Introducing CADHO TOYS, an exciting and playful bubble display font that will add a touch of whimsy to your designs. This font features a unique alternate ligature style that combines bubbles and letters, creating a fun and engaging visual experience. With its lively appearance, CADHO TOYS is perfect for various design projects, especially those aimed at children, toys, games, or anything that requires a cheerful and vibrant aesthetic. This font is carefully crafted with 707 characters, ensuring versatility and multilingual support. Whether you’re designing in English, French, Spanish, German, or any other language, CADHO TOYS has got you covered. The font includes special characters, punctuation marks, numerals, and a wide range of glyphs, allowing you to express your creativity without limitations. One of the standout features of CADHO TOYS is its support for PUA Unicode. This means that you can access the font’s extensive character set through private use area codes, giving you even more freedom to customize and personalize your designs. Let your imagination run wild as you combine different characters and ligatures to create captivating typographic compositions. CADHO TOYS will bring joy and excitement to any project it graces. Whether you’re designing posters, logos, packaging, websites, or any other creative endeavor, this bubble display font is bound to make a lasting impression. Its alternate ligature style adds a touch of uniqueness and flair, setting your designs apart from the crowd. So why wait? Get your hands on CADHO TOYS today and unlock a world of creativity, fun, and boundless possibilities. Let this font take your designs to new heights and bring smiles to the faces of your audience. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn’t have Glyphs panel, you can install additional swashes font files.

Proudly present our new font. It is named Hollgates - Elegant Signature Font. Hollgates is script handwritten style with a natural charm. This font which is a modern signature and unique style handmade comes with very beautiful character changes. To keep the maximum real hand-lettered effect, there were created 240 ligatures (you can see them among the presentation pictures). When creating the font, we should take into consideration that each letter should be able to be connected with other letters. For example, the letter "a" should be well connected as well as with "l" and "n" and with any other letters. This limits us: we have to start letter from exact one point and finish at exact second point. So here come ligatures. Hollgates font contains following ligatures: ab ad af ah ai ak al am an ao ap as at az az bh bl bk bt bx br cb cl ch ck cc cr cs ct co cx cz dd db dh dl dk dt dr ds dx dz eb ef eh ek el et ett er em en es ex ez ff fh fl fk fi fo fs ft fr fz fx gg gh gr gb gf gl gk gt go gs gz hf ho hs ht hz ib if ih ik il it itt ii in im ip is ir iz ix jo kl kk kh ko ks kr kt kx kz lo li ls lu lr lx ly lz mm mf mi mh ml mk mo mp ms mt mz mx nb ni nf nh nl nk no ns nr np nt nx nz ob of oh oi oj ok ol om on op os ot ott ou ox oz ph ppl pp ps pt pu pi pr po px pz rs rr st sh sl sk sb si sm sn so sp su sx sy sz oll all ell ill ull th tl tk ti ts tr to tu tx tz ty ub ul uh uk ul ut utt un um up us ux uz vh vl wh wl wo zz ee ll ff oo rr ss tt dd ff It’s the perfect fit for all luxury projects, such as wedding invitation, signatures, luxury logos, printed quotes, grettings cards, social media headers, product packaging and many more! It includes a full set of uppercase and lowercase letters, multilingual symbols, numerals, punctuation and ligatures. It is PUA encoded which means you can access all of the glyphs and swashes with ease! Fall in love with its incredibly versatile style and use it to create spectacular designs! Use this font for any crafting project that requires a personalized look! What’s Included : – Works on PC & Mac – Easy to use ( Installations ) – Easy Convert to webfont – Compabilty Windows, Apple, Linux, Cricut, Silhouette and Other cutting machines Thanks for downloading, and I hope you enjoy it!

In an era of typographic neutrality, Pria Ravichandran adds spirit and flavour to the humanist sans, a genre that is known for legibility. Introducing Olivine. Olivine is a versatile type family that performs admirably across sizes. It is designed with maximum care ensuring legibility across various sizes, angles and distances. The sturdy shapes and the exaggerated ink traps fade to produce an even typographic colour and a lively texture in smaller text sizes. In larger display settings, the details become self-conscious and highlight the spectacular quality of the design. Olivine is neither experimental nor minimal, striking a balance between formality and friendliness. Olivine is clean as well as organic at the same time. Consisting of seven weights in roman and italics, the type-family address typographic hierarchy for texts of all kinds and sizes. Distinctive, yet neutral letterforms add personality to the type family. The counter-forms are large and open giving the design plenty of internal space which is balanced against the generous spacing of the characters. These features of Olivine make the reading process enjoyable in digital as well as the print medium. No squinting to read this type-family! If you are looking to add some flavour into your design, try Olivine. It is a trend-setting typeface that we predict is going that extra mile. Try before you buy, Olivine Medium and Medium Italic are available free for unlimited commercial usage.

