The Dutch De Stijl movement (1917-1931) sought to create an art which took abstraction to its logical extreme, as exhibited in the paintings of Piet Mondrian. Inspired by the movement's philosophy of pure form, P22's De Stijl set features three rigid, balanced, and angular fonts and a set of geometric extras.

Pretty Dreaming is a new Handwriting font with irregular baselines. a contemporary approach to design, handcrafted in nature, perfect for use in title designs such as clothing, invitations, book titles, stationery designs, quotes, branding, logos, greeting cards, t-shirts, packaging designs, posters and more. Pretty Dreaming also has more than 20 unique swashes.

Almost a straightened italic typeface, August explores the idea of taking italic and script letterforms out of context and creating a typeface with a mix of references that does not look like too soft and feminine, but has a sharpness and angularity in some of its characters that jars against this softness.

Aircraft marking alphabets and numerals drawn in accordance with FAR Part 45 ¤ 45.29 (c), (d), and (e) of Federal Aviation Regulations. All characters are also in EPS files.

Baldufa is a charming typeface with strong personality, which looks very comfortable in text. There is a search to obtain complicated curves and detailed features, which gives the typeface a touch of beauty and elegance. However, this is also a self-conscious design that claims through the rounded serifs and irregular vertical stems appreciation for quirkiness and human imperfection. The letterforms are inspired by the slight distortions and idiosyncrasies that came with old printing methods. It has distinct, features such as rounded serifs, irregular vertical streams, ink traps and extremely thin junctions. In the Italic, serifs have been removed to enhance movement and expressivity. These experiments in form have not come at the cost of legibility: The typeface remains suitable for both small and display text. Baldufa Cyrillic Latin contains Cyrillic Extended and Latin.

Archive Garamond is a typeface roughly based on the designs of Claude Garamond (ca. 1480 – 1561), a French publisher and a leading typeface designer of that period. Garamond’s influence on type design is reflected in many typefaces that are today known under different commercial names. While the majority of contemporary digital interpretations of the “Garamond types” are cleaner and more polished versions of that genre, Archive Garamond tries to keep the rough nature which was typical in the early days of printing. Archive Garamond has a rather unique, distinctive temperament which is even more emphasised with the preserved non-uniformity, such as irregular glyph shapes or a variable baseline. Although Archive Garamond was clearly made to be used for display sizes it works surprisingly well in text. Archive Garamond is availale in three versions, each containing approximately 600 glyphs (in Pro versions). Archive Garamond Pro A Professional version of the typeface contains all glyphs, including the advanced typographic forms, such as different sets of figures, small caps, swashes, historical forms, etc. The font also enables full use of the OpenType features. It fully supports the languages listed in the language list. Archive Garamond Std A Standard version of the typeface is meant to be used for the basic typographic work. It typically contains the most common glyphs. The standard figures are proportional lining. Besides kerning this version does not contain any advanced OpenType features. A Standard file type fully supports the languages listed in the Language list. Archive Garamond Exp An Expert version contains glyphs that are supposed to be used in advanced typographic works. This type of file contains uppercase and small cap glyphs with the proportional oldstyle figures as the default set. Besides kerning this version does not contain any advanced OpenType features (all OTF features have to be replaced manually). An Expert file type fully supports the languages listed in the Language list.

You stand, poised at the brink. If you do not choose the right, the best typeface, this may be one of the greatest disasters in your history. The whole root and core and brain on which and around which your project is built seems about to perish into an ignominious end. But I do not for a moment fail to believe that Winsel shall prevail for you. This bold new face, founded from the tested mind of insigne design, will in the moment of need wield for you the full might of its ancestors. The entire strength of the British Empire’s vernacular poster lettering spanning the 1920’s to the 1950’s drives the very heart of every feature and weight this font has to offer. Winsel’s expanded design is sharp and angular, based on pointed brush strokes. Its thick, sturdy appearance will draw and direct your reader’s mind to the weight and importance of your messages and titling. Within the font’s full forces work a range of styles to achieve victory in the contest ahead: thick weights that are compact and muscular for carrying a heavier load and lighter, finer weights to lead you through your more sensitive operations. It stands equipped with OpenType features, ready to support most European Latin-based languages and providing features such as Small Caps and Titling Caps in all nine of its weights. Well-honed for the task ahead, Winsel has been crafted to ride out the storm of mediocrity and to outlive the merits of inconsequence, if necessary for years, if necessary alone. There has never been in all the world such an opportunity for you. With Winsel, you shall go on till the end. You shall write on the beaches. You shall write on the landing grounds. You shall write with growing confidence and growing strength in print or on the air. Every morn has brought forth a noble chance. Your chance this day is Winsel.

