Allin Priska is monoline script font which natural movement and romance style. is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery and any projects that need handwriting taste. What’s Included : Standard glyphs Ligature Works on PC & Mac Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support for; ä ö ü Ä Ö Ü ß ¿ ¡ for questions and usage license please contact us Mohamadcandirah@gmail.com

Introducing **Dafilea** font, a lightweight elegance in romantic curves with a glitchy and fluid aesthetic. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with the script, sans, or serif. **Featured:** * Standard Uppercase & Lowercase * Numeral & Punctuation * Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ * Alternate & Ligature * PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

RT Singular is a Sanserif with human touch based on Renaissance inscriptions. It was designed in orden to be use specially in health, beauty and scientific brands. The version 1.0 of RT Singular includes a Regular style with the following specifications. - Available as a suite of OpenType® features, as ligatures and alternate characters - A character set supporting most Central European and many Eastern European languages - German capital sharp S

Bravely- Handwritten Font is an handwritten script font based on the expression of real handwriting, lets you transform type into an exciting and beautiful piece of work. The irregular, hand-lettered look adds a real human touch to things and comes along with a lot of loving details. Combine all font-styles the way you want, add some ornamental swashes or banners and even a single word becomes magnificent.

Fisterra Morte and Fisterra Fora: one typeface, two perspectives. The duality between the calm and the intensity with which we can face with each situation. Informal, serif and display in two flavors: Morte has the softness and the humanism of its voluptuous curves; Fora, the precision and accuracy of its sharp angles. They share a single skeleton of condensed uppercase letters, with expanded nuances in some alternate characters and ligatures.

Carbon Neutral has a distinctly human style - lettering done cleanly with care -- not mass-produced nor mechanical. Get smooth typography which upon closer inspection is gritty & grassroots. The small details make this font friendly & inviting. Carbon Neutral has an exceptionally high level of detail which may cause your graphics program to operate slowly. Carbon Neutral is extended, containing West European diacritics & ligatures, making it suitable for multilingual environments & publications.

Introducing, Hathaway! Hathaway is a modern and stylish handwritten font. With natural flow it can add a human touch to your designs. Hathaway is perfect for many design needs such as merch, T-shirts, titles, wedding, book covers, social media posts, websites, events, and many more. What's you get : - Ending Swashes - Underline Swashes (just type _1, _2, etc) - Numeral & Punctuation. - ligature. - Multilingual Support. Enjoy Designing! Thanks! Lunas Type

Tilda is a sans serif typeface with big potential. It’s gonna be your daily font, because it perfectly fits to different tasks. Tilda is good as long text but also cool as eye-catch title. This font can be like human ages: childhood, adolescence, youth, adulthood and maturity: stylish THIN, fancy LIGHT, great REGULAR, golden BOLD, brilliant HEAVY And beautiful Isabella Bersellini created illustrations, say her hello! http://www.isabellabersellini.com

Uplink is decorative upright lettering with heavy calligraphic influences and clear friendly forms. Alternate forms with artificial "tail" connections, swashing their way from one letter across the vertical stroke of the next, add an unusual yet distinctly human detail to the forms that shape the words. Uplink's reserved humor can be a little tolerant of mechanical abuses like shearing or stretching, which makes it ideal for food product packaging design.

Volatile Serif, designed by Mans Greback, is a luxurious and romantic typeface that exudes an air of softness and delicate beauty. Its flowing, liquified forms, and delicate swirls evoke feelings of empathy, creating a sense of connection and warmth. This font is perfect for high-end projects that demand a touch of fine elegance. Inspired by the gentle movements of water, the designer sought to capture the essence of fluidity in Volatile Serif. The result is a typeface that feels alive, as if its character is organically creating the word, making it a perfect choice for luxury brands, romantic designs, and storytelling. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers. Mans Greback is a Swedish typeface designer with a passion for creating unique and versatile fonts. With an extensive background in design and typography, Mans has built a reputation for his meticulous attention to detail and prolific craftsmanship. His many fonts are widely used by designers around the world, making his work synonymous with creativity and innovation.