A universal typeface for books, magazines and newspapers must be economizing, quiet, strong in drawing, but original and peaceful at the same time. Type "for all weather" must resist also many difficulties of printing on different surfaces. Therefore, the basic design "Text" is slightly darker and legible from 6 point size even in a dim light, whereas "Book" reduces the effect of running ink and saves toner cartridge. In offices of smaller companies these lighter fonts are welcomed as toner-savers. Andulka also need less space on the page than other text typefaces and saves paper too. Medium and Bold designs keep the original grace, changing its weight only in shadows. Italics may remind humanistic inspiration and forcing the horizontal of x-height with robust horizontal serifs, whereas Roman lower case maintains the baseline. Basic numerals are non-aligning proportional, but there are available upper case figures as well as special numerals drawn for the same height as small caps, which is just about a hairline above the x-height. The characteristic feature of Andulka is a squinted eye in letters 'a', 'c', 'f', 'r', 's', 'k', and softened diagonals through all characters in family. Diagonals were always disturbing and gripping attention extensively. Serifs are stressed trapezoids reminding small beaks at curved endings, descenders 'j' and 'y' may evoke tail feathers of budgerigar. Andulka [budgerigar] sings lovely and is everyday quiet companion. The whole family consists of 24 separate fonts for graphic studio, office or home.

Take your reader far away to a tropical morning, where the inviting aroma of a fresh roast introduces them to a gentle breeze and the first, warm light of day. Take them there with Barcis. This organic face with its tall x-height and neo-humanist attributes shows its free spirit through unique terminals, calligraphy-inspired strokes, and a rich variety of OpenType alternates All insigne fonts are loaded with OpenType options. Barcis is geared up for pro typography. The font features many numeral sets, with fractions, old-style figures, superiors and inferiors. OpenType-capable programs like Quark or the Adobe suite allow you to quickly change ligatures and alternates. You can see these options shown in the .pdf brochure. Barcis also features the glyphs to aid a variety of languages, together with Central, Eastern and Western European languages. In all, Barcis supports around forty languages that utilize the Latin script, earning Barcis the pick for for multi-lingual publications and packaging. Barcis features three different widths and seven weights from exceptional Light-weight to dense Black. Each of these individual fonts offers its own authentic italics and alternate glyphs as well. With its high versatility, Barcis is without a doubt an amazing titling font, a great choice for journals, a solid option for web use, or even for clearly defining your mark in logotype. Bring Barcis into your library, and use it to carry your audience away.

Orto is a type family of sans serif fonts in eight weights. It's a humanist typeface with real cursive, containing both Roman and Italic styles. The letters are designed to look good on screen, they have a bit narrower proportions and simple shapes. Their structure is based on flat horizontal and vertical strokes, which are emphasized wherever possible. That’s where the name comes from: Orto is an abbreviation of the word orthogonal. Thanks to its narrow width, the typeface is less space-consuming and adapts well to the screens of smaller devices. It is legible in small sizes, thanks to the larger x-height. The characteristic details, like bent ends of diagonal strokes, stand out when used in larger sizes. Orto can be used equally good in print and its overall neutral look fits different contexts. However, its character is pretty recognizable. Orto contains Latin and Cyrillic script and covers six codepages: Latin 1, Latin 2, Cyrillic, Turkish, Windows Baltic and MacOS Roman. It has basic OpenType features like ligatures, oldstyle numerals, proportional and tabular lining figures, fractions, superiors, etc. Capital German sharp S shows up when the lowercase is typed between two uppercase letters, and the Contextual Alternates feature is turned on. The Stylistic Set 01 changes the shape of the Cyrillic b. The Stylistic Set 02 is a shortcut for using Serban Cyrillic alternatives that differ from Russian in cursive.

Many street nameplates in Britain use versions of Kindersley serif capitals designed by David Kindersley in the 1950s. K-Type Kindersley Sans is an unfussy alternative to the signage stalwart, perfectly suited to newer environments and more contemporary tastes. Kindersley Sans is a humanist sans-serif that conserves the Gill-inspired character and some of the calligraphic qualities of Kindersley’s lettering, it retains the Roman proportions and its Britishness, but traditional prettiness and intricacy are discarded in favour of a clean modernity. For purposes where Transport (MOT) is considered too formal and Kindersley too old-fashioned, Kindersley Sans offers an open and amiable up-to-date alternative. The typeface is comfortably spaced and carefully kerned to deliver beautiful results with ease, and although designed with nameplates in mind, it excels as an all-purpose text face in print and on screen. The tail of the uppercase Q has minimal descent to avoid constriction. Kindersley Sans includes a lowercase designed for signage with short descenders to prevent unsightly congestion. A generous x-height assists legibility, and characters are designed for easy reading and distinctiveness. The curved foot of the lowercase L distinguishes it from the uppercase i. The six fonts contain a full complement of Latin Extended-A characters, Welsh diacritics and Irish dotted consonants, so European language nameplates need not be a source of frustration. The ascent and descent of accented characters has been kept to an acceptable minimum.

Geometric Sans with Humanistic proportions Typeface (Roman a.k.a. ‘Capitalis Monumentalis’), Inspired on vintage minimalism, with a subtle Art Déco air, where the configuration of the basic and open shape (long ascenders/descenders and a moderate ‘x’ height) star a crisp and luminous look, manufactured under an analytical and handmade process as used to be in ancient times. Among its graphic virtues are a special focus on relaxed and fluid reading rhythm while looking clear and sophisticated, an upright version representing a formal voice paired with an Italic with a more expressive vocal tone, easily distinguished as a second quoted content in Editorial and Branding communicational contexts. Equipped with generous stylistic options controlled by OpenType features as: 17 glyphs variations stored as stylistic sets Standard and Discretionary Ligatures Lining and Old Style Numeral forms Tabular forms Superior and Inferior Scientific Numeric Notation Numerators and Denominators for fractional compositions Pre-Composed Fractions, ordinals Dotted Zero for alphanumeric contexts Circled numbers An Art Déco style Border Set Bullets set for multiple levels ordered list Arrow set Monetary Symbols Mathematical Operators Publishing and Social Media Markers Wide range of Diacritics allowing you to set contents in more than 200 Latin base languages. The access to all these options is also possible via character set panel. With no hesitation, PGF Now is a highly valuable publishing and Branding tool that deserves to flaunt in the more elegant contexts but also daily situations that need a clear and modern voice.

