Monarque is an elegant typeface. It is crafted with fine details that would make your typography stand out. Large x-height, high stroke contrast, rounded curves & long sharp serifs create together a dramatic look that would succeed in delivering a strong message with elegance. The true italic’s are designed to work harmoniously with the roman for a striking contrast within a line. Originally created to be an all-caps only, the font includes a lot of uppercase ligatures that are thought to flow in naturally and achieve a legible composition. OpenType features include a stylistic set of alternates, contextual alternates, discretionary and standard ligatures, old style figures, small caps and case-sensitive forms. The type family is available in 5 weights for a total of 10 fonts and supports over 200 Latin-based languages, making Monarque a solid powerful typeface ready for any kind of project from editorial design, branding, magazines, logos and more. As Monarque is only available as a display (for now) its full potential operates at its best with headlines or short to medium-length texts.

XKANZ is a futuristic, robotic, variable display font geared towards cyberpunk poster text, cover text, and futuristic UI. It can easily shine as both as header and body. Wide glyphs, high weight and corner contrast, and "connectors" that bridge the gap between the stems, it's this mix of elements that give XKANZ its unique look. The purchase includes two static styles, regular and oblique, and a variable font file with a interpolatable 0-12 degree slant axis. Extensive multilingual support covering most latin characters 4 stylistic sets that include alternates for the D, I, R, and E glyphs, along with symbol/punctuation alternates such as the parenthesis, brackets, and more. Possible updates include condensed versions. The updates will be free and available to everyone who has already purchases XKANZ. This one was a wild and weird journey. It took A LOT of iteration to get to this end product. I'm proud to share it. Enjoy All questions, requests, or inquiries can be sent to abe.xuveki@gmail.com or DM'd to Xuveki on Instagram (https://www.instagram.com/xuveki)

Kiester, A Display Typefaces with Variable Weight. Kiester is a modern elegant variable font. Basically this is a Sans with a small touch of serif on every letters. A Simplicity yet very legible with various width and weight that you can explore, combine, create and help you designing something such as Poster, Headlines, Logotype, Branding, and etc. In a Total of 5 Style Font even more if you are using the Single Files Variable, you can slide the weight on the sweetest spot of Kiester. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Greek, Gusii, Icelandic, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Welsh, Western Frisian, Wolof, Zulu

Introducing Vontgod Elegant script typeface Vontgod Typeface is inspired by the classic era typeface in the 1800 era but is combined with today's era and produces elegant script and charming typeface. The details of the “Vontgod Typeface” shape are very subtle and flow creating unique and gorgeous curves. Elegant script typefaces like “Vontgod Typeface” are very easy to apply to any design, especially those with an elegant and smooth concept, apart from that this font is very easy to use in both design and non-design programs because all alternates and glyphs are supported by Unicode (PUA). Vontgod Typeface contains 744 glyphs with many unique and interesting alternate swash options. In addition. In the poster preview all the letters are in Vontgod Typeface. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese, In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Because Contenu is designed for text use, it is spaced for body copy in the 9-12 point range. That is far too much spacing for heads, subheads, and the like. So I made the display version of Contenu Book to use for headers. In the process of tightening the spacing at the very large sizes, I also made some minor modifications to the glyph shapes to make this version a little more elegant. Contenu Opentype has two Opentype families for print design. Contenu Book has five fonts: Regular, Italic, Bold, Bold Italic, and Display. Contenu has Medium, Medium Italic, Black, and Black Italic. The name is French for content and this is what the family is designed for: text, body copy, and book layout. If it has a style, it is a modern take on oldstyle serif font using Jenson as a mask. There are no plans for display versions of the bolder weights or the italics. If you want them, use Contenu Medium, Book Bold, Contenu Black, or any of the four italics and tighten the tracking.