Lovers is a romantic, elegant handwritten calligraphic script, with well over 300 additional characters, including standard and discretionary ligatures, swashes and stylistic alternatives. Use of its extensive OpenType features enable the designer to create text that constantly changes, giving the impression of genuine handwriting, but handwriting that has all the flair and styling of hand-done calligraphy produced towards the end of the twentieth century. Lovers is based on traditional calligraphic ideals, but I've combined these with my own brand of relaxed, handwritten spontaneity, to design a font that is formal yet free and accidental, traditional yet contemporary. The font’s extravagant curves and swashes make it perfect for valentine’s day and wedding media, book covers, greeting cards, and certificates, in fact for any design work that requires a romantic or opulently elegant look. The range of stylistic alternatives and swashes enable users to create a wide range of moods in their work. In many ways it is a calligraphy toolkit. Lovers contains the accented characters used in the major European languages. What sets it apart from most other calligraphic fonts is that it appears so genuinely handwritten and avoids the uptight formality that characterizes so many of the fonts in this genre. Try Lovers, enjoy its wealth of OpenType features and let its vigorous yet elegant exuberance delight you and enhance your creativity!

Our Pardner font finds its inspiration from the title screens of the 1965 film “West and Soda”, an animated Italian film that was a parody on American Westerns. Director Bruno Bozetto claimed in an interview that he was in fact the originator of the Spaghetti Western, not Sergio Leone. This offbeat and animated serif typeface has characters of varying width and weighting incorporated into opentype scripting as well as numerous alternates to give a lot of fun and frolicking play in typesetting. You can type with just as much diversity as the titling themselves. Opentype features include: - 6 Stylistic Alternate Sets. - A collection of ligatures as well as programming to automatically alternates between Caps and Lowercase. - Full set of Inferiors and Superiors for limitless fractions. - 731 characters of pure joy.

Brunella Script is a modern calligraphy font with a dancing baseline and a clean, classic and elegant touch. It can be used for various purposes such as headings, signature, logos, wedding invitations, t-shirt, letterhead, signage, lable, news, posters, badges etc. Brunella Script features 931 total glyphs with 575 alternate characters including OpenType Stylistic alternates, ligatures and international language support. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC (With Glyphs Panel), Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. Also supported PUA encoded, simply copy and paste the alternate characters using the Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac).

Hypnerotomachia Poliphili, which can be translated in English as “Dreaming Love Fighting of Poliphilus”, is a romance about a mysterious arcane allegory in which the main protagonist, Poliphilo, pursues his love, Polia, through a dreamlike landscape. In the end, he is reconciled with her by the “Fountain of Venus”. The author of the book is anonymous, however, an acrostic formed by the first, elaborately decorated letter in each chapter in the original Italian reads “POLIAM FRATER FRANCISCVS COLVMNA PERAMAVIT”, which means “Brother Francesco Colonna has dearly loved Polia”. Despite this clue, the book has also been attributed to many other authors. The identity of the illustrator is less certain than that of the author. It was first published in Venice, in December 1499, by Aldo Manutio. This first edition presents an elegant and unique page layout, with refined woodcut illustrations in an Early Renaissance style and a refined Roman font, cut by Francesco da Bologna, which is a revised version of the type used in 1496 for the De Aetna of Pietro Bembo. The print quality is very high for the time, but nevertheless it presents many inconsistencies and imperfections due to the non-ideal inking and adherence of the matrix to the paper. For that reason numerous samples of the original have been used to create every single glyph which will result in an appropriate reconstruction and not a mere and humble reproduction. Some letters like \J, \U and \W were extrapolated, because they are not part of the original alphabet of the period. Some letters like \Q, \X, \Y, \Z and \h have been updated to more modern variants, but the original shape is accessible by Stylistic Alternates Opentype Feature, which also changes the shape of the \V and the \v. The original numerals \zero, \one, \tree, \four and \six have been accompanied by reconstructions of the missing numbers and extended by modern figures. Finally, swashed lower cases and original scribal abbreviations were also included. The font has joined by a matching Italic variant, closely inspired from Aldo Manuzio's 1501 "Vergilius", the first book printed entirely in Italic type by Francesco da Bologna.

