Nexa Slab is a geometric slab serif font whose design is based on the already popular best-seller Nexa . The font family contains 3 basic forms: italics, obliques and uprights, each of which has 8 different weights. This visual richness makes it the ideal slab serif font family for the web as well as for print, for motion graphics, logos, t-shirts and so on. It is also great for headings, fitting nicely with both small and large typesetting text blocks. Nexa Slab draws from the rich traditions of the classic Neo-Grotesque slab serif fonts such as Lubalin Graph, Rockwell and Memphis, which conceal the richness of typesetting text in its crucial advertising function. Just like these fonts, it’s design is subject to rational, carefully thought-out, thick and thin bars with a low contrast between them. The letters are characterized by the strict geometry and square proportions of the original, extra-fortified by suitably balanced slab serifs. Nexa Slab is serious without being rigid and inflexible, finished and lacking in nothing, systematic without being monotonous, and though it may seem at first glance to be more suitable for short, direct messages; in the hands of a master designer... it can build and create exquisite and harmonic designs. Open Type Features: Lining figures (proportional and tabular) The “f” ligature set Alternate characters (a, g, y) Automatic fractions Automatic numerators Automatic denomerators Automatic subscript and superscript Automatic ordinals Extended language support (most Latin-based scripts supported)*

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.

Arsis Regular Font was designed by Gerry Powell in 1937. It is a Serif (Antiqua) Modern Style font. Arsis Regular font attributes include roman serif, Didone, elegant, formal, modern style, feminine.

"Berganza" is a typeface designed as a tribute to the spanish century called "Siglo de Oro". Embellished with several ornaments and swashes, it quickly reminds an age in which castilian arts & letters were flourished, as well as the fantasy knighty fables adventures of heroes, loved ladies and evil villains. Although the Siglo de Oro cannot be set in specific dates, it is generally considered to have lasted more than a century; between 1492, the year of the discovery of America and 1681, the year in which the writer Pedro Calderón dela Barca died. Lope de Vega, Francisco de Quevedo, or even William Shakespeare (in England) are also famous figures of this time. Berganza typeface takes its name from the main character of the picaresque novel "The Conversation of the Dogs" (Cervantes, 1613). Berganza is able to speak with the other dog Scipio on a big number of social & philosophical topics. Talking about technics, Berganza is a modern typeface but with a humanist flavour. Thanks to its various styles and flourishes, it immediately refers to the culteranism aesthetic of that time, whose aim was to elevate the noble over the vulgar. But also, Berganza takes advantage of the contemporary technology, highlighting in his drawing the contrasted forms and certain broken and unusual strokes in order to give it a brave and different style touch. Berganza includes four weights to be used for continuous reading with great visual richness. However, it is more recommended for large sizes, since its unusual and particular details appear when the letter grows. Finally, the hundreds of glyphs and Opentype features that it has incorporated, allow us to change the aesthetics of the type according to our needs. OPENTYPE FONT 518 CHARACTERS 1113 GLYPHS 4 INSTANCES (Regular, Bold, Italic & Bold Italic) 38 LANGUAGES 28 LAYOUT FEATURES (stylistic sets, ligatures, historical ligatures, swashes, contextual alternates, numerals, etc) DESIGNED BY CARLOS CAMPOS IN 2021 www.cuchiquetipo.com Dummy text from wikisource.org («Rinconete y Cortadillo», by Miguel de Cervantes).

A 1930s-era poster to "See America - Welcome to Montana" was issued by the United States Travel Bureau; one of the WPA (Works Progress Administrations) projects promoting travel and tourism within the country. The hexagon-inspired angular lettering on the poster provided the inspiration for Infrastructure JNL.

Valis is a thin, futurist, lightweight font, a sister font to my other design Ebdus. Valis has more of a 3D Angular feel. This font is an omnicase font, with capitals, capital-lowercase and lower case letters available. Lowercase letters are accessible through your Glyphs palette.

Cult is the work of designer Timothy Donaldson and its forms alone evoke a sense of mystery. The wide capitals with their unusual forms complement perfectly a condensed, angular lower case alphabet. The unique Cult is especially suited to work dealing with anything mystical or New Age.