The rounded forms found in Chennai have proven to be one of insigne's more popular designs for web-based company logotypes. Now, insigne's new superfamily Madurai takes its popular predecessor to a new level, offering a wide range of complementary fonts. Madurai removes Chennai's rounded stems and then adjusts the character width to account for its reduction in geometry, resulting in a balanced sans-serif face with humanist touches that works well for extended text. The Madurai family has a full range of six weights from thin to black and includes Condensed and extended options for a total of 36 fonts. All members of the Madurai series include a wide variety of OpenType alternates. Madurai is equipped for complex professional typography, including alternates, small caps and plenty of alts, including "normalized" capitals and lowercase letters that include stems. The face also has a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Madurai also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Madurai supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. For your next project, explore the fantastic potential of Madurai.

Elaina Family Elaina Script is a tidy, precisely penned script face — perhaps closest of all of Laura’s faces to her own handwriting. In its standard form, with its sober x-height and restrained ascenders and descenders, it’s a pleasure to read at smaller display sizes and in short blocks of text. It is accompanied by an unconnected version of the lowercase characters, its stylistic alternates, and a companion font, Elaina Semi Serif, useful for body text and complementary contexts. Of course, like most of Laura’s typefaces, it includes hundreds of swashes, alternates, and ligatures, for attention-getting effects at large sizes and in brand identities. Elaina Script Elaina Script is a tidy, precisely penned script face — perhaps closest of all of Laura’s faces to her own handwriting. In its standard form, with its sober x-height and restrained ascenders and descenders, it’s a pleasure to read at smaller display sizes and in short blocks of text. It is accompanied by an unconnected version of the lowercase characters. Of course, like most of Laura’s typefaces, it includes hundreds of swashes, alternates, and ligatures, for attention-getting effects at large sizes and in brand identities. Elaina Semi-Serif Elaina Semi Serif was designed to complement Elaina Script. Both faces share calligraphic roots and typographic and allow them to mix harmoniously. Its modulated strokes and subtly flared terminals give it a humanist feel that adds warmth and positivity to any setting.

FF Kievit Slab is an industrial strength, do anything, go anywhere, kind of design. Its exceptional legibility and straightforward strength contrasts with a friendly humanistic underpinning. Michael Abbink and Paul van der Laan carefully revised character shapes and stroke contrast of FF Kievit, when they adapted them to FF Kievit Slab. The result is that the striking and powerful FF Kievit Slab easily complements the other members of the FF Kievit super family, that also includes FF Kievit and FF Kievit Serif, and stands on its own in as a multi-talented design. Though created from the sans, FF Kievit Slab is not FF Kievit with slabs serifs tacked on. The family is the fruit of a four-year collaboration between Abbink and Van der Laan, to make the perfect companion to the FF Kievit family. Each glyph was painstakingly adjusted and to achieve proper density, contrast, and balance, while remaining a perfect companion to its sans serif and oldstyle cousins. Its nine weights and italics also harmonize perfectly with the original FF Kievit design. Each of the FF Kievit styles is a typographical all-rounder that is equally at home in headlines as it is in text copy. Together, the three designs of the FF Kievit super family span a wide and deep typographic universe in which they support one another perfectly. These fonts will help you achieve your typographic goals, no matter how lofty. Featured in: Best Fonts for Websites

Karlo is a super family of several branches, originating in the same lightweight skeleton. The lightweights are based on a pen of an even stroke-width. Inspired by the writings of calligrapher Edward Johnston, the family moves on in two directions in the heavier weights. Johnston demonstrated that the broad nib pen can produce different writing styles. Following this, one heavy weight has a humanistic low stroke contrast (KarloSerifBold and KarloSansBold), and another has a high stroke contrast of vertical axis with references to the 19th century jobbing typefaces (KarloOpen). The latter is inspired by Johnston’s demonstration of the broad nib pen, where he suggested fastening two pencils together. With each pencil representing an edge of the pen, it becomes more evident how the pen works in writing. The friendly informal look makes KarloSans and KarloSerif usable for both running text and for display sizes. KarloOpen, on the other hand, is solely designed for display purpose showing few words at a time. In Denmark, a guy named Karlo would typically be an old fellow with a slick hairstyle that makes an effort with his appearance. He is a handyman who can do a bit of this and that when needed. He is a happy go lucky kind of guy that takes one day at a time. To me, the typeface family has some of the same qualities. Check out Pyke which is a great pair for Karlo.

