Uniform is a multi-width geometric type family designed around the circle. The O of the Regular width is based on a circle, the O of the Condensed width is based on 1.5 circles stacked (with straight sides) and the O of the Extra Condensed width is based on two circles stacked with straight sides as well, and all other characters are derived from this initial concept. This unique idea creates a remarkably fresh type family that bridges the gap between circular geometric typefaces and condensed straight-sided typefaces. Uniform also includes many opentype features like Old Style Figures, Tabular Lining Figures, Alternate characters, Ligatures and more. Uniform was first drawn starting with the Black weight. This careful process allows each character to look consistent and balanced through all weights. As a result, the typeface does not ‘break down’ or lose its form in the boldest weights like many typefaces do. The three widths of Uniform make an ideal type family for a host of various uses. From branding to web design, book covers to signage, Uniform is a very versatile solution to complex typographic needs.

Albyona English Nº 1 is ideal for titlings and headings in novels or fairy tales. It has a sentimental flavour of history, memories and the good-old-days feeling. Suitable for children’s books, fantasy literature, crime novels, natural food packaging and poison labeling, for infancy memories, vanitas kitsch items, dungeon museum bar menu cards, introductions to herbalism and witchcraft manuals. Albyona supports every Euro-Latin language. For the choice of a similar font go to Abendschroth.

Hermit was born like a modern and personal reinterpretation of Gothic-style alphabets, where improvisation and personal taste have led the design towards a new aesthetic mix between gothic and modern typefaces, creating new glyphs with tweaked strokes to achieve a good level of legibility. Hermit is a modern gothic font designed for brave designers and for epic designs, available in three weights and variable fonts. It is good to use for Branding and Editorial projects with texts not too small, Advertising, Packaging, Labeling, and Book or Magazine titles.

Darjeeling combines British Elegance and Indian Flavor. It is flared like Optima, with a scent of Bodoni. By layering “Regular” and “Ornaments” over each other you will create astounding pieces of colorful typography. Additionally there is “Regnaments” which combines the two other styles. Darjeeling is great as a display font, but also perfectly legible at text sizes. Use the ornaments only to add spice to Your design. Make sure to use applications supporting all these lavish OpenType features like small caps, various sets of figures, fractions and the 102 discretionary ligatures.

Agmena™ has no historical precursor; it was designed from scratch by Jovica Veljovi? whose aim was to create a new book typeface. Although it generally has certain similarities with the group of Renaissance Antiqua fonts, it is not clearly derived from any of these. Clear and open forms, large counters and a relatively generous x-height ensure that the characters that make up Agmena are readily legible even in small point sizes. The slightly tapering serifs with their curved attachments to letter stems soften the rigidity of the typeface, bringing Agmena to life. This non-formal quality is further enhanced by numerous tiny variations to the letter shapes. For example, there are slight differences to the terminals of the b", the "d" and the "h" and minor dissimilarities in the forms and lengths of serifs of many of the letters. The tittles over the "i" and "j" and those of the German umlauts are almost circular, while the diamond shape that is more characteristic of a calligraphic script is used for the punctuation marks. Although many of these variations are only apparent on closer inspection, they are enough to give Agmena the feeling of a hand-made typeface. It is in the larger point sizes that this feature of Agmena comes particularly into play, and individual characters gain an almost sculptural quality. The italic variants of Agmena are actually real cursives. The narrower and thus markedly dynamically formed lowercase letters have a wider range of contrast in terms of line thickness and have the appearance of having been manually produced with a quill thanks to the variations in their terminals. The lowercase "a" assumes a closed form and the "f" has a descender. The italic capitals, on the other hand, have been consciously conceived to act as a stabilising element, although the way they have been inclined does not produce a simply mechanical effect. This visual convergence with the upright characters actually means that it is possible to use letters from both styles in combination. Agmena is available in four weights: Book, Regular, Semibold and Bold, and each has its matching italic variant. Veljovi? designed Book and Regular not only to provide an optical balance between various point sizes, such as between that used for the text and that used in footnotes, but also to take account of different paper forms: Regular for lined paper and Book for publishing paper. Agmena's range of characters leaves nothing to be desired. All variants include small caps and various numeral sets with oldstyle and lining figures for setting proportional text and table columns. Thanks to its pan-European language support, Agmena can be used to set texts not only in languages that use the Latin alphabet as it also features Cyrillic and Greek characters. The set of standard ligatures has been extended to include special combinations for setting Greek and Serbian. Agmena also has some initial letters, alternative glyphs and ornaments. Agmena is a poetic text font with forms and spacing that have been optimised over years of work to provide a typeface that is ideal for setting books. But its letters also cut a good figure in the larger font sizes thanks to their individual, vibrant and, in some cases, sculptural effects. Its robust forms are not merely suited to a printed environment, but are also at home among the complex conditions on terminal screens. You can thus also use Agmena as a web font when designing your internet page."Agmena has received the Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2013.

