix of widths and between the normal and display versions can generate complex graphic parts or systems with different levels of hierarchy, without losing unity.

Qualion Round™ is a soft geometric sans serif with lots of swashes and ligatures, a sibling of successful Qualion™ and Qualion Text™ families. The rounded family is designed by carefully adjusting letter shapes, tapering and ink traps to in order to achieve optimal legibility as well as strong personality. The family is intended to serve in display situations like branding and advertising as well as in paragraph text and user interfaces. Its versatility can be even strengthened by pairing it with Qualion™ or Qualion Text™ families. Qualion Round™ family consists of 10 weights with corresponding oblique styles. It has extended language support, as well as broad number of OpenType features, such as case sensitive forms, standard and discretionary ligatures, swashes, terminal forms, stylistic sets, contextual alternates, lining, oldstyle, tabular figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

A very expanded sans serif font in capital letters inspired by the inscription on a bank note Old bank notes tend to have a very typical typography. Usually they carry decorative and elaborately designed markings. For one thing, they must be practically impossible to forge and for another, they should make a respectable and legitimate impression. And in the days of copper and steel engravings, that meant nothing less than creating ornate, shaded or otherwise complicated scripts. Designing the appropriate script was literally in the hands of the engraver. That’s why I noticed this bank note from 1948. It is the first 20 mark bill in the then newly created currency ”Deutsche Mark.“ All other bank notes of the 1948 series show daintier forms of typography with an obvious tendency toward modern face. The 1949 series which followed shortly thereafter reveals the more complicated script as well. For whatever reason, only this 20 mark bill displays this extremely expanded sans serif variation of the otherwise Roman form applied. This peculiarity led me in the year 2010 to create a complete font from the single word ”Banknote.“ Back to those days in the 40’s, the initial edition of DM bank notes was carried out by a special US-American printer who was under pressure of completing on time and whose engravers not only engraved but also designed. So that’s why the bank notes resemble dollars and don’t even look like European currency. That also explains some of the uniquely designed characters when looked at in detail. Especially the almost serif type form on the letters C, G, S and Z, but also L and T owe their look to the ”American touch.“ The ingoFont Banknote 1948 comprises all characters of the Latin typeface according to ISO 8859 for all European languages including Turkish and Baltic languages. In order to maintain the character of the original, the ”creation“ of lower case letters was waived. This factor doesn’t contribute to legibility, but this kind of type is not intended for long texts anyway; rather, it unfolds its entire attraction when used as a display font, for example on posters. Banknote 1948 is also very suitable for distortion and other alien techniques, without too much harm being done to the characteristic forms. With Banknote 1948 ingoFonts discloses a font like scripts which were used in advertising of the 1940’s and 50’s and were popular around the world. But even today the use of this kind of font can be expedient, especially considering how Banknote 1948, for its time of origin, impresses with amazingly modern detail.

FF Good is a straight-sided sans serif in the American Gothic tradition, designed by Warsaw-based Łukasz Dziedzic. Despite having something of an “old-fashioned” heritage, FF Good feels new. Many customers agree: the sturdy, legible forms of FF Good have been put to good use in the Polish-language magazine ‘Komputer Swiat,’ the German and Russian edition of the celebrity tabloid OK!, and the new corporate design for the Associated Press. Although initially released as a family of modest size, the typeface was fully overhauled in 2010, increasing it from nine styles to 30 styles, with an additional 30-style sibling for larger sizes, FF Good Headline. In 2014, the type system underwent additional expansion to become FontFont’s largest family ever with an incredible 196 total styles. This includes seven weights ranging from Light to Ultra, and an astonishing seven widths from Compressed to Extended for both FF Good and FF Good Headline, all with companion italics and small caps in both roman and italic. With its subtle weight and width graduation, it is the perfect companion for interface, editorial, and web designers. This allows the typographer to pick the style best suited to their layout. As a contemporary competitor to classic American Gothic style typefaces—like Franklin Gothic, News Gothic, or Trade Gothic—it was necessary that an expanded FF Good also offers customers both Text and Display versions. The base FF Good fonts are mastered for text use, while FF Good Headline aims for maximum compactness. Its low cap height together with trimmed ascenders and descenders give punch to headlines and larger-sized copy in publications such as newspapers, magazines, and blogs. There is even more good news about FF Good: it has something of a serif companion. Łukasz Dziedzic built FF Good to work together with FF More, creating in a powerhouse superfamily that is versatile in both its function and aesthetic.

