Barbou was originally cut in 1925 by Monotype as a counterpart to Fournier, siblings that were different in design but both based on the work of Pierre-Simon Fournier. Whether by choice, accident or oversight, Fournier was preserved digitally, and Barbou was lost to history. Barbou was notably used by Stanley Morrison, in particular as the face of The Fleuron. I fell in love with Barbou when I saw it, and knew that I wanted to bring it to a new generation of designers and readers. This is a revival of Barbou, a faithful recutting with new weights, characters and many of the best features that modern font technology brings. Particular attention was paid to the original Monotype Barbou 178 specimen sheet. Originally only available in a single weight, Barbou has been recut with a variable weight, providing a large degree of flexibility between Regular and Bold. Barbou excels as a comfortable reading face for books, and the variable weight allows you to fine tune the darkness and texture of the page in a way never before possible. Barbou has a distinctive softness, and this revival of Barbou preserves much of the effect the medium of metal type had on the letterforms. This results in a subtly rounded yet defined type, elegant not worn, with the utmost attention and respect to the smallest of details. Barbou was originally cut with disparate x-heights for roman and italic, and this revival of Barbou features both the original italic, as well as a new italic redesigned at the same height as the roman. In Fournier’s time, roman and italic would not be mixed on the same line, but the type must change to meet the needs of a new generation. Barbou also features unique ligatures and alternates, old style numbers, small caps and a full Greek alphabet. Barbou is perfect for books and anywhere a comfortable reading face is required, and excels in flexibility.

Monotype Bembo is generally regarded as one of the most handsome revivals of Aldus Manutius' 15th century roman type, but the original had no italic counterpart. The story is told that Stanley Morison commissioned Alfred Fairbank, a renowned calligrapher, to create the first italic for Bembo, which was released as metal fonts in 1929. Alfred Fairbank, however, claimed that he drew the design as an independent project and then sold his drawings to Monotype. According to him, the statement has been made that I was asked to design an italic for the Bembo roman. This is not so. Had the request been made, the italic type produced would have been different." Whichever version you believe, it was obvious that Fairbank's design - while undeniably beautiful - was not harmonious with Bembo roman. A second, more conventional italic was eventually drawn and added to the Bembo family. Fairbank's first design, which was based on the work of sixteenth-century writing master Ludovico degli Arrighi, managed to have a modest life of its own as a standalone font of metal type. It never made the leap into phototype fonts, however, and the face could have been lost, were it not for Robin Nicholas, Monotype Imaging's Head of Typography in the United Kingdom, and Carl Crossgrove, a senior designer for Monotype Imaging in the US. Nicholas and Crossgrove used the original drawings for Fairbank as the starting point for a new digital design, but this was only the beginning. They improved spacing, added subtle kerning and optimized the design for digital imaging. In addition, Nicholas created an alternative set of lowercase letters, fancy and swash capitals and enough alternate characters to personalize virtually any design project. By the time his work was complete, Nicholas and Crossgrove had created a small type family that included Fairbank, a revived version of the earlier metal font, and Fairbank Chancery, a more calligraphic rendition of the design. An additional suite of ornate caps, elegant ligatures, and beginning and ending letters accompanies both fonts, as does a full complement of lowercase swash characters. Now, instead of a failed Bembo italic, Fairbank emerges in its true glory: a sumptuous, elegant design that will lend a note of grace to holiday greetings, invitations, and any application where its Italianate beauty is called for."

Opinion varies regarding the role of Claude Garamond (ca. 1480–1561) in the development of the Old Face font Garamond. What is accepted is the influence this font had on other typeface developments from the time of its creation to the present. Garamond, or Garamont, is related to the alphabet of Claude Garamond (1480–1561) as well as to the work of Jean Jannon (1580–1635 or 1658), much of which was attributed to Garamond. In comparison to the earlier Italian font forms, Garamond has finer serif and a generally more elegant image. The Garamond of Jean Jannon was introduced at the Paris World’s Fair in 1900 as Original Garamond, whereafter many font foundries began to cast similar types. The famous Stempel Garamond interpretation of the 1920s remains true to the original Garamond font with its typical Old Face characteristics. The bold italic was a modern addition at the end of the 1920s and the small caps provided an alternative to the standard capital letters. In the mid 1980s, a light version was added to Stempel Garamond. Since its appearance, Stempel Garamond has been one of the most frequently used text fonts.