Say hello to CALICHE! The font that's as vintage and handdrawn at the same time! CALICHE's typeface is inspired by the rustic charm of vintage craftsmanship, infused with the laid-back vibes of a tropical summer. This font brings you not one, but two families to choose from: Regular and Slant, offering versatility for your design projects. Whether you're aiming for a rugged look, modern vintage aesthetics, or the essence of summer, CALICHE has got you covered. It's the perfect companion for all your graphic design needs, crafted with care to bring that unique touch to your creations What's Included? Caliche Main File Regular and Slant version Instructions (Access special characters, even in Cricut Design) Unique Letterforms Works on PC & Mac Simple Installations Accessible in Adobe Illustrator, Adobe Photoshop, Microsoft Word even Canva! PUA Encoded Characters. Fully accessible without additional design software. Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin)

Eurotypo BKL is a family of fonts inspired in on one of the most beautiful British Typography ever done. This version of Baskerville tries to reflect the taste of his fine style, compatible with the bluntness of the digital present. As many other designers and foundries, our intention has been to represent the atmosphere of Baskerville's style, than simply relive the shapes of its letters. Actually, capitals fits almost to a square proportions, lowercases are more open, ascenders and descenders are shorter, offering more space for enlarge the "x" high. The beauty of his letterforms can enrich headlines; this font can also be used as body text for its good legibility and accurate kerning. John Baskerville (1706-1775) was born 1706 in Wolverley, England. He was a great typographer and printer who published a remarkable edition of Virgil in 1757. His typefaces were greatly admired by Benjamin Franklin; He also has improved and developed many innovations in printing, paper and ink production. Baskerville’s typefaces are regarded as transitional types that represents the link between Old Roman Style and Modern Roman typography.

Here I present Round - a type family that is derived form Epilepsja, which was my first alphabet commercially out. After its release I came to think that there should be other fonts of this design that would enrich the variety of choice. Here comes ‘Epilepsja Round’ which is soft and friendly while the Regular family remains firm and sharp. It supports all Latin-based European and African languages and acts as a multicolour layered font. best for headlines, titles and other display uses.. It is an all-caps alphabet of stencil-sprayed and painted letters found in the city space. The glyphs are simple but unordinary. Every letter has something from Escher-like 3D illusion, but is flat simultaneously. Epilepsja Round consists of three styles: Outline, Solid and Fill. Outline is the base from which the other two styles are created. When you mix Solid with Fill, you can create two-color Outline style. You can even mix it with not-Round Epilepsja! Solid is neat and legible in small sizes. Use it for posters, headlines, magazines, websites or anything you like.

The simplified letterforms of Sinova™ make it an ideal choice for those settings where you really don't want the type to shout too loudly or draw unnecessary attention to itself. Christian Mengelt has drawn five weights: Thin, Light, Regular, Medium, and Bold, all with complimentary obliques. Sinova is an OpenType family that is unfussy, functional, and legible, with extensive language support (some 48 languages). Thanks to its clear and straightforward design and dynamic rhythm, one of the main characteristics of Sinova is its excellent legibility, irrespective of whether it is used in longer passages as a stylish book script or for text in the digitalised office environment. But Sinova also happily adapts itself to being used as a titling font in combination with Renaissance Antique serif typefaces. For this reason, another potential application for the font family is as a graceful and elegant titling and text script for job printing and in publicity texts. The two complementary stroke widths, light and bold, are perfect for commercial applications.

Gerard Unger developed this newspaper font between 1984 and 1987 for Dr.-Ing. Rudolf Hell GmbH, Kiel. He was mainly influenced by William A. Dwiggins (1880-1956), the typographic consultant of Mergenthaler Linotype, who started to develop more legible, alternative fonts for newspaper printing as early as 1930. Swift was named after the fast flying bird. Austere and concise, firm and original, Swift is suited for almost any purpose. Swift has been specially developed to sustain a maximum of quality and readability when used in unfavorable print and display processes, e.g. newspapers, laser printing and low resolution screens. Its robust, yet elegant serifs and its large x-height provide an undeniable distinction to the typeface, making it suitable for corporate ID and advertising purposes as well. Swift 2.0 family was designed in 1995. It's an improved version with technical and aesthetic enhancements and new family members. The Cyrillic version was developed for ParaType in 2003 by Tagir Safayev. Please note that this family includes only basic latin characters; it does not include accented characters required for western and central Europe.