Conversation Hearts are inspired by the sweethearts and conversation hearts that can be found all over the US and Britain, but not in Germany. A source of endless fun and surprise. As a typographer to me they are also a surprising document of written communication. Most people complain that nowadays the inscriptions are not as sweet as they used to be. While they used to held romantic and promising inscriptions like “Be True” “Sweet Talk”, today they carry “Tweet me” “Ur Hot” and “Party Girl”. So i took this as a motivation to work with conversation sweetheart on a conceptial inspirational and typographical level. The obvious: every letter pressed on the keyboard brings out a conversation heart that starts with the letter - i.e. L = Loverboy, H = Heartless but what to write? Since i didn't want to reproduce the old “Fax me” and “Email me” I had to come up with something new. Something with a personal relation and of course something that I Love - what else could i write in the shape of the heart? So I tried to access my upper subconsciousness and looked for two words for every letter in the alphabet. One for the capital letter pressed and one word for the lowercase letter. Resulting in a Kurt Schwitters worthy assemblage of vocables "Post-office" “Internship” “Zebra” “Answers” etc. It is not easy to read a text set in Conversation Hearts but easier as a text set in Zapf-Dingbats. To sparkle the visual appearance uppercase letters are filled hearts with “carved” inscription, while lowercase letters are an outlined heart with written inscription. Conversations Hearts is a part of the Light Hearted Font Collection that is inspired by a recording of Jean Baudrillard with the title, "Die Macht der Verführung" (The Power of Seduction) from 2006. Further inspiration came from the article, "The shape of the heart: I'm all yours". The heart represents sacred and secular love: a bloodless sacrifice. by British writer Louisa Young printed in EYE magazine (#43) London, 2002.

Homerun script typeface font with three alternative reguler, stamp and gradient. Homerun perfect for poster design, book covers, merchandise, fashion campaigns, newsletters, branding, advertising, magazines, greeting cards, album covers, and quote designs and more. Whats Included? - Homerun Reguler.otf - Homerun Stamp.otf - Homerun Gradient.otf - Homerun Reguler Bold.otf - Homerun Stamp Bold.otf - Homerun Gradient Bold.otf Feature - UPPERCASE - lowercase - Number & Symbol - International Glyphs - Alternative UPPERCASE - Alternative lowercase - Ligature - Swash If you need anything else just shoot me on email at: dedukvic@gmail.com Hope you enjoy it.

Sabor is a voluptuous upright connected display font with mixed taste of script fonts. There were many inspirations for Sabor, but all started with a book from the 1950s about the battles of World War II. To that first sketches of a naive dense display typeface we, day by day, start to create a mixed style evolving some lettering concepts from 1950s, some calligraphy notions and the first display ideas. The feeling of this font is good to be used in many artworks, like logos, packaging, party invitations, layouts for t-shirts, magazine headings, and much more, since websites to and all kind of printed jobs. That font is not really a script, but, like the scripts we strongly recommends to use the caps only in the beginning of words and sentences, to contrast with the lower cases : it’s not designed for all-caps settings, so avoid that kind of use. This font has almost 700 glyphs and supports the most important Latin-based languages. We works hard in a tour-de-force kerning: over 12.000 kerning pairs soft adjusted handily. Its OpenType features include final forms, initial forms, special sets (upper and lowercase's), hundreds of contextual alternates ligatures providing letter-form variations and connections that make your designs really special, and ornaments (tails). Because of its high number of alternate letters and combination's, we suggest the use of the glyph palette to find ideal solutions to specific designs. The sample illustrations will give you an idea of the possibilities. You have full access to this amazing stuff using InDesign, Illustrator, QuarkXpress and similar software. However, we still recommend exploring what this font has to offer using the glyphs palette: principally to get all the power of the Contextual Alternates feature. You can get an idea of the power of this font looking at the “Sabor User Guide”, a pdf brochure in the Gallery section. Also available two sister fonts easy to use : SaborWords and SaborRasgosEscritura Sabor has original letters designed by Iza W and overall creative direction plus core programming by Paulo W.

