Designed for global branding and supporting 93 languages, the SST® typefaces blend the organic readability and controlled structure of modern sans serif designs. In combining these attributes, the SST family is understated, versatile – and sure to be a timeless design. The SST Pan-European family has 17 fonts in total, supporting the W1G character set. It spans six weights from ultra light to heavy, each with an italic complement. In addition, three condensed designs and two monospaced (typewriter) typefaces were drawn to further expand the family’s vast range of uses. SST’s subtle design traits provide a quietly handsome and consistently friendly typographic presence that can be used for just about any typographic application. Broad range branding applicability combined with coverage for almost a hundred languages, makes SST one of the most widely accessible and usable typefaces available. Originally designed in partnership with the global consumer brand, Sony, the SST family is one of the most comprehensive type families available. Since extensive multi-lingual support was a critical design goal from the beginning, Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. As a result, the details – which could be as subtle as stroke curvature and width – are consistent across Latin, Greek, Cyrillic, Arabic and multiple Asian languages. SST performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs; while massive print headlines – even complicated wayfinding projects pose no stumbling blocks to the family’s typographic dexterity. While the family is also large enough to manage complicated typographic hierarchy, SST pairs handsomely with typefaces as far reaching as ITC Berkeley Old Style®, Meta®, PMN Caecilia®, Malabar® and Neue Swift®.

Gill Sans is a humanistic sans serif family that, while is considered by many to be quintessentially British in tone and concept, has been used in virtually every country and in nearly every application imaginable. Gill Sans has reached this level of near-ubiquity for one simple—and very good—reason: it is an exceptionally distinctive design with a potential range of use that is almost limitless. This toolkit family includes a wide range of styles including the standards such as Light—which is open and elegant—and a Regular that, with its flat-bottomed d, flat-topped p and q and triangular-topped t, has a more compact and muscular appearance. Its Bold styles tend to echo the softer, more open style of the light while the extra bold and ultra bold have their own vivid personalities, but each of them would make for an eye-catching headline. Take into account the family’s many weights, including condensed and extra condensed designs, and extended language support and you have yourself a tool you’ll be thrilled to return to, time and again. Gill Sans was designed by Eric Gill: a versatile, brilliant, and prolifically successful designer of the early part of the last century. One of the main reasons for the enduring success of his namesake design is that it is based on Roman character shapes and proportions, making it unlike virtually any other sans serif out there. Gill also worked his own warmth and humanity into his design, resulting in a typeface in which each weight retains a distinct personality of its own. Pair with serif fonts like Gill's own Joanna; or more modern offerings like Frutiger® Serif, Malabar™, Syntax® Serif, FF Scala®, or DIN Next™ Slab.

Minimal, modular, modern—at first glance, Materia shows a contemporary flair, combining pure, strong geometrical form with a subtle, distinct appearance. Actually, the design was inspired by lettering from the turn of the 19th to the 20th century that still can be found in the East of France. While its formal origins date back as far as this, revived e. g. by the constructivists into the nineteen twenties and later on by Dutch information designer Wim Crouwel in the nineteen-sixties, the visual language of Materia still speaks of the »future«. Following a minimalistic concept the font is formally built on a grid. Wherever optical curves are needed for a smoother, more comfortable shape of letters than a simple rectangular block, diagonals cut off the egdes – like a diamond is cut to achieve more beauty. Thus headlines and texts set in Materia are given a certain »egdy« feeling, whereas their tonality is still kept well-balanced, keeping concentation all on information in a nonconfomist way. Materia comes in eight styles, from elegant Thin to attention-forcing Ultra. Even a regular Italic is available, following the classic type-set-principle. Two of the styles are explicitly designed for display use, Shadow and Code. Both are ready for combinations with Bold or each other respectively, the layering of Shadow and Code e. g. allows astonishing effects or highlighting within the letters. For OpenType-users Materia is a real Pro, containing accented Latin letters for over 70 languages, small caps, old style, tabular and lining figures and special condensed titling all caps for cases in which space is all that counts. How useful all of the above mentioned is may be seen in the book David Lynch – Lithos, designed by Koma Amok, published in 2010 by item éditions, Paris, and Hatje Cantz, Germany, which was typeset completely in Materia.

