Sada is a text font designed with hand held devices and ebooks in mind. Glyphs are designed to be larger than usual and very clear with soft visual characteristics and many traditional Arabic calligraphic transitional features incorporated to improve legibility. The word “sada” means “echo” in Arabic. Even though Sada is a cursive style font it offers clearly distinguished and visually unified letter shapes in every position of a word. Sada supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It comes with three weights, regular, bold, and ultra-light. Each weight has normal and left-slanted “italic” styles. The script design of this font family follows the Arabetics Mutamathil Taqlidi style and utilizes varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter in an Arabic text. Sada includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Sada’s soft-vowel diacritic marks (harakat) are only selectively positioned with most of them appearing on similar lower or upper positions to emphasize they are not part of letters. Kashida is zero width glyph.

Leftfield - stylish vintage font collection. Leftfield collection includes following: •Leftfield Brush -a bold baseball style script with Clean and Rough version •Leftfield Swoosh -a set of swooshes designed to go with Leftfield Brush. Clean and Rough version. •Leftfield Sans -a sturdy all caps sans serif with Regular and Bold weight and Clean and Rough version of both •Leftfield Serif -a sturdy all caps serif with Regular and Bold weight and Clean and Rough version of both Leftfield Brush is a bold and strong sports team style vintage connected script. It’s great for any kind of display use from impressive logos to packaging and headlines. Brush is equipped with automatic Contextual Alternates that keep the connections smooth. In addition there is Swash, Titling and Stylistic alternates for standard characters. Try combining Leftfield Swoosh to make stunning compositions. Leftfield Sans and Serif work great as themselves, they make striking word blocks and they are designed to go with the Brush. Try Leftfield Serif in large sizes to make the best out of the subtle serif’s. Leftfield Rough versions simulate a printed version of the font for authentic vintage look. They’re otherwise the same font but with a rugged outline and print texture inside the characters. Leftfield has a wide language support including West European, Central European, Baltic, Turkish and Romanian character sets.

Add some old fashioned charm to your designs with the distressed alphabets in the new BLINCtype Letterpress Fontpak, a brand new font collection containing 8 letterpress-inspired fonts from the creative minds at Blinc Publishing in St. Paul, MN. The BLINCtype Letterpress Fontpak contains a handy concise assortment of old-school display fonts. From the old Western "WANTED" poster look of Prospect Modern, to the no-nonsense all-caps classic Goshen and its lowercase companion Gideon, these fonts are inspired by wooden letterpress blocks and other archaic technologies. It's like having your own letterpress print studio! Except it's all instantly downloadable right now as easy-to-use fonts! Designers love working with the Cheltenham-esque Gomorrah and its grittier, grungier counterpart, Sodom. The bouncy Golgotha has a rough and tumble readiness that exudes a hand-made charm, while Hamilton Offset has a cryptic, experimental look and feel that gives the impression of double-vision. You also get the newest member of the Blinc font family, Player Piano, which was based on punch-cut stencil letters on an old player piano paper song roll. Purchase the BLINCtype Letterpress Fontpak today and you'll be able to download and start using these 8 great fonts right away! The BLINCtype Letterpress Fontpak contains the fonts: Gideon, Golgotha, Gomorrah, Goshen, Hamilton Offset, Player Piano, Prospect Modern and Sodom.

Anna Clara can be dressed up or down, as fancy as you wanna be. On its own, it’s an organic script, with the fine hairlines, thick swells, and slightly undulating baseline found in modern casual calligraphy. Add swashes, and Anna Clara becomes a bit more playful and festive. Each capital letter has a flourished alternate—great for displays or headings, or to add emphasis to a particular section of text. For OpenType-aware software users, Anna Clara also features ten pairs of swashes that can be added to the beginning or end of any lowercase letter, for a custom flourished look. Illustrator and InDesign users can access extra swashes and banners by using the glyph panel. Photoshop users: These characters can be accessed via the “Ornaments” feature in your OpenType panel - try non-numeric punctuation marks and accents for swashes. For banners, type catchwords followed by an asterisk. “Asterisk asterisk” will produce a blank banner that you can use to create your own. Included catchwords are “and”, “at”, “by”, “for”, “from”, “of”, “the”, “to”, “with”, "l'", “le”, “la”, “el”, “et”, and “y”. Roman numerals can be used in the “Ornaments” feature by typing their respective keyboard characters “I”, “II”, “III”, etc. - followed by an asterisk. An ampersand (&) followed by one or two asterisks produces two special “and” characters.