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. Please Note: these fonts include only the latin alphabet; no accented characters, no numbers or punctuation. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Guillermo was born in Argentina. And after crossing four continents and travelling in more than twenty countries, he still has his accent. His luck ran out on the streets of Barcelona. But despite his circumstances, he hasn’t lost a bit of his wit or articulacy. “The worst thing about the street is something that touches your heart, your brain. Not being able to have sex, not having any privacy until it leaves you empty.” On the street he follows his passion for art and writing as best he can, using old cardboard when he can’t find paper and listening to the music that comes to him. His way of thinking and expressing himself leaves people wide-eyed and open-mouthed, but even so he admits he’s a solitary man. “Solitude is an individual word. A solitary type like me can’t bring the word solitude to the whole world.”

Whitenights is a contemporary text family, which was developed by the prolific Swedish typographer Lars Bergquist in 2002. Containing five weights (11 different fonts total), this family contains every tool you need to set splendid text. The base font of the family is Whitenights Regular, a reliable face designed in the old style manner. It ships in OpenType format, with old style figures. Whitenights Ligatures Regular is a supplementary font, which contains many extra ligatures (e.g., ffb, ffk, tt, and fj) whose use will improve the color" of a page of text set in Whitenights Regular. Whitenights Regular may be accented by combination with Whitenights Small Caps, Whitenights Italic, Whitenights Bold, and/or Whitenights Bold Italic. The Whitenights Italic, Bold and Bold Italic styles all have supplementary Ligature fonts available for purchase, similar to the Whitenights Ligatures Regular face described above. For larger, headline text, the specially designed Whitenights Titling is quite useful. This titling font has been optically redrawn and respaced for use in large sizes. Naturally, it has its own supplementary Ligature font as well. In books, magazines, and newsletters this font is a great display companion to the rest of the Whitenights family. Its use in conjunction with the text faces will make your typographical compositions more sophisticated. Last but not least in the Whitenights family is Whitenights Math, which contains many additional mathematical and logical glyphs not found in a standard font's character set. Used together, the above 12 styles can set almost any text or math-based document. The entire family is included in the Take Type 5 collection from Linotype GmbH."

