Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Inspired by food labels, signs and coats of arms, PR-Scrolls is a collection of images which can be used for framing text in contexts where antiquity, craftsmanship, or traditional quality are conveyed. There are several sets of glyphs which work together to make a variety of shapes, or banners of custom length. Most of the glyphs are presented in a range of three or more widths.

Beckinslade is a lovely elaborate blackletter face, released just in time for Christmas, but useable at any time of the year. It is in the best traditions of Victorian Gothic revival, drawing inspiration from a range of sources and marrying them into one homogenous whole. The emphasis is on aesthetics rather than historical accuracy. Great fun though for anywhere ‘ye olde’ look is desired.

Gopher is a reverse contrast, geometric sans serif typeface in 3 optical sizes ranging — Text, Normal, and Display. With the most subtle contrast,Text works best in smaller type settings while Display is the most dramatic as the contrast has been pushed more to the extreme for an immediate visual impact. Gopher works great in a variety of settings for branding, advertising, posters, magazines, packaging, and more.

Monique Sans features an unconventional thick/thin stroke weight pattern, that creates a fresh, unique appearance throughout. Aside from being a superb choice for a diverse variety of applications in headline and display, Monique Sans is remarkably legible and distinctive in short passages of mid-range text (10 pt to 14 pt). Wherever your design project requires a stylish, sophisticated look, Monique Sans is sure to shine!

German type designer Ole Schäfer created this display FontFont in 1995. The family has 6 weights, ranging from Regular to Bold and is ideally suited for film and tv, editorial and publishing as well as poster and billboards. FF Scribble provides advanced typographical support with features such as ligatures, small capitals, and case-sensitive forms. It comes with proportional oldstyle and proportional lining figures.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Inspired by calligraphy style combined with modern taste. This is very thin, slim, spontaneity, clean and look wild. Lemans Pen Script includes full set of gorgeous uppercase and lowercase letters, numerals, a large range of punctuation, ligatures. All lowercase letters include beginning and ending swashes. Lemans Pen Script support accent letters of Central Europa, Western (À Â Æ È Ë ã ä æ è...). Thank you!

Dobra is a very geometric and robust typeface with Sans and Slab Serif companions, specially suited for magazines and newspapers, although it works great as a corporate typeface. With five weights ranging from Light to Black with matching italic, available in both styles this highly readable typeface is full of OpenType features such as Small Caps, Tabular Figures, Central Europe characters and Historical Figures, among others.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Designed and built in London by TypeUnion, Karlsen is a structured, functional typeface which embraces harmony, flow and versatility. The Karlsen Family is made up of 14 styles, which range from a delicate thin, all the way through to a substantial Extra-bold and each carry a versatility for multiple applications and uses. Karlsen provides extensive language support to provide a flexible, substantial user experience.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Italian type designer Alessio Leonardi created this display FontFont in 1995. The family has 7 weights, ranging from Regular to Black and is ideally suited for festive occasions, film and tv, music and nightlife as well as poster and billboards. FF Letterine provides advanced typographical support with features such as ligatures, alternate characters, and case-sensitive forms. It comes with proportional oldstyle and proportional lining figures.

Suit Sans Pro is a typeface designed for multi-purposes with a wide range of 12 weights plus italics. The large set of 1377 glyphs embraces a lot of latin languages, and it’s perfect for multi-national brands. Take a look at the specimen. Suit Sans Pro is too much for you? Take a look on Suit Sans STD, a simpler version for Suit Sans.

Sole Sans, companion to Sole Serif , is a newspaper sanserif available in a wide range of weights and styles. It’s a workhorse, suitable for headlines, diagrams, graphics and tabular work. Contrast at the junctions between arches and stems is a feature of early 19th-century sanserifs which inspired Sole Sans. It was originally designed for the leading Italian financial newspaper Il Sole 24 ore.

Wesal is an Arabic typeface with an elegant and modern feeling. It’s luxurious, strong, legible, Clear, Simple, and contemporary. The design is inspired by the Kufic calligraphic style and influenced by the Naskh style. Wesal has a wide range of use possibilities headlines, logotypes, branding, books, magazines, motion graphics, and use on the web and Tv. Orleen consists of 9-weight versions from thin to Black.