Veronika is a semi-serif text face, available in three styles: Regular, Italic, and Bold. All three faces are available in OpenType format, with both lining and old-style figures. Grüger, a German artist and designer, first began the design of her typeface by writing out its letterforms with a wooden stylus. She wanted to create a new semi serif face that had uniform stroke widths, but still maintained some aspects of calligraphy. Veronika achieves this; the terminals that begin the first strokes of most letters are round and bulbous, as if the writing instrument added extra emphasis on that spot. This adds a dynamic, movement-like quality to texts designed with Veronika. Aside from some sans serif-ness, Veronika appears similar to old style typefaces from the renaissance: classical inscriptions inspired the proportions of the capital letters, and the lower case letters stem from Carolinian minuscule. These proportions allow Veronika to function very well in text and at small sizes. However, only when you design larger headlines, logos, or other elements with Veronika, will you notice all of its special qualities, like its weight distribution and stroke characteristics.

Introducing "Mate" - a modern mecha font that pushes the boundaries of typographic design. Inspired by the sleek aesthetics of mecha machinery, this font combines hexagonal formations with a futuristic and cyberpunk visual language, giving your projects a bold and captivating edge. The "Mate" font captures the essence of the future with its hexagonal shapes meticulously integrated into each character. The geometric precision and interconnectedness of these forms create a visually striking and dynamic appearance. The carefully crafted letterforms evoke a sense of advanced technology and mechanical elegance, making them perfect for projects seeking a contemporary and cutting-edge look. With its cyberpunk-inspired design, "Mate" transports your audience into a world where technology and imagination intertwine. The font's sleek lines, sharp angles, and futuristic elements capture the essence of a dystopian future, adding an air of intrigue and sophistication to your designs. The unique hexagonal feels of "Mate" create a sense of interconnectedness and harmony within the letterforms. Each character seamlessly integrates into the next, forming a unified and visually captivating composition. Whether used in titles, logos, or headlines, this font demands attention and conveys a sense of progress and innovation. Unleash the power of "Mate" in your design projects to evoke the spirit of mecha aesthetics. Whether you're working on sci-fi book covers, gaming interfaces, futuristic posters, or branding for technology-driven companies, this font will effortlessly infuse your creations with a modern, cyberpunk-inspired charm. With "Mate," you have the perfect tool to unleash your creativity and redefine the boundaries of typographic expression. Let this modern mecha font propel your designs into a realm where imagination meets technology, and the future is brought to life in stunning visual form. This font is perfect for Logo designs, Gaming branding, Technology magazines, Sci-fi book covers, Cyberpunk posters, Futuristic product packaging, Robotics company branding, Virtual reality interfaces, Futuristic event invitations, Mecha-inspired apparel branding, Tech-themed websites, Dystopian novel covers, Futuristic movie titles, Cybernetic-themed party invitations, Gaming convention banners and many more! Mate features: A full set of uppercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Cyber Mecha Style +298 Total Glyphs

Valute is a custom font with variable typeface, but at first glance it looks very mischievous. Very thincontrasting lines are very legible with heavy use of paragraph text. We made Valute with 9 weights that include ligatures and are multilingual. We will make language and feature updates in the future as this is a long-term project that we will be building on.

Miyagi brings the classic Yagi Link Double to the digital world, a modern form for a timeless typeface. Miyagi pays tribute to the decade it was created while pushing it into the boundaries of the future as well, a double image to match its double lines. Complex in design but easy to read, Miyagi embodies the stylistic ideas inherent in typeface design.

