MIX SONIC is a font pair inspired by the night sky. You get a round, bouncy and plump decorative san serif in MIX SONIC MOON and an all-uppercase and moon and stars dingbat hybrid in MIX SONIC STAR. The shapes of these glyphs capture the various phases of the moon, and how it lights up eerily lights up the night sky at each phase. MIX SONIC MOON and MIX SONIC STAR are great additions to your font collection. Make it a go-to font for all your projects of the mystic, astrology, magic, zodiac, elemental, witchcraft or divine variety. Use together, or separately, both font sets are sure to delight! MIX SONIC MOON comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()`~♥♥✿•· ÷×+−±≈=≠≥≤[]<>:;’”,.\|/?{}“”‘’-–—_… ©®™‹›«»°¹²³ªº¡¿₱¢€£¥½¼¾¶§№† ÁÀÂÄÃÅĂĀĄÆĆĈČÇÐĐÉÈÊËĖĒĘĜĤIÍÌÎÏĪĮĴŁŃÑŇÓÒÔÖÕŌŐ ØŒŔŘŚŜŠŞȘŤȚÚÙÛÜŮŰŬŪŲẂẀŴÝŶŸŹẐŽŻÞẞ áàâäãåăāąæćĉčçðđéèêëėēęĝĥıíìîïīįĵłńñňóòôöõōő øœŕřśŝšşșťțúùûüůűŭūųẃẁŵýŷÿźẑžżþß MIX SONIC STAR comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstu-vwxyz 0123456789 !@#$%^&*()`~+= []<>:;’”,.\|/?{}“”‘’-_‹›₱¢€£¥ Fellow witches, enjoy!

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

Romantica Story Script Font is a monoline script font with much fiture. It comes in uppercase, lowercase, ligature, stylistic alternate, swash, and support multilingual. Romantica Story font is perfect for logos, branding, greeting cards, quotes, packaging, posters, advertising, name card, website, design title, blog header, art quote, typography, invitations, apparel, photography, wedding stationary, labels, and every other design which needs an unique and luxurious touch.

Step into the future with Daphyre, the ultramodern headline typeface that’s out of this world. Its soft edges and techno strokes will transport you back to the magnetic ink (MICR) inspired display types of the 1960s, while its wide, stark letterforms and massive x-height will have you feeling the Y2K vibes. Daphyre’s design is sleek and refined, eschewing the zany take on the MICR style for a more austere approach. The stroke logic emphasizes verticals, making each letterform stand out in its own right. The result is a sumptuous typeface that oozes sophistication and luxury. With Daphyre, you can make a statement that is both bold and elegant. Use it to convey high-end electronics, opulent weapons, and luxury vehicles, or let your creativity run wild and experiment with its myriad of possibilities. So why wait? Grab Daphyre today and step into the future with confidence! 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.