Introducing our new exploratory Sansdiego, this typeface inspired by European empire-era forms of writing. Sansdiego typeface is perfect for classic Victorian themed designs, beer packaging, whiskey, barbershop, pomade, tattoo studio logos and so on. This font comes with additional effects: Normal - style - double - Shadow, packaged as a layered font. Sansdiego is an all caps font, carefully crafted with a great ornamental taste.

Mystery Shot is not your every day all-caps comic font. It is handdrawn with a permanent marker, which explains the sometimes rough edges. I've made 2 versions that mixes for great results. The stroke of the outline version is designed to fall slightly off here and there, and that was done on purpuse to enhance the handmade look of the regular version. What's more is that I added 5 slightly different versions of each letter, and the font has multilingual support!

Narziss is a very popular display typeface. People really love the thin hairlines and the swirls. But the basic idea is so strong that I decided to create a text version. The swirls of the display do not work in small sizes but the alternative drops do. So for each weight of Narziss Text, there is a Regular, an Italic and a Drops version. Narziss Text is ideal for fashion magazines, Jewelry or perfumes and may be used in conjunction with Narziss.

FF Bauer Grotesk is a revival of the metal type Friedrich Bauer Grotesk, released between 1933 and 1934 by the foundry Trennert & Sohn in Hamburg Altona, Germany. The geometric construction of the typeface, infused with the art deco zeitgeist of that era, is closely related to such famous German designs as Futura, Erbar, Kabel and Super Grotesk that debuted a few years earlier. However, FF Bauer Grotesk stands out for being less dogmatic with the geometry, lending the design a warmer, more homogenous feeling. The oval “O” is a good example of that, as well as characteristic shapes like the capital M or the unconventionally differing endings of “c” and “s” which make for a less constructed look. The design was started by Thomas Ackermann, and he collaborated with Felix Bonge to evolve his original ideas into this fresh, modern geometric typeface family. FF Bauer Grotesk contains 6 weights with accompanying italics, and a wide range of OpenType typographic features including small caps, figure styles, fractions and contextual alternates. NEW: the new FF Bauer Grotesk W1G versions features a pan-European character set for international communications. The W1G character set supports almost all the popular languages/writing systems in western, eastern, and central Europe based on the Latin alphabet including Vietnamese, and also several based on Cyrillic and Greek alphabets.

Bombora evolved over years of designs in the world of surfing. The native name is given to massive surf building up over a reef, often dangerous, always spectacular. The font was expertly digitized by Brian Kent in New York. This font lives on the beach in a Polynesian grass hut and goes out for a surf before breakfast (o: ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Crazy sans for happy, fun time. There are two other fonts designed by in the same concept. -Deluta Black -Xesy -Ekistra

Dreamline is a set of elegant monoline scripts in three variations that can be mixed with each other.