Boxed, the best seller of the Tipo Pèpel foundry has been expanded with variable font technology to multiply its creative possibilities, from now on and with a single file, it is possible to control its appearance thanks to three axes with which to modify the weight, the rounding and the the width of the characters. Offering more options to customize the appearance of the text and personalize the headlines. Boxed typography is brightly conceived and designed to look good on small screen devices, but offering also enlightened looks on paper. The semi-modular geometric font shapes seek to be fully responsive to the grid of screen«s pixels to deliver a crisp, fluid reading rate. It offers an extensive set of Latin characters, even the Cyrillic.

House Sans is a 100 style super-family made up of 5 widths, 10 weights plus matching italics in two design approaches through stylistic alternates to the E, F, L and e characters. The weights range from compressed to expanded, from thin to heavy creating a plethora of styles to create with. House Sans has a unique visual structure to key glyphs such as the A, M & Y that give the font a stand out feel while the contrasting horizontal bars provide a nice balance. The compressed weights are great for fitting in tight spaces whilst the Heavy styles are perfect for standing out from the crowd. The font features extensive support for European and Cyrillic languages, stylistic and discretionary ligatures, plus superiors, inferiors and fractions.

Meet Greenleaf, a display family that blends elegant art deco details, extensive linguistic support, and technically innovative features to create a bold impression that’s ideal for branding, signage, packaging, invitations, and so much more. Greenleaf’s “Pro” fonts support over three hundred sixty languages to reach the broadest possible audience. Meanwhile, its decorative companions expand the family’s expressive potential. They effortlessly create banners, chains, frames, and patterns — and include chromatic fonts which can be set in two colors without layers or special design software. Download the user guide to see Greenleaf’s many features and discover how the fonts actively help you take advantage of all they have to offer. Enjoy! Greenleaf is a trademark of Charles Gibbons / Oddsorts and may be registered in certain jurisdictions.

Beauty Rose is an enchanting handwritten font. This versatile script font has a wide spectrum of applications ranging from greeting cards to headlines and is guaranteed to add a romantic feel to your next project.

Intense Eve is a crunchy, girly font with jumpy letters. Romantic indeed, and comes with extra heart swashes to jazz up your text! You will need to use OpenType supporting applications to use the autoligatures

Carmitta Modern Calligraphy font is a sweet and delicate handwritten font. Dainty and joyful, this font will be ideal for writing wedding invitations, cards or any other design that may need a romantic, personalized touch.

Lonely Together is a unique handwritten-style font created with brush tools. if you have a project in the form of romantic nuances, invitation cards, social media designs, branding, valentine events, crafting designs, and more.

The free form hand lettering comprising the titles and credits for the 1966 romantic comedy “The Glass Bottom Boat” were the model for Sightseeing Boat JNL, which is available in both regular and oblique versions.

The FF Meta® design is a sans serif, humanist-style typeface that was designed by Erik Spiekermann for the West German Post Office (Deutsche Bundespost). It was subsequently released in 1991 by Spiekermann's company FontFont The FF Meta family, initially released as a commercial font in 1991, now comprises over sixty fonts. The FF Meta 2 family was released in 1992, the FF Meta Plus family in 1993, and in 1998 a facelift of the complete font family reclassified the FF Meta series and combined them into family-sets named FF Meta Normal, FF Meta Book, FF Meta Medium, FF Meta Bold and FF Meta Black. These are all available in Roman, italic, small caps and italic small caps. Between 1998 and 2005, further light stroke weights and a condensed family were introduced by Tagir Safayev and Olga Chayeva and were named: FF Meta Light and FF Meta Hairline. The last addition to the growing FF Meta font family is FF Meta Serif released by FSI in 2007. FF Meta Variable Roman is a single font file that features two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. This Roman (upright) font is provided as an option to customers who do not need Italics, and want to keep file sizes to a minimum. FF Meta Variable Italic is a single font file that features an italic design with two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. This Italic font is provided as an option to customers who do not need Roman (uprights), and want to keep file sizes to a minimum. FF Meta Variable Set is a single font file that features three axes: Weight, Width and Italic. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. The Italic axis is a switch between upright and italic