The famous roman type cut in Venice by Nicolas Jenson, and used in 1470 for his printing of the tract, De Evangelica Praeparatione, Eusebius, has usually been declared the seminal and definitive representative of a class of types known as Venetian Old Style. The Jenson type is thought to have been the primary model for types that immediately followed. Subsequent 15th-century Venetian Old Style types, cut by other punchcutters in Venice and elsewhere in Italy, are also worthy of study, but have been largely neglected by 20th-century type designers. There were many versions of Venetian Old Style types produced in the final quarter of the quattrocento. The exact number is unknown, but numerous printed examples survive, though the actual types, matrices, and punches are long gone. All these types are not, however, conspicuously Jensonian in character. Each shows a liberal amount of individuality, inconsistency, and eccentricity. My fascination with these historical types began in the 1970s and eventually led to the production of my first text typeface, Iowan Old Style (Bitstream, 1991). Sometime in the early 1990s, I started doodling letters for another Venetian typeface. The letters were pieced together from sections of circles and squares. The n, a standard lowercase control character in a text typeface, came first. Its most unusual feature was its head serif, a bisected quadrant of a circle. My aim was to see if its sharp beak would work with blunt, rectangular, foot serifs. Next, I wanted to see if I could construct a set of capital letters by following a similar design system. Rectangular serifs, or what we today call "slab serifs," were common in early roman printing types, particularly text types cut in Italy before 1500. Slab serifs are evident on both lowercase and uppercase characters in roman types of the Incunabula period, but they are seen mainly at the feet of the lowercase letters. The head serifs on lowercase letters of early roman types were usually angled. They were not arched, like mine. Oddly, there seems to be no actual historical precedent for my approach. Another characteristic of my arched serif is that the side opposite the arch is flat, not concave. Arched, concave serifs were used extensively in early italic types, a genre which first appeared more than a quarter century after roman types. Their forms followed humanistic cursive writing, common in Italy since before movable type was used there. Initially, italic characters were all lowercase, set with upright capitals (a practice I much admire and would like to see revived). Sloped italic capitals were not introduced until the middle of the sixteenth century, and they have very little to do with the evolution of humanist scripts. In contrast to the cursive writing on which italic types were based, formal book hands used by humanist scholars to transcribe classical texts served as a source of inspiration for the lowercase letters of the first roman types cut in Italy. While book hands were not as informal as cursive scripts, they still had features which could be said to be more calligraphic than geometric in detail. Over time, though, the copied vestiges of calligraphy virtually disappeared from roman fonts, and type became more rational. This profound change in the way type developed was also due in part to popular interest in the classical inscriptions of Roman antiquity. Imperial Roman letters, or majuscules, became models for the capital letters in nearly all early roman printing types. So it was, that the first letters in my typeface arose from pondering how shapes of lowercase letters and capital letters relate to one another in terms of classical ideals and geometric proportions, two pinnacles in a range of artistic notions which emerged during the Italian Renaissance. Indeed, such ideas are interesting to explore, but in the field of type design they often lead to dead ends. It is generally acknowledged, for instance, that pure geometry, as a strict approach to type design, has limitations. No roman alphabet, based solely on the circle and square, has ever been ideal for continuous reading. This much, I knew from the start. In the course of developing my typeface for text, innumerable compromises were made. Even though the finished letterforms retain a measure of geometric structure, they were modified again and again to improve their performance en masse. Each modification caused further deviation from my original scheme, and gave every font a slightly different direction. In the lower case letters especially, I made countless variations, and diverged significantly from my original plan. For example, not all the arcs remained radial, and they were designed to vary from font to font. Such variety added to the individuality of each style. The counters of many letters are described by intersecting arcs or angled facets, and the bowls are not round. In the capitals, angular bracketing was used practically everywhere stems and serifs meet, accentuating the terseness of the characters. As a result of all my tinkering, the entire family took on a kind of rich, familiar, coarseness - akin to roman types of the late 1400s. In his book, Printing Types D. B. Updike wrote: "Almost all Italian roman fonts in the last half of the fifteenth century had an air of "security" and generous ease extremely agreeable to the eye. Indeed, there is nothing better than fine Italian roman type in the whole history of typography." It does seem a shame that only in the 20th century have revivals of these beautiful types found acceptance in the English language. For four centuries (circa 1500 - circa 1900) Venetian Old Style faces were definitely not in favor in any living language. Recently, though, reinterpretations of early Italian printing types have been returning with a vengeance. The name Vendetta, which as an Italian sound I like, struck me as being a word that could be taken to signifiy a comeback of types designed in the Venetian style. In closing, I should add that a large measure of Vendetta's overall character comes from a synthesis of ideas, old and new. Hallmarks of roman type design from the Incunabula period are blended with contemporary concerns for the optimal display of letterforms on computer screens. Vendetta is thus not a historical revival. It is instead an indirect but personal digital homage to the roman types of punchcutters whose work was influenced by the example Jenson set in 1470. John Downer.

Mucho Sans is a geometric sans serif type family that comes in six weights with matching Italics. The design is very clean, yet friendly and modern. Some of its characteristics are the generous x-height, the Ascender-height that matches the Cap-height, the friendly looking real italics and the low contrast. The result is a contemporary versatile type family that is excellently suited for both display and text uses and that supports a wide range of languages. Mucho Sans is equipped with many Opentype features such as five numeral styles, numerators, denominators, superiors, inferiors, automatic fractions, alternative a and g, case sensitive forms and ordinals.

Supernova is a new family that combines the spontaneity of a script typeface with the versatility of multiple weights and cuts. The development of script typefaces has largely been limited to variations in shape and proportion (and with the advent of OpenType technology, the addition of alternate letterforms). Their application has continued to be primarily linked to their emotional attributes, while roman types predominate in body texts. Supernova takes a step in a different direction and was conceived as a script typeface family comprised of several weights and cuts, including a versatile, eye-catching display version and a highly legible body-text version with five weights.

Vintage sheet music was initially a partial inspiration for what started out as a simple retro typeface, but the basic hand-lettered design from the Art Deco era lent itself to some further experimentation. Geometric shapes were added to the original monoline letters and numerals and the end result was a marvelous display face called Cafe Society JNL. During the 1930s, "Cafe Society" was popular slang for the financially privileged during the Great Depression who dined at fine cafes while others who were able to eat out did so at diners and cafeterias. Available along with Cafe Society JNL is the original version, Cafe Society Monoline JNL.