Parto Font family is designed by Naghi Naghashian. This Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernization of Arabic typography, giving the font design of Arabic letters real typographic arrangement and providing more typographic flexibility. It enables, moreover, the use of this typeface for decorative headlines. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Parto supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Parto Font is available in Regular and Bold. Parto design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Parto is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today’s technology in mind. 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. Parto'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. Parto was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Originally published by OurType, Dan Milne’s Tasman has found a new home at Retype. Milne first conceived Tasman as a typeface for newspapers. This influenced the proportions and look of the face considerably: the goal was to keep the personality as warm and playful as possible without losing the credible tone required to deliver all kinds of news. A sturdy, warm type family that is neither mechanical nor fragile. It borrows its name from Abel Janszoon Tasman (1603–1659), a Dutch seafarer, explorer, and merchant who mapped parts of Australia in 1642, including Van Diemen’s Land (now known as Tasmania). Tasman’s primary purpose is an unbiased presentation of information; it strives for neutrality over elegance. Its characters are sturdy and unambiguous, sporting strong serifs, punctuation, and diacritics, as well as generously sized small caps and hybrid figures. Rationalized letterforms give the face enough robustness to withstand the stress of screen applications and laser printing. The figures’ three-quarter x-height makes them considerably larger than traditional oldstyle numerals, yet they still integrate with the lowercase much better than lining figures do. Although initially intended for newspapers, Tasman’s somewhat corporate, objective appearance also makes it an excellent candidate for digital and print magazines, websites, annual reports, and corporate identities. Tasman is a suite of feature-rich OpenType fonts fully equipped to tackle complex, professional typography. The character set includes small caps, fractions, case-sensitive forms, bullets, arrows, special quotes, and nine sets of numerals. Besides standard Latin, its extensive character set supports Central European, Baltic, and Turkish languages.

TDL Ruha Crown is a decorative, modern and mechanical display typeface and it results from the development of the stencil RUHA. Being the first typeface of the family, sets the basic concepts to be developed further, on each version to come. There is an rigid geometrical connection with the Roman du Roi design approach, since the letterforms are imposed by the constraints of the RUHA ruler. The main typographic proportions are connected with the modern typefaces, like Didot or Bodoni.

The Wonky Font family is a set of 3 handmade fonts, made using three different materials: a pencil, a thin fineliner and a bold marker. Each font includes 3 variations for each letter and number, accessible through contextual alternates, for extra realism and fun. The pencil font is a SVG font, which allows for the texture of the pencil to be captured in a more authentic way, and is complemented with an extra doodles font. Wonky Font looks good at small sizes and will also look great in all caps texts. Use Wonky Font in designs such as postcards and notes, posters, logotypes, social media posts, branding and packaging. This font includes: a Wonky Pencil SVG font, with a vector alternative that preserves the texture a Wonky Thin font a Wonky Bold font a Wonky SVG Extras font, with 26 pencil doodles Software requirements for the SVG font: Photoshop CC2017+ // Illustrator CC2018+

Allotropes are different structural forms of the same element and can exhibit quite different physical properties and chemical behaviors. The change between allotropic forms is triggered by the same forces that affect other structures – pressure, light, and temperature. From Wikipedia the Free Encyclopedia With ten weights in five widths plus Italics, this family comes to a total of 100 fonts. The large number of styles was made with the intent to cover most cases UI designers have to tackle, with one type family. Stylistic alternates were made to follow the same logic, so there is an optional single-story g, serifed capital I, and dotted zero – all available through the OpenType feature. The character set supports Western and Central European languages, as well as Turkish.

The Old Turkic script (also known as variously Göktürk script, Orkhon script, Orkhon-Yenisey script) is the alphabet used by the Göktürks and other early Turkic khanates during the 8th to 10th centuries to record the Old Turkic language. Words were usually written from right to left. According to some sources, Orkhon script is derived from variants of the Aramaic alphabet, in particular via the Pahlavi and Sogdian alphabets of Persia, or possibly via Kharosthi used to write Sanskrit The texts are mostly epitaphs (official or private), but there are also graffiti and a handful of short inscriptions found on archaeological artifacts, including a number of bronze mirrors.

Introducing Rimba Andalas, a playful ethnic font with extra ornaments. This experimental font inspired by the shapes of tree branches and combined with rough strokes such as ancient symbols found inscribed in caves. Perfect for the natural theme, traditional, cultural, folk, tribal, children, adventures and social movement. Rimba Andalas is a display font, suitable for the headline, logo, apparel, books, poster, signage, and more. You can mix and match the uppercase and lowercase to get more unique tribal handwritten, also equipped with swashes as the decoration. Fonts featured : - Uppercase - Lowercase - Numbers & symbols - Ligatures - Accents Hope you like it! Thank you for your support and happy designing!

Andeeta! A sweet handwritten font that will add fun to your creativity. the font consist of a charming all-caps font and a sweet handwritten script font for the perfect and fun blend of your content. Andeeta has also added 26 doodles to add interest to your content in separate files. Each font file includes uppercase, lowercase, numbers, punctuation, and multilingual support. That's it! I hope you enjoy it. Feel free to comment if there are issues or queries. You can also say hi to me on Instagram: https://www.instagram.com/tlatoustype/ Thank You!