Carter Sans: a wonderfully accomplished humanist sans serif with a beautiful twist Matthew Carter has been involved in designing typefaces since before many of us were in diapers. With dozens of great typefaces to his name, he has finally put his name to one. His newest typeface, Carter Sans™, brings together those decades of wisdom, experience, and technical expertise. The result is a humanist sans with flared strokes and terminals, a feature that has more in common with the chisel rather than the broad nib pen. Subtle detail, elegant curves, and graceful proportions make for an exceptional and distinctive sans serif typeface, that Carter himself describes as a 'humanist stressed sans.' This imbues the letterforms with a dynamism sometimes lacking in humanist sans serifs. Use it to striking effect in all-caps settings, or for extended texts. Carter Sans was recently used to great effect by Michael Bierut and Joe Marianek of Pentagram, in their work for the Art Directors Club.Carter Sans italics are unfussy, with the only remnants of cursiveness in letters like e and f. It sets beautifully with the roman. Award winning type designer Dan Reynolds (Malabar™ et al.) collaborated with Carter to produce a type that looks just magnificent in print; it would also make a fine choice for that letterpress project! Certainly a welcome addition to anyone's type library.

FF Attribute™ Text is a proportional design with a faux monospace appearance. It has an industrial strength, minimalist vibe, making it perfect for attention getting, theme-based headlines, posters, banners and navigational links. And, because it is such a robust family, FF Attribute can also be used for branding of blogs, games, web sites and tech products. FF Attribute comes in two families; Mono and Text. The Mono is a fixed width (monospace) design, while the Text is a proportional design. FF Attribute was, in fact, initially designed for the use in code editor software. Its seven roman and italic monospaced weights and extended character set supporting a many languages, also make it a powerful communications tool. But this is only the tip of the iceberg. In addition to the monospaced version, where all characters share a fixed width, there is also a proportional, “faux monospaced” version: FF Attribute Text. The Text family keeps the visual character of a monospaced typeface, but wide letters are given more space while narrow characters have been drawn with correct proportions and spacing. FF Attribute Text looks monospaced – but it’s not. Drawn by Viktor Nübel, FF Attribute Text’s 14 designs, huge character set, including box-drawing characters and user interface-icons, make it the Swiss Army Knife® of monospaced fonts.

Fnord is a contemporary humanist serif typeface, it is ideally suited for display purposes, titling, headline copy and branding. The family has been designed to be highly versatile, containing a total of 23 fonts. Each font features discretionary ligatures, swash alternates and true small caps. The overall design is clean and simple with a little bit of rebelliousness thrown in for good measure – Fnord does not conform to the traditional serif blueprint. Fnord’s design has been strongly influenced by the complex, thought-provoking and mischievous works of authors Robert Anton Wilson and Robert Shea from the 1970s. I was re-reading their work while sketching the initial letterforms and realised that some of the proportions and angles were coinciding with some themes that run through the books – particularly the numbers 5, 17, 23, 40 and 93, which are key to this font family’s spacing and geometry. I found it both very interesting and enjoyable to play with a specific theme and purpose for creating this typeface. I am sure you will enjoy working with it in your own design projects. Key features: • 5 Weights in 4 Styles – Roman, Italic, Condensed and Extended • 3 Additional Display Styles in 1 Weight – Engraved, Inline and Woodcut • Small Caps, Alternates, Swashes and Discretionary Ligatures • Full European character set • 680 glyphs per font.