The Generic Typeface Collection is a series of sans-serif typefaces inspired by the craftsmanship of graphic design, typesetting, and printing in the analogue era – before Adobe, Macintosh computers and desktop publishing – when dinosaurs ruled the earth. With the use of various typesetting apparatuses or dry transfer type, photo copiers, and shooting layouts and paste-ups to film, the printed results was not as exact, precise and predictable as it is today. When examining old prints, it is difficult not to like the way that characters in over- or underexposed film have a special type of vibe to them that is often sadly lost in today’s pursuit of total perfection. Encouraged by this, I saw a need for a collection of typefaces that are non-clinical and non-conformist, and some that are coarse, rough and distorted – errors that might come from poor exposure when put on film, enlargements from small point texts, or maybe quality loss from successive generations of photocopies. Or all of the above. This is an attempt to incorporate spirit and personality into a set of typefaces without losing distinction. You might call it a homage to non-perfection. I call it human. The Generic Typeface Collection consists of 11 fonts divided into four series. The three standard series – the Formal Release series, the Coarse Copy series, and the Rough Display series – all contain three fonts each. The Extra Splendor series contains a couple of shadow fonts for that little extra sparkle. Formal Release – Handcrafted & Clean The Formal Release series features sans-serif typefaces for everyday use. They are handcrafted and clean, human and uncomplicated. The Formal Release series contains three typefaces that add tons of personality to any text. G10 FR ‘Slim’ – a slightly under-exposed and clean typeface in a regular weight (228 glyphs - 1 alternate) G20 FR ‘Classic’ – a properly exposed clean typeface in a bold weight (228 glyphs - 1 alternate) G30 FR ‘Bulky’ – a heavily over-exposed clean typeface in an ultra weight (228 glyphs - 1 alternate) Coarse Copy – Dirty & Rough The Coarse Copy series features non-conformist typefaces that are worn and rough, maybe after going through that bad copier a few times too much. The Coarse Copy series contains three sans-serif typefaces that add tons of spirit to any text without compromising too much on legibility. Try them on in poster-sizes and everyone will know that you mean business. G40 CC ‘Slender’ – an under-exposed coarse typeface in a regular weight (228 glyphs - 1 alternate) G50 CC ‘Typic’ – a properly exposed coarse typeface in a bold weight (228 glyphs - 1 alternate) G60 CC ‘Huge’ – a heavily over-exposed coarse typeface in an ultra weight (228 glyphs - 1 alternate) Rough Display – Faded & Decorative The Rough Display series features attention-seeking decorative typefaces in three feature-packed fonts. Faded and gritty like the image distortion and degradation from successive generations of photocopies, they are eye-catching typefaces intended to stand out in bigger point sizes. Use these typefaces for signage, headlines and similar situations were a strong typographic statement is desired. We have packed no less than 1,334 alternate characters and 212 discretionary ligatures into this series for a greater chance of not having characters that look exactly the same more than once. G70 RD ‘Slinky’ – an under-exposed rough and decorative typeface in a regular weight (741 glyphs – 448 alternates – 66 discretionary ligatures) G80 RD ‘Standard’ – a properly-exposed rough and decorative typeface in a bold weight (748 glyphs – 448 alternates – 73 discretionary ligatures) G90 RD ‘Swollen’ – a heavily over-exposed rough and decorative typeface in an ultra weight (748 glyphs – 448 alternates – 73 discretionary ligatures) Extra Splendor – Sparkling & Extraordinary The Extra Splendor series features two shadow typefaces for that little extra sparkle. One clean shadow to be used with G20 FR ‘Classic’, and one rough shadow to be used with G80 RD ‘Standard’. Having the shadows separate from the main typeface adds another layer of expressiveness in that you can try out color combinations for that extra splendor. Tips for matching (applies to both the base font and the shadow font): Set the kerning to Metric, not optical. Increase tracking to accommodate for the shadows extra width. G25 ES ‘Classic Shadow’ – a clean shadow to be used with G20 FR ‘Classic’ (228 glyphs – 1 alternate) G85 ES ‘Standard Shadow’ – a rough shadow to be used with 80 RD ‘Standard’ (227 glyphs) OpenType features – alternate characters and discretionary ligatures – can be accessed by using OpenType friendly professional design applications, such as Adobe Illustrator, Adobe InDesign, and Adobe Photoshop.

Nulshock, the name itself invokes images of a bold, industrial design, with sleek, precise lines and curves that scream of the latest high-tech advancements. This typeface is not for the faint of heart, as it delivers your message with an unapologetic, explosive impact that will leave a lasting impression. Designed with the utmost attention to detail, Nulshock’s precise mechanical curves and accurate optical adjustments make it a natural fit for even the most demanding of high-tech environments. Its ultra-modern design and wide, industrial style set it apart from other fonts, making it the perfect choice for headlines, labels, indicators, logos, product names, and titles. And with a range of seven weights to choose from, you can fine-tune Nulshock’s visual impact to suit your specific needs. From the lightest weight for a more delicate touch, to the heaviest weight for maximum impact, Nulshock has you covered. But Nulshock isn’t just a pretty face—it’s also highly functional. With a wide range of symbols, including mathematical symbols, monetary symbols, fractions, and numeric ordinals, Nulshock is a versatile tool for any design project. In short, Nulshock is a font that demands attention, and it delivers on that demand with an ultra-modern, wide design that is optimized for high-tech environments. So if you’re looking to make a bold statement with your next design project, Nulshock is the typeface for you. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

TwentyFourNinetyOne [2491] is a reinterpretation of the alphabet of 1919 by Theo van Doesburg; the original a true rendering of the thinking of the Dutch-based art movement “de Stijl.” Jump forward to 1980 and prop lettering used on the Buck Rogers in the 25th Century television series; a vernacular typeface that was a utilitarian mix of geometry and pixel-based forms, used to symbolize the futuristic universe of 2491. At times it would appear on spaceships, laser guns, signage at space ports or in one episode, a Spandex tapestry. It only seemed logical to combine and rethink the letterforms, add ligatures + other extras, and see what the results would be. Futuristic, fun and bold to read! 2491: In the future, all type will look like this.