BULKY is the 19th Font of André Toet. It’s Unusual, it’s Heavy, it’s Irregular, it’s Rough, it’s Stripy, it’s Angular, it’s BULKY. But it has character and extremely useful for headings, posters and even logotypes. Just-Use-It! Concept/Art Direction/Design: André Toet © 2017

FS Rosa is a free-spirited and optimistic serif typeface – reminiscent of those used on fanzines, film sequences and book covers of the 1970s, such as Cooper and Windsor, it has a laid-back nature with a touch of rebellion. It also reminds of type used in colourful protest graphics by nun-turned-designer Corita Kent, and its personality is akin with brands like Whole Foods - positive rather than preachy. While unconventional, it’s sensible enough to work perfectly for socially conscious brands, magazines, websites and campaigns that want a fairer and more responsible world. Hand-drawn digitally, FS Rosa is warm and open-minded – its irregular letterforms are rounded, with soft terminals, a large x-height and wide apertures. But it is also quirky and eclectic, with irregular shapes – its short ascenders and descenders have slanted serifs, its uppercase forms have unusually low crossbars and the letters are filled with oddities and surprises. The typeface looks to stand out against a sea of homogenous, geometric sans serifs, and celebrates beauty through imperfection. It comes in five weights of Thin, Light, Regular, Bold and Black. The heavier weights make an impact and are great for loud, headline statements. The Regular weight is functional, balanced and robust for text, and the lighter weights have an elegance and contemporary beauty. FS Rosa is eclectic yet with its soft roundness, also positive and progressive. Its name, inspired by the phrase “rose-tinted glasses”, reflects its optimism.

Kamber is a playful and approachable, neo-grotesque sans-serif with a handful of humanist flourishes. Subtle convex terminals and a curved structure create it's friendly personality and bouncy rhythm. If you're looking for a warm typeface that's affable without straying into cliché, then Kamber is your new best friend – like the labrador of typefaces. Kamber's balanced yet quirky nature makes for a fun and interesting display face, without compromising on legibility at smaller sizes. The lowercase letters have an elevated x-height, sitting at around 70% of the cap height – this means running copy remains clear and readable. Available in 8 weights, each with a corresponding italic, Kamber is a widely functional typeface that can hold it's own, regardless of the use case. It includes all the usual open type features for further adaptation and variation, including small caps, ligatures, stylistic alternates and more. The primary numerals are lining figures, but tabular figures, old style figures, and a combination of both are also included. If you're looking for something to stand out from the sea of overly geometric faces and soulless helvetica variants, then Kamber is ready and waiting. Perfect for editorial design, branding or anywhere you use text – Kamber is the typeface that smiles.

Centennial Script was designed and cut by Hermann Ihlenburg in 1876 (the centennial of American independence, hence the typeface's name) for the MacKellar, Smiths & Jordan foundry in Philadelphia. Ihlenburg was then only 33 years old, and these beautiful forms put him on his way to become the most prolific and innovative deco, ornamental and script typeface designer and punch cutter of the nineteenth century. In trying to be a true homage to the history of the new world, Centennial Script transcends its then-contemporary deco fashion to embrace script elements historically similar to lettering found on maps or political documents of the 18th century. Letters like the p and s extend themselves high and mighty to accentuate words and lines of text in a fancy hand-drawn manner. The dots on the i and j are those of a careful scribe who acknowledges the importance of the document being lettered. The lowercase letters connect with two slight angular motions of the hand, also very carefully and elegantly. Even the ligatures and ending swashes Ihlenburg made for this face were reminiscent of a mapmaker's patient hand, though Ihlenburg's elegant touch in them cannot be mistaken. Although Centennial Script was one of the few Ihlenburg faces to make it to film type technology, the transition was neither credited nor faultless. The film type version was a bit sloppy in the way the connectors were made, so the lowercase needed a lot of manual work to typeset properly. To alleviate such waste of time for the user of this digital version, the connectors were redrawn according to the original metal ones made by Ihlenburg himself, and tested thoroughly in print to ensure the quality of the typeface's flowing cursive nature. This wasn't an easy task, and very time-consuming, since the changing angles on both ends of the connection made it impossible to escape from having to build every lowercase letter with both left and right connectors that would fit with the rest of the letters. This is one typeface that couldn't be revived in any other manner than the way it was originally made, regardless of more than 130 years of technological advances since the face was designed. Centennial Script comes in all popular font formats, and supports most Latin-based languages. Also included is an Alts fonts that contains alternates, ligatures, snap-on swash endings, some ornaments, as well as a complete set of the lowercase without left side connectors, for a more natural combination when following a majuscule, or just in case the user finds it fit to set the copy in a non-connecting script instead of the face's original connected flow. Centennial Script Pro, the OpenType version, combines the main font with the Alts font in a feature-packed single font. Use the ligature feature to set wordmarks like Mr, Ms, Mrs, Dr, and &Co, the stylistic alternates feature to replace some letters with their alternative forms, the contextual alternates feature for better uppercase-lowercase sequences, and the titling feature to set your text in a disconnected script. Centennial Script is the only script we currently know of that can be set connected or disconnected simultaneously, either using the titling feature in the OpenType Pro version, or manually in the other formats.