A captivating and futuristic font inspired by the iconic worlds of The Matrix, Terminator, and Blade Runner. Embrace the enigmatic allure of the future as each character pulsates with neon energy, unleashing possibilities for cybernetic titles, gaming interfaces, logos, and more. Step into the neon-laden realms of ND Raster Neon and ignite your designs with a touch of cybernetic mystique.

Eliptik is a typeface with disruptive shapes, inspired by the aesthetics of technology from the 80s and 90s, when they had a very particular style of seeing the future. It is an ideal typeface for large size display texts and wordmarks, designed in upper and lower case, it also has many stylistic variables (OpenType features) that give it more memorable and unique personality.

Flaminia is a typeface family of 4 members designed by Carlos Fabián Camargo G. The central idea started as Dingbats and titles labeled with fine-tipped brushes and flat tip for graphic design related restaurant menus, instructions, packaging, food containers and labels. Thus began the process of drawings and letters integrated by shapes and counterblocks that seem inaccurate yet but at the same time clean and attractive. For this reason each variable suggests fresh brushstrokes that combine ideas from Roman and italic calligraphy. Flaminia members work separately or together by solving needs in different scenarios. This will enhance its properties in order to control and diagram titles, subtitles and short paragraphs with an effusive and manuscript character. Flaminia is useful for generating a flavor of "hand lettered by skilled artists lettering." In conclusion, Flaminia Regular and Italic are used to write short paragraphs. His ascending and downs are lower that the X height. Its width is imperceptibly condensed to save horizontal space. Its smooth lines and finishes simulating a crescent moon have been made with fine-tipped brush. The contrast between thick and thin has medium intensity. Its complement is an ideal italic to emphasize words and phrases. Its conceptual characteristics are similar with foundation's handwriting, except for his companion who takes ideas from the ornamental italic calligraphy. Flaminia Black is compact and ideal for ranking information such as words and titles. Its personality is based on ornamental penmanship italics mixed with humanistic ideas outlined with contrast-type, flat-tipped brush thickness. Its overall width is slightly condensed, rising and falling are short compared to an exaggerated X height. Its smooth lines and terminations as in a crescent moon simulate the path of a broad brush. Its amount of contrast between strokes have average intensity. In brief, push to the limit parameters such as the type and amount of contrast, size, backward, forward, overall width, etc. And finally, Flaminia Dingbats offers three sets of different illustrations, a total of almost 90 drawings useful in communications related to: Food, Clothes and Sketchy. Each carefully wrought through research, testing, analytical design, visual strategy and high-definition of Bezier paths, optimizing time and work to their users. And in conclusion, I have plans to continue expanding the family with more complete versions in the future.

The mystic sadness of the sight Of a far town seen in the night. Like the poetry movement of the early 20th century, from which the font takes its name, Imagist relies on the power of concrete images and brings an organic vibration to the words it forms. Imagist is a lively and decorative serif typeface with prominent features that appear especially in the letters K, R, M, N, W, V, k, w, v and y. Powerful ball terminals also bring recognizable attraction. Imagist contains six weights and corresponding Italics. Italics have a cursive-style letter s for as Stylistic Alternate. Old Style Numerals and Small Caps can be found in all cuts. Poem by T. E. Hulme.

Janek is a semi-serif typeface inspired by old Polish signage. Rather then mimic specific style, it synthesises various inspirations. It is named after an Author of a classic Polish manual, that kickstarted this project, „Techniques of Lettering“ by Jan Wojeński. Large character set and style selection allows for richness of expression. Pointy upright and slightly decorative italic bring unique blend of aesthetics. It works well in rich text and as a striking display. Janek consists of seven italic and seven upright styles ranging from Light, to Black. With extensive language support and wide selection of features, it is suited for range of latin use cases. Janek is a contemporary throwback to the past.