The font family Univers? is one of the greatest typographic achievements of the second half of the 20th century. The family has the advantage of having a variety of weights and styles, which, even when combined, give an impression of steadiness and homogeneity. The clear, objective forms of Univers make this a legible font suitable for almost any typographic need. In 1954 the French type foundry Deberny & Peignot wanted to add a linear sans serif type in several weights to the range of the Lumitype fonts. Adrian Frutiger, the foundry's art director, suggested refraining from adapting an existing alphabet. He wanted to instead make a new font that would, above all, be suitable for the typesetting of longer texts - quite an exciting challenge for a sans-serif font at that time. Starting with his old sketches from his student days at the School for the Applied Arts in Zurich, he created the Univers type family. In 1957, the family was released by Deberny & Piegnot, and afterwards, it was produced by Linotype. The Deberny & Peignot type library was acquired in 1972 by Haas, and the Haas'sche Schriftgiesserei (Haas Type Foundry) was folded into the D. Stempel AG/Linotype collection in 1985/1989. Adrian Frutiger continues to do design work with Linotype right up to the present day. In 1997, Frutiger and the design staff at Linotype completed a large joint project of completely re-designing and updating the Univers family. The result: Univers Next - available with 59 weights and 4 Linotype Univers Typewriter weights. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. Univers has the uncanny ability to combine well with fonts of many different styles and origins: Old style fonts such as: Janson Text, Meridien, Sabon, Wilke. Modern-stressed fonts such as: Linotype Centennial, Walbaum. Slab serif fonts such as Egyptienne F, Serifa. Script and brush fonts such as: Brush Script, Mistral, Ruling Script. Blackletter fonts such as: Duc De Berry, Grace, San Marco. Even fun fonts such as F2F OCRAlexczyk, Linotype Red Babe, Linotype Seven."

CONCEPT/CHARACTERISTICS 
The handmade, dirty and yet modern character of the font was designed with analog tape on paper and later digitized. The motto is sticky, wrinkled and rough APPLICATION AREA The dirty, rough and fancy font „rip TAPE“ would look good at dis­play size for poster, flyer, comics and gra­phic novel let­te­ring and logos. Head­lines in maga­zi­nes or web­sites, packa­ging, music covers or webbanner etc. TECHNICAL SPECIFICATIONS 
Head­line Font | Dis­play Font | Grunge/DIY Font „rip TAPE“ OpenType Font with & 78 gly­phs & 2 styles (regu­lar, fixed).

Super Drift consists of a racing style with sharp lines with a verified tilt angle that will emphasize a modern and sporty style. Super Drift very suitable for automotive magazine covers, racing game covers, logos & branding, product design, labels and so on. What’s Included Super Drift 3D Super Drift Ragular Super Drift Line Standard glyphs Works on PC / Mac Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. Thank you for your purchase! Hope you enjoy with our font!

CHARACTERISTICS The kiddy and warmly cha­rac­ter and the cute, huge points (amongst others punc­tua­tion), gives the type­face a high reco­gni­tion value and uniqueness. APPLICATION AREA The warm, child-like, bold and striking sans serif font »Shaky Hand Some Comic« would look good at dis­play size for head­lines in magazi­nes or web­sites, pos­ters, packa­ging, covers or webbanner. TECHNICAL SPECIFICATIONS Head­line Font | Dis­play Font | Sans Serif Font »Shaky Hand Some Comic« Open­Type Font with 340 gly­phs alter­na­tive let­ters and liga­tures (with accents & €) & 3 styles (regu­lar, bold & 3d)

Tekton font is based on the hand lettering of West Coast architect Frank Ching, who wrote out the text for his books. It is an Adobe Originals typeface designed by David Siegel in 1989. Tekton is ideal for architectural drawing/design software, to match the feel of the type with the designer�s plans, or to give the page an architectural or informal handwritten flavor. Tekton multiple master, released in 1993, has increased the usefulness of the design by adding weight and width axes and making the font more usable for signage and display work, as well as informal correspondence.

'Obvia' appeared as a result of direct observation on typefaces classified as geometric and the plan to explore for the first time width axes Condensed, Narrow (soon), Normal and new Wide and Expanded. The idea behind 'Obvia's design was to create a distancing from geometrically pure shapes, in this case, square shapes. Then some details were added, such as subtle inktraps, concave endings of the stems and carefully drawn alternate characters, giving a 'geohumanist' tone to the font. This first family of 'Obvia' has 9 weights ranging from Thin to Black, delivering a strong typographic identity, from the paper to the pixel.