Designed from the perspective of a multi-purpose font family, comprehending the slab-serif and humanist-sans subtypes, the Distéfano typefaces were specifically developed and subsequently tested considering the needs of editorial products, for both print and digital media.   Includes a comprehensive program where formal, style, thickness and slant attributes are especially indicated for the composition of text and headings in newspapers, journals and magazines. For that reason, in addition to the more traditional weights, others, ranging from Light to Black were added. The identity and systemic criteria of this font family doesn’t fall short on diversity of specific solutions, flair and quirks for each variant, especially noticeable in the contrast of the italics to the roman styles. The original drawings of Distéfano date back to 1983; embodied in pencil on paper, provided only the alphabetical characters and punctuation signs for Spanish, and the Sans Serif family. By digitalizing them, their possibilities of use were widened, the set of characters of each typeface were considerably completed considering the current requirements for the majority of the latin and germanic languages, and the slab-serif family was developed. This type family bears the name of the most notable argentinian designer, and it is a homage to his work, that influenced the youth of the 50’s decade of the 20th century, and especially to him, whom I have always recognized as a friend, and a teacher.

Designed from the perspective of a multi-purpose font family, comprehending the slab-serif and humanist-sans subtypes, the Distéfano typefaces were specifically developed and subsequently tested considering the needs of editorial products, for both print and digital media.    Includes a comprehensive program where formal, style, thickness and slant attributes are especially indicated for the composition of text and headings in newspapers, journals and magazines. For that reason, in addition to the more traditional weights, others, ranging from Light to Black were added. The identity and systemic criteria of this font family doesn’t fall short on diversity of specific solutions, flair and quirks for each variant, especially noticeable in the contrast of the italics to the roman styles. The original drawings of Distéfano date back to 1983; embodied in pencil on paper, provided only the alphabetical characters and punctuation signs for Spanish, and the Sans Serif family. By digitalizing them, their possibilities of use were widened, the set of characters of each typeface were considerably completed considering the current requirements for the majority of the latin and germanic languages, and the slab-serif family was developed. This type family bears the name of the most notable argentinian designer, and it is a homage to his work, that influenced the youth of the 50’s decade of the 20th century, and especially to him, whom I have always recognized as a friend, and a teacher.

A Postmodern vernacular sanserif in 8 fonts Prosaic designed by Aurélien Vret is a Postmodern typographic tribute to the french vernacular signs created by local producers in order to directly market their products visible along the roads. These signs drawn with a brush on artisanal billboards do not respect any typographic rules. The construction of these letterforms is hybrid and does not respect any ductus. Nevertheless the use of certain tools provokes a certain mechanism in the development of letter shapes. It’s after many experiments with a flat brush, that’s these letterforms have been reconstructed and perfected by Aurélien Vret. This is the starting point for the development of an easily reproducible sanserif with different contemporary writing tools. From non-typographical references of Prosaic towards readability innovation The influence of the tool is revealed in the letterforms: angular counterforms contrasting to the smoothed external shapes. This formal contrast gives to Prosaic a good legibility in small sizes. These internal angles indirectly influenced by the tool, open the counterforms. In the past, to deal with phototype limitations in typeface production, some foundries modified the final design by adding ink traps. In our high resolution digital world, these ink traps — now fashionable among some designers — have little or no effect when literally added to any design. Should one see in it a tribute to the previous limitations? Difficult to say. Meanwhile, there are typeface designers such as Ladislas Mandel, Roger Excoffon, and Gerard Unger who have long tried to push the limits of readability by opening the counters of their typefaces. Whatever the technology, such design research for a large counters have a positive impact on visual perception of typefaces in a small body text. The innovative design of counter-forms of the Prosaic appears in this second approach. Itself reinforced by an exaggerated x-height as if attempting to go beyond the formal limits of the Latin typography. It is interesting to note how the analysis of a non-typographical letters process has led to the development of a new typographic concept by improving legibility in small sizes. Disconnected to typical typographic roots in its elaboration, Prosaic is somewhat unclassifiable. The formal result could easily be described as a sturdy Postmodern humanistic sanserif! Humanistic sanserif because of its open endings. Sturdy because of its monumental x-height, featuring a “finish” mixing structured endings details. The visual interplay of angles and roundness produces a design without concessions. Finally, Prosaic is Postmodern in the sense it is a skeptical interpretation of vernacular sign paintings. Starting from a reconstruction of them in order to re-structure new forms with the objective of designing a new typeface. Referring to typographic analogy, the Prosaic Black is comparable to the Antique Olive Nord, while the thinner versions can refer to Frutiger or some versions of the Ladislas Mandel typefaces intended for telephone directories. Prosaic, a Postmodern vernacular sanserif Prosaic is radical, because it comes from a long artistic reflection of its designer, Aurélien Vret, as well a multidisciplinary artist. The Prosaic is also a dual tone typeface because it helps to serve the readability in very small sizes and brings a sturdy typographic power to large sizes. Prosaic, a Postmodern vernacular sanserif

The PARATYPE library is our latest major addition, consisting of more than 370 typefaces. In the spirit of the perestroika changes and following the collapse of the Soviet Union, a group of Russian type designers quit the state-owned Polygraphmash foundry to establish ParaType, the first, and now largest Russian digital type foundry. The ParaType team under the supervision of Vladimir Yefimov creates new typefaces and explores the Russian typographic heritage by making digital versions of existing Russian designs: these include the hits of Soviet typography such as Literaturnaya and Journal Sans. Most ParaType fonts are available in Western/Roman, Central European, Turkish and Cyrillic encodings. The Russian constructivist and avant garde movements of the early 20th century inspired many ParaType typefaces, including Rodchenko, Quadrat Grotesk, Ariergard, Unovis, Tauern, Dublon and Stroganov. The ParaType library also includes many excellent book and newspaper typefaces such as Octava, Lazurski, Bannikova, Neva or Petersburg. On the other hand, if you need a pretty face to knock your clients dead, meet the ParaType girls: Tatiana, Betina, Hortensia, Irina, Liana, Nataliscript, Nina, Olga and Vesna (also check Zhikharev who is not a girl but still very pretty). ParaType excels in adding Cyrillic characters to existing Latin typefaces — if your company is ever going to do business with Eastern Europe, we recommend you make them part of your corporate identity! ParaType created CE and Cyrillic versions of popular typefaces licensed from other foundries, including Bell Gothic, Caslon, English 157, Futura, Original Garamond, Gothic 725, Humanist 531, Kis, Raleigh, or Zapf Elliptical 711.