Quat is a sans serif type family designed by Ani Dimitrova. The family comes in 22 weights, ranging from Hairline to Black with extra drawn italics and small caps versions, and each style contains more than 700 glyphs. The Regular and Medium weights are perfect for body text while the extra drawn Italic gives an interesting texture to the text. The lightest weights work well in subtle headlines while the heaviest ones are perfect for posters, short texts, web, branding and screen design. All weights contain ligatures, proportional figures, tabular figures, old style figure, numerals and arrows, matching currency symbols and fraction. The range of styles give a good flexibility to this family.

Cynosure Soft is a rounded, friendly version of Cynosur, a humanist sans with a subtle thick/thin stress. This gives it a clean, sharp elegance and precision that can be missing in some more familiar monoline sans faces. The wide range of weights and the matching reweighed italics make it a versatile solution where a consistent appearance across a broad range of applications is required. Its clear and inarguable design make it suitable for a wide variety of uses, from corporate to entertainment, text to headline, signage, logotypes, magazines and reports. The italics retain the design of the upright across all characters, again ensuring consistency. Includes tabular, lining and old-style numerals.

Silverland is a revival of an old type font from the Bruce Type Foundry of New York, the original font from 1874 included uppercase only plus 22 end caps. This 21st. century version has been expanded to include many more decorative end caps plus new lowercase, small caps, italic, italic small caps, swash, swash small caps and gothic version. Approximately six months of painstaking work has gone into making this font family over the last 22 months. The OpenType versions of Silverland include between 230 and 370 kerning pairs each setup as auto ligature replacements, you will need an application such Adobe CS products in order to take advantage of this OpenType feature.

Silverland is a revival of an old type font from the Bruce Type Foundry of New York, the original font from 1874 included uppercase only plus 22 end caps. This 21st. century version has been expanded to include many more decorative end caps plus new lowercase, small caps, italic, italic small caps, swash, swash small caps and gothic version. Approximately six months of painstaking work has gone into making this font family over the last twenty two months. The OpenType versions of Silverland include between 230 and 370 kerning pairs each setup as auto ligature replacements, you will need an application such Adobe CS products in order to take advantage of this OpenType feature.

Technology is making it so that we’re all connected without the need for the physical-presence kind of being connected. That is strange, fascinating, and has a certain magnetism that is very difficult to resist. What’s at stake is no less than the transformation of centuries of human behaviour, and that’s part of the fascination. But while our existence morphs and we rush headlong into our socially minimalist future, we use our present culture to helplessly signal our nostalgia about our past. We know what our future will be missing, and we’re already full of nostalgia about it, but we know that what little we can do about isn’t going to affect the outcome that much. So, almost in full hindsight now, the DIY implosion of the past few years must have really been a reaction to our technological dis/connection. In typography, the minimalist future is already here, with something as austere as the sans serif having become the preferred expression of progress and fortune, both part of the connected isolation we are undergoing. But when physical interaction must take place, like coffee shops and gin joints, our organic alphabets ride high and mighty. That sense of human heritage — elegance and exuberance in our writing, the use of flaws to charmingly brand our own individualism — keeps turning up in all kinds of places, most unexpected of which is the digital world. The overall message seems to be that we’re still creative, imaginative, and unique. In the digital world, on blogs where we write about our puny music and fashion preferences, we’re just articulating this individualism of ours, this third domain of existence our future seems eager to dismiss. These were the thoughts behind Blog Script, the second collaboration between Carolina Marando and Alejandro Paul, after their successful stint with the Distillery set of fonts. This typeface comes in two weights, alternates for most letters, and a strong aesthetic rooted in individuality and freedom of spirit. Use it to be alone together, to tell the world that we’re still human, for now.