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.

My goal in designing Zentral was to create a distinctive sculptural font intentionally in Regular and Italic only. I believe Zentral Regular and Italic has the latitude and flexibility needed in most type scenarios without having to resort to multiple weights. Zentral Regular upper/lowercase provides a very pleasant contrast and can be varied by using Zentral Regular capitals. Zentral Italic is ideal for creating emphasis of words, quotes or phrases. This combination provides maximum impact and readability. Zentral is a contemporary font ideal for branding, packaging, advertising, editorial in print and e-print applications.

Stanley Union is a font bundle consisting of serif, sans serif, extended sans and dingbats which is organic and hand-drawn and comes with regular and stamp styles. This typefaces is perfect for people looking for vintage aesthetic and organic feel. What Will You Get : Stanley Union Serif Regular & Stamp Stanley Union Sans Regular & Stamp Stanley Union Extended Sans Regular & Stamp Stanley Union Dingbats We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Thanks for purchasing and have fun!

Introducing Mother Serif Typeface - 5 fonts Mother is named after all the moms and children left behind. This typeface is feminine, fragile typeface with 5 fonts loaded with ligature glyphs, alternates and multilingual support to enchant your next project. Very versatile fonts that works great in large and small sizes. Mother is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, lowercase, numeral, punctuation & Symbol Light Regular Medium Bold Black ligature glyphs ab ac ad ae ag ai al am an ap ar as at au ba be bi bl bo br ca cc ce ch ci cl co cr cs ct cu da de di do dr ea ec ed ee ei el em en eo ep er es et eu fa fb ffb fh ffh fj fk ffk ft fft ga gi gl gn go gr ha he hi ho hy ic id ie il im in io ip ir is it iv ka ke la le li ll lo lu ma me mi mo mp na nc nd ni no nt oc od ol om op or os ot ou pa pe pi po ra rc rd re ri ro sh si sm sp su ta te th ti to tr ts tt ul um un ur us ut ff fi fl ffi ffl st alternates Multilingual support How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

The Engraver’s Square Gothic—like its rounder cousin, the engraver’s sans serif, Sweet® Sans,has been one of the more widely used stationer’s lettering styles since about 1900. Its minimal forms, made without curves, were popularized long ago by bankers and others seeking a serious, established feel to their stationery. One might argue that the design is a possible precursor to Morris Fuller Benton’s Bank Gothic® typeface. Sweet® Square is based on antique engraver’s lettering templates called “masterplates.” Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century remain both familiar and appealing. Referencing various masterplates, Mark van Bronkhorst has drawn Sweet Square in nine weights. The sources offered just uppercase, small caps, and figures, yet similar, condensed examples had a lowercase, making it possible to interpret a full character set for Sweet Square. Italics were also added to give the family greater versatility. The fonts are available as basic, “Standard” character sets, and as “Pro” character sets offering special characters, a variety of typographic features, and full support for Western and Central European languages. Sweet Square gives new life to an uncommon class of typeface: an early twentieth-century commercial invention that brings a singular verve to modern design. Its unique style is as useful as it is novel. Bank Gothic is a registered trademark of Grosse Pointe Group LLC.

Robeaugo is pronounced as “ro-bo-go”. The name is originated out of the 3 words: robo, beau (French) and go. It’s a mix of Art Deco with round shapes and is best used in headings and logos.

Golestan is designed by Naghi Naghashian. It is a Font family, in 2 weights, Regular and Bold. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Golestan supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Golestan design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Golestan’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Golestan was developed for multiple languages and writing conventions. Golestan supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

The font was intended primarily to have a stronger body. It has a simple geometrical surface. This font has a strong personality, that makes it perfect for use in headline sizes but means it also works gracefully within text blocks. "Finalist Round Slab" is carefully crafted and a unique slab serif. Use for websites, print, motion graphics, logo design, packaging design, t-shirts and more. The designation “Finalist Round Slab Regular” forms the central point. The first figure of the number describes the stroke thickness: Thin to Black. "Finalist Round Slab" comes 7 weights and italics total 14 types. The family contains a set of 450+ characters. Case-Sensitive Forms, Classes and Features, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. You can enjoy using it. UPDATES: - 30 December 2015 Opentype Feature (fractions) and some kerning. - 11 June 2018 Solving some UNICODE problems on the internet. - 12 March 2019 Some error has been fixed. - 19 November 2019 Some error has been fixed. - 16 August 2021 New Version - 2.0 Some error has been fixed.

