Leroy is a font family of 5 members designed from geometrizing Roman and Gothic skeletons. Its purpose is to provide optimal reading of titles and paragraphs with strong mechanical flavor. Because of this, its variables are designed to sort information in media such as labels, signs and industrial atmosphere packaging related with the Soviet Union’s fonts in 1920. This idea matured white horizontal lines superimposed on alphabets drawn with an ancient architectural team known as “Leroy K & E Controlled Lettering System”. Then that evolved into a family concept unifying its proportion to the same X height for its members, resulting in a versatile type system. Therefore, Regular and Bold variables have low contrast between thick and thin strokes. Its upstream and downstream are extremely short, generating a suitable interline that clogs the vertical area. Its overall width equal to its X height, supports its tight spacing that compacts the horizontal area. Therefore, the variant with black caliber has plenty of contrast between thick and thin strokes. The light variable has a “blind” effect radiating light halos, ideal to propose hierarchies and combinations with orthogonal projection. In that sense, Leroy’s modular character reminds constructivist ideology merged with typographical variants suitable for graphic design with geometric look. To achieve this, I studied the softening of forms and counter blocks into a typographical system specially designed for composing useful information to attract attention. In that sense, the dingbats were obtained through a careful process of research and testings done with drawings that provided full and empty visual strategies that with the passage of time helped to forge the major decisions of a metamorphosis from industrial tools, birds and humans from pictogram mixing various genres.

The Journal Sans typeface was developed in the Type Design Department of SPA of Printing Machinery in Moscow in 1940–1956 by the group of designers under Anatoly Schukin. It was based on Erbar Grotesk by Jacob Erbar and Metro Sans by William A. Dwiggins, the geometric sans-serifs of the 1920s with the pronounced industrial spirit. Journal Sans, Rublenaya (Sans-Serif), and Textbook typefaces were the main Soviet sans-serifs. So no wonder that it was digitized quite early, in the first half of 1990s. Until recently, Journal Sans consisted of three faces and retained all the problems of early digitization, such as inaccurate curves or side-bearings copied straight from metal-type version. The years of 2013 and 2014 made «irregular» geometric sans-serifs trendy, and that fact affected Journal Sans. In the old version curves were corrected and the character set was expanded by Olexa Volochay. In the new release, besides minor improvements, a substantial work has been carried out to make the old typeface work better in digital typography and contemporary design practice. Maria Selezeneva significantly worked over the design of some glyphs, expanded the character set, added some alternatives, completely changed the side-bearings and kerning. Also, the Journal Sans New has several new faces, such as true italic (the older font had slanted version for the italic), an Inline face based on the Bold, and the Display face with proportions close to the original Erbar Grotesk. The new version of Journal Sans, while keeping all peculiarities and the industrial spirit of 1920s-1950s, is indeed fully adapted to the modern digital reality. It can be useful either for bringing historical spirit into design or for modern and trendy typography, both in print and on screen. Designed by Maria Selezeneva with the participation of Alexandra Korolkova. Released by ParaType in 2014.

“Loyolliams” is my first designed Latin typeface which has special meanings and unforgettable memories for me. The font's name, Loyolliams, consists of two mixed syllables stand for two different names. The first syllable is derived from the name “Loyola” and the second syllable is derived from the last five letters of the name “Williams.” These two names are related to “Concordia University”—located in Montreal in Canada—where I studied at a short academic term and spent in a very special period of my life in the late 2005. This renowned Canadian academic institution was created following the 1974 merger of “Loyola College” (1896) and “Sir George Williams University” (1926). This conglomeration formed “Concordia University” and the name Concordia itself was taken from the motto of the city of Montreal, Concordia salus (meaning ‘well-being through harmony’). This font comes in two different weights; light and regular. “Loyolliams” is a square, geometric, techno, and modern font. It is suitable for T-shirts, books' covers, websites’ addresses, advertisement light boards, and titles in technical, artistic, and other types of magazines and signboards. “Loyolliams” can be used also in posters, surfaces of electrical and electronic tools, digital devices and chips, geometrical machines, trucks, tractors, calculators, mobile phones, watches, laptops, personal computers, power equipments, digital cameras, technical magazines, and other digital and electronic tools. This fonts can be effectively used in titles especially when its uppercase and lowercase letters are mixed together and when it is used in its italic mode. "Loyolliams" is suitable for writing and printing small textual paragraphs in cards, magazines advertisements, and also posters. The main characteristic of "Loyolliams" Typeface is its non-curve style in most of its alphanumeric letters. The characters are deliberately designed to have only angular and square shapes.