Victorina Shadow is a fantasy sans letter display, inspired by the Victorian letters whose stylistic influence dominated the scene graph of the nineteenth and Twentieth century. Victorina has a perfect structure rigorous geometry. Victorina comes in several versions, in this set you will find the Shadow version in black and italic to complement the varied repertoire of styles of Victorina family, besides providing small caps and ornaments. Victorina Shadow let to work fine fantasy headlines when they overlap in layers of different styles. Victorina Shadow is a letter designed to recreate, with a contemporary vision, the spirit of those days of the industrial revolution and the early days of modernism.

“Aeternus”, a new geometric Sans Serif typeface, with matching italics. The combination of several weights, provides versatility in any text usage. Developed in a range of nine weights from thin to heavy, with a matching set of italics, Aeternus has been designed to optimize the space and preserve the legibility in any text size. Use effortlessly this typeface for titling, contemporary branding, web design, UI/ UX design, clothing, large print formats. Specifications. - Files included: Aeternus Thin, Aeternus ExtraLight, Aeternus Light, Aeternus Regular, Aeternus Medium, Aeternus SemiBold, Aeternus Bold, Aeternus ExtraBold, Aeternus Heavy with corresponding italics - Formats:.otf - Multi language support (Central, Eastern, Western European Languages)

ITC Ludwig has an edge. It's nervous, tense - maybe even a little scary. Drawn by Italian designer Giuseppe Errico, ITC Ludwig refuses to be confined to a traditional baseline. Its twisted lowercase g" and an "e" that could double as an upside-down "a" both add to the design's spooky personality. As a young man, Errico studied to be a fine artist. He became a graphic designer only after a “long reflection period,” he says. His early training is evident in many of ITC Ludwig's suggestive qualities. There is far more to this face than cranking up the “distort” knob in Fontographer. Reflection and personal expression are at its core."

A contemporary slab-serif which revisits aspects of Robert Besley’s all-time classic Clarendon, designed around 1842 for Thorowgood and Co. and named after the Clarendon Press in Oxford. The original design was subsequently extended by Sheffield foundry Stephenson Blake in the 1950s into a widely-used, robust workhorse family. Albiona uses the inwardly curved stroke terminals of the same foundry’s Grotesque series, while rationalising or removing entirely Clarendon’s ball serifs, flicked tails and other eccentricities to make it more functional in contemporary settings. The family consists of five weights plus italics and a stencil, and includes oldstyle and tabular numerals. Its clean readable style suits both text and headline setting.

Named after a practical seabird, Fulmar is a modern Scotch intended for extended reading. More European than American, it draws on a range of influences from around the North Sea, from Fife’s Alexander Wilson to 17th-century French experiments in modulation and 18th-century Belgian flash, and combines them with contemporary structure and proportions. The result is crisp yet warm, steadfast yet lively, sharp yet robust, rational but humane. It can be appropriate for new translations, new histories and new understanding. With five weights, ten styles, small caps, a clamjamfry of OpenType features and unicorn manicules, Fulmar dispenses with sprawl while retaining range and dexterity.

Triumphant, vigorous and strong. These were the keywords for the design of Girga, named after an Egyptian city in the Sohag Governorate. The power and strength of the Egyptian letterforms were balance with a few sans serif forms so the darkness of the text and the fatness of the overall glyphs could be kept. We never intended to design a revival of the nineteen century egyptian typefaces, but we included a series of features that can be found in many wood letters from that era. With five styles divided in Regular, Italic, Stencil, Engraved and Banner, Girga is full features that allow many design possibilities.

Introducing “Moshi Moshi” – Inspired by Japanese street posters, this all-caps block typeface delivers modernness with some brushy imperfections. Taking inspiration from Japanese hand-painted street art, "Moshi Moshi" has rough letterforms, but at the same time communicates a modern and minimalistic style. "Moshi Moshi" includes full multilingual capabilities and a coverage of several languages based on the Latin alphabet. Ideal to add an eye-catching appeal to your logo designs, branding, quotes, product packaging, merchandise and social media posts. Specifications: - Files included: Moshi Moshi - Formats: .otf - Multi-language support (Central, Eastern, Western European languages) - OpenType features (Small-Caps, Alternate & Ligature) Thanks for viewing/downloading, Unio.