Wakerobin takes its charming swagger from the hand-painted billboard, poster and signage lettering of the mid-19th century. These showy styles did everything they could to stand out from the background cacophony of advertising, with signwriters using sharp and high contrast serif letters, squared block shapes, or art nouveau forms to grab the attention of passersby. Wakerobin embraces the spirit of these letterforms, bringing these various styles together in one typeface - as if users had their own sign painter on hand. Just as lettering artists had to adapt to a variety of sizes - from wide streetcar lettering to compressed forms that squeezed into narrow Victorian windows - the variable version of Wakerobin scales up and down in width to fit whatever environment the user’s working in. The static fonts come in three widths and five weights. As well as its adaptability, Wakerobin is bursting with vintage flavour, making it hard to ignore. Its distinctive, spiky serifs would be right at home on food and drinks packaging, as well as shop windows, adverts, and any other place that calls for some typographic showmanship. It performs particularly well in busy environments, or anywhere with a lot of visual noise - just as its historic predecessors did. And while Wakerobin is first and foremost a display typeface, it’s surprisingly elegant when used at text size, or in the lighter end of the weight spectrum.

Savor the perfectly imperfect strokes of "Limoncello Recipe," a handwritten font that embraces the charm of human touch in every line. Just like the handwritten notes of a well-used family cookbook, this font features delightfully uneven lines and a casual, unrefined style that brings an approachable, personal feel to any project. With 84 standard ligatures, "Limoncello Recipe" reflects the natural variations of handwriting, creating connections that are as authentic as they are unique. These connections celebrate the beauty of imperfection, making your text resonate with the warmth and originality of a handwritten letter. The font's assortment of beginning and ending swashes provides a variety of expressive flourishes, giving your words a laid-back elegance. These alternates allow for a playful freedom in your designs, echoing the spontaneous and joyful scribbles found in the margins of a secret family recipe. Ideal for designs that call for a touch of rustic charm and a dash of whimsy, "Limoncello Recipe" is a reminder that beauty often lies in the flaws. Whether you're designing a quirky brand identity, a charming event invitation, or packaging for artisanal products, this font proves that sometimes the best approach is a little bit carefree and wonderfully imperfect.

ARTA is an ArtDeco style font, inspired by classic font like Newport Classic with elongated typeface with high waisted uppercase letters which curve in an geometric and elegant way. It consisted of really condensed lettering which had little space available. It's a well complet font with 315 Glyphs for most latin languages as "English, French, Spanish, German, Icelandic, Afrikaans, Catalan, Czech, Esperanto, Hungarian, Latin, Latvian, Lithuanian, Maltese, Northern Sami, Polish, Serbo-Croatian, Slovak, Slovene, Sorbian, Turkish and Welsh". ARTA will give to your design an chic presentation, you will be able to generate beautiful writings,thanks to 3 differents type "Light, Regular & Bold". It can be used for Shop, Restaurant, Jewelry, Cosmetic, Press identity & more. I started to work on this typeface at the creation of a logo in 2017 for the butcher shop of my uncle in Luchon in France named "Le Louchébem". I always had in mind to complete & share it. So after some years, I decided that it was time to finish it. This was my first Typography creation and I wanted to make it as an Art Deco typeface. I really love this elegant, high & classy lettering style. I want to bring this 1910's vibes back to be more use in our days.