Ragiel is an elegant and classy serif font, inspired by a didone-style font with high contrast and upright axes. With high contrast it will be very suitable for display needs such as posters, advertisements, logos, billboards, covers, labels, and various types of display designs. Ragiel is equipped with uppercase and lowercase characters that support multi-language, and comes in 3 styles and 3 weights in each style to add aesthetics to your artwork. We hope you enjoy this font, and don't hesitate to leave a comment or message if you have problems or questions. Thank you :)

'Obvia' appeared as a result of direct observation on typefaces classified as geometric and the plan to explore for the first time width axes Condensed, Narrow (soon), Normal and new Wide and Expanded. The idea behind 'Obvia's design was to create a distancing from geometrically pure shapes, in this case, square shapes. Then some details were added, such as subtle inktraps, concave endings of the stems and carefully drawn alternate characters, giving a 'geohumanist' tone to the font. This first family of 'Obvia' has 9 weights ranging from Thin to Black, delivering a strong typographic identity, from the paper to the pixel.

Get to know Norman Fat a new version of our best seller Norman, elegant and fashion forward. This new condensed high contrast and heavy weight serif font is based on expansion giving a sense of self confidence. The oblique ax was specially added to get a contemporary and innovative sense. Norman Fat is young and idealist, he has a distinctive sense of style. A complete set of ligatures and stylistic alternates is included, this will help the designer to customize and give a special look to any layout. We recommend to use it for big title, magazine, editorial purposes and display.

High Fidelity is our funky new variable font that was inspired by an incredible vintage poster we saw at the NYPL (sadly, the designer wasn't credited.) First we developed the ultra wide top-heavy style. Then, unable to resist the dynamics of variable type, we added the narrow width and violà our first variable font was born. We then added "drip" and "stretch" axes so you can play around and customize it to your heart's content. We think it works for anything from album covers, posters, social media, apparel - really anywhere you need a fun, expressive look.

Jollin Family is a pretty, attractive and fashionable sans serif, has ton of alternates that you can use to create a simple but pretty letters. Jollin has 8 weights and 3 Widths and also available in Variable version Jollin Family Variable contain three configurable axes: weights, width, and slant, you can adjust the font axis setting to get the desire size. Jollin Perfect for Heading, logo creation, Advertisements, Christmas, Label, business card, branding and more! Get inspired by its fashionable appeal! to access alternate Adobe Photoshop go to Window - glyphs Adobe Illustrator go to Type - glyphs

'Obvia' appeared as a result of direct observation on typefaces classified as geometric and the plan to explore for the first time width axes Expanded, Wide, Normal, Narrow and Condensed The idea behind 'Obvia's design was to create a distancing from geometrically pure shapes, in this case, square shapes. Then some details were added, such as subtle inktraps, concave endings of the stems and carefully drawn alternate characters, giving a 'geohumanist' tone to the font. This first family of 'Obvia' has 9 weights ranging from Thin to Black, delivering a strong typographic identity, from the paper to the pixel.

East Variable is a condensed sans serif typeface. It is timeless, but with a subtle nostalgia of vintage jazz albums, film titles, newspapers, and signage. The light weight has excellent legibility at small sizes. The Extra Bold weight will capture attention. East is versatile, but would be a good choice for film titles, labels, publications, or any context where space is limited. It has variable axes of weight and slant. The OpenType features include stylistic sets, a one-story 'a', hooked letters, seriffed uppercase 'I' and '1', a slashed zero, raised colon and punctuation (Spanish), German eszett, ligatures, and vertical fractions.

'Obvia' appeared as a result of direct observation on typefaces classified as geometric and the plan to explore for the first time width axes Condensed, Narrow, Normal, Wide and Expanded. The idea behind 'Obvia's design was to create a distancing from geometrically pure shapes, in this case, square shapes. Then some details were added, such as subtle inktraps, concave endings of the stems and carefully drawn alternate characters, giving a 'geohumanist' tone to the font. This first family of 'Obvia' has 9 weights ranging from Thin to Black, delivering a strong typographic identity, from the paper to the pixel.