BF Garant™ Pro elegantly balances geometric design with dynamic character! (This Pro-Edition is the fully packed upgrade of the well-known Hot New Fonts #1 BF Garant.) The strict architecture is combined with open counters, tapered spurs and diagonal cut ascenders and descenders that create an open, lively character without denying the straightness of geometry. 10 weights from Thin to Black and matching (oblique) Italics ensure versatile use of the type family. BF Garant Pro’s characters include the extended Latin Unicode range (incl. Vietnamese), Cyrillic and Greek. So it is very suitable for branding and packaging. “The last modern geometric typeface you really need!” The large x-height, dynamic details and some more conventional, humanist-inspired letter alternatives (a, g, k, u, y, G, Q - some of which are grouped together in the style set “Text”), make it not only a contemporary graphic element, but a highly legible timeless design tool, is not only ideal for logotypes or contemporary branding use, but also for modern editorial design. The 1,760 characters per font include ligatures, alternates, line figures and old style figures, small caps, numerals for small caps, fractions, symbols (incl. Peace sign), currencies, different arrows etc. In addition, 23 useful OpenType features make BF Garant™ Pro a workhorse for many typographic applications. With the 11 style sets, BF Garant™ can be fully adapted to the user’s requirements without losing its unique character. And for those who ever wanted to open a bar on Tatooine, BF Garant™ Pro also includes the currency sign of Galactic Credits! Feel the Font!

Burstwick is a sans-serif typeface inspired by modern workhorse typefaces and designed for everyday use. It has unique personality but doesn’t suffer in more practical situations, and is very flexible: there are six weights, ranging from thin to bold, and matching oblique italicis. Lifting elements from grotesque, geometric, and humanist styles, and putting legibility at the forefront, each weight is drawn with higher contrast and subtle asymmetrical features to enhance individuality and aid in readability, particularly at body sizes on websites. These features are intended as an alternative to rigid geometric lines, bringing a natural feeling to glyphs, resulting is a friendly, but professional choice for any organisation or designer. The foundation of the design is a large X-height, which further aids in differentiating lowercase characters from one another. This allows Burstwuck to feel open, airy, and really shine when used in single-family type hierachies, particulalry in headlines and larger text. Through its 630 glyphs, Burstwick supports many Latin languages, with thorough kerning for accented character combinations, making it an ideal choice for organisations considering multilingual users, and the perfect addition to any designer’s toolbox. In addition to accented characters, a large number of special characters and alternatives have been included to increase choice and flexibility. Among these are expand currency symbols, oldstyle figures, math operators, and symbols. Language support includes: Bosnian, Catalan, Czech, Danish, German, English, Spanish, Estonian, Finnish, French, Irish, Croatian, Hungarian, Icelandic, Italian, Lithuanian, Latvian, Maltese, Dutch, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Albanian, Swedish, Turkish.

Please note: Acorde webfonts are exclusively available at willerstorfer.com Acorde is a reliable workhorse for large, demanding design projects. It was designed to be perfectly suited to all different sizes, from small continuous text to large headlines and big signage. The typeface’s name is derived from ‘a’ ‘cor’porate ‘de’sign typeface, however Acorde is not only suitable for corporate design programmes but for information design and editorial design purposes as well. Acorde’s inception was in early 2005 as Stefan Willerstorfer’s final project in the Type and Media course at the Royal Academy of Art in The Hague (NL). It is a humanist sans serif with noticeable diagonal contrast and shows clear influences of the broad nib pen, especially in the Italics. Acorde’s characterful details give it a distinctive appearance in large sizes and contribute to its high legibility in small sizes. It comes in 14 styles – seven weights in Roman and Italic each. While the proportions of the Regular style were chosen to guarantee optimal legibility without being too space consuming, the heavier the weight gets the more suitable it is for headline purposes. The heavy weights are relatively narrower than the lighter ones, which gives them a strong appearance. The huge character set contains 925 glyphs per font and covers a vast range of latin-based languages. Various accented letters, small caps, eleven figure-sets, superscript and subscript are all included. OpenType features allow for a comfortable use of the large set. Acorde was honored with the 2010 Joseph Binder Bronze award for type design by DesignAustria.