It was the original work of fifteenth century designer Nicolas Jenson that formed the basis for this roman serif style developed by Ernst Detterer in 1923. Similar in spirit to other early twentieth century revivals such as Centaur, Cloister Old Style, and Italian Old Style, Nicolas Jenson is distinguished by its pristine and delicate nature. A gifted young apprentice to Detterer, Robert Hunter Middleton, greatly expanded the family. And by 1929, bold, italic, and open were part of the Ludlow Foundry’s beautiful Nicolas Jenson Series. It was reintroduced under a new name, Eusebius, in 1941. This digital version includes a new medium and extrabold weight with intermediate small caps and swash alternates throughout the family. There is also a regular expert version with a variety of currency symbols plus a regular petite caps (regular x-height small caps) and old style figures version. Nicolas Jenson is now available in the OpenType Std format. Small caps, old style figures, and swash alternates have all been combined into one style for ease of use. You will also find an additional regular petite caps version included with the regular style. Some new characters have been added as stylistic alternates and historical forms. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

The joy of pure geometry, revisited. Geometric typefaces are a staple in every typographer’s toolbox since the 1920s. It was a time when iconic faces such as Futura, Erbar, and Kabel appeared on the scene and turned the world of type upside-down. Inspired by those early giants as well as later epigones with a legacy of their own (such as 1970’s Avant Garde Gothic), Flink is the Identity Letters take on this genre, characterized by a clean and focused appearance. With neat shapes and the look of pure geometry, Flink adapts to a vast range of applications and topics, from the fine print in contract to website body copy to logo design to billboard-size slogans. Its x-height is considerably larger than in classic geometric sans-serif fonts; its proportions are harmonized as opposed to strictly constructed. This makes for a more contemporary look, setting it apart from the classics. To further reduce the rigidity of a purely geometric composition, you can replace some letters with more humanist alternates, such as a, g, j, etc. This font family comes along in 8 weights from Thin to Black. Each weight consists of an Upright and Italic version. There are more than 750 characters per style, including two stylistic sets that offer variations to the look and feel of Flink, making it even more versatile. Plenty of additional Open Type Features like ligatures, case sensitive forms, old-style figures, and symbols make Flink a valuable tool for the discerning typographer. Flink is the reimagination of a classic genre, designed to suit the needs of our time. ––––– Please note: There is an upgraded Version available: Flink Neue

Farm Wave Regular & italic - beauty font design include regular & italic font Image used : All photographs/pictures/logo/vector used in the preview are not included, they are intended for illustration purpose only.

Inspired by butcher shop and supermarket window advertising, Beefcakes™ emulates "big brush” style lettering – with a contemporary twist. Not for the typographically timid, this is a design that makes a powerful and friendly statement in print and on screen. Advertising headlines, posters, cover art, menus and packaging are all in Beefcakes’ wheelhouse. While it would be a little crowded on small screens, big type in web sites and games are also part of Beefcakes kit-bag. Drawn by Jim Ford, Beefcakes’ big, sassy and playful shapes are sure to grab attention. Its letterforms are dense and sturdy – yet soft and welcoming as your mom’s old couch. The suite of Beefcakes fonts is available as all-caps designs with small caps, in roman, italic and shadow flavors. As a nod to the typeface’s inspiration, Beefcakes fonts also include a set of decorative abbreviations (lb, oz, kg, in, etc.) for bold signage and showcard-style displays.

Cadmium has a comprehensive latin character set and many Opentype features to enhance text, including small capitals, case-sensitive forms, superscript and subscript. Plenty of numeral variants include old-style figures, lining figures and fractions. Default numerals are proportionally spaced. Alternative styles for a handful of key characters provide some useful variations where stylistic sets can be implemented. The fonts are presented as four width-based sub-families: Expanded, Normal, Condensed and Compressed. Each width has a matching range of six weights and italics (obliques). Regular and Bold weights are style-linked, together with their respective oblique forms. Each width differs in its basic construction but all fonts share the same vertical metrics and may be used in combination with each other. Letter spacing is optimised for text sizes but is tolerant of significant tracking changes. Cadmium is good for signage, publicity and packaging, screen credits and titling, general print and publication, as well as web and screen applications.