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon, a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon , a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

Typographer and graphic designer Pavel Teimer (1935-1970) designed a modern serif roman with italics in 1967. For the drawing of Teimer he found inspiration in the types of Walbaum and Didot, rather than Bodoni. He re-evaluated these archetypes in an individual way, adjusting both height and width proportions and modifying details in the strokes, thus effectively breaking away from the historical models he used as a starting point. Teimer's antiqua has less contrast; the overall construction of the characters is softer and more lively. The proportions of the italics are rather wide, making them stand out by their calm and measured rhythm. This was defined by the purpose of the typeface, as it was to be utilised for two-character matrices. The long serifs are a typical feature noticeable throughout the complete family of fonts. In 1967, a full set of basic glyphs, numerals and diacritics of Teimer's antiqua was submitted to the Czechoslovak Grafotechna type foundry. However, the face was never cast. At the beginning of 2005 we decided to rehabilitate this hidden gem of Czech typography. We used the booklet "Teimer's antiqua - a design of modern type roman and italics", written by Jan Solpera and Kl‡ra Kv’zov‡ in 1992, as a template for digitisation. The specimen contains an elementary set of roman and italics, including numerals and ampersands. After studying the specimen, we decided to make certain adjustments to the construction of the character shapes. We slightly corrected the proportions of the typeface, cut and broadened the serifs, and slightly strengthened the hair strokes. In the upper case we made some significant changes in the end serifs of round strokes in C, G and S, and the J was redrawn from the scratch. The top diagonal arm of the K was made to connect with the vertical stem, while the tail of Q has received a more expressive tail. The stronger hairlines are yet more apparent in the lower case, which is why we needed to further intervene in the construction of the actual character shapes. The drawing of the f is new, with more tension at the top of the character, and the overall shape of the g is better balanced. We also added an ear to the j, and curves in the r have become more fluent. To emphasise the compact character of the family, the lining numerals were thoroughly redrawn, with the finials being replaced by vertical serifs. The original character of the numerals was preserved in the new set of old-style figures. To make the uppercase italics as compact as possible, they were based on the roman cut rather than on the original design. The slope of lowercase italics needed to be harmonised. The actual letter forms are still broader than the characters in the original design, and the changes in construction are more noticeable. The lower case b gained a bottom serif, the f has a more traditional shape as it is no longer constricted by the demands of two-matrice casting, the g was redrawn and is a single storey design now. The serifs on one side of the descenders of the p and q were removed, the r is broader and more open. The construction of s, v, w, x, y, and z is now more compact and better balanced. Because Teimer was designed to make optimal use of the OpenType format, it was deemed necessary to add a significant amount of new glyphs. The present character set of one font comprisess over 780 glyphs, including accented characters for typesetting of common Latin script languages, small caps and a set of ligatures, tabular, proportional, old style and lining, superscript and fraction numerals. It also contains a number of special characters, such as arrows, circles, squares, boxed numerals, and ornaments. Because of its fine and light construction, the original digitised design remained the lightest of the family. Several heavier weights were added, with the family now comprising Light, Light Italic, Medium, Medium Italic, Semibold, Semibold Italic, Bold, and Bold Italic.

I was working about 10 years exclusively for a type company. Based on my experiences, I built this superfamily. Schuss™ Sans PCG is a humanistic sans-serif with a little contrast. Small Caps, greek and cyrillic are included. Also tab, prop, lining, old style and small cap figures. It's a typeface with clear and open characters. All complicated shapes are cleaned and simplified with a bit elegance. Schuss™ Slab Pro is a slab serif, based on the Schuss™ Sans. Schuss™ News Pro is the modeled style between Schuss™ Slab Pro and Schuss™ Serif Pro. Schuss™ Serif Pro is the antiqua shape. Additionally all serifs are cleaned up. There is just one-side-serif in the "n" for example. Tab figures (except small caps), mathematical signs and currency symbols have a width system accross all styles and weights.

Named after the Florentine river which runs through the heart of the Italian Renaissance, Arno draws on the warmth and readability of early humanist typefaces of the 15th and 16th centuries. While inspired by the past, Arno is distinctly contemporary in both appearance and function. Designed by Adobe Principal Designer Robert Slimbach, Arno is a meticulously-crafted face in the tradition of early Venetian and Aldine book typefaces. Embodying themes Slimbach has explored in typefaces such as Minion and Brioso, Arno represents a distillation of his design ideals and a refinement of his craft. As a multi-featured OpenType family, with the most extensive Latin-based glyph complement Adobe has yet offered, Arno offers extensive pan-European language support, including Cyrillic and polytonic Greek. The family also offers such typographic niceties as five optical size ranges, extensive swash italic sets, and small capitals for all covered languages.