HS Hadeel is a versatile display typeface designed for use in titles and graphic projects that require both Arabic, Persian and English characters. It draws inspiration from the modern kufi style and boasts a unique blend of sharp and curved lines that lend a beautiful and geometric structure to each character. The sharp endings at the bottom of each character add an additional aesthetic touch. With five weights available, ranging from Light to Black, HS Hadeel offers a diverse range of options for designers seeking to elevate their Arabic typography. Overall, HS Hadeel is a great choice for those seeking a visually striking and flexible typeface for their projects.

Dabu is a hand paint inspired high contrast decorative display typeface. With unique five ornamental layers which makes Dabu very presentable and eye catchy. Dabu has identical styles that very well goes with logo design, headline, creative sign boards, poster design, social media, fashion brand, beauty product branding, large print and screen. How to use Dabu ? - Select Dabu-Regular. - Copy the same one more time. - Select and choose any one Dabu Depth, Dabu Heart, Dabu Flower, Dabu Diamond, Dabu Square. - Select both and Aline. - Bingo!! :) No animals harmed in the making of this typeface Dabu is supportive to Adobe illustrator, Adobe Photoshop, Adobe In-design and All Adobe.

A heavy weight - softened sans serif that is not only friendly, but easy on the eyes. Good Eatin was inspired by the title screen from the 1942 Warner Bros. cartoon titled, "Dog Tired". The original all capitals setting had a charming & quiet nature to it, which became even more pronounced when drawn out to include a lowercase set. Later expanded upon to include a Small Caps set, Good Eatin Pro achieves a wider, even more electric appeal. Loaded with personality, Good Eatin Pro is joyful and stands out without being an eyesore, and while being based on vintage lettering it has a contemporary feel.

Dutch type designer Just van Rossum created this display and sans FontFont in 1992. The family has 5 weights, ranging from One to Five and is ideally suited for advertising and packaging, film and tv, music and nightlife as well as poster and billboard projects. FF Advert Rough provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Advert super family, which also includes FF Advert.

Immi 505 is another of Tim Donaldson�s prolific works. Inventive and fun-loving as always, Tim used a pen nib called a ?Brause 505? to create the letterforms for this design. The Brause 505 was an invention of Karlgeorg Hoefer. Hoefer created his typefaces Salto" and Saltino" with this nib. The other part of the name, Immi, is the nickname of Donaldson�s five-year-old daughter Imogen. The resulting unusual curves and open character of Immi 505 create a distinctive rhythm and color appropriate for short blocks of ad copy, titles, music CD covers, and Web page headlines where a bit of extra width is needed."

Contane Text Condensed is the text optimized version of Contane Condensed. More solid, more robust, it embodies the power addition to the more delicate members of the Contane Condensed family. Stronger hairlines and stronger serifs also make it appropriate for smaller text size applications. Contane Text Condensed supports up to 80 languages and it’s OpenType format allows a wide range of typographic applications. 20 styles offer fine graduation of the weights. All weights contain small caps, ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternate characters.

Fossa is an unconventional serif designed primarily as a display typeface. Its splayed, pinched vertical strokes and pointy wedge serifs give it a distinct flavour. The style for Fossa was initially conceived while studying the forms of Optima – in particular, the subtle taper towards the midpoint of the stems and strokes. Taking the idea of vertical strokes with a nipped waist to the extreme, Fossa was born. The sharper style created by these vertical strokes is echoed within the serifs, resulting in a contemporary wedge serif with an elegant but dramatic character. Available in five weights: ExtraLight, Light, Regular, Medium and Bold. OpenType features including ligatures and fractions.

Arp is a neo-grotesk type system exploring the relations between contrast, functionality, and graphic character in one family. This typography comes in 5 different weights including fine strokes with inverted contrast (20), a sharp sans serif (80), and a high contrast heavyweight (240). Moreover, its design is formed by short ascenders and descenders aiming higher legibility, ink traps for display-functional purposes, and includes a wide range of icons, arrows, and symbols which allow creating consistent compositions in digital and print designs. All styles of 640 characters include a display weight with geometric and glyphic style alternates, which expand the proprieties and versatility of the system.