We have grown a new flower in our Garden, but this time, in a more emotional way, capturing its vibrations and using them to create a fresh handmade typeface: ‘Bach’, a display type system inspired by the new lifestyle trends that look to go back to basics and increase the value of old natural healing methods. Bach comes in two styles: a 6-weight Serif font in regular and italic versions, and a 2-weight Script in regular and bold versions. Ornaments are also included! Bach Script is based on the calligraphic catchwords set (handcrafted with brush pen) and the Serif version of the Garden typeface. This font is the perfect choice for labelling, packaging, illustrated books and posters. Go back to nature and feel the vibration again, this time with Bach! Bach is a Mendoza Vergara Studio design with the collaboration of Cecilia Mendoza in digital editing, under the supervision of Luciano Vergara and Coto Mendoza.

Destra is a contemporary, narrow serif family, suitable to save space and legible at small sizes. Its shapes are the result of a mix of styles. "Destra" is the Portuguese word for "right hand". The font has several OT features - fractions, old style-, lining-, tabular numbers, superiors/inferiors, alternative glyphs, dozens of ligatures (standard + discretionary) and an exclusive feature to convert Arabic to Roman numerals up to 1000 (download the “OT Features Guide” pdf). Moreover, Destra has an impeccable technical finish, with a systematic review of nodes, curves, spacing and internal data, eliminating the possibility of errors when using it. The family consists of 8 styles, 4 weights - Regular, Medium, Bold and Black, plus their respective italic versions. The fonts are available in OpenType PS/TT and have extended character set to support CE, Baltic, Turkish as well as Western European languages. You can test Destra downloading the free trial font in Medium version (TT only). This trial file supports only Western languages.

ITC New Winchester is a revival of a typeface that never really had a first release. The original Winchester was an experimental design created by the American type designer W.A. Dwiggins in 1944. Dwiggins was interested in improving the legibility of the English language by reducing the number of ascenders and descenders; to do this, he gave Winchester very short descenders and created uncial forms for a number of letters. The result was a distinctive text typeface that was occasionally used by Dwiggins and Dorothy Abbe in handset form. Fifty years later, Indiana type designer Jim Spiece has turned Dwiggins's experiment into a new family of digital text types. Spiece gave New Winchester a bold weight, as well as small caps (both roman and italic) and old style figures; he also created two forms of the lowercase f, one with and one without an overhang (in metal type, a kern), and a full set of f-ligatures.

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 give the typeface a touch of beauty and elegance. However, this is also a self-conscious design that claims appreciation for quirkiness and human imperfection through the rounded serifs and irregular vertical stems. The typeface family is also a multi script project, containing Latin and Arabic scripts. The Latin consists of Regular, Bold and Italic styles, including Small Caps and many other typographic features. Whereas Arabic Naskh includes Regular and Bold weights. The whole family has been designed to work harmoniously together to help to produce catalogues and small publications of cultural content. We believe that Baldufa is a tiny but nice contribution to build bridges between cultures and this make us very happy. The letterforms in the Latin 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. To certain extent, the design of the Arabic gathers the same interest for experimentation than its Latin companion. Baldufa Arabic respects the basic features of Arabic script such as thick stokes in the baseline, multiple vertical axis, genuine stem modulation and good linking between words. However, it steps away from traditional Calligraphic Style. It has rounded top terminals and the traditional contrast between curves and straight stokes has been softened. Letter shapes sometimes slightly differs from tradition in order to obtain more expressivity. Overall, Arabic has been designed to acquire the same elegant and quirky aspect of the Latin.

Cift Serif is inspired by the work of charming lettering artists with a combination of Old Style Display Bold. Each letter is modified so that the distance, width and weight can give the beauty of the alternates given. A passionate curve gives a touch of beauty to this font.

Ailey Display is inspired by the work of charming lettering artists with a combination of Old Style Display Bold. Each letter is modified so that the distance, width and weight can give the beauty of the alternates given. A passionate curve gives a touch of beauty to this font.