Although geometric Sans Serifs have been in vogue for nearly a century, they have never been as ubiquitous. It is not improbable that the old adage would be phrased: “When in doubt, set it in geometric sans”, had it been composed today. Have we not had enough? We think, not. Postmodern times demand a variety of expressions. The vision behind Geometria was to revisit the perennial favorite to lend subtle individuality to its tried and true forms. Geometria stands out in the crowd of similar fonts thanks to its complicated nature. It combines dynamic elements with a certain degree of stability. A slightly higher waistline of the capitals contributes to their distinctive appearance. If the upper case refers to the American grotesques of the 19th century, the lower case tends toward the forms of the Renaissance in its proportions. Geometria is a typeface of clean shapes that is well-suited for continuous reading, and it sets remarkably well. At the same time, it can be friendly, even flirtatious. Its distinct personality combines seeming opposites. At times it may appear serious, at times playful. On occasion, it may be deliberate, other times dynamic. It could seem rigid, then elegant. It is a typeface that could be perceived either as cutting-edge, or as nostalgic. A careful and discerning typographer will bring out and emphasize those aspects of its multifaceted personality that are needed to solve the problem at hand. Geometria consists of 24 fonts — eight weights with matching italics and narrow styles. The font includes multiple sets of figures and currency signs, alternate glyphs, a variety of experimental ligatures, and punctuation marks for the two cases. The 835 glyphs support 72 languages. Granshan 2013 award.

Introducing Betaphid, a sleek and modern display typeface designed to embody the principles of science and technology. Its minimalist aesthetic, inspired by the bold lines and raw textures of brutalist architecture, evokes a sense of futuristic innovation that is perfect for science fiction themes. But Betaphid is more than just a visually stunning typeface—its austere features are also designed to enhance the technical precision and geometric accuracy of your creations. With its clean lines and perfect proportions, Betaphid will lend a sense of order and logic to your designs, making them appear more polished and professional. Whether you’re creating a website, a product label, or a scientific report, Betaphid is the ideal font for conveying a sense of scientific authority and technical expertise. So why settle for less when you can achieve perfect geometric precision with Betaphid? Try it today and take your designs to the next level. 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.