Synerga Pro is a contemporary slab-serif typeface with humanist features. In smaller text sizes it exposes the characteristics of its slab built, but as the size grows, lots of fine features become visible: rounded terminals, dynamic horizontal serifs, non-vertical endings of vertical serifs. Such details make Synerga Pro suitable for setting paragraph texts as well as large captions. Synerga Pro is equipped with many OpenType features including 4 sets of digits, small caps and ordinals. The extensive language coverage includes most of the Latin-based languages, as well as major languages that use Cyrillic script. Also be sure to try Synerga Pro as webfont to appreciate its accurate and rhythmic appearance at virtually any text size! Some of the styles of Synerga Pro can be found in Mint Type Editorial Bundle together with other fonts which make some great pairs. Check it out!

Novel Mono Pro is the monospaced typeface family within the largely extended award winning Novel Collection, also containing Novel Pro, Novel Sans Pro, Novel Sans Condensed Pro, Novel Sans Rounded Pro and Novel Sans Office Pro. Novel Mono Pro has a carefully attuned character design and a well balanced weight contrast. It combines the feeling of a modern humanist with the technical appearance of a typewriter. Many similarities with the other typeface families within the Novel Collection enable designers to combine the families and reach highest quality in typography. Novel Mono Pro [948 glyphs] comes in 12 styles and contains small caps for the uprights and the italics, ligatures, lining figures, hanging figures, small caps figures, positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

For many years I had repeatedly written names on certificates or designed texts for certificates of honor with a pen. I later digitized a font written with a broad pen from 1988 to make it easier to use. After the technical possibilities for this had developed, I made a PostScript font out of this document font. The "HGB-Unik" is a humanistic antiqua that arose from this written type. In 2009 Unik was chosen as the text font for a book. However, the book designers wanted to have an italic and a bold style as well. The cursive was developed from written texts that I also wrote for various occasions in the 1980s. The resulting font family was thoroughly revised several times until a usable text font with four weights was created. Although the Unik looks very idiosyncratic in display size, it shows a surprisingly balanced, pleasant typeface in read size.

Octagen is a family of 16 condensed Sans Serif fonts of geometric construction and neo-Gothic style with short descenders and a humanistic finish in the curves and auctions of the tiny letters to avoid the coldness of the grotesque typographies, providing expressiveness, energy, warmth and docility , resulting in a friendly typography with a lot of personality and readability, specially drawn for the composition of short and medium texts, signage or headlines where horizontal space saving is needed. The typography has 529 glyphs (Latin Extended-A) with advanced OpenType functions, several number games, a complete set of neutral-style alternative lower case letters and the Bitcoin symbol. For Octagen cursive styles I used a set of lowercase letters without terminal finishes, more neutral than the regular versions, this being compensated by the expressiveness of the italics inclination, thus achieving important morphological, coherent differences within the conceptual development of this typographic family.

Indigo Antiqua 2 is an old-style humanist serif typeface primarily based on personal studies of a typeface by Francesco Griffo (1450–1518) Italian punchcutter. But it is not a revival of the so called original Bembo (1496) or any other typeface. My Inspirations are of various kinds, but some outstanding old typeface masters like Guillaume le Bé, Miklós Kis, Peter de Walpergen and Christoffel van Dijck are important. Indigo Antiqua 2 is most commonly used for body text were legibility / readability matters – and is a reliable multi-purpose typeface. It has been applied for thousands of book titles and between the book covers made reading comfortable. By using Indigo Antiqua 2 with OpenType features You can reach additional ligatures, various figure sets, small caps, stylistic options and a lot of other typographical choices. Multi-Lingual support: Central European languages and many others. | See www.fontanova.se

Private Sans is a three styles family of humanistic sans serif based on broad pen calligraphy. Its noticeable distinctions -- a vivid irregular nature which is not typical for usual Cyrillic text faces. Characters of the font have visible “inthasis”, soft terminals and slanted axis in internal ovals. The name of the font reflects an intention to design a typeface for personal messages. It can be used in blogs, e-mails, personal Web pages -- the places where author wants to show his personal attitude and invite visitors to enter his intimate space. It also usable for memoirs, autobiographies, interviews, and for those kind of literature that deals with feelings and emotional experience. The font family was designed by Olga Karpushina on the base of her graduate work of Type and Typography course in British Higher School of Art and Design. Released by ParaType in 2010.