Marsha & Joshua! A sweet handwritten font that will add fun to your creativity. the font consist of a charming all-caps font and a sweet handwritten script font for the perfect and fun blend of your content. Marsha & Joshua has also added 26 doodles to add interest to your content in separate files. Each font file includes uppercase, lowercase, numbers, punctuation, and multilingual support. That's it! I hope you enjoy it. Feel free to comment if there are issues or queries. You can also say hi to me on Instagram: https://www.instagram.com/tlatoustype/ Thank You!

Burgues Script is an ode to the late 19th century American calligrapher Louis Madarasz, whose legendary pen has inspired schools of penmanship for over 100 years. His talent has caused some people to call him “the most skillful penman the world has ever known.” I use the word ‘ode’ in a colloquially ambitious manner. If I was an actual poet, my words would be about things I desire but cannot attain, objects of utter beauty that make me wallow in humility, or people of enormous talent who look down at me from the clouds of genius. But I don’t write poems. My work consists of letters drawn to fit together, that become an element of someone’s visual poetry. I am the poet’s assistant, so to speak. Once in a while, the assistant persists on what the subject of the poem will be. And occasionally, the poet gives in to the persistence. I hope you, visual poet, find my persistence justified in this case. The two main sources for Burgues were the calligraphy examples shown in Zaner Bloser’s The Secret of the Skill of Madarasz: His Philosophy and Penmanship Masterpieces, and C. W. Jones’s Lessons in Advanced Engraver’s Script Penmanship by L. Madarasz. These two references were the cornerstone for the concept I was trying to work with. I did have to change many of the letters in order to be able to produce digital calligraphy that can flow flexibly and offered the user a variety of options, while maintaining its attractive appearance. To this end, many ligatures and swashes were made, as well as full flourished sets of letters for use at the beginnings or endings of words and sentences. All of this has been tied together with OpenType and tested thoroughly within today’s standard design and desktop publishing software. After working with digital scripts for so long, at one point I thought that Burgues Script would become a bit of a chore to complete. I also thought that, like with most other scripts, the process would regularize itself after a while and be reduced to a mechanical habit. Surprisingly, and fortunately for me, this did not happen. The past holds as many surprises as the future. Madarasz’s method of penmanship was fascinating and challenging to translate into the strict, mathematically oriented language of the computer. It seems that the extremely high contrast of the forms, coupled with the required flow and connectivity of such lettering, will always be hard work for any visual artist to produce, even with the aide of a powerful machine. I can only imagine what steady nerves and discipline Madarasz must have had to be able to produce fully flourished and sublimely connected words and sentences on a whim. When I think of Madarasz producing a flourished calligraphic logotype in a few seconds, and try to reconcile that with the timelines of my or my colleagues’ work in identity and packaging design, the mind reels. Such blinding talent from over a hundred years ago. Burgues is the Spanish word for Bourgeois. In the end, I hope Burgues Script will serve you well when a flourished word or sentence is required for a design project. One of the wonders of the computer age is the ability to visually conjure up the past, serving both the present and the future. With Burgues, you have a piece of “the most skillful penman the world has ever known,” at your service. Burgues received important awards such as a Certificate of Excellence TDC2 2008 and a Certificate of Excellence at the Bienal Tipos Latinos 2008.

Stana is all caps, clean and tall display font. There are more than 150 glyphs included.

fj Alabaster Antique™ is a hybrid typefamily with a 10 styles inspired of the develop and exploration of “serif” since the first half in XIX century, envolves a special influence of the slab humanist typefaces, —with a calligraphy flavor in his Italic— with the goal to generate a contrast in to texts sheets. Has a three display versions based in the universe of “woodtypes” to deliver a “unity” in all typeset, like his versions fj Alabaster Antique™ Display, Engraved & Shaded. Include Small Caps, Swashes, Modern and OldStyles figures to decimal notation that envolve to fj Alabaster Antique™ in a ideal typeface for first and second lecture in the most of the visual communication pieces. • To exclusive licenses and to follow the develop of this project please visit frncojonas.com Learn about upcoming releases, work in progress and get to know us better! WB: frncojonas.com BE: beh.net/frncojonas TW: @frncojonas ING: @frnco.jonas