The typeface Hand Print Stamp Rough is designed in 2018 for the font foundry Typo Graphic Design by Manuel Viergutz. The rough hand-printed typeface based on old wood letters, rubber-stamps and plastic stamps. 7 font styles (Reg + Mix, Circle, Diamond, Square Star + Icons) each with 1350+ glyphs incl. 200+ decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word LOVE for ♥ or SMILE for ☻ as OpenType-Feature dlig) and stylistic alternates (9+ stylistic sets). For use in logos, magazines, posters, advertisement and packaging plus as webfont for decorative headlines. The font works best for display size. Character Set: Latin Extended (Adobe Latin 3). 1350+ glyphs with 200+ extra icons like arrows, dingbats, symbols, geomatric shapes, catchwords and many alternative letters. (9× A–Z, 9× a–z, 9× 0–9) For use in magazines, posters, headlines and advertisement, plus as webfont for decorative headlines. Have fun with this font & try-before-buy the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: Hand Print Stamp Rough ■ Font Weights: Regular + Mix, Circle, Diamond, Square, Star + Icons + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Sans Serif + Slab Serif Dis­play for Head­line Size ■ Font-For­mat: .otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 1350 glyphs ■ Lan­guage Sup­port: 27+ for Latin Exten­ded (Adobe Latin 3). Afri­kaans, Alba­nian, Cata­lan, Croa­tian, Czech, Danish, Dutch, English, Esto­nian, Fin­nish, French, Ger­man, Hun­ga­rian, Ice­lan­dic, Ita­lian, Lat­vian, Lithua­nian, Nor­we­gian, Polish, Por­tu­gese, Roma­nian, Slovak, Slove­nian, Spa­nisch, Swe­dish, Tur­kish, Zulu ■ Spe­cials: 200+ deco­ra­tive extras like icons for arrows, ding­bats, emo­jis, sym­bols, geo­me­tric shapes, catch­words + Ger­man Capi­tal Eszett. Open Type Fea­tures: Kerning (kern), Sty­listic Set 1 (ss01) … Sty­listic Set 16 (ss16), Loca­li­zed Forms (locl), Super­script (sups), Ordi­nals (ordn), Slashed Zero (zero), Frac­tions (frac), Stan­dard Liga­tures (liga), Con­text­ual Alter­na­tes (calt) e. g. Sty­listic Set-Loop and Deco­ra­tive Liga­tures (dlig) e. g. type the word “LOVE” for ❤ or “SMILE” for ☺ ■ Design Date: 2018 ■ Type Desi­gner: Manuel Vier­gutz

Inspired by the elegant, rounded geometry of classic sans-serifs like Harry™ and Cirkulus™, Evcial was designed in 2000 to serve as the logo font for EVCco's website. The composition of each alpha-numeric glyph in Evcial is restricted solely to circular curves and lines of either 90 or 55 degrees, thus lending an air of chic consistency to this sophisticated typeface. Comes packaged in both TrueType and OpenType formats with standard complement of alpha-numeric glyphs, punctuation marks, mathematical symbols, and Western European diacritics.

FuturaClassic is a recut of Paul Renners original Futura. This version was what Mr. Renner wanted the Futura to look like. He had to change his very stringent design because the market wanted a more pleasing typeface. I think the original design is worth saving because it is much more typical and has a personal and distinguished touch. I have also designed Geometra Rounded with rounded endings that looks more interesting than your usual DIN type Yours trying to save the typographical past Gert Wiescher

Knul is an elegant modern typeface with a subtle mono-line appearance. Balanced engineered geometry with delicate hand touches allows for practical typesetting without complications. Knuls' mechanical simplicity is best suited to identity, editorial, advertising and software applications. Details include six weights with italics and over 600 characters per style. Opentype features consist of six variations of numerals, including inferiors, superiors, fractions, lining and tabular. Language support covers Western, South, Central Europe and Cyrillic—Remastered to version 2.0 for improved OpenType features and usability.

Talbot Type Klamp 105 Mono is a monospaced variation of Talbot Type Klamp 105. The clean and pure geometry of Klamp 105 makes it highly suitable for adaptation to this monospaced variant. It has an even look and retains its legibility at very small sizes. Klamp 105 Mono is available in a family of four weights and features an extended character set to include accents for Central European languages. Klamp 205 Mono, with some character variations, is also available as a monospaced variant of Klamp 205.

Talbot Type Klamp 205 Mono is a monospaced variation of Talbot Type Klamp 205. The clean and pure geometry of Klamp 205 makes it highly suitable for adaptation to this monospaced variant. It has an even look and retains its legibility at very small sizes. Klamp 205 Mono is available in a family of four weights and features an extended character set to include accents for Central European languages. Klamp 105 Mono, with some character variations, is also available as a monospaced variant of Klamp 105.