I was working about 10 years exclusively for a type company. Based on my experiences, I built this superfamily. Schuss™ Sans PCG is a humanistic sans-serif with a little contrast. Small Caps, greek and cyrillic are included. Also tab, prop, lining, old style and small cap figures. It's a typeface with clear and open characters. All complicated shapes are cleaned and simplified with a bit elegance. Schuss™ Slab Pro is a slab serif, based on the Schuss™ Sans. Schuss™ News Pro is the modeled style between Schuss™ Slab Pro and Schuss™ Serif Pro. Schuss™ Serif Pro is the antiqua shape. Additionally all serifs are cleaned up. There is just one-side-serif in the "n" for example. Tab figures (except small caps), mathematical signs and currency symbols have a width system accross all styles and weights.

Gina is an unbiased humanist sans. The simple skeleton of the characters and the organic strokes are essential features to the design. It is a typeface that looks to the future while keeping an eye on classic letterforms. If we have a closer look, we will notice there is a tendency towards vertical proportions. Ascenders and descenders are long, making for a light texture in small text sizes. The type family includes 8 weights and 8 italics. There is a clear link between styles, both in the structure and shape of the letterforms. The italic counterpart uses a moderate inclination and some letters adopt characteristics of cursive forms. Besides Latin, the character set of Gina includes Cyrillic and essential features for covering current typographic needs. Gina has a wonderful set of ligatures, which indeed will catch the attention of those who love connected letterforms.

Carmensin is a beautiful humanist serif typeface created by Rafael Jordán. Designed in the 21st Century with all the flavor of the Renaissance. The conclusion of a story that began in Type@Paris program in June, 2015 & ended at February, 2020. Inspired by historical models, its classic conventional appearance with small details, smooth curves, large x-height and open counters made of Carmensin a great, efficient and solid typeface for long text settings. Also, its bigger sizes styles show the beautiful shapes and contrast, exhibiting its exuberance. Carmensin has a great collection of OpenType features that will satisfy any typographic necessity as ornaments, ligatures, stylistic sets, small caps, automatic fractions and more options along 3 optical styles (Text, Headline and Display) plus a fancy Stencil style. With an extensive Latin character set, Carmensin covers a wide amount of Latin-based languages, including Latin Plus encoding.

The M XiangHe Hei Traditional Chinese typeface merges traditional brush strokes with modern letterforms to carefully balance traditional calligraphy with humanist design. Named for the smooth movements of a flying crane, the M XiangHe Hei typeface is designed to glide across the page, and features strokes that are partly derived from the Kaishu calligraphic style – an everyday script which dates back hundreds of years. M XiangHe Hei TC features Neue Frutiger for its Latin glyphs, and works harmoniously Neue Frutiger World and Monotype’s CJK typefaces: Tazugane Gothic (Japanese) and Seol Sans (Korean). M XiangHe Hei TC is a great choice for global brands using sans serif Latin typefaces looking to maintain their visual identity, and communicate with a consistent tone of voice with Traditional Chinese. The M XiangHe Hei TC fonts have over 19,000 glyphs, and support the BIG5/HKHCS and CP950 character sets for Traditional Chinese.

Virgin is a hybrid typeface with a Victorian spirit, based on script forms of Romanesque ornamentation. With his rich variety of stylistic forms, ornaments and catchwords, Virgin is a chance to create completely new texts, varied and elegant. About 1100 Glyphs allow users to create words out standard, thanks to its Opentype programming in countless combination of alternates. The variety of styles makes it easy to create texts according to your taste and use because Virgin offer an unlimited combinations of stylistics alternates. Virgin is ideal for humanistic texts, tourist ads, liquor and wine labels, fashion and even for cosmetic purposes. Virgin is presented in solid and inline version, and a basic version for web in lighter weight, also providing a refined collection or ornaments and catch Words. Virgin has been specially designed for logotype, packaging & publishing design project. Virgin evokes the richness of nature in its biodiversity.

A mix between tradition and innovation, Basil is a unique humanist slab serif well suitable for broad range of design projects - editorial, logotype, poster, etc. With its tall x-height and generous internal spaces, the type family was especially designed with legibility in mind and is well suitable for body text at small sizes. In the same time Basil is equally able as titling and headline font due to numerous distinctive visual features that shape its attractive appearance. A true workhorse, packed with lots of OpenType features and full multilingual support, the type family consisting of six weights, with Regular available for free! Basil type family received Special Mention in Cyrillic text Typeface category at 7th International Type Design Competition for non-Latin typefaces - Granshan 2014. It also was exhibited at New Bulgarian Typography exhibition part of Sofia Design week 2013 and then took part in several travelling exhibitions.

