The book Modern Alphabets, published in 1930, called this diamond in the rough from Continental Typefounders Nova Bold. Well, it’s neither new nor modern anymore, but it’s a warm, friendly face that’s sure to please. Both versions of this font contain complete Latin 1252 and Central European 1250 character sets.

Malou Verlomme’s Madera is a typeface made strictly for graphic designers, created as an indispensable type toolbox that can meet the needs of both print and digital environments. Verlomme has drawn on his extensive experience creating bespoke type for major brands, and Madera is a “typographic synthesis” of this work. Although designed as a restrained sans serif, the typeface has some punchy personality – with sharpened apexes that inject flavour into the design, particularly in the darker weights and when set at all caps. Madera sits alongside fellow geometric designs such as Proxima Nova, Gotham or Avenir, offering a straight-talking tone of voice but with some extra bite. If you’re a large corporation, with a typeface being used in many different environments you want something that's just the right balance of visibility and legibility to sustain an extensive amount of communication.” “The design is very solid but it doesn’t go out of its way to attract attention,” explains Verlomme. “It still has a fair amount of warmth and personality, in a very understated manner. The Madera typeface family has 32 fonts: Upright, Condensed and Italics. It is available in OpenType CFF and TTF fonts formats. Each typeface contains over 650 glyphs with extensive Western, Central and Eastern European language support. It also supports OpenType typographic features like alternatives, ligatures and fractions. Madera Variables are font files which are featuring two axis and have a preset instance from Hairline to Extra Black.

Lettering in a 1923 ad for Piera Nova, designed by Hernando G. Villa, inspired this delightful Deco offering. Like its namesake, this font is a talented teller of tales, both elegant and entertaining. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

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

Palatino Arabic is a collaboration between Lebanese designer Nadine Chahine and Prof. Hermann Zapf. The design is based on the Al-Ahram typeface designed by Zapf in 1956 but reworked and modified to fit the Palatino nova family. The design is Naskh in style but with a strong influence of the Thuluth style as well. This is evident in the swash-like finials and the wide proportions of the letterforms. It is designed for use in print in both large and small sizes. The counters are wide open to allow for better readability in small sizes as well as to maintain an open and friendly appearance. The font has 1091 glyphs and includes a large number of extra ligatures and stylistic alternates as well as the basic Latin part of Palatino nova and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Palatino Arabic wins Type Directors Club award. Each year, the New York-based Type Directors Club judges typeface designs from all over the world in their TDC2 contest. Linotype is pleased to announce that a very new typeface of its own is among 2008’s winners: Palatino Arabic. A collaboration between Nadine Chahine and Prof. Hermann Zapf, this face is an extension of Zapf’s Al-Ahram Arabic type from 1956 recreated to join the Palatino nova family.

Brasileiro, a CastleType Original, is a new art deco design inspired by the seven letters used for the masthead of the Brazilian magazine 'Para Todos' from the 1920s. Described as "great fun" and "nova e exuberante", Brasileiro captures the playful and joyful spirit of Brazil. Contains some alternates in the lowercase position, extensive language support for Latin and Cyrillic languages, and much more.

The Gravity family is a unique series of heavy square slab serifs intended mainly for display usage. Gravity Normal exhibits impact with legibility. Gravity Nova is fine-tuned to showcase brawn and beauty. Gravity Supernova, the most audacious of the family, commands attention with its extremely dense, mechanical design. Each weight includes diacritics for Western and Central European languages and is tightly spaced for maximum impact.

Summer Midnight is beautiful and elegant script font. Each glyph has its own uniqueness and when meeting with others will provide dynamic and pleasing proximity. Summer Midnight also comes with alternate style to make its style more unique and elegant. Summer Midnight will be perfect for your projects such as quotes, poster design, personal branding, promotional materials, logotype, product packaging and more.

Galerie 2 has a narrower styling and less contrast than its sister family but incorporates the same unique characteristics as Galerie within its elegant proportions. The close genetic proximity to Galerie enables dual deployment in text and artwork, each family complimenting the other in combinations of headings and copy. Galerie 2, like the full width Galerie volume, comes in 4 weights from Thin to Bold.