Mutable is as flamboyant and changeable as its name suggests. These characterful fonts were designed specifically for display purposes. It’s an exuberant type family that’s jam-packed with alternates and bestowed with a loud personality. This typeface is defined by its barbed serifs and elegantly curved terminals, or “foxtails” as they are sometimes known. An extremely large x-height amplifies the friendliness and buoyancy of the lowercase glyphs. These qualities give Mutable a unique aesthetic that will undoubtedly give your logotypes, headlines, and titles a distinctive appeal. Mutable has a strong Art Nouveau influence and was mainly inspired by Ed Benguiat’s Tiffany and the mysterious Pretorian typeface accredited to P.M. Shanks and Sons of London. Special OpenType features include 523 alternates that will make each word resonate beautifully when used in titling and branding situations. With so many alternates available, you may find it difficult to stop playing and settle on a selection... but that’s a good thing, right? Small Caps are also included (along with their matching diacritics and alternates) – these are designed to harmonise with regular lowercase forms making unicase-style typography a cinch. Mutable has a total glyph count of over 2,400 characters. There are 9 weights across 2 widths, ranging from a delicate and wispy Narrow Thin to a chunky and imposing Ultra. And... it’s variable! This allows you to select any width or weight in between, making Mutable even more... erm... mutable! This type family has an extensive character set that covers all Latin European languages. Finally, you can test drive Mutable immediately as the Regular weight is offered as a free download. Key features: 9 Weights 2 Widths Variable Small Caps 500+ Alternates Old Style Figures European Language Support (Latin) 2400+ Glyphs per font

Eligra is a modern and elegant sans-serif typeface family inspired by old and new classics like Helvetica and Gotham. Its geometric and precise strokes create a versatile and timeless font. However, Eligra has unique features, like its subtle swirls and curves, that add a dash of personality while still maintaining the font's simplicity and clarity. Eligra has more than 800 glyphs, with a large set of Latin, Cyrillic and Greek characters, several alternates, and different styles of numerals. It is clean, clear, stable, and contemporary, making it a perfect choice for branding projects, websites, advertisements, documents, presentations or any other occasion where you want to convey evenness while maintaining a contemporary and innovative look.

Jacklyen is a modern hand-drawn typeface. It has a elegant, classy look, catchy, readable and cool. This font is perfect for giving your branding projects, font for fashion, apparel projects, and goth vibe, but also works great for other projects like posters, packaging, advertising, headlines, social media, branding, signage and anything where you want that urban look and feel.

A typeface to be reckoned with. It's sharp lines and unruly angles are perfect for concert posters, blackmail, and wedding invitations. Keep punk alive and support your local electro goth band by using Death Ray. Available in only uppercase because all messages that merit Death Ray's use must command that sort of attention. And who said type shouldn't be expressive.

Heading Now is the new incarnation of Heading Pro, developing the original typeface family designed by Francesco Canovaro for Zetafonts into a superfamily with 160 variant combinations. Built around 10 different widths, ranging from ultra-compressed to ultra-wide, and eight weights from thin to heavy, Heading Now provides a full spectrum of sans serif type solutions to your design problems. Born as a space-optimizing typeface for headers and titles, Heading Now can be used in its compressed widths to manage space on the printed page and on the screen. In these widths Heading Now excels in titles and subheadings, timetables, infographics and in situations of exuberant and excessive copywriting. On the other side of the width spectrum, you can find extended width variants, ready to be used for titling where style and energy matter more than pixel or paper economy. Heading family is not only made of extreme widths: you can use the medium width range to design body text. Matching italics provide versatility in text use, as well as a dynamic display alternate to the bolder weights. Heading Now keeps the original design of Heading, but extends the width and weight range while keeping its (post) modernist attention to readability and details. Each Heading Now font includes over 1100 characters with coverage for 200+ languages using Latin, Cyrillic and Greek alphabets. A full array of open-type features is included in each weight featuring also stylistic alternates, small caps, old-style and tabular numerals and positional figures. • Suggested uses: born as a space-optimizing typeface for headers and titles, Heading Now can be used in its compressed widths to manage space on the printed page and on the screen. Perfect for contemporary branding, web design, packaging and countless other projects; • 162 styles: 8 weights + 8 italics x 10 different widths + 2 variable fonts; • 1100 glyphs in each weight; • Useful OpenType features: Access All Alternates, Small Capitals From Capitals, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Standard Ligatures, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Small Capitals, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Subscript, Superscript, Tabular Figures, Slashed Zero; • 220 languages supported (extended Latin, Cyrillic, Greek alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Vietnamese, Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Greek, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Zarma, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Irish, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük;

Bright Dream is a cute and quirky handwritten font. It will add an incredibly sweet and joyful touch to your designs. Add this beautiful font to each of your creative ideas and notice how it makes them stand out! Honestly it's works perfectly for headlines, logos, posters, packaging, T-shirts and much more. Font Features : Regular Version Character set A-Z in Uppercase and Lowercase Numerals and Punctuation Accented Characters Multiple Languange Supported Format File OTF Recomended to use in Adobe Illustrator or Adobe Photoshop with opentype feature. If you have any questions, just send me a message and I'm glad to help.