Spillsbury was inspired by some examples of 1920s signwriting (principally seen on the side of some vintage vans-good thing they were in a photograph and not on the move!). Spillsbury draws inspiration from these sources to provide a unique combination of legibility and flair, which echoes the charm of advertising and publicity material from the halcyon days of the 1920s. A basic range of four display faces os offered - Regular, Plain (not all that plain really!), Shaded and Shadowed. In a new departure for Greater Albion, three pairs of 'Duo' faces are also offered. These are designed to be used in pairs-and only sold on that basis for little more than the cost of a single face-to provide for two-coloured typographic design, enabling the recreation of those evokative two coloured blocked lettering styles that were used to such good effect in the past. Take a trip back to more colourful times today with Spillsbury!

Italiko is a calligraphic font. The letters have been hand-drawn individually to extract the common strokes. The strokes have then been re-composed to give the font a more unified appearance. It comes in Black, Bold, Regular, and Thin. The Thin version is different as the extreme contrast in the font makes the thinner lines disappear. It is likely best used as a display font. There are ligatures for the combination of letters that can be written more quickly by using a single stroke and letters that are slightly different from the ‘Italic canon.’ You can select which one to use in your application (i.e., Word) using combinations of italic/bold: No selection -> Regular Bold -> Bold Italic -> Thin Bold Italic -> Black If you end up using the font, get in touch at https://github.com/lucabol/Italiko. Feel free to suggest improvements or let me know if you encounter problems.

Sharp and bold are the right words to describe Crucial Typeface. Crucial is a serif typeface that has a pointed tip so that each piece of character gives a bold and elegant impression. Having 8 weights and each weight packaged in an elegant Italic set, this typeface will add boldness and elegance to your designs. Crucial can be used for a variety of design styles. It is suitable for strong-spirited designs as well as for a more striking and classy editorial look. ?There are many useful features in this typeface including aalt, frac, league, lnum, locl, onum, ordn, salt, sinf, ss01, ss02, ss03, subs, sups, kern.

Linotype Scrap is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. The font is available in two weights and was designed by German artist Ingo Preuss. It is as though the forms of the basic weight were cut with scissors out of pieces of paper. There are no inner contours, only the outer silhouettes. The capital letters which make up Scrap Bonus are set on black rectangular backgrounds and are white and framed with a white contour. This weight includes a number of different pictograms which were also not spared the scissors. The decorative Linotype Scrap embodies the comic style of the 1990s and is meant exclusively for headlines of points sizes 18 and larger.

Inspired by classic calligraphy, Armstead is an elegant and sophisticated handwritten font with a classic charm. All lowercase have 8 - 9 variants, total of 203 alternates, 7 ligatures, 20 swash of which 10 are final, and there are old roman numerals from 0 to 12. This font is perfect for your wedding invitation, greeting card, certificate, branding, magazine, book cover and much more and the alternates will help you to make your design unique. Thank you!

Thirty years after its first appearance, Jovica Veljović has produced ITC New Veljovic Pro, a completely revised edition of his first typeface, ITC Veljovic (1984). Prof. Veljović has tapped into all the experience he has garnered over the past decades; by carefully adjusting the proportions of the characters he has provided the new typeface with a more harmonious presence. The serifs have been subtly curtailed and the letters made slightly more condensed. Some new features of ITC New Veljovic are the double-story “g” with its completely closed loop and the more open forms of the “c” and “e”. In the italic variants, the latter is much rounder. Thanks to Veljović’s outstanding work, the optimized ITC New Veljovic can now be used in all contemporary applications. The new Condensed style saves considerable space when it comes to setting longer texts. The Display versions show off the striking, crystal-clear shapes of the design at their best in larger point sizes.

Please welcome Palomino Clean - a carefully digitized brother (or sister?) of Palomino calligraphy font family created using amazing Palomino Blackwing 602 pencils. Palomino clean can be safely used on the web - no need to worry about file size! - as well as in all desktop applications. All features are identical to Palomino Original - the script font is loaded with initial, medial and terminal alternates and swashes. Along with a help of three other fonts - condensed sans, simple sans and design elements font - you’ll be able to create stunning designs with a click of a mouse. This versatile font family will work perfectly for fashion, e-commerce brands, wedding boutiques, photography, quotes design and a lot more. It has extensive language support and fully unicode mapped.