Moonbandit proudly presents Bad Motor typeface, a powerful bold vintage font. Inspired by the glorious old world of route 66, Bad Motor is perfect for that retro look and feel for your projects. This typeface is maxed with anarchy, attitude and attention. OpenType features include ligatures and kerning.

Aeonian, designed by Emilia Adorno, was mostly inspired by the iconic morphology adopted by the arts of the 1920s. One hundred years later we can still see the resemblance between the wants and the needs of now and then to reach for the sky, to look ahead and enter the future in style. Now as then, we seek the right tools to do so, then once again, we embrace the rational, yet elegant and stylish forms of simplicity, geometry and symmetry. At the same time, there is a strong and growing need for a warmer approach to creating lovemarks. For that, Aeonian’s alternates hold attractive, soft and inviting shapes to an emotional appeal. Aeonian is a combination of all of them. A rational side entwined with an emotional one. Born a geometric sans, Aeonian ended up being a 2 in 1 font with a sans serif set and alternates reaching over 1200 glyphs. The entire family contains 6 weights, from thin to black, with its matching italics. It features a variety of ligatures to be used as connectors, specially for display. It also offers multilingual support, even for certain display ligatures. Later, Aeonian kept growing, with stylistic alternate sets of initial, mid and final glyphs. These are its arms to reach for infinity with a warm heart. The wide range of possibilities that Aeonian offers, makes it the best font for creating vast design systems with a rich visual language.

Lichtspiele Reklame is the ultra condensed version of Lichtspiele inspired by the 1920s — the golden age of cinema — where neon lights and marquee letters decorated cinema facades. Lichtspiele Reklame is crafted for large narrow formats and contains the display font and two italics (italic & contra-italic), like in these 20s, a time where movie announcements were shown on huge so called Litfaßsäulen.

Refrankt is a multifunctional sans-serif type family with 18 styles, ranging from Thin to Black with matching italic styles. The key visual feature of Refrankt is its wider characters and expanded proportions, which accentuate the character of the type family and extend its application. Refrankt works well as a display font but can also be used comfortably in headings and larger bodies of text. Refrankt offers a clean and thoughtful take on the functional grotesque sans-serif style and can be used in a wide variety of projects, from UI/UX design to packaging and branding. It can also be employed as a font for logos and word marks. Whether you're looking for bold, sturdy letterforms or dynamic flexibility, Refrankt readily adapts to any task. Refrankt would look at home in projects related to technology, athletics, industrial design and many more. The functionality of Refrankt is defined by its multilingual support (200+ languages) and its extensive OpenType features, such as Case-Sensitive Punctuation and Stylistic Alternates, among many others. In addition to a standard set of figures, Refrankt includes tabular figures, old-style figures, superiors, inferiors, and fractions. The entire character set comprises over 800 glyphs. Free trials available on our website: https://groteskly.xyz/ Refrankt Features: • 18 Fonts (9 Upright & 9 Italic) • Variable Font • 800+ characters/font • 200+ languages supported • Extensive OpenType Features • Versatile and Multifunctional

The long awaited full version of Poster, a recreation of Bodonian/Didot excess designed by Iñigo Jerez. The family has been finely improved with more styles. The family consists of: Poster and Poster Italic, a bolder version named Poster Monster and Poster Monster Italic– a virtuoso exercise in counter forms and contrast to be used with power unleashed, as the name suggests–; and finally Poster Display, Poster Display Italic, Poster Display Monster and Poster Display Monster Italic: four styles designed for even bigger sizes, with more contrast and splendor.

A modern san serif typeface with a humanistic influence. The intention was to create a clean, functional design that would also have an elegant appearance. Careful attention has been paid to proportions and purity of form to help improve readability across text layouts. Details include 8 weights with italics, 540 characters with old style and tabular numerals, stylistic alternatives, manually edited kerning and Opentype features.