- Heptal is a typeface family with five weights including true italics. The geometry of the characters is neo-gothic and the serifs are polygonal concave or inverted Tuscan. - Heptal fonts offer a complete set of lowercase alternatives and advanced open type functions. - The proportions, the metrics and the Kerning are meticulously configured so that the texts are shown fluid and the graphic stain is compensated. - These fonts have a wide table of characters (530 glyphs) with support for all the languages derived from Latin.

Dingocittà with its 12 fonts, contains a large amount of features like small capitals, different figure sets, automated fractions, ordinals, standard ligatures, contextual alternates (generates letter combinations to avoid form collisions by simultaneous maintaining word fugue) and discretionary ligatures. Dingocittà is suitable for a wide range of applications and can be readily combined with other fonts.

Spandau is one of the 12 boroughs of Berlin and, if you add Ballet, a New Romantic British band. It is also a very nice all caps art deco font. Not too soft, not too angular, just about right! Some upper case letters differ from their lower case kin. Comes with all the diacritics you'll need.

Federasyon was designed on the principles simplicity, legibility and functionality. The font family includes four weights and each weight has more than 240 characters on its own. Federasyon contains more than 10.000 optical arrangement data for each character to work in harmony with each other. Federasyon supports a total of 22 languages, including Western and some Central European languages.

This font contains every variant found in the Hebrew Bible such as the “mutilated” Waw in Numbers 25: verse 12, the small Heh in Genesis 2: verse 4 and the Nun Inversum before Numbers 10: verse 35 and after verse 36 and elsewhere as well as oversized consonants and various double-wide consonants used in inscriptions.

This font contains every variant found in the Hebrew Bible such as the “mutilated” Waw in Numbers 25: verse 12, the small Heh in Genesis 2: verse 4 and the Nun Inversum before Numbers 10: verse 35 and after verse 36 and elsewhere as well as oversized consonants and various double-wide consonants used in inscriptions.

Hello Introducing, Deglion - Classy Elegant Display Serif is an unique font that uses ligatures to smoothly link letters. Perfect for adding a unique twist to word-mark logos, monograms or pull quotes. Deglion has 12 ligatures as well as numbers and punctuation making it super fantastic. Ligature can be turned off if required standard writing needs.

Tunning Pro, is a perfect font for action titles, it contains 12 fonts that are separated into Regular version and Alternative version, each one contains the Cyrillic and Greek alphabet, in the alt version you will find many alternative letters for example Letter "A" contains 5 styles to add to the beginning or middle or end of a text.

Corpo Serif is REFRESHED version of my old font Korpo Serif. Corpo Serif, designed by Mateusz Machalski, is a serif type family with a friendly feel. This type comprises 12 variants with 6 weights. The high contrast and high x height is perfect for headlines and display uses. Corpo Serif is a great complement for Corpo Sans.

This font contains every variant found in the Hebrew Bible such as the “mutilated” Waw in Numbers 25: verse 12, the small Heh in Genesis 2: verse 4 and the Nun Inversum before Numbers 10: verse 35 and after verse 36 and elsewhere as well as oversized consonants and various double-wide consonants used in inscriptions.

Monospaceland is a round monospaced typeface in 7 weights with rich language support (Cyrillic included), small capitals, and some double-width alternatives for added fun. It includes obliques and reverse obliques, making a total of 21 fonts. Plus, the family pack comes with a two-axis variable font to allow setting arbitrary weight and slant angle.

This is an experimental type, something of retro-futurism and modern robotics in one package, with letters of unexpected proportions and forms. It was inspired by the glorious imagination of the past, but it holds in itself themes that are bound with the future. The DBL Cheque family consists of incredible 22 styles, filling every need for demanding designers.

Zuider Postduif was my very first font design 3 years ago and I decided to remake and extend it including the Cyrillic alphabet and some OpenType features. It looks pretty cool as printed text(lyrics, poems) and fits best for decorations, posters, menu carts for restaurants, brochures, newspaper headlines or logos. It’s comfortable to read above 12 px.