Afsane is a sans-serif headline font family designed by Naghi Naghashian in 3 weights, Light, regular and Bold.This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Afsane supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Afsane design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Afsane’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Afsane was developed for multiple languages and writing conventions. Afsane supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography.

The Core Sans N Family is a part of the Core Sans Series (Core Sans N SC, Core Sans N Rounded, Core Sans M, and Core Sans G). Letters in the Core Sans N Family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans N Family consists of 3 widths (Condensed, Normal, Extended), 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black), and Italics for each format. It also supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans N Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

The Catenary typeface was designed with the goal of creating an extremely-readable sans-serif font that could weather the future. Inspired by the beauty of the catenary curve, it's a blend of the transitional and the geometric that allows it to be readable while keeping its forms precise and consistent. Every character in its set is unique, leaving no confusion between similar letter forms. Sixes and nines can be distinguished even when they're upside down or sideways. The number one, the lowercase-L, and the uppercase-I can never be confused with one another, even without context. Throw b, d, g, p, and q into a jumble and the challenge of distinguishing the characters can easily be overcome. The Catenary family consists of eight fonts, six of which, the standard light/italic, regular/italic, and bold/italic, work as both excellent text fonts and exceptional display fonts. The two bonus fonts, a stencil and a guerrilla grunge style, make for great additional display font choices. The Catenary family is extremely versatile and ready for your toughest design work.

Pegah is a sans-serif font family designed by Naghi Naghashian in three weights. Pegah Light, Pegah Regular and Pegah Bold. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Pegah supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Pegah design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BaBa was developed for multiple languages and writing conventions. BaBa supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Enamela (rhymes with Pamela) is a monoline square sans that is available in normal width and condensed versions. Although rooted in the early years of sans serif type, the Enamela fonts have a timeless quality that is practical and unpretentious. The letterforms derive from vitreous enamel signage dating from the Victorian era and widely used in Britain for street nameplates, Post Office signs, the plates on James Ludlow wall postboxes, railway signs and direction signs, as well as for circular Automobile Association wayfinding plaques throughout the first half of the twentieth century. The quirky terminals, stemming from the compression of geometric type, invite comparison with the Charles Wright fonts used for UK vehicle registration plates. Enamela and Enamela Condensed are both available in three weights – regular, medium and bold – and as italics (optically corrected obliques). A commonly used alternative M with a vertex that touches the baseline is provided at the Alt-M (µ) keystroke on a Mac, or Alt-0181 on Windows. A commonly used G with a plain vertical throat, no crosspiece, is assigned Unicode FF27 (full width capital G).

Morro is based on simple geometric shapes – circles, triangles and rectangles. Imagine cutting circles, triangels and rectangles from paper and arranging them into letters where the outer edges form a filled figure. Arranging figures like this to form letters is nothing unique. You can find several beautiful examples of alphabets that inspired the creation of Morro. Everywhere from a 1936 booklet by Draughtsman called ”Modern lettering for all branches of commercial arts” to obvious examples is from the paragon of the design industry - Milton Glaser - with his typeface Baby Teeth. What sets Morro apart from other digitized versions of Glasers' ”Baby teeth”, or other similar designed fonts, is that Morro is expanded into lower case and also supports Basic latin, Western European, Central European, south Eastern European and Pinyin. There are also stylistic alternatives to some of the glyphs. Morro Regular works like a stencil and is accompanied by a block shadow style and an outline. The Morro family of fonts are layered and can be superimposed on each other to create several types of text effects.

BaBa is a sans-serif font family designed by Naghi Naghashian in three weights. BaBa Light, Baba Regular and Baba Bold. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. BaBa supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. BaBa design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BaBa was developed for multiple languages and writing conventions. BaBa supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Core Slab M is the serif companion to Core Sans M (Text family of the month. May, 2013). This font family has open and square letter shapes, and overall rounded finishes and serifs provide a soft and friendly appearance but also it is strong in headline. Simple and modern shapes with a tall x-height make the text legible and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Core Slab M Family consists of 2 widths (Condensed, Normal), 7 weights ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy), and Italics for each format. Combination fonts such as Core Slab M Ice, Berg and Iceberg are also available. Each font includes support for Superiors and Inferiors, Fractions, Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Tabular Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. We highly recommend it for use in books, web pages, screen displays, and so on.