Heket was a goddess of childbirth and fertility in Ancient Egypt. She was depicted as a frog, or a woman with the head of a frog. Frogs symbolized fruitfulness and new life. Heket font is an expressive handwritten font, it is available in four versions: Regular and slanted. They have many advantages of the OpenType futures to choose from: stylistic alternates, swashes, contextual alternates, and a full set of standard and discretionary ligatures. Heket supports all diacritics for CE languages; they come also with a huge variety of ornaments, underlines, beginnings and word endings that will allow you to work in a creative way. They've been specially thought to use in packaging design, children books, advertising, logotypes, greeting cards, web sites and much more.

Ghimli Antique was created using the ping-pong method, based on the graphic idea of Artem Rulev and the participation of Vladimir Anosov in the future. Then we sent the font file to each other, adding something of our own and making corrections, and so on many times. Ghimli Antique has already managed to get 2nd place in the Granshan competition in the Cyrillic section. The name was obtained by combining the name of the dwarf Gimli and Studio Ghibli. The font is quite evil, incredibly dense, bold. It looks like when the dwarves closed ranks and go to defend their lands from the invasion of the orcs. Suitable for short word design, logo creation, menu layout and use in movies about gnomes and anything fantastic.

created in 2023, Tyneside is corporate and not too eccentric, but still has a strong character that makes it a the perfect starting point for the new Tyneside text font family. Clarity is very important when displaying a lot of information on the screen. The ranking table is full of names and times and while the display typeface should stand out, the text pieces should be eye-catching and very legitimate. We sharpened the corners, made some shapes easier to read and more modular, clean and sporty overall. We are very satisfied that Tyneside managed to capture the “spirit of sporting enthusiasm” in the personality of the typeface. We hope to create a growing family of typefaces in the future and maintain our partnership

The term Old West conjures up memories of vintage movies and TV shows featuring saloons and dancehall girls. Old wanted posters and cowboys. Rowdy prospectors in the Goldrush, mountains and lots of wide open space. Many of the lettering styles of those days are still in use, reflecting the past, present, and probably the future here. Western style fonts appear in the signage of bars, restaurants, casinos and ski areas. It's a style that speaks of the way it once was in a nostalgic way. This family of three fonts pays tribute to the Old West and its colorful history, with a semi-plain style, a decorated style, and a really lively rendition of our gaudy and raucous history from a century or more ago.

RAXON is a futuristic mecha typeface. Highly inspired by industrial vibes and future-themed mecha-robots. Font design will make your project more powerful and inspiring. Perfect for headlines, billboards, magazines, websites, titles, posters, branding, thumbnails, creative logos, and many others. We are always passionate about bringing new futuristic typography to market. This time we present a special futuristic font for you. **What’s Included:** - File font - All glyphs Iso Latin 1 - Ligature, Alternate - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support Thank you for your purchase!

Mestika is a resinous spice, in Arabic means gum, the name is Mestika cause the mestika has a mixture of sharp edges and cursive connections, that mixture gives the typeface an edge to stand out, a low contrast sharp design with 9 weights making it works well with text and headlines. The design is a collaboration with the Iranian designer Kamyab Jafari, The typeface is a modern design, and has a wide range of ligatures and features for better justifications. The typeface comes with 9 weights, and works in variable axes, the typeface now supports only Arabic-based languages, but in the near future, it would support Latin-based languages, the Typeface is based on Naskh calligraphy, something in between the Iranian and the Arabic styles.

Lirio is a decorative and expressive typeface, it’s elegant yet eccentrically handwritten font. Lirio is presented in two versions: Regular and Slanted. They have many advantages of the OpenType futures to choose from: stylistic alternates, swashes, contextual alternates, and a full set of standard and discretional ligatures. Lirio supports all diacritics for CE languages; they come also with a huge variety of ornaments, underlines, beginnings and word endings that will allow you to work in a creative way. Lirio can fit into many clients’ design brief. They've been specially thought to use in packaging design, children books, advertising, logotypes, greeting cards, restaurants, web sites and much more. These fonts may enlarge your graphic capabilities and your work can be more competitive.