Hi Designers. Everyone will try these soft and sweet typography at least once. All the angles and sharpness are transformed with soft and smooth. Each of these 18 styles has a unique personality and can be combined to showcase the designer's emotion more smoothly. Here is the advantage of being able to stay new without being bored. Of course, it can also be used in typography design for kids. And these soft styles include the following Ligatures. - La, Le, Lo, da, de, do, fi, fl, me, mo, mu, ne, no, nu, ta, te, th, to, tt

The Mashq script is the oldest documented Arabic Jazm calligraphy style. It was invented by the early Muslims in the Arabian cities of Mecca and Medina, exclusively for writing the Quran and other Islamic religious texts. The Mashq style employed complex ligature and multi-level baseline rules, and therefore it went through a continuous simplification process. Around the time period Mashq was developed, the early Arab Muslims experimented with another short-lived Mashq-like style with heavily slanted vertical stems, which closely resembled the common Ḥijazi style. This style is commonly referred to as the Ma’il (slanted) style. Eventually, the early complex Mashq style was replaced as the main Islamic Arabic script, by a more simplified Mashq-derived calligraphy style that was developed in the city of Kufa, modern day Iraq, which was commonly referred to as Kufi. The Kufic style became the official Arabic script style for centuries before it was replaced by the more developed Naskh, the modern Arabic script style used today. The Mashq font family by Arabetics includes three styles of Mashq. The first is Mashq regular, which closely follows the script style of Musḥaf ‘Uthman (currently displayed in the Topkapi Museum in Turkey) with only the initial and final Haa’ baselines shifting. The second is Mashq Maail, which emphasizes the features of the Ma’il style shared with Mashq. The third is Mashq Kufi, which closely follows the script style in an adequate sample from the Quran manuscripts of the Bergstraesser Archive. All three fonts include two styles, with and without Tashkeel (dots). The Mashq and Mashq Kufi fonts include two more styles, with and without Harakat (soft vowels), and Hamza. Only three soft vowels are implemented along with their Tanween (double) forms. The Sukoon vowel is the default shape before inserting a soft vowel. Hamza was treated as a vowel in the Mashq and early Kufi manuscripts. Kashida is a zero width character. In the Mashq fonts, inserting one Kashida before the final ‘Ayn glyph group will trigger alternative shapes. In the Mashq Kufi fonts, inserting one Kashida (or two) before the final Yaa’, ‘Ayn, and Ḥaa’ glyph groups will trigger alternative shapes. The Mashq font family by Arabetics was designed to be as compatible as possible with the Arabic keyboard and Unicode alphabet used in computers today. Calligraphic variations were implemented only when they marked significant and permanent script features.

Step back in time with Marion, the transitional serif typeface that exudes a nineteenth-century flair. With its classic structure reminiscent of Century Roman, Marion stands out with a stroke treatment that’s closer to the timeless elegance of Baskerville. The inspiration for Marion comes from a diverse array of old metal typefaces, resulting in a design that’s uniquely historic and fascinating. One of the most distinctive features of Marion is the hammer claw shape of the serifs, adding a touch of industrial charm and a smokestack vibe. The font is available in Regular, Italic, Bold, and Bold Italic, allowing for a range of possibilities when it comes to design. With old-style numerals and standard f-ligatures, Marion offers the perfect balance between historical design and modern-day functionality. Additionally, it includes some eccentric discretionary ligatures and chirpy swash letters, adding a whimsical touch to your graphic design projects. Take your design to the next level with Marion. Its historically inspired design and unique features are sure to add a touch of elegance and sophistication to any project, making it the perfect choice for designers looking to create something truly remarkable. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Morris Sans is a newly revised and extended version of a small geometric family of typefaces originally produced by Morris Fuller Benton in 1930 for ATF. His initial design consisted of an alphabet of squared capital letters with a unique twist that characterized its appearance: corners with rounded exteriors and right-angle interiors. The types were intended for use in the fine print found on business cards, banking or financial forms, and contracts. But over the ensuing decades, this design became a popular element in all sorts of design environments, and several foundries revived the typeface in digital form. Since digital fonts are bicameral, with slots for both upper and lowercase letters, new cuts of the type opted filled the lowercase slots with small caps. In 2006, Linotype commissioned its own version of the typeface-an extension for 21st century use. Under the advisement of Linotype's type director Akira Kobayashi, Dan Reynolds redrew the uppercase and added an original lowercase for the first time. Additionally, a number of extras were brought into the fonts, including six figure styles (tabular and proportional lining figures, tabular and proportional oldstyle figures, and special tabular and proportional small cap" figures). Small caps, which have become an iconic element over time, are accessible in each font as an OpenType feature. To differentiate this version from the original, Linotype's new family is named Morris Sans, in honor of Morris Fuller Benton. All fonts in the Morris Sans family are OpenType Com fonts; they include a character set capable of setting 48 European languages that employ the Roman alphabet, including all Central and Eastern Europe languages, those from the Baltics, and Turkish. This glyph coverage extends to the small caps as well. Morris Sans is a wide typeface, especially in its regular widths; the condensed faces set a more conventional line of text. The new lowercase letters are less geometric than the uppercase, except for those that share the same basic forms (e.g., c, o, and s). Instead of following this geometric trend, the new lowercase tends to strengthen the humanist elements that were present in several characters from the original type, including the uppercase D and the figures 5, 6, and 9. Morris Sans also sports a number of glyphic flares, like the stroke found on the original uppercase Q. Morris Sans is a clean, modern design best suited for headlines, advertising, posters, expressive signage (especially on storefronts), and corporate identity work."