Grimpt is a fashion and modern type, made up of three sub-families. Brush (with alternate version), Print (made from beautiful Sans-Serif font “More”), and Script. In these families , you can choose the original and rust styles (offers different feels in different effects). The complete family has 12 individual typefaces that serve your projects every purpose.

Censorship JNL joins the wide array of stencil-themed fonts from Jeff Levine. An advantage to this particular design is the larger amount of stencil sections per letter or number. When used with a plotter/cutter, stencils in excess of 12 inches high can be cut into masking material without the cut-out characters becoming floppy or unstable.

As most successful German private press, «Bremer Presse» has strongly influenced German book art. It was founded 1911 in Bremen to print and produce books in perfection. The role model of the press’ typeface was the english Doves Press. Willy Wiegand drew three versions of the «Bremer Presse» antiqua font, starting with the regular weight in 16 pt and adding later the regular weights in 11 and 12 pt. The revival of this beautiful font is based on the 12 pt weight. During the design process, the focus was laid on finding the elegance and strength of original prints. As it was designed to print books, the typeface is optimally used for texts. And with the revival’s new weights «medium» and «bold» and OpenType features like ligatures or old style figures, you can design sophisticatedly typographical compositions.

American graphic designer William Addison Dwiggins' (W.A.D. for short) first typefaces were the Metro family, designed from 1927 onward. The project grew out of Dwiggins' dissatisfaction with the new European sans serif typefaces of the day, such as Futura, Erbar, and Kabel, a feeling he expressed in his seminal book Layout in Advertising. Urged by Mergenthaler Linotype to create a solution for the problem, Dwiggins began a professional relationship that would span over the next few decades. The first Metro family typeface to be released was Metroblack, brought to market by Linotype in 1929 (Metroblack #2™ the only one of the two versions that Mergenthaler Linotype eventually put into production which is available in digital form). With more of a humanist quality than the geometric styles popular in Europe at the time, Dwiggins drew what he believed to be the ideal sans serif for headlines and advertising copy. Metroblack has a warmer character than the Modernists' achievements, and the type is full of mannered curves and angled terminals (Metroblack also has an astoundingly beautiful Q). The weights of the Metro family, Metromedium #2™ and Metrolite #2™, were each designed by Mergenthaler Linotype's design office under Dwiggins' supervision. In 2012 Toshi Omagari reworked the Metro family as "Metro Nova" with many weights into a modern type family that even contains the alternate characters from the origin Metro family from Dwiggins. Despite having been created more than three-quarters of a century ago, the Metro family types have aged well, and remain a popular sans serif family. Although spec'd less often than other bestsellers, like Futura, Metro continues to find many diverse uses. The typeface has appeared throughout Europe and the North America for decades in newspapers and magazines, and can even help create a great brand image when used in logos and corporate identity. Dwiggins ranks among the most influential graphic designers and typeface designers of the 20th Century. He has several other quality fonts in the Linotype portfolio, including the serif text faces Electra™ and New Caledonia™, as well as Caravan™, a font of typographic ornaments.

The initial characters in China Market were created in 1996 for a logo featuring the Temple of Heaven in Beijing where emperors from the Ming and Qing dynasties worshiped heaven and prayed for abundant harvests. The font was completed in 2010. It is composed of a regularly positioned curved and straight components as if part of a decorative grillwork or other architectural detail. While its influences and origins are clear, its appearance is relies more upon the geometry of its basic elements and the modular structure than a specific stylistic idiom.