Wisdom Teeth is the fifth typeface released by DM Founts. It's a modern and personal take on the original Baby Teeth font by Milton Glaser, and inspired by the lettering used for the Pac-Man series of games (and its clones). This typeface was around 25 years in the making, and was made in response to the large number of hideously bad clones of Baby Teeth circulating around the Internet. Version 1.0 Included in Version 1.0 are a number of accent characters, and alternate characters for A and Y, along with the usual ASCII characters. For the time being this is an all caps typeface. Please let me know your thoughts and suggestions, and I may add some more characters in the near future.

Hand lettered titling on the 1945 sheet music for “Don’t Forget To-Night, To-Morrow” is in a simple, condensed sans serif style with a slight hint of Art Deco influence. This is now available as Handmade Headline JNL, in both regular and oblique versions.

Introducing Night Crow . A display deathmetal font. This font is inspired by underground and metal music band logostyle. There are alternate directions of the thorns (right and left), alternate is in lowercase. I purposely made the spines a little so that the font can still be read. Night Crow is suitable for death metal music, underground, hardcore music, blackletter, death metal logo design, clothing, logos, music covers, posters or other designs with the theme deathmetal.

The market for humanistic sans serif type families is saturated, so what can a new release add, and what does it take to stand out from the crowd? Asterisk Sans Pro (named after my favourite glyph to make) aims to be a highly versatile type family; massively useful due to its pan-European language support and bounty of OpenType features which make it the ideal choice for demanding typography. The look is contemporary; details which give the fonts character at large sizes all but disappear when small, making the middle weights suitable for large chunks of text. The family ranges from a hairline ultra light to a pretty weighty black – a must in a new typeface. Asterisk Sans Pro supports Latin, modern Greek and Cyrillic, with localized forms for Bulgarian, Serbian and Macedonian to boot. This is rare enough, but to have small caps for all these scripts in both upright and italic fonts is a big plus. Your client may not need all this language support right now, but this typeface gives them the option to grow while keeping a consistent look, and at a similar price point to families with a much narrower scope. The ability to customize Asterisk Sans Pro through the use of Stylistic Sets in OpenType savvy layout programs means you are really in control. Want more italic forms in the uprights? Go for it. A more Roman italic? Easy! The spurless m, n, r and u, accessible through SS13 give a graphic, almost bauhaus feel. The Dutch IJ glyph can be changed to a much cooler thing using SS14, and the family even supports ij-acute. Other OpenType features include a wealth of numeral styles (tabular and proportional, lining and oldstyle, plus small cap figures, numerators, denominators, subscript and superscript) and automatic fractions. There are also case-sensitive forms for all caps settings, a bunch of useful arrows, and superscript lower case Latin letters. All in, there are well over 1200 glyphs per font, making Asterisk Sans Pro an invaluable tool in your typeface arsenal, great for everything from corporate identities to editorial work, apps to cookbooks.

My goal was to make a design that might fit in anywhere,” says Jim Ford about his Quire Sans™ typeface. “I wanted it to be highly functional and sexy at the same time.” With one foot comfortably in the realm of oldstyle design and traditional book typography, and the other in evolving electronic media, the Quire Sans family does, indeed, fit in just about anywhere. As for sexy, someone once quotably wrote, “A great figure or physique is nice, but it's self-confidence that makes someone really sexy.” Yes, Quire Sans is sexy, performing confidently in virtually any setting. 2014-06-26 00:00:00.000 57.9900 F43063-S193385 42831 Neue Frutiger World Monotype https://www.myfonts.com/collections/neue-frutiger-world-font-monotype-imaging https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/279026_ed8c8093fe1ac59ebe9e3ee1d9262c8e.png Neue Frutiger World is designed for global use with an impressive range of 10 weights, from Ultra Light to Extra Black, with matching italics. It embodies the same warmth and clarity as Adrian Frutiger’s original design, but allows brands to maintain their visual identity, and communicate with a consistent tone of voice, regardless of the language. Neue Frutiger World supports more than 150 languages and scripts including Latin, Greek, Cyrillic, Georgian, Armenian, Hebrew, Arabic, Thai and Vietnamese. “Before Neue Frutiger World it was not an easy task for western brands to find families in Arabic, Hebrew, Thai and Vietnamese which match with their Latin,” says Monotype type director Akira Kobayashi, who led the Neue Frutiger World project. “They may find a type with closer expression, but there was no guarantee if the bold version in the non-Latin family matches the bold in their Latin. Neue Frutiger World offers a better solution.” In addition to Neue Frutiger World’s linguistic versatility, it works hard across environments – suited to branding and corporate identity, advertising, signage, wayfinding, print, and digital environments. The Neue Frutiger World fonts can be paired with Monotype’s CJK fonts: M XiangHe Hei (Chinese), Tazugane Gothic (Japanese), Tazugane Info (Japanese), and Seol Sans (Korean). These were all designed to address brands’ needs to expand into Asian cultures and solve for global typographic challenges.