Dx Gaster is a high-contrast Serif family with a strong impact and elegant typeface. Dx Gaster offers a wide variety of combinations for you to create with. Dx Gasters multiple alternates and swashes can add extra spice to your designs. A Strong sharp typeface specially designed for beautiful titles. Dx Gaster comes with elegant style, strength, and contrasts, with features an extended Latin character set of 404 glyphs covering over 86 languages. Casta is ready to be like a top model on the design catwalk, making your projects look classic but contemporary, finely tuned but assertive, and elegant as the best luxury fashion.

Parandea, a vintage serif typeface, seamlessly blends the essence of bygone eras with a touch of modern sophistication. Each letter in Parandea exudes timeless charm, featuring elegant serifs and fine details that harken back to the craftsmanship of vintage typography. The typeface’s well-balanced proportions and graceful curves evoke a sense of nostalgia, making it a perfect choice for projects that demand a classic and refined aesthetic. Parandea’s versatility shines through, whether it’s used for branding, editorial design, or any application where a touch of vintage character is desired. With its distinctive yet understated elegance, Parandea captures the spirit of the past while maintaining a contemporary allure.

Madigan Text is the text optimized version of the Madigan family. More solid, more robust, it repesents the more stabil version to the more delicate Contane family. Stronger hairlines, solid serifs, and slightly wider proportions make it appropriate for bold headlines, as well as for small text sizes. Madigan supports up to 80 languages and it’s OpenType format allows a wide range of typographic applications. 18 styles offer fine graduation of the weights. All weights contain small caps, ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternate characters.

Ritafurey is an extended sans in seven weights, with characteristic low bowls on the P and R. Modern, sleek and corporate, but with a dash of character. It has been used on tech logos, summer blockbuster movies and Playstation skateboarding games. This new version reinstates the original Unicase versions of the M and N (available through the Glyph palette or Opentype options), adds extensive international character support, redrawn and respaced glyphs, a new Regular weight for better weight flow distribution, and many other additional glyphs. (Note the the new weights differ slightly from the old of the same name, so may change the appearance of existing files.)

“PGF-Trajanite” is a simple Roman typeface, with capital letters inspired on classical Trajan schemmas such regular square and circle, simple and double root five, early ideas based on the golden ratio, while lowercase have more organic but yet balanced proportions with short ascenders/descenders stems allowing more air to flow between textlines, both (capitals and lowercases) optically adjusted to deliver a better reading experience. Due to simple and universal look it result in versatile typeface perfectly suitable for branding, packaging, label design, UI Interface design. Include standard and discretionary ligatures, alternate glyphs, oldstyle numers, various numerical arrangements. Altogether you will find this a very clean, fashionable, and elegant typeface.

Dusty Circus™ is a five layer stacking display face designed to be infinitely morphed. The metrics are set identically in the individual and family set, to provide for typographic ease (although we seem to prefer an offset appearance). Great for a vintage western feel or a modern aesthetic. In addition, note that it is very easy to omit a layer and add multiple copies of other layers to produce a 3D bevel on the fly, or inline styles with flair and substance. LTD is a short set for non-commercial use only and combines two of the layers with many features/glyphs removed.

Neogram is a modern neo-grotesque type family inspired by the early roots of Swiss design. The concept was to create a neutral typeface that would demonstrate great clarity while understated in its intended use and application. Stroke contrast is slightly increased, with a more geometric letter shape giving a warmer and more robust personality. Neogram is now available as version 2.0 (2021); the remastered letterforms meet a higher level of technical standards demanded by modern-day users. Details include nine weights with matching italics, three variable widths, 540 characters, five variations of numerals, Opentype features inferiors, superiors, fractions, case-sensitive punctuation, and language support covering Western, South and Central Europe.

Flyoika is a slab serif family with a fairly low x-height, long ascenders, and considerable contrast. The family has five weights, each with an italics and it can be used for either display or text. Flyoika was not designed to meet a particular need but rather out of curiosity. Years ago I had designed two slab serif families, FlyHigh and Euroika, that I recently noticed had a lot of similarities and I wondered what a blend of the two would look like. Several corresponding characters in the two families are considerably different and in cleaning up the results, I usually opted for simplicity. The name "Flyoika" reflects these origins.