My first font for 2009 was Aerle. It is a new dark sans serif font in my continuing objective of designing book fonts that I can really use. It made a little ripple in the industry, but more than that I found that I loved it with Aramus and Artimas — my latest book font family with the same proportions. In many ways, Aerle is a very different direction for me built on what I have learned on Aramus and other recent developments in my style. The concept came to me while using Bitstream's Mister Earl on a site online—though there is no direct reference. I wanted a more playful heavy sans with a much smaller x-height than I have been using lately, plus taller ascenders. As I was using Aerle, I constantly needed a light and bold version. The new direction I am taking is a result of a decision that my fonts, though I loved the character shapes, produced an even type color that is too dark or a little dense. Aerle was an attempt to get away from that look even though the letterspacing is quite tight. For Aerle Thin I pushed a little further in that direction and increased the letterspacing. The hand-drawn shapes vary a lot, many pushing the boundaries of the normal character. This gives a little looseness and helps the lightness in feel I am looking for. It will be interesting to see where this all goes. Most new type around the world is far too perfect for my taste. While the shapes are exquisite, the feel is not human but digital mechanical. I find myself wanting to draw fonts that feel human — as if a person crafted them. In most ways this is a normal font for me in that it has caps, lowercase, small caps with the appropriate figures for each case. These small caps were very small (x-height as is proper). So Aerle's small caps are a little oversize because they plugged up too bad at x-height size. The bold is halfway between. These size variations seem important and work well in the text. This font has all the OpenType features in the set for 2009. There are several ligatures for your fun and enjoyment: bb gg sh sp st ch ck ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, & small caps; proportional lining figures, proportional oldstyle figures, & small cap figures; plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

Dourcha Script is a new modern script font with an irregular base line. Handwriting style, trendy and feminine. Dourcha Script looks good on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and more. Perfect for use in ink or watercolors. Includes beginning and end letters, alternates, ligatures and multiple language support.

A misprinted sans serif loosely based on Phillip Cavette’s 1999 font 4990810, but with re-drawn outlines, more distress marks, a neater vertical aspect and no baseline irregularity. Unlike its inspiration, Sans Culottes is a complete font which includes a lower case, accented characters and as many dingbats as you can shake a stick at.

British designer Tim Donaldson created the lively typeface Etruscan in 1995. Based on Etruscan letters from ancient Italy, this unusual and condensed sans serif face whimsically mixes soft lowercase characters with more angular capitals. Etruscan brings light and airy classical form into contemporary documents, and a sunny Mediterranean flair and jollity into your projects.

Nurhayati Font is a new modern script calligraphy font with an irregular baseline. Trendy and feminine style. Nurhayati Font Script looks lovely on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and more. Perfect for using in ink or watercolour. Including initial and terminal letters, alternates, ligatures and multiple language support

Jamarius Script - This handwritten font is a new modern script with an irregular base line. Trendy and feminine. Jamarius Script looks beautiful in wedding invitations, thank you cards, quotes, greeting cards, logos, business cards, and more. Perfect for use in ink or watercolors. Including beginning and end letters, alternatives and support for many languages.