Viktorie might easily be mistaken for the handwriting of a note-taker in a hurry: it looks swiftly jotted down. These energetic characters pay little heed to such arbitrary contraints as baseline or x-height -- taken together, they give the effect of casual penmanship that's both curiously legible and inspiringly unleashed. Viktorie has a single, medium-light weight and comes, of course, with a full character set.

Pulchra is a stylish Brutalist font. The font displays a playfulness personality, vitality, with a strong and elegant appearance. The typeface has the right visual consistency for branding communications. It comes with unique lower and uppercase plus numbers, punctuation & multilingual letters. Its thick curves give the 60s & 70s groovy vibe. What you get: - Letters, numbers, punctuation, multilingual support, alternate and ligature - Light, Regular, Medium, and Bold version.

Meet Salmond, a geometric and modern sans serif font designed with a tight letterspace, exuding a unique, minimalist charm. Consists with six weights, ranging from Light, Regular, News, Medium, Semibold, and Bold, matching with Oblique styles and multilingual support. This font family offers versatility for various design needs, designed especially for display such as titles, branding, logos, books, UI/UX, and impactful editorial work.

Elemental is a font created in 1997 and launched in 2001. It is a Sans Serif of humanist type and its principal characteristic is a hybrid between different form of calligraphic outlines. In 2010 it was redesigned for Chile’s bicentenary in Opentype version and an improved italic. It is offered in eight weights: Light, Regular, Bold and Extrabold and small capitals for each one of them.

Inspired by a biography of Coco Chanel and trying to capture the quintessential mood of classical fashion elegance, Cosimo Lorenzo Pancini designed Coco Gothic looking for the effect that the first geometric sans typefaces (like Futura, Kabel or the italian eponyms like Semplicità) had when printed on paper. The crisp modernist shapes acquired in printing charme and warmth through a slight rounding of the corners that is translated digitally in the design of Coco Gothic. This signature touch is enhanced by the inclusion of light humanist touches to the proportions of the letters, resulting in the unique mix that makes Coco Gothic one of our best sellers, with a look that is both contemporary and vintage. After six years from the original project (that has spawned in the meanwhile successful families like Cocogoose and Coco Sharp), we went back to the design to completely redraw and expand the original family, creating with a Pro version that has better on-screen readability, a wider weight range, variable type versions and more language coverage (with Coco Gothic Arabic adding a new script to the latin, greek and Cyrillic of the original). Coco Gothic Pro comes in three subfamilies, each with seven weights with matching italics and featuring an extended character set with open type support for small caps, ligatures, alternates, European languages, Greek and Cyrillic alphabets. The original, body-text optimised Coco Gothic and Coco Gothic Alternate subfamilies have been kept for compatibility with the previous version, while a new Coco Gothic Display subfamily has been developed with a complete redesign aimed at display usage, featuring tighter spacing and optimised letterforms. A distinguishing feature of Coco Gothic Pro is the inclusion of ten alternate historical sets that allow you to use the typeface as a true “typographic time machine”, selecting period letterforms that range from art deco and nouveau, to modernism and to eighties’ minimalism. Equipped with such an array of historical variants, Coco Gothic Pro becomes an encyclopedia of styles from the last century, ready to transform itself and adapt to the mood of your text.