Jürgen Weltin's Mantika Informal is pretty difficult to categorize, but very easy to like. This particularly reader-friendly typeface in regular and bold weights, brings to the table the informal fluidity of a script, the consistency of an inclined italic, and the open and airy forms and contrast of a humanist sans. The result is a warm, approachable, and very legible typeface that is never static and staid, but rather invites an attentive, reading eye. The original idea behind Mantika Informal lay in the challenge to create a typeface for setting children's books. German designer Jürgen Weltin aimed to create a reading typeface for those just starting to learn how to read. On the one hand, it should help create clear word-images; on the other, its letterforms should remain uncomplicated but resist mechanical and industrial sterility. Mantika?s subtle cursive lines stress the printed word's connection with handwriting, in addition to making the transition from school writing exercises to printed texts seamless and effortless. The resulting slightly organic and cursive forms that developed during the design process are so captivating that Mantika Informal may be used for a multitude of unintended applications - anywhere a friendly and informal yet sophisticated character could lend a helping hand, Mantika is there, giving a fresh accent to anything from packaging design to food products. With a broad character set encompassing support for Cyrillic and Green, Mantika Informal's two fonts make for a versatile and dynamic typeface that surely will find its place in a broad range of applications.

As designers, we seek perfection and originality. The more we step back and look at our work, the more changes we tend to find necessary. Drastic modifications are inevitable. The same is true of Grayfel. Grayfel began as an exercise at insigne to explore the crowded space of neutral sans. While the world of sans serifs is admittedly crowded, I still managed to find something new and different. The final Grayfel consists of 42 full-featured OpenType fonts containing three widths: Regular, Condensed, and Extended. Every width consists of 14 fonts--seven weights with matching italics, making it a good companion for setting clear text and headlines for print and screen. OpenType features are also available. There’s figure choices, such as proportional and old style figures. Additionally, Greyfel includes sophisticated typographic attributes: ligatures, fractions, alternate characters, small caps, superscripts and subscripts. Its extended character set supports Central, Western and Eastern European languages. Optical compensations also mean the outcome of this family is a hybrid of humanistic proportions. It’s a well-finished design with optimized kerning gives it a friendly look. If you like sans serifs within the tradition of Futura, Helvetica, Avant Garde and Avenir, then you’ll love Greyfel, too. Grayfel works well in a variety of applications. Subtly neutral yet fun, it’s suitable for headlines of all sizes as well as for text. Put it to the task for marketing, packaging, editorial work, branding and even on-screen projects. Try it out: it’s not just fun and playful; it’s Grayfel.

Created by German designer Jürgen Weltin, Linotype’s Agilita is a contemporary humanist sans serif family with a wide variety of weights, including both ultra thin hairline options and heavier, dark type. Agilita has rather classical proportions; its clear ascenders and descenders lend more distinct word shapes. Weltin’s design has a dynamic, yet strong and very functional appearance with a fine but clear emphasis on the horizontals. This traditional approach makes it a versatile typeface for large-scale text setting, but it can also be used in complex information design projects, and orientation systems, for example. Hence it was developed carefully into a wide range type family system consisting of 32 styles. This even covers the requirements for display and headline setting. Corresponding condensed weights are suitable where horizontal space is scarce, as in narrow columns and tables, for example. The Agilta Hairline and Agilta Ultra Thin styles were especially made for display use. These fonts should be set at a minimum size of 20 pt for printed project, and about 40 pt on output to laser printers, depending on the paper used. Agilita’s character sets include special symbols and signs that may be used in dictionaries; like arrows for lemmata and signs for cross references, idioms or colloquial language. There are two sets of arrows available in each weight for use in orientation systems. Each font in the Agilta family is built according to Linotype’s Extended European character set guidelines. These offer support for more than 48 Latin-based languages used in Western, Central, and Eastern Europe, including Baltics and Turkey.

Jürgen Weltin's Mantika Informal is pretty difficult to categorize, but very easy to like. This particularly reader-friendly typeface in regular and bold weights, brings to the table the informal fluidity of a script, the consistency of an inclined italic, and the open and airy forms and contrast of a humanist sans. The result is a warm, approachable, and very legible typeface that is never static and staid, but rather invites an attentive, reading eye. The original idea behind Mantika Informal lay in the challenge to create a typeface for setting children's books. German designer Jürgen Weltin aimed to create a reading typeface for those just starting to learn how to read. On the one hand, it should help create clear word-images; on the other, its letterforms should remain uncomplicated but resist mechanical and industrial sterility. Mantika?s subtle cursive lines stress the printed word's connection with handwriting, in addition to making the transition from school writing exercises to printed texts seamless and effortless. The resulting slightly organic and cursive forms that developed during the design process are so captivating that Mantika Informal may be used for a multitude of unintended applications - anywhere a friendly and informal yet sophisticated character could lend a helping hand, Mantika is there, giving a fresh accent to anything from packaging design to food products. With a broad character set encompassing support for Cyrillic and Green, Mantika Informal's two fonts make for a versatile and dynamic typeface that surely will find its place in a broad range of applications.

Good, faithful Achates… Named after the trusty Trojan that followed Aeneas throughout his adventures, Achates is a humanist sans workhorse well suitable for broad range of design projects. Its soft, delicate and almost cursive shapes define warm and friendly typeface that is legible and easy on the reader's eye. Following into the footsteps of its namesake, it is humble, informal yet stable and trustworthy. Ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text and signage as well as web and screen design. Achates provides a broad range of advanced typographical features such as language localization, alternates, stylistic alternates, extended ligatures, fractions and case-sensitive forms. It comes with a complete figure range set of old-style, lining and tabular figures. The family has extensive multilingual support, covering more than 70 Latin-based languages and specially designed Cyrillic with Bulgarian and Russian localization. As Achates was a humble hero, a devoted friend and faithful companion to Aeneas on his journey to greatness, so this font can be your trusty sidekick on your creative path. The marvelous Agate is also named after the Trojan hero. It is considered as the stone to call on for support when you need stability and grounding in your life. Along with its supportive energy, the Agate stone has been long admired for its incredible beauty. So… a Trojan hero or a thing of beauty – it is up for you to decide… or just maybe both!