Mixed designs of Futura and Bodoni (Fudonis) are quite popular. Apart from being contemporary, such fonts provide excellent readability. However, most of the existing 'mixtures' were not good enough in terms of balance for P. Kraft. He was finally inspired by a noticeable 'mixture' in a Japanese fashion magazine. His intention was not to combine two existing fonts but to design a completely new typeface: Bohemian - named after the well-known Japanese fashion style in Shibuya/Tokyo - the Bohemian Style.Bohemian and Parametra can be mixed perfectly since their proportions and dimensions are the same.Bohemian was designed for the URW++ FontForum.

Linotype Brewery is part of the Take Type Library, chosen from the contestants in the International Digital Type Design Contests of 1994 and 1997. This text font is available in six weights from light to black and was designed by Gustav A. Grinberg. An outstanding characteristic of the font is its light stroke contrast and its constructed forms. Its tiny, triangular serifs first become noticeable in very large typesizes, much like the Dutch fonts of the 17th century, Copperplate, for example. Linotype Brewery is cool and elegant and well-suited to middle-length texts and headlines.

leaf spring is a refined and delicate handwritten font. This lovely script font has a wide spectrum of applications ranging from greeting cards to headlines and is guaranteed to add a romantic feel to your next project. It will turn any design project into a true stand-out. Add it to your most creative ideas and notice how it makes them come alive! This font is PUA encoded which means you can access all of the amazing glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs, swashes, and ligatures.

dT Ampla shares many characteristics of the versatile sans typefaces of today: nice range of five weights with matching italics, 40+ supported languages, contemporary upper-to-lowercase proportions and impeccable performance in big and text sizes. However, all these features are designed with distinct shapes and details. Notice the angled terminals – the cut at the end of the strokes – or how the vertical strokes in the italics seem to 'bend' a little, for instance. The sum of these and many more design decisions result in a typeface capable of delivering a strong presence to sites, interfaces, apps, magazines and corporate graphic language.

Katniss is a stylish and modern calligraphy font. It is a nice choice for creating eye-catching logos, branding, and quotes. It has beautiful and well-balanced characters and as a result, it matches a wide pool of designs. Add it to your most creative ideas and notice how it makes them come alive! The font Katniss contains 204 glyphs. Supporting more than 66 languages, from English to Zulu. It is also PUA encoded and has open-type features such as ligatures. So what's included: Basic Latin A-Z, a-z, numbers, symbols, punctuations, and ligatures. Accented Characters : ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØŒŠÙÚÛÜŸÝŽàáâãäåæçèéêëìíîïñòóôõöøœšùúûüýÿžß

Ancient Totem is Ethnic Tribal Font With Two Model Font. Ancient Totem has a fun character and display typeface. Ancient totem is a font inspired by traditional tribal and ethical styles. This font is perfect for projects with tribal and ethnic themes. But this font is also suitable for logos, branding, greeting cards, invitation cards, advertisements, titles, healines, book titles, stickers, packaging, quotes, posters, t-shirts/apparel, billboards and others. This font can be used and supported in various programs and OS, such as procreate, cricut, windows, macOS and others. This font is also support multi language.

Tautier is a display font based on the specimen of Enge Mediaeval-Antigua, published in 1900 from the Bauer Type Foundry. It is intentionally redrawn to keep its overall narrow proportions. Based on the existing basic alphabets, Tautier is redrawn to appear more classical and friendly, as you can notice in the rounded corners around the beaks, as well as the lachrymal terminals in lowercases. Tautier is a display typeface suitable for large applications, for example, headlines for editorial design, branding, webpages, and environmental design. It currently comes as a single-styled typeface disposed to extend with an italic version.

The earlier release of Hasan Amal typeface was in 2008. It has introduced modern OpenType Arabic Typeface which combines the features of Kufi and Naskh Style with noticeable both curvy and sharp segments beside the refinements of its letters which made it more readable. Hasan Amal is used in both titles and text in modern graphic and publication projects.It supports Arabic, Persian and Urdu languages and contains three weights: light, regular and bold. HS Amal is an OpenType family with (7) weights, produced to support Arabic, Persian and urdu. It contains many various alternatives and good additions.

Peter Schmidt, well-known designer from Hamburg, browsed in a fashion magazine on a return flight from the United States. At that time he was thinking about a logo for a philharmonic orchestra. In the magazine, he noticed some interesting typography. He removed the page from the magazine and sent it later to Peter Langpeter. That was the inspiration for the creation of the logo. Since Peter Langpeter really liked the classic aesthetics of the resulting letters, he developed a whole new alphabet of it. Initially, only capital letters. Now he has completed this exceptionally beautiful font.