Nami, the Japanese word for wave," is the latest collaboration between Adrian Frutiger and Linotype's Type Director, Akira Kobayashi. This typeface family is the most humanistic sans serif design ever to come from Adrian Frutiger, and it has an interesting twist: lapidar alternates that may be surfed through with the help of OpenType-savy applications. Adrian Frutiger began the design that would blossom into Nami during the 1980s. Although it would not be produced during the 20th century, it was quite forward thinking. The typeface included several seemingly avant garde alternates; these were "lapidary" versions of common letterforms. Revisiting the project in 2006, Akira Kobayashi reworked the concept into a working family of three typefaces. Each font contains 483 glyphs, including 11 alternates-two extra forms of the lowercase g, as well as new forms for a, e, h, l, m, n, r, t, and u."

As the first multi-font family designed for the CounterPoint font library, Plectrum offers designers and font lovers an alternative to the usual display style fonts of CounterPoint with a low key yet elegant sans serif family that can serve a variety of functions. Designed as a humanist style sans serif, the letters have variation in stroke weight. The italic faces have some variation in the letter design making them more of a true italic rather than simple oblique faces. The complete family consist of four weights: Regular, Italic, Bold and Bold Italic which can be purchased separately or as a complete package. The typeface has some unique features which add warmth to the design such as a slanted cross bar on the lowercase e and a large x-height. This is a solid, versatile family. Available in OpenType and contains support for Latin based and Eastern European languages.

Even though the name seems not to tell much, Indecise shows a clean and coherent design. The shapes of the characters reference the Latin typefaces that were promoted by great figures like Enric Crous-Vidal and José Mendoza y Almeida in the 50s. Indecise uses the body of incise typefaces and gets rid of the subtle terminals for the strokes. It is a high-contrast sans divided into 5 elegant subfamilies, which use different widths. From the condensed version to the extended one, the family includes 50 fonts counting upright and italic. This collection of widths make for many possible combinations of styles. Indecise is a humanist typeface, it puts geometry apart and embraces the calligraphic gesture. This helps to suggest the movement of the strokes while avoiding to create text with a static appearance. Thin and thick strokes come together and define a smooth rhythm for reading.

PhotoWall is a casual, connecting script in four weights with lots of swashes, ligatures and alternates. It comes with a comprehensive package of complementary fonts: PhotoWall Sans, PhotoWall Poster Sans (a bold humanist all caps font), PhotoWall Serif, PhotoWall Poster Serif and last but not least, a bunch of frames, borders and other design elements that will help you get creative. PhotoWall is perfect for logotypes, posters, cards, menus, product packaging and other printables, as well as web applications. It is friendly and lovable, fresh and fun to work with. The swashes and alternate letters will add a finishing touch to every logo or headline and the sans/serif fonts are ideal when you are in need of a subtext. Inspired by home decor, PhotoWall is a versatile and elegant toolkit family of fifteen fonts with tons of personality. Mix and match for best results!

MIR Next is a growing multi-script type family best described by the terms “humanist–semi–slab-serif”. Its character set contains Latin and Cyrillic, both extended, as well as Greek, covering more than 100 languages. Strong personality along with consistency between language systems were a basic aim when designing the family. As a result MIR has become a great tool for branding and international identities. A wide choice of symbols and numbers makes it also very useful for statistics, texts about mathematics and the sciences. Serious things are best be said in an unpretentious, relaxed way. MIR gives typography exactly that kind of appearance. Its texts emit a sense of authority but stay easily accessible at the same time. MIR’s name comes from the old Russian word Мир meaning both “world” and “peace” – a unity we will hopefully take for granted sometime in the future.

Droid Sans Pro Mono is a humanist sans serif typeface designed by Steve Matteson, Type Director of Ascender Corp. Droid Sans Mono features a fixed width (non-proportional) which is useful for developers to see code in a tabular setting and for viewing emails and other screens. Droid Sans is an approachable, friendly set of typefaces optimized for display on screen. Droid Sans Mono was designed to provide optimal quality and legibility. It features upright stress, open forms and a neutral appearance. Droid Sans Mono was optimized for user interfaces and to be comfortable for reading on a mobile handset in menus, web browser and other screen text. The Droid Sans Pro Mono Regular font contains Old Style Figures (requires an application that support advanced OpenType typographic features) and extensive character set coverage including Western Europe, Eastern/Central Europe, Baltic, Cyrillic, Greek and Turkish support.