Meet Pamplemousse, a display font that's part fun, casual script and part elegant typeface! Pamplemousse is most decidedly a fellow who enjoys lazy Sunday mornings spent sipping mimosas or bloody marys over a plate of eggs benedict and the New York Times crossword puzzle. He enjoys dressing up for use in branding and headlines (he looks particularly dashing in all caps) and also sitting back and composing a casual note to a dear friend. Pamplemousse is mostly sweet and just a little sophisticated, and he likes being just as he is. Pamplemousse started out as a typeface based on the lettering of Gustav Klimt in his poster for the first exhibition of the Vienna Secession movement (Art Nouveau). This drifted into an homage to Rea Irvin's iconic masthead typeface for the New Yorker magazine. Finally, with the addition of a lowercase (absent from Irvin's typeface), a significant revision away from both Klimt and Irvin into a more casual space, Pamplemousse was born! Oh — why "pamplemousse?" "Pamplemousse" is French for grapefruit. What goes better in your Sunday gin and tonic than an aromatic slice of pamplemousse? Say it a few times. Preferably after a couple of those g & t's. You'll see how fun he can be...

Ribbon type. Holy grail of complex-lettering-turned typeface or an elusive Loch Ness monster that is often teased, possibly seen in the wild, but never confirmed? From the amazing lettering artist and author Martina Flor and masterful type designer Neil Summerour, comes the aptly named Ribbons. Ribbons is a sincere and well-conceived approach to providing a reliable solution to ribbon and ribbon-styled type for creative professionals when a lettering artist just isn’t available. Ribbons provides both flat and ‘folded’ options with the Regular and Fold styles, but then raises the bar with separate layer styles that will allow you to easily create the elegant back and forth movements produced with ribbon-style lettering we have all come to appreciate. These layer options are provided in both ‘smooth’ and ‘pleated’ connected styles. Flor and Summerour didn’t stop there. Each typeface was expanded with a number of stylistic alternates, additional swashed and flourished letters, ligatures, and even more in order to provide as many decorative options as possible to the creative. To round out the nine fonts available in the typeface and to ‘put a bow on it’, they’ve added a separate Shadow style and two different color fonts (available exclusively with family purchases).

Malden Sans is a mischievous grotesque sans serif with charming details that gives designers a solid typographic voice. It was created by Michele Patanè with regular and condensed widths, as a utilitarian typeface family for print and digital environments. It was originally designed as part of a type system for cinema magazines, and embodies the devil-may care attitude of the silver screen. Designer Michele Patanè looked back to an earlier era of typography to create the typeface, embracing unusual details, rather than ironing them out. “There is a very naive way of using typography in the 30s and 40s, something not as clean as how it’s used in the late 50s and 60s when everything passed through a rationalisation of the typographic palette,” he explains. “In film magazines you can still see a bit of roughness, and I like that.” This is a design that’s desperate to be used in editorial environments, and has been created to stand up to lower quality paper. It would be equally at home on posters, packaging, and even in digital environments where designers are looking for something more expressive than another geometric sans serif. Malden Sans includes a Normal and Condensed range, with 7 weights in the normal and 6 in the Condensed, both including italics.

Continue your branding with the ever popular Viva Beautiful font. A new hand-painted brush script collection by Cultivated Mind. Viva Beautiful is back with nine new fonts that include six scripts, a caps font, free words font, free extras and plenty of alternates/ligatures. There are five sets of alternates for every letter adding to the uniqueness of your designs. The new Viva Beautiful scripts are a much cleaner brush script than the original. All scripts come in pro and regular versions. Both versions are Latin Pro. Pro scripts include 260 alternates and 8 common ligatures. Ligatures are programmed to pop up when specific letter pairs are typed. Try the alternates and ligatures together to give your designs a realistic hand-painted look. The all caps font is a basic version that includes 5 common ligatures and looks great paired with the scripts. Regular versions include Latin Pro characters but do not include alternates and ligatures. Viva Beautiful Collection works best for beauty products, music branding, film, television, cookbooks, book covers, food marketing, magazines, and websites. Check out Cultivated Mind Type on Instagram for fun Viva design ideas. Bring beauty to your designs with Viva Beautiful! Fonts designed by Cindy Kinash. Poster designs by Corinne Alexandra.