Cocomat has been designed by Francesco Canovaro and Debora Manetti as a development of the Coco Gothic typeface system created by Cosimo Lorenzo Pancini. It shares with all the other subfamilies in the Coco Gothic system a geometric skeleton with open, more humanistic proportions, a sans serif design with slightly rounded corners and low contrast proportions, without optical compensation on the horizontal lines, resulting in a quasi-inverted contrast look in the boldest weights. What differentiates Cocomat from the other subfamilies in Coco Gothic are some slight design touches in the uppercase letters, with a vertical unbalancing reminiscent of art deco design, notably evident in uppercase "E", "A","F","P" and "R" - while lowercase letters have been given some optical compensation on the stems, like in "n","m", "p" and "q". These design choices, evoking the second and third decade of the last century (Cocomat is also referred as Coco 1920 in the Coco Gothic Family) all give Cocomat a slight vintage feeling, making it a perfect choice every time you need to add a period vibe or an historical flair to your design, like in food or luxury branding. The typeface, first published in 2014, has been completely redesigned by the original authors in 2019 as Cocomat PRO to include eight extra weights (thin, medium, black and heavy in both roman and italic form), extra open type features (including alternate forms, positional numerals), and extra glyphs making Cocomat cover over two hundred languages using latin, cyrillic and greek alphabets.

"LFT Etica, the moralist type family by Leftloft, began at the end of 2000, but its development is ongoing as it expands to fill the astute designer’s needs. The starting point was the common, cold grotesque sans typefaces — ubiquitous and often badly applied in their everyday visual environment. The challenge was to obtain the same force, versatility, and colour, but with a much warmer feel. LFT Etica resides aesthetically somewhere between a grotesque and a humanist sans serif, resulting from a design of soft strokes with open counters and terminals. LFT Etica successfully combines forcefulness and delicacy, wrapping both with sober charm. Milan-based Leftloft studio teamed up with Octavio Pardo to develop 24 additional styles for the very successful LFT Etica type family. This expansion is a direct response to type users’ requests who found in LFT Etica a de facto choice for web design. The new styles come in two series — 12 condensed widths and 12 compressed ones — and have proven versatile in applications where the ratio between information and space becomes an important challenge. Each letter was scrutinised to ensure durability throughout time and adaptability within circumstance, so LFT Etica meets the challenge of balance head-on. With its wide current range of 40 styles and many OpenType features (four sets of numerals, fractions, arrows, and dingbats, as well as stylistic alternates), LFT Etica is a versatile typeface suitable for corporate or casual use, for printed publications as well as web design. The complete LFT Etica family, along with our entire catalogue, has been optimised for today’s varied screen uses."

The name Corpid derives from “Corporate Identity” — which is what this family of low-contrast sans-serifs was made for. Corpid was originally commissioned by Studio Dumbar in the Netherlands as a corporate typeface for the Dutch Ministry of Agriculture, Nature Management and Fishing. The font was designed to replace the existing standard typeface (a well-known business-like sans-serif) to provide the organization with a unique and strong identity. Although it was designed to fit strict technical requirements, Corpid has a personality all of its own. This was in part a result of what Luc(as) calls “creating tension” between the inner and outer curves of each character. “I tend to put a little more diagonal contrast into fonts than is the case in most neutral sans serif fonts. This brings a certain humanistic touch to the typeface. Much more subtle here than in Thesis – but although it is almost invisible, it is still palpable.” Corpid was gradually expanded into a five-weight, three-width family. The new Corpid SemiCondensed has double functionality. It is a no-frills, compact headline font that offers optimum legibility in sizes from small to huge. It is also a great space-saving text typeface for magazines, newsletters or annual reports: economic, versatile, and provided with several different numeral sets. In this OpenType type version, all weights come with Small Caps. With its wealth of numeral styles and complete character sets (including Central European) the Corpid family is now well equipped to tackle the most complex of typographic tasks.

Rather than confining itself to a single style, Ricardo combines the best of two worlds: the conceptual clarity of a geometric design with the legibility and warmth of a humanist design. Its open counters, crisp joints, and even texture allow for effective use in long-form text settings, while its simple geometric shapes combined with some unexpected details make it highly suitable for display settings such as branding and marketing. Ricardo contains seven carefully chosen weights, ranging from ExtraLight to ExtraBold. The Medium weight functions as a slightly darker alternative to the Regular. Ricardo’s 812 glyphs per style support over a hundred languages, and also include arrows and case-sensitive punctuation. The Ricardo family consists of three subfamilies: Ricardo, Ricardo ALT, and Ricardo ITA. Ricardo contains the most conventional forms, and is the most suitable option for long-form text. Ricardo ALT contains simplified shapes for the a, j, u, and t, which are also accessible through Stylistic Set 2 within Ricardo (in opentype-savvy applications). The cursive-like italics of Ricardo ITA provide a slightly more eccentric alternative to the standard italics. Furthermore, all styles contain stylistic alternates that swap the blunt apexes in A, M, N, V, W, v, w, y, and 1 for pointier ones. These are also accessible through Stylistic Set 1. Other opentype goodness includes: (discretionary) ligatures, smallcaps, case-sensitive forms, fractions, nine sets of numerals, and more. David Ricardo (1772-1823) is considered the first of the classical economists, and combined ground-breaking mathematical abstractions with an understandable down-to-earth way of explaining his ideas.