MT Bleu Feelin — is a display font with a monospace typographic feel. Please pay attention to Small Caps, Oldstyle Figures, and Alternates. Good for music album covers, posters and magazines. Inspired by the electronic band from Bandung, Bleu House, which has a light and edgy electronic pop experimental music character, the idea emerged to create a font that changes from sound to visual language, namely font. The use of the design for this font is for Display, and while it is issued one regular weight, in the future will develop multiple masters and other experiments. The design concept of the MT Bleu Feelin Mono Regular font is to take a 45 degree diagonal and geometric cut technique. also every corner is rounded which gives a dynamic impression like electronic music. I created this font design because I like visual experiments, and applied it to the character of the font. By using monospaced font characters have an even width. This is a unique feature in that most fonts are 'proportionally' spaced with characters varying in width. While monospace is perfect in certain ways, it is a proportional font that reigns supreme. Proportional fonts are faster to read. however, the MT Bleu Feelin Mono Regular font is intended for display fonts. MT Bleu Feelin Mono Regular supports language settings - Western Europe - Central Europe - Southeastern Europe - South American - Oceania - Esperanto

Humanist 521 is a Bitstream digitized version of Gill Sans typeface. The font was designed by Eric Gill and released by Monotype circa 1928-1930. Gill’s design is based on the typeface of Edward Johnston, the innovative British letterer and teacher, designed in 1916 for the signage of the London Underground. However, it has more classical proportions close to those of old style serifs, and thus is more suitable for text setting. With distinct roots in handwritten scripts, Gill’s typeface is classified as a humanist sans serif and is very legible and readable in text and display work. Having been released more than 80 years ago, it’s still very popular and in fact is an icon of British typographic style. The Cyrillic version of Ultra Bold weight was designed by Tagir Safaev in 1997. Six text styles and Extra Bold style in Cyrillic were designed later by Vladimir Yefimov and Isabella Chaeva. The Cyrillic version, in addition to the original Bitstream implementation of Humanist 521, has an alternative numeral 1 with the traditional shape and a set of old-style figures. Rereleased by ParaType in 2013.

PF Bague Slab Pro draws its inspiration from early 20th century slabs and was designed as a companion to Bague Sans, a versatile monoline typeface with a distinct and eye-catching personality. Following its predecessor’s design guidelines, it overcomes the monotonous and mechanical rigidity of early geometrics by introducing subtle variations in stroke width and semi-wedge serifs rather than square slabs. These striking serifs, along with a mixture of attractive letterforms, exude a strong, modern and energetic personality at display sizes. On the other hand, at small sizes these distinct characteristics become subtle and the simplistic geometric personality of the typeface comes in place to offer a highly readable text. Bague Slab Pro is a very clean and legible typeface with a warm and well-balanced texture which is ideal for editorial design, branding and corporate identity. This superfamily includes 18 weights from Hairline to Ultra Black with a consistent and well-refined structure. The italics are slightly narrower than the romans with cursive characteristics. Each style consists of 718 glyphs with 13 opentype features and an extended set of characters which supports simultaneously Latin, Cyrillic and Greek. PDF Specimen Bague Slab Pro on Behance

Fixture is our massive 72-font take on plentiful offerings of the late 19th century’s typefaces, posters and wood letterpress sundry done in the Grotesk genre. Four widths ranging from Ultra Compressed to Expanded each come in nine weights and accompanying italics. Some common sans-serif alternates, such as the a and g, are included in all the fonts. The idea with this design was to put together a workhorse font family with enough functional flexibility to work in multiple environments, from the subtlety of magazine layout or film credits to the visual drama of billboards or packaging. Aesthetically speaking, it is quite interesting — though in retrospect quite unintentional — that each different width and/or weight of this face ended up pulling a different dominant trait from the melting-pot origins of the entire family. It’s almost like a tribute album to some famous band’s covers of older songs. It may also be a good conversation piece on our tools shaping the very things for which they’re used. Can’t really get any more post-Grotesk than this. In the 21st century, this is the one genre to rule them all.