Lc Trinidad is the result of a series of wonderings regarding geometric Sans Serif typography design, in particular; Futura of Paul Renner. A “conversation” arose between me and the designer – actually there was no conversation, it is an euphemism for “I saw his designs, I draw them and discussed with myself some of his decisions – that ended up being the origin of this font firsts glyphs: A, H, N, O, R and S. I started with uppercase letters, and here is when Rudolf Koch with Kabel and his “Das schreibbuchlein” joined the conversation. This is how I could develop some alternative lowercase letters so as to illustrate this imaginary discussion. The result is a sans serif, geometric, modern typeface with classical Roman proportion in the uppercase letters; two stylistic sets for lowercase letters (setKoch and setRenner), rational, open and sharp ends. It is ideal to form titles, medium length texts, branding, exhibitions and animations. The family consists of 9 weight variants and their corresponding oblique versions and small caps. With more than 900 glyphs, it covers more than 190 Latin languages and together with its Opentype functions it creates a modern and versatile family. Besides, it has powerful OpenType features for each style, including stylistic sets, extended language support, ligatures, contextual alternates, lining figures, oldstyle figures, small caps numbers, arrows, fractions, superscripts, subscripts and many more.

Pseudonym is a low-contrast, subtly-flared serif available in four weights across three styles in both roman and italic. As with all of my typeface designs, I am creating fonts that I would use myself for branding purposes—typefaces with style and purpose that are intended for use in creating logos and distinctive branding typography. I wanted to create a typeface that had incisive flared serifs combined with the strength and solidity of modern grotesque faces. The result is Pseudonym, which I feel has great presence, style and legibility. Although I must admit, I had to tone down the flared serifs during the design process in order to achieve that :) I’m sure you will have great fun playing with some of the Open Type features that I’ve added to Pseudonym. There’s a full set of true small caps with their corresponding diacritics and figures. There are also a number of discretionary ligatures, these are chosen from the glyphs palette in your layout app to replace pairs of standard characters. You’ll also enjoy making use of the catchwords – these have been created to harmonise with each style, again, giving you more flexibility and scope to create some innovative typography. Finally, there are some alternate characters for /C/D/O/. You may wish to use these when creating logos that include standard contractions for limited, number, incorporated, etc. Key features: • Pseudonym is a low-contrast, subtly-flared serif that has great presence, style and legibility • 3 styles – Narrow, Regular and Wide • 4 weights in roman and italic: • Light | Regular | Medium | Bold • Full set of small caps with diacritics and figures • 30+ discretionary ligatures, catchwords and alternate characters • Full European character set • 600 glyphs per font

TT Bluescreens useful links: Specimen PDF | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org Meet the upgraded TT Bluescreens! TT Bluescreens is a geometric sans serif with narrow proportions. The font has a memorable character, while remaining neutral, so it can be used in various design projects. The range of possibilities of the updated TT Bluescreens has become much wider! Condensed styles with narrowed proportions have been added. The classic styles of TT Bluescreens are universal and suitable for setting both in headings and in text arrays. Condensed styles are intended for non-standard design solutions. In small sizes, they are perceived as if having a texture, thanks to which they can become part of packaging or poster design. In large size they look extraordinary, but they are highly readable and convey information well. Variable font now changes along 3 axes: weight, width and slant. Even more options for those who love variety. The character set of TT Bluescreens was expanded, and additional extended Cyrillic and Latin characters were added. Expanded character set. Each style has 874 characters. This is 253 characters more than it there were in the previous version. New currency signs, arrows, punctuation and fractions were added. Number of OpenType features increased from 18 to 31! The font has become even more functional and convenient thanks to a large number of ligatures, stylistic alternatives and localizations. The quality of the contours has become even higher, diacritics were improved. The updated TT Bluescreens is suitable for the design of covers and posters, it will look aesthetically pleasing in packaging design. It can be used in the design of titles and disclaimers. Condensed styles are preferably used in large size. The TT Bluescreens font has 37 styles: 9 upright and 9 italics of standard width, 9 upright and 9 italics in Condensed, 1 variable style. Each style contains 874 characters. The font has 31 OpenType features, including ligatures, stylistic sets, and localizations.