Introducing Echo Soul; a free-flowing and carefree brush font duo, hand painted with love. Echo Soul speaks from the heart and doesn't hold back. With elongated brush strokes and a natural flow, it's the perfect choice for handwritten quotes, product packaging, and logo designs with a personal and affectionate touch. The Echo Soul family consists of; 1. Echo Soul • A handwritten script font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Echo Soul Alt • This is a second version of Echo Soul, with a completely new set of lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. 3. Echo Soul Sans • An all-caps font containing uppercase-only characters, perfect for supporting text to compliment the Echo Soul Script font. Also includes numerals and a large range of punctuation. Stylistic Alternates • Are also available for several lowercase characters - these have elongated tails and look great when placed at the end of a word. These can be used by turning on 'Stylistic Alternates' in OpenType capable software, or accessing via a Glyphs panel.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family. Bembo® Book font field guide including best practices, font pairings and alternatives.

Art deco The inspiration for FS Blake’s elegant, lightly geometric forms can be traced back to design of the 1930s; designer Emanuela Conidi was influenced by the typography of cool, European, art deco posters. FS Blake bears traits of the art deco style, from its thin weights to its heavy weights, giving a set of faces each with their own distinct character, but still with a strong family resemblance. Mechanical type Mechanical and organic shapes combine in FS Blake to create a harmonious whole of generous curves and cursive spikes. A strong, punchy contender in display sizes, it’s also got a gentle touch with small text in lighter weights. Lively, versatile and with plenty of character contrast between weights, the FS Blake family offers impact in whatever task it’s given.faces each with their own distinct character, but still with a strong family resemblance. Sketch book Great fonts still emerge from a combination of hand, paper and pencil. After filling her sketch book with ideas, Emanuela and Jason extracted the elements that both felt could work in a font. The process yielded a whole crop of starting points for future designs as well as a focus for FS Blake as a striking, characterful, almost industrial font.

Bauhaus is a style of art that was born in Weimar Germany in the early part of the 20th century. The font that bears the bauhaus name was constructed in accordance with this style by making use of spheres and squares with little or no added flourishes. Since this typeface was already minimalistic in appearance, it was difficult to produce a similarly styled font. So I went back to bauhaus’ architectural roots for inspiration. The result contains a more detailed composition, but is still focused on the basic aesthetics that continue to make bauhaus a popular art form. Baudi has a glyph count of 388 and supports the following languages Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Upper Sorbian, Vunjo, Walser, Zulu

Kinfolk Pro is a font collection of six fonts. The main styles Rough and Smooth are extremely sturdy and bold brush fonts. As the name suggests the smooth style has clean, crisp contours and the rough version has the authentic strokes of a slightly dried out brush. Both versions have 606 glyphs and 4 alternate ornamented capital letters to play with, organized in stylistic sets. With Discretionary Ligatures and Contextual Alternates activated you can access elongated swashes by simply typing +1 (+2, +3, +4, +5) in front of any letter and =1 (=2, =3, =4, =5) at the back. On top of that Kinfolk Pro Rough and Smooth have some extra stand alone swashes that can be accessed via the glyphs panel or by typing _1, _2 ,_3 _4 _5. Kinfolk Pro Script is a fully connected script that goes together beautifully with the other styles. For the best connections, activate Discretionary Ligatures and Contextual Alternates. Additionally there is Kinfolk Pro Ornaments for extra swashes, ink blobs and interesting strokes. Kinfolk Pro Arrows and Kinfolk Pro Flowers both offer 230 glyphs to further juice up your designs. You'll need an Open Type savvy application to get the most out of Kinfolk Pro.