Claymore is an ultra-condensed variable display typeface mainly created for expressive and decorative purposes. Enriched with a wide list of alternates and ligatures which cover a huge range of letter combinations, Claymore can become a powerful weapon to those, who want to make their typographic accents in design bright and unique. Two types of font files are presented to your attention. Check the font names. 1. Basic. Claymore Regular, Oblique, Regular Hollow, Oblique Hollow, Variable, Variable Hollow. Uppercase glyphs only 338 Glyphs including 60 alternates Latin, Latin Extended, and Cyrillic alphabets Two variable fonts to customize height and slant. 2. Basic + Ligatures. Claymore Ligatures Regular, Ligatures Oblique, Ligatures Regular Hollow, Ligatures Oblique Hollow, Variable Ligatures, Variable Ligatures Hollow. Uppercase glyphs only 338 Glyphs including 60 alternates 1054 Ligatures total value (527 unique as they are doubled to be uppercase and lowercase). Latin, Latin Extended, and Cyrillic alphabets Two variable fonts to customize height and slant. Advice on ligatures usage. Ligatures work properly only with uppercase or lowercase typing like UTU or utu. Combination of uppercase and lowercase letters like uTu or UtU will not be considered as ligature. Enjoy using!

Avineo is a unique modern display typeface, which comes with a set of creative lowercase characters. The Avineo typeface has an ultra-fat look, which makes it perfect for logo and poster design. The Avineo typeface also comes in three styles, Regular, Outline and Extended, each style has an oblique version. The Avineo typeface comes with multilingual support for languages such as: Danish, English, Finnish, French, German, German (Switzerland), Norwegian Bokmål, Norwegian Nynorsk, Portuguese, Spanish, Swedish, Swiss German. The Avineo typeface has a unique design, which will make your next project standout. The Avineo typeface can cover a wide range of projects such as: brand packaging, brochures, magazines, logos, posters, flyers, book covers, quotes, branding, billboards, social media, pictograms and much more. If you are looking for something unique, bold and creative for you next project, the Avineo typeface is the font for you. WHAT YOU GET: Avineo Regular.otf Avineo Oblique.otf Avineo Outline.otf Avineo Outline oblique.otf Avineo Extended.otf Avineo Extended oblique.otf AVINEO INCLUDES A FULL SET OF: Uppercase and lowercase letters. Numbers. Punctuation. Ligatures. Alternates. Multilingual Symbols. We hope you enjoy using the Avineo typeface.

Benchmark Pro is a carefully structured geometric typeface which works amazingly well in body text due to its simplistic nature and large x-height. The design of Benchmark Pro started out as an attempt to convert the minimalistic structure of a technical and purely geometric design into a readable modern and friendly sans serif. This was achieved by selectively changing and turning the straight lines of the initial drawings into curves and applying legibility techniques to the transformed letterforms. These letterforms have a distinct personality which is bolstered by its angular curves and open counter terminals. The result is a contemporary text typeface that looks quite fashionable. Benchmark Pro gets away from the ultra modern and mechanical structure but keeps its display nature, it gets away from the classical but still remains legible. This robust san serif type family offers an extended character set which supports simultaneously Latin, Cyrillic and Greek. All Benchmark Pro font variants have a companion italic, rounding the total family members at 14 fonts. Each font includes more than 750 glyphs and is powered with 17 opentype features. PDF Specimen Benchmark on Behance

EraMax 123 is a multi-layered display geometric sans serif, meant to be set BIG, for large, colourful statements. It's the perfect face for packaging, posters & branding, where a strong, colourful voice is needed... Did I mention posters? The "Max" in EraMax comes from the ultra bold weight, but also, and mainly as a tip of the hat to Peter Max, the designer and artist, known for creating so many images which have come to be emblematic of the sixties and seventies. The bold gradient effects in some of his posters were the inspiration behind the dotted and striped layers. This font's vintage flavour truly stand out in a retro setting, but also has a modern flavour that lends it the flexibility to work well in a more contemporary context. This is the second of what is to be an extended family of typefaces based on the original hand painted signage found in the T. H. & B Railway station in Hamilton Ontario, a classic Art Moderne building, designed by the New York architectural firm of Fellheimer and Wagner for the Toronto Hamilton and Buffalo Railway line and completed in 1933.

A vintage hand-punched brass stencil for the Pasadena Playhouse spotted online was the basis for Theatrical Stencil JNL. Slight variations in the letter forms from other similar designs might not quickly be noticed, but there is always a charm in the hand-made look of any stenciled lettering.