The Novera family is a sharp geometric sans in ten weights plus matching italics, available in two versions – Modern and Classic. It has a contemporary, approachable and multifunctional yet characteristic design, that comes with an extensive glyphs set of 1000+ glyphs per font, meeting all typographic demands. The Design Vertical terminals, circular shapes and angular apexes – Novera truely breathes geometry! But the concept goes beyond the application of rational geometry. The intension was to create a highly legible family suitable for every day usage inspired by the work of Paul Renner, Eric Gill or Jakob Erbar, combining the geometric with the human and the functional with the unconventional. Although Novera is inspired by the past, its appearance is unmistakingly modern. Modern vs Classic Novera is available in two versions - Modern and Classic - born from the same source file but with different characters set as default. This creates subtle but effective distinctions such as the double-storey a (Novera Modern) which is optimized for legibility in longer text paragraphs, as opposed to the single-storey a (Novera Classic) which allows a purely geometric appearance. Another distinguishing feature are the ascenders on Novera Mondern, which extend above the cap height for an elegant presence, compared to the ascenders on Novera Classic, ending at the cap height, for a compact and helvetica-flavored look. Novera Modern was intended for usage in body copy, whereas Novera Classic was planned for headlines, short paragraphs or logos, but both versions can be used vice versa too, of course. Alternate Characters To maintain neutrality and a modern appearance, the standard character set largely dispenses with idiosyncratic forms. This is in contrast to the alternative forms with the gill-like lowercase letters g and t as well as a traditional shape of S and the German ligature t/z, which traces back to old German spellings. Also inspired by German poster designs from the early 20th century are the elongated i-dots and dieresis-dots that can create eye-catchers in headlines or logos. By the way, both versions, Novera Modern and Classic, can be created via stylistic set 1, 17 and 18. Opentype Features and Symbols The family comes with many opentype features to support modern typesetting. This includes ligatures, different number sets or alternative shapes for texts set in all caps. If you like arrows and other shapes, you will love Novera! The family has a built-in extensive symbols-set including 48 different arrows and various geometric shapes or icons. Weights With its 40 styles and 1000+ glyphs per font, the Novera family covers all thinkable design scenarios from branding to web, app or editorial usage. It blends in perfectly in text heavy paragraphs with its mid-weights like Light, Regular, Medium or Bold or stands out like a monument in headlines and posters with its extreme weights like Thin, ExtraLight, Black or Ultra. Testfonts If you like to test the fonts before buying the full version, please follow the link below. Please note, all test fonts are available for evaluation purposes only and contain a limited character set! A commercial license for the full version must be purchased separately. Please send a mail to contact@renebieder.com for more information. Download the test fonts here: https://www.renebieder.com/test-fonts