Churchward Typestyle is a clean sans serif font, originally designed as a photo font by Joseph Churchward back in 2002. Under exclusive license, BluHead Studio has digitized this typeface by using his original drawings. We added any missing glyphs, being careful to maintain the aesthetic that makes this a classic Churchward design. Joseph intended this to be a six weight family, so we digitized the Light and Ultra Bold weights and interpolated the middle four. We enhanced the functionality of the family by creating a complimentary set of small caps, as well as creating a 10 degree oblique of each weight, being careful to correct the slanted curve forms of the letters. Churchward Typestyle is now an extensive 12 weight family, ranging in weights from Light to Ultra Bold, making it extremely useful in a broad range of design applications, from text and print, to display, posters and billboards. It’s sanserif design is clean and open, with a few of those characteristic Churchward goodies. Joseph loved his ink traps, so look for many of those! They especially become more apparent in the heavier weights. All of the Churchward Typestyle fonts support the major Western European languages, and have OpenType features for ligatures, smallcaps, tabular figures, superiors, inferiors, fractions, and ordinals.

The Hybi5 font family can be described as a “crossover” between Antiqua, Grotesque and Brushscript with characteristics from all of this genres. My aim was to design friendly and versatile fonts, which can be used for headlines or slogans as well as for some longer texts. To make the fonts useful for as many languages as possible, I added a lot of exotic accents. All styles contain the whole “Adobe Latin 3 (CE)” character set plus a few letters from “Adobe Latin 4”. A lot of ligatures prettify the look of the fonts. Alternate uppercase letters in the script style might do the same. If you are a professional designer, you will surely appreciate the thousands of kerning pairs within each style, which will make your work easier. I recommend to set Kerning to “metric” and spacing to “zero” in your layout app. Back in 2015 I worked on the first sketches of “Hybi5” using Adobe Illustrator. “Fontself Maker”, an extension for Illustrator, was used to convert the drawings into font-files. This tool can only create “OTF” font files. For this reason there are no “TTF” versions. It’s not the first font I have ever made, but the first to be distributed commercially.

Sleeve Notes: A font from the analogue age. Inspired by album covers and hand-written song lyrics. Sleeve Notes is an experimental script font and all-caps pair with a loose hand-written style that explores the golden-age of record stores, vinyl albums, cassettes and CDs. It imagines our teenage selves kicking back with a coke (oversized headphones on) discovering a new band and studying the notes on their latest album. Besides production credits, the best sleeves (otherwise known as liner notes) included photos, cool artwork and hand-written song lyrics that gave the listener a human connection to the mind of the artist. This font embraces it's subtle ink blotches and rough edges; all imperfections that build to create a sense of a hastily written lyric, set-list or just a fun little scribble. The package includes six fonts in total; the regular script with two complete sets of alternatives, then two sets of all-caps, and finally the special characters font that features a decorative alphabet plus symbols and underlines. For authentically retro, hand-made looking lettering, it's a great choice and offers the flexibility few other fonts can match. Check out all the visuals to see it action!

Say hello to new serif font, Holy Cream! Holy Cream is a font that takes you back to the trendy retro era. With a classic display serif style but with a modern feel, Holy Cream emphasizes the uniqueness and elegance of each letter. The bold, contoured serif design provides a strong vintage touch, while stylish and quirky alternatives add a charming creative dimension. When using Holy Cream, you will feel a touch of fun nostalgia, but also explore ongoing design trends at the same time. Whether you want to feature your headline in a print ad, poster, or other graphic design, Holy Cream delivers a trendy, retro vibe that grabs attention with its ability to adapt to a variety of visual styles. So, with Holy Cream, make your design speak in a stylish and unique retro style, captivate the audience and make an unforgettable impression. Here's what you get: Holy Cream Regular and Italic All Multilingual symbol Opentype features ( ligature, alternate ) Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Multilingual character supports : (Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Zulu)

Lady Edith harkens back to the days of flappers and cocktail parties. The early part of the twentieth century, when Art Deco was at it’s height and high fashion was all the rage. A time of beauty, class and elegance. A minimalistic font with clean lines and just enough flare to make it unique. The perfect font for any occasion that needs a bit of high end magic. There is no lower case for Lady Edith as it is a decorative font. The Upper case version serves both the upper and lower case keys. Lady Edith has a glyph count of 397 and supports the following languages; Supported Languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Upper Sorbian, Vunjo, Walser, Zulu