Initially commissioned in the summer of 2009 for a popular North American ice cream parlor chain we cannot name, Tuba started with a reconceptualization of a somewhat flawed '72 alphabet idea by Swiss graphic designer Erwin Poell. During the back-and-forth of the custom project, other ideas seeped into the design, mostly from other Canada Type fonts, like Fab, Jonah, Jojo and Teaspoon. The end result was what the client called a "sugar circuit trigger alphabet". This now is the retail version of that project. Tuba's main style is a straight-forward mix of 60s/70s art nouveau ideas and late-70s/early-80s tube aesthetic. The Highlight and Outline styles are almost necessary spinoffs for this kind of typeface. And the all-caps Black style is a nod to the fat font fad of the past couple of years. All styles contain many alternates – so many that each style is almost two fonts in one. Make sure to check out the character sets for a few nice and useful surprises. Life's too short. Seek sweetness. Get gooey.

CHECK OUT Sánchez Niu (new, nova, neue, next) Sánchez, designed by Daniel Hernández, is a serif typeface belonging to the classification slab serif, or Egyptian, that bears a strong resemblance to the iconic Rockwell, but with rounded edges— offering contrast and balance to the square structure. Sánchez & Sánchez Condensed comprises 12 variants, ranging from extra light to black, each of the same x-height. Regular and Italic variants are available for free. Download specimen pdf

The Nov. 13, 1915 and Nov. 27, 1915 issues of Moving Picture World carried ads for Jesse L. Lasky Productions in which the titles of the upcoming films were hand lettered in an elegant Art Nouveau spurred serif style. This stylish alphabet is now available digitally as Movie Producer JNL in both regular and oblique versions.

HWT Konop is a monospaced (fixed-width) typeface that is also square! Designed by Mark Simonson (Proxima Nova) as square characters that can be arranged vertically or horizontally and in any orientation. To a traditional letterpress job printer, a font like this wouldn’t make much sense. But to a modern letterpress printer it is an unusual and creative design toolkit. The bold gothic style is reminiscent of gothic wood types but more geometric. Since the characters are meant to be used in any orientation, the usual optical adjustments, such as making verticals thicker than horizontals and making tops smaller than bottoms are set aside. This results in a quirky but charming design. To provide more design options, Simonson came up with a modular system consisting of three sizes: 12-line, 8-line, and 6-line. These three sizes can be used together like Lego® bricks, with endless arrangements possible. And the sidebearing match so that characters always align when different sizes are used together. The digital version of Konop replicates the wood type version as much as possible, including the three different size designs. It includes OpenType stylistic sets that allow most characters to be rotated in place, 90° left, 90° right, or 180°, just like the wood type version. Extra characters not available in the wood type version are included with the digital fonts. The set of 3 is priced just $5 more than one single font, so order via "Package Options" HWT Konop is named for Don Konop, a retired Hamilton Manufacturing employee, who worked from 1959 to 2003. In addition to serving on the Two Rivers Historical Society Board from 2004 to present-day, he was also instrumental as a volunteer in helping with the museum’s move to its current home in 2013.

Calligrapher Margaret Layson works in partnership with Australian typographer Harry Pears, bringing designs such as the wonderful Lindisfarne Nova family to life. They both work on the digital incarnation in a true collaboration. Originally from the UK, Margaret began her professional career as a geophysicist. After arriving in Australia in 1968, she began to work as a freelance calligrapher. Over the years she has maintained an interest in the history of writing, particularly the scripts and decorations in manuscripts.

Virtuosa Classicis the 21st century OpenType re-release of a classic Hermann Zapf design, his very first script typeface, Virtuosa. Based on the same sketches that would inspire Zapfino 50 years later, Hermann Zapf developed Virtuosa in 1948-49. It was originally released in metal in 1952. Virtuosa nova is an English copperplate script with character. The font includes two form variants for each capital letter, and there are a number of lowercase alternates and ligatures, too.

Outbreak is a bold, handwritten script. It looks original and can be used for all your project needs. Each glyph has its own uniqueness and when meeting with others and will provide dynamic and pleasing proximity. This font is perfect for branding and any awesome projects, such as: logos, invitations, stationery, wedding designs, social media posts, advertisements, product packaging, product designs, labels, photography, watermarks, special events and much more! Thank You, Subectype Studio