“Hand Sketch Rough Pos­ter” is a hand­made, rough and dirty sans-serif dis­play font for deco­ra­tive head­line sizes. Hand drawn. A–Z (× 2), a–z (× 2) and 0–9 (× 4) are each many dif­fe­rent forms. Con­text­ual alter­na­tes. Is inten­ded to show the hand-made cha­rac­ter and the vibrancy of the dis­play font. The dif­fe­rent forms of rough­ness crea­tes a live­li­ness in the typeface. Stan­dard liga­tures like ae, oe, AE, OE, ff, fl, fi, fj, ffl, ffi, ffj and more deco­ra­tive liga­tures like CT, LC, LE, LH, LI, LO, LU, LY, TOO, TC, TE, TH, TU, TZ and ch, cl, ck, ct, sh, sk, st, sp, addi­tio­nal logo­ty­pes like BPM, fff, ppp, sfz and many more … plus Ver­sal Eszett (Capi­tal Let­ter Dou­ble S) give the font more life and shows that des­pite their retro-looks works with modern Open­Type tech­no­logy (type the word note for the sym­bol ♫ and the word love for the ding­bat ❤ … ). Sym­bols like play, stop, eject, for­ward, back­ward, skip, pause and so on. The topic for the dis­cre­tio­nary liga­tures and the sym­bols are music. Have fun with this font – turn up the volume! How To Use – awe­some magic OpenType-Features in your lay­out application ■ In Adobe Pho­to­shop and Adobe InDe­sign, font fea­ture con­trols are wit­hin the Cha­rac­ter panel sub-menu → Open­Type → Dis­cre­tio­nary Liga­tures … Che­cked fea­tures are applied/on. Unche­cked fea­tures are off. ■ In Adobe Illus­tra­tor, font fea­ture con­trols are wit­hin the Open­Type panel. Icons at the bot­tom of the panel are but­ton con­trols. Dar­ker ‘pres­sed’ but­tons are applied/on. ■ Addi­tio­nally in Adobe InDe­sign and Adobe Illus­tra­tor, alter­nate gly­phs can manu­ally be ins­er­ted into a text frame by using the gly­phs panel. The panel can be opened by selec­ting Win­dow from the menu bar → Type → Gly­phs. Or use sign-overview of your ope­ra­ting sys­tem. ■ For a over­view of OpenType-Feature com­pa­ti­bi­lity for com­mon app­li­ca­ti­ons, fol­low the myfonts-help http://www.myfonts.com/help/#looks-different ■ It may pro­cess a little bit slowly in some app­li­ca­ti­ons, because the font has a lot of lovely rough details (anchor points). TECHNICAL SPECIFICATIONS ■ Font Name: Hand Sketch Rough Pos­ter ■ Font Weights: Regu­lar ■ Fonts Cate­gory: Dis­play for Head­line Size ■ Desktop-Font For­mat: OTF (Open­Type Font for Mac + Win) + TTF (True­Type Font) ■ Web-Font For­mat: SVG + EOT + TTF + WOF ■ Font License: Desk­top license, Web license, App license, eBook license, Ser­ver license ■ Glyph cover­age: 715 ■ Lan­guage Sup­port: Afri­kaans, Alba­nian, Alsa­tian, Ara­go­nese, Ara­paho, Aro­ma­nian, Arr­ernte, Astu­rian, Aymara, Bas­que, Bela­rusian (Lac­inka), Bis­lama, Bos­nian, Bre­ton, Cata­lan, Cebuano, Cha­morro, Che­yenne, Chi­chewa (Nyanja), Cim­brian, Cor­si­can, Croa­tian, Czech, Danish, Dutch, English, Espe­ranto, Esto­nian, Fijian, Fin­nish, French, French Creole (Saint Lucia), Fri­sian, Fri­ulian, Gali­cian, Genoese, Ger­man, Gil­ber­tese (Kiri­bati), Green­lan­dic, Hai­tian Creole, Hawaiian, Hili­gaynon, Hmong, Hopi, Hun­ga­rian, Iba­nag, Iloko (Ilo­kano), Indo­ne­sian, Inter­g­lossa (Glosa), Inter­lin­gua, Irish (Gae­lic), Istro-Romanian, Ita­lian, Jèr­riais, Kas­hubian, Kur­dish (Kur­manji), Ladin, Lat­vian, Lithua­nian, Loj­ban, Lom­bard, Low Saxon, Luxem­bour­gian, Malag­asy, Malay (Lati­ni­zed), Mal­tese, Manx, Maori, Megleno-Romanian, Mohawk, Nahuatl, Norfolk/Pitcairnese, Nort­hern Sotho (Pedi), Nor­we­gian, Occi­tan, Oromo, Pan­gasinan, Papia­mento, Pied­mon­tese, Polish, Por­tu­guese, Pota­wa­tomi, Que­chua, Rhaeto-Romance, Roma­nian, Romansh (Rumantsch), Roto­kas, Sami (Inari), Sami (Lule), Samoan, Sar­di­nian (Sardu), Scots (Gae­lic), Sey­chel­lois Creole (Seselwa), Shona, Sici­lian, Slovak, Slove­nian (Slovene), Somali, Sou­thern Nde­bele, Sou­thern Sotho (Seso­tho), Spa­nish, Swa­hili, Swati/Swazi, Swe­dish, Taga­log (Filipino/Pilipino), Tahi­tian, Tau­sug, Tetum (Tetun), Tok Pisin, Ton­gan (Faka-Tonga), Tswana, Tur­kish, Turk­men, Turk­men (Lati­ni­zed), Tuva­luan, Uyghur (Lati­ni­zed), Veps, Vola­pük, Votic (Lati­ni­zed), Wal­loon, Warl­piri, Welsh, Xhosa, Yapese, Zulu ■ Spe­cials: Alter­na­tive let­ters, logo­ty­pes, ding­bats & sym­bols, accents & €. OpenType-Features like Access All Alter­na­tes (aalt), Con­text­ual Alter­na­tes (calt), Glyph Composition/Decomposition (ccmp), Dis­cre­tio­nary Liga­tures (dlig) Deno­mi­na­tors (dnom), Frac­tions (frac), Kerning (kern), Stan­dard Liga­tures (liga), Lining Figu­res (lnum), Nume­ra­tors (numr), Old Style Figu­res (onum) Ordi­nals (ordn), Pro­por­tio­nal Figu­res (pnum), Sty­listic Alter­na­tes (salt), Sty­listic Set 01 (ss01), Sty­listic Set 02 (ss02), Sty­listic Set 03 (ss03), Sty­listic Set 04 (ss04), Super­script (sups), Tabu­lar Figu­res (tnum) ■ Design Date: 2015 ■ Type Desi­gner: Manuel Viergutz

Fibonacci Heap font is a decorative slab serif, inspired typeface in modern performance. This font includes 2 style Reguler and Outline. It is perfect for logos, posters, headlines, apparel and more.