946 is a multilingual techno-style family developed by Berlin-based type designer Roman Wilhelm (RomanType). While more and more text families have recently been extended to a multilingual and multi-script level, not so much attention has been given to the more decorative styles. The 946 family does exactly that. A lot of care has been given to the various diacritics: they were designed a little more brutal, a little more European than with some other fonts of this category. Do also watch out for the non-Latin legs of this family. 946 is inspired by electronic music. When Roman found a second-hand Roland TR-606 drum machine in a store in his hometown back in 1995, he started to hang out with would-be DJs and musicians, trying to play the beats that went around the globe. When he started to study visual communication three years later, he was assigned the matriculation number of 946, which has now become the name of this family. Language support: Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Spanish, Swedish, Turkish, Vietnamese, Zulu. Do also watch out for the other script versions of this family!

Clean, crisp, rational, familiar, modern… serifed. Positype Scotch reaches back to history just enough to produce something warm and easy on the eyes. No corners were cut, no quick tricks… this type suite was drawn for specificity: Text, Display, and Deck… ALL in 3 widths that now include Condensed and Compressed. Each unique, each inter-connected, each part of the whole. Scotch Text is offered in 6 weights with matching true italics. Drawn for economy and an easy read, the family is a workhorse for long-passage text settings. 4 sets of numerals, well-proportioned small caps, and a plethora of extras round out each font. Scotch Display is not just a thinner version of Scotch Text wrapped in a higher contrast. Display sports shorter ascenders and descenders, a unique footprint, great contrast, and a more folded, calligraphic italics. Display subtly oozes sophistication and provides an attractive, exhuberant companion to Scotch Text. Scotch Deck rounds out the offering by choosing to be specific to its offering. Deck utlitizes traits and proportions shared between Text and Display, but alters its overall mass to balance out the needs for settings that require subheadlines, callouts and other similar uses. Essentially, something not so high-contrast and not so stress dense that works great for middle-sizes.

Averta Standard is the basic version of Averta. Bringing together features from early European grotesques and American gothics, Kostas Bartokas’ (Greek: ‘αβέρτα’ – to act or speak openly, bluntly or without moderation, without hiding) Averta is a geometric sans serif family with a simple, yet appealing, personality. The purely geometric rounds, open apertures, and its low contrast strokes manage to express an unmoderated, straightforward tone resulting in a modernist, neutral and friendly typeface. Averta Standard is intended for use in a variety of media. The central styles (Light through Bold) are drawn to perform at text sizes, while the extremes are spaced tighter to form more coherent headlines. The dynamism of the true italics adds a complementary touch to the whole family and provides extra versatility, making Averta Standard an excellent tool for a range of uses, from signage to branding and editorial design. Averta Standard comes with alternate glyphs, case sensitive forms and contextual alternates, in eight weights with matching italics and supports over two hundred languages with an extended Latin, Cyrillic (Russian, Bulgarian, and Serbian/Macedonian alternates), Greek and Vietnamese character set. It ships in three different packages offering different script coverage according to your needs: Averta Standard PE (Pan-European: Latin, Cyrillic, Greek), Averta Standard CY (Latin and Cyrillic), and Averta Standard (Latin and Greek). Averta's Cyrillic have received the 3rd Prize in the 2017 Granshan Awards in the Cyrillic Category.