Neoncity is a bold and fresh display font with a vintage feel. Inspired by the flashing 80’s, it will add a distinct look to any design project. This font is perfectly used in larger type sizes, above 48 pt. Neoncity is perfect for a design that wants to imitate neon—use it in Photoshop, InDesign, Illustrator or Corel with color & blend effects, and its geometry also lends itself for signage, packaging, posters, branding, event invites, quote, blog posts, social media, and more! Thanks and have a wonderful day, Dedi T

The family tree of this friendly face runs deep. Its primary inspiration is Twentieth Century, designed by Saul Hess as a monoline version of Paul Renner’s Futura. The design was reinterpreted by Herb Lubalin as Avant Garde in the 1970s. This version softens the harsh geometry of the original designs with rounded line endings: the result is a warm, inviting face that is elegant, confident and inviting. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Karben 205 is inspired by the classic, no nonsense DIN, and has a form that follows its highly legible function. Based on a lozenge, it has a clean and pure geometry with even stroke weights. Karben 205 is available in a family of five weights, and is also available with character variations as Karben 105. There are also monospaced variants of both Karben 105 and Karben 205 and a stencil version. All of the Karben fonts feature an extended character set, including accented characters for Central European languages.

The Sonica font family represents a modern typeface that is designed the express fluidity of motion. Sonica is the second font designed by the Sonic Savior team, and was specifically build for the group's website. The first font by the hand of this design team was Antediluvian, which consists of solid and down-to-earth glyphs - unearthed in fact, from ancient history. Sonica on the other hand is designed with a most volatile and dynamic geometry. If Antediluvian would be the alchemical Salt, Sonica would be its Mercury.

The Hanscum font family is a playful geometry and nature-inspired display family sporting plenty of distressed and letterpress style textures. With an authentic vintage look and a variety of styles, Hanscum comes with many playful faces and is packed with ligatures. Also included in this family is a sister subtitle small caps font that compliments the rest of the heavier display styles, also packed with opentype features. And last but not least, Hanscum comes with extras to play with including stylized catchwords, symbols, and swashes to accompany your layouts.

Inspired by a love of geometry, combined with an obsession with all things stencil type! HAZMAT is a distinctive stencil, using angular characters to give the font an energetic look and feel. Created with the intention to be different from other stencils, the cut of the font has been designed to create eye catching and intriguing displays. HAZMAT works very well at small sizes for legible and detailed typesetting and is equally successful when used at bigger sizes for creating large format, powerful graphics. The font is available in two styles - Regular & Oblique.

Grodsky is a modern high contrast Antiqua with well-defined, recognizable features. Based on the architecture of classic Antiqua fonts, Grodsky is typical of the typefaces from the first half of the 20th century: pronounced serifs, contrasting geometry, and an interplay of right angles and flowing lines. Grodsky has a lot of stylistic alternates and ligatures and true small caps. They give you more authentically typographic style. Grodsky comes with oldstyle and modern, fraction and tabular figures. The font is well suited for both headlines and body text.

Karben 105 Mono is a monospaced variation of Karben 105. The clean and pure geometry of Karben 105 makes it highly suitable for adaptation to this monospaced variant. It has an even look and retains its legibility at very small sizes. Karben 105 Mono is available in a family of five weights and includes an extended character set to include accents for Central European languages. Karben 205 Mono is also available as a monospaced variant of Karben 205. There is also a stencil version of Karben 105 available.

Attempting to marry the warm friendliness of the Cubano typeface with the versatility, functionality, and geometry of Eurostile has resulted in Cubenzis. After finishing the regular weight, I realized that it reminded me of old Soviet military hardware, something you might see on the outside of a tank or rocket, so i made the decision to include a full Cyrillic alphabet as well. It feels very sci-fi to me and i can imagine it being used as signage on a ship or as a warning label on machinery.

Four interchangeable all-caps typefaces, made specifically for designers to layer and play with. Here’s more at the designer’s site. It combines hard and soft, geometry and pattern. Layer and mix styles within a single word, retaining coherent visual tone. Havelock Solid operates as a background layer, Multiline sits nicely atop it, Inline frames Multiline’s center strokes, and Stencil lets details peek through. If you’re working with translucent color, the blending can be gorgeous. Please note, if you're also looking at Havelock Titling: both collections are included in Havelock Complete for a lower price.