Sánchez, designed by Daniel Hernández, is a serif typeface belonging to the classification slab serif, or Egyptian, that bears a strong resemblance to the iconic Rockwell, but with rounded edges— offering contrast and balance to the square structure. Sánchez & Sánchez Condensed comprises 12 variants, ranging from extra light to black, each of the same x-height. Regular and Italic variants are available for free.

German type designer Christoph Kalscheuer created this display FontFont in 1995. The family has 6 weights, ranging from Light to Bold (including italics) and is ideally suited for advertising and packaging, logo, branding and creative industries as well as sports. FF Maverick provides advanced typographical support with features such as alternate characters and case-sensitive forms. It comes with tabular lining and proportional lining figures.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

British type designer Rian Hughes created this display FontFont in 1994. The family has 6 weights, ranging from Light to Medium (including italics) and is ideally suited for festive occasions, logo, branding and creative industries, music and nightlife as well as software and gaming. FF CrashBangWallop provides advanced typographical support with features such as ligatures and case-sensitive forms. It comes with proportional lining figures.

Havelock Titling builds upon the essential geometry of Havelock , adding new weights for spacious, authoritative text. Made to combine with Havelock’s display capabilities for more traditional reading scenarios. Built on the same weight range as Rocinante Titling , which broadens your design options. Light matches Light, Bold matches Bold, and so on. Both Havelock and Havelock Titling collections are included in Havelock Complete for a lower price.

Pittsburgh is the latest (as at August 2011) in a range of inter-war American inspired commercial faces, and takes its place alongside the popular Bettendorff and the Spargo family. These shaded stab-serif capitals speak of the heyday of heavy manufacture and engineering and bring a gritty feel of the 20s and 30s to any project. Why not indulge in a little heavy engineering today?

Anne Bonny is a modern face with a candy touch. She is noble and confident, bloomy and playful. If you want to give your texts a warm and fabulous note, Anne Bonny is the right one. You can choose between a range of Open Type Features, for example the Swashes Feature for decorating the Upright styles letters as well as the Italics. Share your vision!

Warm and human, yet reliable and precise. Catchfire blends humanist proportions and geometric features. The result is a sans serif typeface with strong personality traits, but that can fulfil everyday needs. It is very legible due to its open counters. It boasts a large character-set, OpenType features, circled numbers, wide range of weights, cursive italics : everything needed to become your new companion for years to come!

Etelka Slab is a slab-serif variation of Stormtype's Etelka. In the process of adding serifs are applied some arched elements to emphasize its unique character. The usual range of OpenType functions is present as well as multi-lingual capability. You can use Etelka Slab wherever you intended to put Etelka, but with even sharper, louder expression. It shines in corporate identity and branding.

The grandeur of what was Miami Beach had its golden years peak in the 1940s. One of the grande dame hotels that stood at Collins Avenue and 23rd Street was the Roney Plaza; built in the 1920s and demolished around 1969. An online auction offered a pair of gummed labels provided by the hotel to be used by their guests for shipping souvenir packages back home, thus also giving the hotel a promotional plug. Jeff Levine not only created two typefaces from this hand-lettered label - Old Miami Beach JNL and Old Miami Beach Nights JNL (a solid black version), but painstakingly recreated the look of the label for the promotional flag and banner for the fonts.

Cinema Moderne is created to pay homage to he fabulous small town theaters from 1930's and 40's America. This unique font plays off of the Art Moderne and art deco style of the day. Art Moderne some times called Streamline Moderne design architecture emphasized curving forms, long horizontal lines, and sometimes nautical elements. Many of these masterpiece buildings have been lost forever. Some have managed to find new life with a new function. Cinema Moderne was created to preserve a small piece of that history forever. This font is to encourage the appreciation of the neighborhood theater culture as well as the grand style of the buildings. Comes in 9 different weights for one low price, or as individual fonts. Perfect for logo creation, or any art deco style project. Previous projects have included event flyers, Gatsby themed party invites and digital marketing content. Give your images a unique effect with this one of a kind font.