Rigel was inspired by one poster by American artist and illustrator Katherine Milhous. It was a poster promoting the Ephrata Cloister in 1936. The letters from the Ephrata title on this poster are very concise and expressive, reminiscent of blackletter, but have a simplified look, which looks quite fresh even today. It was very inspiring to bring this font to life. In the process of redrawing and redesigning, the font has been slightly modified, but retained the character of those six letters from the reference poster. This is a header font consisting only of uppercase letters. It contains 6 styles from Light to ExtraBold. Despite the fact that the font has the character of blackletter, due to simplified forms, increased contrast and sharp lines, the font looks like a modern rethinking of Gothic script and it has found a new life. The name Rigel is taken for a reason. Rigel is a star, an blue supergiant in the constellation of Orion, and the Ancient Egyptians associated Rigel with the Sah - king of stars and patron of the dead. The human body after mummification was also seen as the embodiment of the soul. Of course, there is no direct connection between the font and Egyptian mythology, but indirectly in this way I wanted to emphasize even more the idea of incarnation, rebirth. Rigel is good for posters, large headlines, logos and any other large font compositions.

The font series Andron MC introduces a new feature to the repertoire of the Andron family: middlecase glyphs (intermediate between upper- and lowercase) – and uncial letters. Middlecase glyphs reach a medium height compared to full caps height and lowercase x-height. However, ‘uncial’ means the historic transitional lettershapes of the medieval ages which have gained no status in the bicameral typographic system of modern times. In all three of the Andron MC fonts middlecase (“MC”) glyphs dwell on the lowercase positions. These are coined in uncial fashion in the MC Uncial and MC Medieval fonts but appear as capital glyphs in MC Capital. The same variation occurs with the uppercase positions: whereas standard Roman/capital glyphs are there in MC Uncial and MC Capital, MC Medieval features uncial majuscules here instead. At the end that makes three different combinations of uncial and capital sorts. These fonts can be used for a great variety of purposes. The uncial sets are particularly well-suited for any typographic matter related to the middle ages. MC Capital is a worthwhile alternative choice when titling is to be possibly set in CAPITALS or Small caps. Andron MC adds a fascinating new aspect to the classical Andron fonts family. It enhances again the unique scope of typographical possibilities Andron is praised for since quite some time now. All three Andron MC fonts support full Latin, Greek (monotonic), Coptic and Gothic character ranges. Each font contains about 1000 glyphs.

Bo Berndal, the master Swedish typographer, is the eponymous designer of Berndal, a contemporary text family with five different styles. This family represents a new achievement for Bo Berndal, who has spent many years working to optimize text legibility in the printed media. Several small tricks make the Berndal family an interesting milestone in legibility. Berndal's letterforms contain large x-heights. Large x-heights open up the counterforms of letters, making text appear lighter on a page, but their correspondingly shorter ascenders and descenders can hinder legibility. This does not occur in Berndal at all! Coupled with this experiment, Berndal's various font weights display a certain softness and roundness. The letterforms themselves are relatively wide, with an overall consistency in width. The calligraphic nature of the strokes has been minimized, yet a contrast stroke-thickness is still to be noticed within the alphabet. Berndal's five styles offer almost everything that one could want from a good text family. The Regular weight may be paired with Small Caps, Italic, Bold, and Bold Italic. All styles ship in the OpenType format, and include tabular and old style figures. The two italic weights are made up of true italics, not obliques. The Berndal family is a part of the Take Type 5 collection from Linotype GmbH."

Seriguela is an ultra condensed sans serif typeface with a unique personality. It comes in normal and display versions, each with 9 weights, as well as italics and reverse italics totaling 54 fonts. Seriguela is flavor in motion and each part of its system works together to captivate you, combining emotion and usability, allowing you to create attractive and unique designs. Seriguela followed a very distinctive recipe to design its alphabet: it started with a grotesque base and applied movement and joy in a very original way. The blacker and more contrasted, the tastier. The contrast in its display version is one of the most important features of Seriguela: the unconventional relationship between thick and thin lines, as it does not strictly follow any historical model of contrast construction and makes it noticeable. Its high contrast is not present in every single character and it is often in the “wrong” places. The original charm of Seriguela is maintained throughout all its styles. With peculiar details: the verticality and its proportions, as well as terminals that resemble hooks in some curves, a characteristic that breaks with the vertical modular rhythm. Seriguela is a versatile font system, designed primarily for display uses with a need of visual impact.