Maithe is an incredibly sweet and delicious handwritten script with a lovely feel. Whether it’s Valentine’s Day or Christmas, this the ultimate font for turning any romantic crafts idea into a stunning piece of art! Maithe works both on Mac & PC and it simple to install. This family contains Swashes , Titling, and Ligatures. Multilingual Support (ä ö ü Ä Ö Ü ß ¿ ¡). Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, CorelDraw, even work on Microsoft Word. To access the alternate glyphs, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign, and CorelDraw. More information about how to access alternate glyphs, check out this link (http://goo.gl/ZT7PqK) To stay up to date for my latest releases, follow me and let’s be friends because there will be many promos.

Caballero Script is a calligraphic font from from Swedish type designer Bo Berndal and the T4 font foundry. Caballero is inspired by Spanish handwriting from 15th and 16th century, minus the extremely long ascenders. If it would be music or a dance, it would be a Flamenco – there is fire as well as discipline. It is an OpenType creation, for both PC and Mac.

Geometrical drawing of Fenomen Sans typeface goes back to the roots of the Bauhaus aesthetics and the entire architectural and design avant-garde of the 20th century. It is still a symbol of functional rationality, clean aesthetics in relation to shape, and of progressive thinking. Its popularity is timeless and permanent. The set contains eight basic alphabets of a square pattern, eight semicondensed, eight condensed and eight extremely condensed alphabets, all in Latin and Cyrillic alphabets. Every font of the family has four types of numerals, small caps and variant letters. The typesetting can fluently use all fonts simultaneously. The typeface originated between the years 2011–2014 and was subjected to a series of tests for the fluent legibility of narrow fonts even in extreme conditions. Narrow fonts provide this set with the maximum use also for newspaper typesetting. The typeface has an elegant, delicate design in thin fonts and sufficient legibility in bold. Mutual contrast produces creative tension. Font name acronyms described: SCN = SemiCondensed CN = Condensed XCN = ExtraCondensed

Actay Font is an elegant and remarkable family with its highly legible geometric lines. Crowded family members are divided into three separate groups: Normal, Condensed, and Wide. Each group has 20 weights. Actay Font also provides Cyrillic Alphabet support, providing unlimited possibilities in many languages and will not let you down. The fluent functionality of Actay is achieved with multiple OpenType features, such as case-sensitive forms, contextual and stylistic alternates. The standard numerals set encompasses tabular figures and symbols, superiors and inferiors, numerators and denominators, plus fractions. Thanks to its corporate structure, Actay can be shaped and used in accordance with many design trends.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Introducing Marsmila, a luxury beauty calligraphy font inspired by the Victorian era and the Grace of the Roman letterforms as well as modern calligraphic aesthetics. Its graceful, curving lines and elegant swirls are a delight to behold. Marsmila comes with massive number of glyphs and stylistic alternates, including extra beginning and ending swashes. Perfect for your next calligraphy project, or when you want to make your text look fancy! Make your next design projects look like you took them to an expensive calligrapher to be done for hundreds of dollars, but you didn't! You can use it in any design and any way you want. Marsmila typeface works best for logos, posters, styling purposes such as invitations, greeting cards or any design projects which have some elegant vibe to them. A Million Thanks Colllab Studio www.colllabstudio.com

Grosen Typeface Family is designed by Oğuzhan Cengiz in the years 2017-2019. It has a grotesque structure that contains humanistic effect. Although it is designed upon the basic geometric structure, it shows own style with expansion that makes a reference to serif at start and finish of round letters. Grosen Typeface Family has fourteen styles with seven weights and theirs real italics. These have advanced OpenType features; like small capitals, case sensitive signs and math symbols, alternative characters (a, g, M, J, &), automated fractions, oldstyle figures, tabular linings, proportional numbers...

Introducing MBF Avturo, a square, condensed, modern, minimalist typeface that redefines versatility. Clean lines and a sleek design make it an eye-catcher, while its three weights – light, regular, and bold – offer a spectrum of possibilities for your creative endeavors. Elevate your projects with MBF Avturo’s contemporary charm and minimalist sophistication.

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