A font drawn in a rounded rectangle looks modern – if we do not mind that it was in vogue mainly in the 80s of the last century and was created in the fifties, when various Italian designers noticed that the outline of a glass TV screen is actually the letter “o“. Since then, this progressive idea has undergone many improvements, which can be summarized in the notion of “popular-scientific typographic revival”. The present incarnation called “Superscience” has the advantage of having extreme variations and nicely simplified letters, as well as the usual repertoire of OTF functions and playful variations.

Summer flower is a dazzling script font with a lovely atmosphere and spotless form, inspired by a timeless classic calligraphy. Not too thin and not too thick, balanced and varied, summer flower was designed to enhance the beauty of your projects. summer flower will turn any design project into a true stand-out. Add it to your most creative ideas and notice how it makes them come alive! This font is PUA encoded which means you can access all of the amazing glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures.

From Weimar to København/Copenhagen, picking up some decadent traits on its journey. The design of Copenhagen Grotesk is inspired by the great German grotesque type design history, although it will not fall into ranks in all aspects. Indeed, Copenhagen Grotesk will not be put into one single time pocket of style, so you'll notice that there's a hint of art deco style in its capital letters. The visual expression is first and foremost firmly rooted in the style of Scandinavian design, so feel free to use Copenhagen Grotesk for functional typographic design in relation to multiple media types.

Nubian was one of the first typefaces ever designed by G-Type and is an elegantly proportioned, crisply modern sans serif family. Comprising five weights from Thin to Bold with true matching italics, each font also includes two sets of figures (lining and old-style numerals) and an extended European character set. Nubian has a noticeably open, semi extended appearance providing very even 'colour' and excellent legibility when set as text. The contemporary letterforms work well at all sizes in print and on screen making Nubian a great choice across all media. The family has been updated to OpenType with extended language coverage.

Pooper Black Pro is based on a brush ethic and has an extreme axis that lends a certain amount of speed to the font while the lack of connectors slows it down. The pro version expands on the original and popular Pooper Black with the addition of full Central and Eastern European character sets and plenty of alternate characters for those who have applications that support Opentype features. Almost all of the lower case characters now include an in stroke and out stroke version for greater design flexibility. A wonderful face for packaging, titling, and short bursts of text.

Benah is a beautiful and exotic handwritten typeface that may be used for a variety of applications. This typeface will make your graphic look harmonious and simple, allowing you to align and maximize the appearance of your project to be the most noticeable among those accessible. This font is designed with a natural touch of handwriting which is refined to create a portion and composition that suits your needs. So this font is suitable for craft, children’s writing, adventure posters, food banner titles, wedding invitations, product packaging logos, quotes, social media page covers, furniture banner headlines, book covers, and much more.

Lean is a solid must-have for anyone's font collection. With its plump weight and dynamic poise, Lean offers an eye-catching solution for any project. Handcrafted and informal, the style adds a real statement, whether it's for a logo, video artwork, business card, or presentation. The impact of the uppercase characters, married with the gentle roundness of the lowercase strokes, present a unique result for titling, sure to get you noticed. Lean's dynamic 'lean' makes strings come alive, giving a feeling of movement and excitement. The character set contains 190 glyphs, with latin and western language support.

Raphia is a one-of-a-kind display font designed with caution in mind in order to create a font with a powerful, bold, and noticeable character for your varied creative endeavors, maximizing the impression of beauty. Not only that, but this font works well as text in sentences as well. So, what are you waiting for? Start making your creative ideas more beautiful and extraordinary right now, and don’t forget to employ this font. This font is perfect for games, sporting events, branding, banners, posters, movie titles, book titles, quotes, logotypes, and more. Start using our fonts for your amazing projects.

The light and the bold. The thick and the thin. Laverne and the Shirley. Peanut Butter and the Jelly. Hoban is about contrast. Hoban wants to be noticed, but only after a second glance. A friend of a friend to the didones, it has smaller, tapering serifs, slightly calligraphic traits, and spindly little terminals that go where they please. It’s a headline face. Period. Set it big and bold. Or light and airy. But preferably next to something with flair. Cuff links, canapés, or corvettes–it’s up to you. Distinct ligatures, ornaments, and swashy alternates provide plenty of character to tailor your style.

STROM is а modern sans serif font with minimalistic and geometric characters. The rounded corners give the typeface a friendly look, yet it retains a professional quality. The attention to detail paid during its development means that this typeface offers a vast range of design possibilities – and helps users create eye-catching designs. The different font styles are built on the same foundation, so they can be mixed and matched while maintaining a harmonious look. The simple, clean lines make it noticeable and ideally suited in display settings, advertising, packaging, logo, branding, poster, billboards, film, television, web, screen and print design.