The Neonica Toolbox - a complete collection to creating awesome neon designs! This is a complete collection which included the fonts, decorations, illustrations, Adobe Photoshop styles and HQ background textures as brick or rusty grunge walls. Create awesome graphics for few simple steps! VV Neonica contains mono lined sans, volumetric sans with inline font option and mono lined script. Also, you'll get the decoration and illustration fonts. Create your own neon signs or add the decoration to your neon graphic. The illustration font has one color or up to three color options. That mean you'll be able to create a full color neon illustration graphic for few seconds! Also, the Neonica Collection comes with Adobe Photoshop styles file (.ASL). Just add it into your Photoshop and get 19 neon colour realistic effects. This file works with any Photoshop versions. As a desert you'll get 6 HQ JPG (4000x4000 pix; 300 dpi) background textures. All the additional materials (Photoshop styles, PDF Guide and Textures) you'll can get here Enjoy!

Neon Bugler Squared is a soft, boxy version of Neon Bugler, which is a font based on the third logo created by Harry Warren in early 1975 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore. This font design has these principles as its parameters: The letters generally follow what would be natural stroke directions; no sharp corners, all gentle turns; no lines back up over each other, cross each other, or run into each other. All of this civility between the lines produces an unintentional but welcome neon quality about it. This font can have a variety of vibes depending on its context-it has a certain nostalgia to it, yet it also has a slick, clean, futuristic, sci-fi look. It can even be used in a semi-grunge setting. This is a very versatile font! Digitized by John Bomparte.

In the world of journalism, headlines are the lifeblood of a publication. They need to be compact, sturdy, and project a voice that exudes trust and neutrality. Enter Built, the font family designed specifically for creating striking headlines that grab the reader’s attention. With its wraparound curves and subtle curls, Built evokes a feel of a bygone newspaper era without being too old-fashioned. The font family is available in five weights, ranging from Extra-Light to Bold, each with its own unique character and style. But what sets Built apart from other fonts is its ability to scale up without sacrificing readability. Lighter typefaces may look great on paper, but on-screen, they can quickly become unreadable if not properly designed. With Built, however, the font becomes narrower as it becomes lighter, allowing designers to set oversized page titles without worrying about copyfitting. In addition to its unique scaling capabilities, Built also offers a simple solution to the problem of aligning numbers in headlines. By disabling kerning, Built ensures that all numerals, monetary symbols, and most math symbols will line up perfectly, saving designers time and frustration. Built also includes a range of other typographical features, such as fractions, primes, ordinals, and vertically compact accents. And as the font becomes lighter, the asterisk grows more legs, allowing it to appear tonally even in Extra-Light. So whether you’re designing a front page for a major newspaper or simply need to create eye-catching headlines for your blog, Built is the font family that can deliver the perfect balance of style and readability. With its range of weights and styles, it’s the perfect choice for any journalist or designer looking to make a bold statement on-screen. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Type designers Erik Spiekermann (D), Christian Schwartz (US), and Kris Sowersby (NZ) created this serif FontFont in 2007. Extensions were made by Ralph du Carrois (D) and Botio Nikoltchev (BG). The family has 12 weights, ranging from Light to Black (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, small text as well as web and screen design. FF Meta Serif provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Greek and Cyrillic writing systems. This FontFont is a member of the FF Meta super family, which also includes FF Meta, FF Meta Correspondence, and FF Meta Headline.

When I first approached this design back in 2003 I wrote myself a design brief that called for a simple sans serif "avec serifs" (with serifs). Its emphasis needed to be on text usage but to be at home in display sizes. A range of weights with a controlled step from one weight to the next, uniform character sets, spacing and kerning throughout the range. Attention to openness of counter spaces would be paramount to work in text sizes. Matching italics should be true italics not merely slanted - with a cursive feel. During extensive testing I decided to include a suite of ligatures to eliminate the hairline gaps that occur between slab serifs at display sizes. The user may activate "Discretionary Ligatures" or "Stylistic Set 1" for ligatures that are not included in the Standard Ligatures (ff, fi, fl, ffi and ffl). A concise User Guide can be downloaded at this link.