The Okojo Pro Complete family is a reworking of Wordshape’s immensely popular Okojo family of typefaces. It includes Okojo Pro, a semi-geometric sans serif, Okojo Slab Pro, a semi-geometric slab serif, Okojo Pro Display, a round-cornered sans serif variation, and Okojo Slab Pro Display, a round-cornered slab serif. The entire Okojo Pro family looks great at small or large sizes. The Okojo Pro family is designed for readability in long texts while simultaneously functioning as effective display type. Features of Okojo Pro Display: - all lowercase characters have an enlarged x-height, creating less optical dazzle than typefaces like Futura, Neutra or Avant Garde - more humanist numerals and punctuation for enhanced readability - complete Western, Central and Eastern European characters sets - radically improved spacing guaranteeing beautiful results in print and on screen for the Czech, English, Hungarian, Croatian, Esperanto, Maltese, Romanian, Turkish, Albanian, French, Portuguese, Spanish, Basque, Bulgarian, Finnish, Swedish, Norwegian languages The Okojo Pro Display family is influenced by the type designs of Paul Renner and Herb Lubalin, but smoothed over with more than a bit of Americana. Both work well on-screen as webfonts and in print as book type. Each is hinted with accuracy and kerned with precision.The lighter weights are slightly slimmer than the regular and bold weights to give the typeface more of a vertical feel, inviting readers' to rapidly read typeset text with a maximum of contrast and a minimum of optical distortion. Okojo: it’s a little bit country and a little bit rock’n’roll.

FF Signa Rounded is a natural complement to the rest of the FF Signa super family – and can stand on its own in a variety of print and on-screen applications. The design is Ole Søndergaard’s rounded branch in his FF Signa family three. In it, he took the distinctive shapes and proportions of FF Signa Sans and created a warm, inviting design for text and display copy. Like its parent design, FF Signa Round is not a humanistic sans, nor is it based on 19th-century grotesques. Its characters are minimalist interpretations of letterforms – distinctive, yet easy to read. Thanks to FF Signa Round’s large x-height, open counters and simple character shapes, the design does not overpower the message – and draws the reader in. At substantial sizes, especially in the bolder weights, the design communicates with amiable conviction. At text sizes, FF Signa Round remains inviting and legible. It can be used as a companion to the rest of the FF Signa family, providing depth of style and breadth of reach. The collection of designs can also be used on their own for brand, brochure, publication, and way-finding design in digital and hard copy environments. Like the rest of the FF Signa family, OpenType® Pro fonts of FF Signa Round provide for the automatic insertion of ligatures and alternate characters, and also offer an extended character set supporting over 100 languages, including most Central European and many Eastern European – in addition to Cyrillic and Greek.

Since the beginning, Palsam was intended to be a super multilingual family, with a real cursive Arabic companion, and a display cut. The typeface was designed to be used for setting text and titles of contemporary Arabic content, specially magazines, and websites. The Arabic and Latin scripts were designed at the same time, to make a true authentic bilingual typeface. Both scripts have affected each other in several ways through the entire design process, which happened within ten years. Palsam has an inviting, approachable, fashionable and humanist look. Thanks to its low contrast, open apertures, detailed calligraphic strokes, and smooth counters, which also make it easy to read at smaller sizes. The main highlight for Palsam was the Cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. Since the Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh. Moreover this script was used in margins, and to highlight specific content inside a paragraph in older manuscripts. With true cursive companions in five weights, and many opentype features, Palsam grants all the tools needed to set complex information and editorial designs applications. More than 1000 characters are included per weight, including small caps, fractions, old style and lining numbers, ligatures, contextual ligatures, and discretionary ligatures. It supports over 40 languages that use the Latin extended, as well as Arabic, Farsi, and Urdu Languages. The latin script was designed in collaboration with the Slovenian type designer Alja Herlah.

Domotika was first designed for Zetafonts by Cosimo Lorenzo Pancini in 2018, trying to translate the modernist and humanist ideals into typographic form, looking for a conversation between the classical and the contemporary, the hand-made and the technological. Following the motto of Mies Van Der Roe and Gustave Flaubert ("God is in the details"), Domotika takes inspiration from architectural practice, with a pragmatic attention to functionality that doesn't forget aesthetics. Its design juxtaposes the open humanist letterforms to slight calligraphic curve endings that marries perfect readability to expressive design. The name itself of the typeface is an homage to the science of living comfortably, with its reference to "domotics", robotic technology for use in the home. In 2021 Andrea Tartarelli, who originally designed Domotika italics, completely reworked the original type family adding over five hundred glyphs to the original set and extending the language coverage to include over two hundred languages using latin, Cyrillic and greek alphabets. Open type features have been also expanded, including positional numbers, small caps, ligatures, contextual alternates and stylistic sets, as well as tabular, lining and old-style numerals. • Suggested uses: conceived as a great tool for editorial use, great for display usage too, where readability and personality must match design space needs; • 18 styles: 8 weights + 8 italics + 2 variable fonts; • 1075 glyphs in each weight; • Useful OpenType features: Access All Alternates, Small Capitals From Capitals, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Small Capitals, Stylistic Set 1, Subscript, Superscript, Tabular Figures, Slashed Zero; • 219 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, 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