The family has 24 weights, ranging from Thin to Black in Normal, Condensed and Wide styles. It is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster, and billboards, small text, wayfinding, and signage as well as web and screen design. Zawya Pro provides advanced support with features such as case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of letters for Arabic and English with Arabic and Latin digits. As well as Latin-based languages, the typeface family also partly supports the Arabic, Urdu and Persian and more than 30 writing systems such as ( 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 Zulu - العربية Arabic - Urdu الفارسية - الأوردو Persian). In includes OpenType features for Arabic and English: Stylistic set 01 and 02 Numerator & denominator Fractions Ordinals Superscript standard ligatures discretionary ligatures Case Sensitive

Phrasa is a robust humanist sans-serif typeface family which will carry you through most of your design needs. Designed for legibility, she truly shines in running text. However her solid (yet elegant) construction allows for usage in such settings as branding or signage. Phrasa's most prominent features are: 13 weights, from hairline to black Moderate x-height Large apertures Modern capitals proportions Designed for readability… … without sacrificing good looks True Italics Small capitals Adobe Latin 3 language range Cyrillic alphabet Old-style and tabular figures The idea behind Phrasa was to create a stylish typeface but with legibility in mind. The inspiration came from history, namely from two of the most legible typefaces known: Garamond and Gill Sans. The new typeface boasts a smooth, easy-on-the-eyes texture which allows the reader to simply sink into the text. It also posses a set of true italics to compliment it. Phrasa has a broad linguistic range, spanning from extended latin alphabet to cyrillic.

Maple Drive is a bold rounded serif typeface with a warm and familiar feel built-in. Maple Drive delivers a recognizable nostalgic feeling polished for modern day use. Maple Drive works great as a logotype, in magazines, headlines, posters, advertising and packaging. As a product of the modern era, Maple Drive is fully equipped with plenty of OpenType goodness: Standard Ligatures are automatically on and they step in on certain letter combinations, such as ff and fi. In addition it has a wide range of, Stylistic, Swash and Titling Alternates as well as Discretionary Ligatures that you can trigger on or off from OpenType controls in any OpenType savvy program, or manually select the suitable variations from the character window. Try these alternates for more eloquent designs. Alternates are best to treat like you would treat a really strong spice: just a bit at a time. See the full range of the alternative glyphs on the specimen posters.

Although originally conceived as a magazine face – with strong serifs and open character shapes for good legibility in small sizes, and compact letter forms optimized for narrow columns and tight headlines – Marat evolved into a comprehensive family for general use. This specific construction and the round forms of the letters create an elegant, soft and friendly appearance. The typeface suits a wide range of typography, e.g. editorial, brochures, packaging and corporate design. In particular, in bold weights it works surprisingly well, which is not always the case with serif faces. Marat includes oldstyle and lining figures (both proportional and tabular), a wide range of language support and various OpenType features (e.g. ligatures, case-sensitive forms, fractions, superiors and inferiors). It is the perfect companion for Marat Sans, a clean and lively sans serif typeface. Marat has been selected by the Type Directors Club of New York to receive the Certificate of Excellence in Type Design 2008.

German type designer Hans Reichel created this sans FontFont between 1995 and 2000. The family has 36 weights, ranging from Light to Black in Condensed, Normal, and Wide (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, poster and billboards, wayfinding and signage as well as web and screen design. FF Dax provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic and Greek writing systems. In 1998, FF Dax received the The Big Crit award. This FontFont is a member of the FF Dax super family, which also includes FF Dax Compact and FF Daxline.

Secca is a fresh and versatile typeface series. With its workhorse qualities, Secca is perfectly suited for a wide range of applications - especially where legibility and economy are important factors. Secca is rooted in the tradition of early German Grotesk typefaces, but is tailored for the needs of today, with a wide language support and many typographic features and extras. » pdf specimen « The core family comes in nine weights from Thin to Ultra Black plus another three Hairline weights - each with italics, small caps and italic small caps. While the weights from Light to Bold perform well in text sizes, the more extreme styles give extra freedom for Headlines & Signage. For setting tables and charts, Secca offers tabular figures, fractions, currency signs and mathematic operators which share the same fixed width throughout the entire range of weights. This special feature is called “weight duplexing” and is a time saver for designers of annual reports and other figure-heavy texts.