Inola Hand Lettered Font in modern calligraphy style. It resembles actual handwritten letters that can make a great font for branding, logo design, and graphic identities. Inola includes ligatures and stylistic alternates for some letters and floral symbols to include in your designs, find them all in the glyphs panel. Inola Hand Lettered Font is perfect for logo design, branding, art prints, wedding cards and invitations, packaging, business cards, greeting cards, posters, magazines, social media, home decors, stationary, blogs, and website design, and more. Inola Hand Lettered Font contains all uppercase and lowercase letters from A to Z and numbers from 0 to 9. Latin Extended letters are supported together with other bonus characters.

Experience the amazing feeling with Lastlap that will make your work a lot easier than before. It is a display font designed in a racing theme. In accordance with its theme, Lastlap expresses a brave feeling with its dramatic bold style suitable to use in titles, logos, and any other designs with large-sized texts. Enjoy other incredible features available on this font. Features: Multilingual Supports PUA Encoded Numerals and Punctuation Lastlap fits best on various design projects such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Get it now. Happy designing

Wouldn’t it be nice to have a pack of Instant Harmony in your cupboard? Just add water and *poof* - all strive and struggle have gone, having been replaced by peace and quiet. The grass seems greener, the sky bluer and the air smells like a fresh mowed lawn. Ahhhh! Zap! Back to reality. There is no instant harmony, don’t go looking for it in your local supermarket! If you want a taste of something resembling instant harmony, then add this super-duper font family to your collection and use it for your designs. You may find that your creativity levels are up, your morning coffee tastes better and your designs look exactly like you had in mind. Pinky promise!

The future is right here, today, and Areon Flux comes to point that out. It’s a font family consisting in three weights that makes it a notable choice for designers that have to do with techy, futuristic layouts or printing materials. The lettering design appeal as sharp, powerful, distinctive and kind of modular, remembering the upcoming space exploration opportunities that are ready to enlarge our horizons in the next years. Areon Flux family is designed and published in late ‘20/ early ’21 and has an established discount for more that 30% for all the weights buyed together that makes it a versatile fresh and modern display not to be missed by edgy designers.

It's that time of year again, isn't it? And yes, we're speaking rhetorically, because our true intent is to rouse voters into action, claim a significant gain in support over our nearest rivals and lead the nation, perhaps The World, into a new era of prosperity, one in which our once proud nation can become great yet again! An era of Hope, a time of peace and an end to war! Because never, in the field of human conflict, have so many, given so much and gained so little so that the have nots can reward themselves and those that have and-and... Victory, and Hope, and Greatnessness! Related font: Victory Speech Lower

Slope Sans is an original design that combines a technological shape model borrowed from the early Macintosh system fonts with organic, open elements looking futuristic in a retrospective manner. Designed as part of a font family without different weights, Slope Sans Pro provides OpenType features for alternate letter forms in two stylistic sets. The basic version works similar to a stencil font, an alternative set has consistently closed shapes and a more rigid appearance, while the second stylistic set offers some alternative letter forms. Headlines and shorter texts set in Slope Sans provide a variable, modern appearance. Slope Slab Pro goes very well with Slope Sans Pro and can be used as style variant or display.

Gelato Fresco represents a coming-of-age of a script font that started life in 2011 as the popular Gelato Script. In 2018, Gelato Luxe sought to improve on Gelato Script, and now, with the addition of extra weights for the first time, Gelato Fresco takes the baton. What was always a typographically sophisticated and versatile font, has reached new levels of usability as it becomes a family. In its previous incarnations, the typeface has graced everything from designer handbags to prime-time TV shows; food blogs to wedding invitations; glossy magazines to (not so imaginatively!) ice cream shops. I can't wait to see what this even more versatile version gets used for.

The idea of Transport originates from text found on the large wooden boxes used for transport. Such text is still stencilled on them in the same way as the companies have done for decades, at least. That explains the typeface's name, too. If you find some similarities with Devin, you are right. Transport is nothing other than a special variant of Devin. But since the two are aimed for totally different uses, I decided to use two different names for them. Transport is a mecane and its use is primarily as a headline typeface. But in small quantities it can be used even for body setting, if special effects are desired. Transport was released in 1994.

Cut by Monotype between 1900 and 1902, the Monotype Modern font family was based on Miller & Richards News 23 and 28; slightly condensed news text types of the 1890s. Monotype Modern is a lively typeface, with long, fine hairlines and well rounded letterforms, representing the best of nineteenth century modern face design. A classic text face, and typical of the moderns that were produced in the United Kingdom at that time, being less extreme in its rendering than some of the models of purer form being produced elsewhere. Monotype Modern is an excellent text face for magazines, newspapers and books, the heavier and more condensed versions are useful in headlines and display.

Grimoire on the other hand combines two seemingly contradicting principles — calligraphic and constructive ideas — and makes them work together. The font is based on a modular system but simulates a handwritten typeface. Felix Braden about this concept: "I was so fascinated by this idea, that I have since designed a couple of typefaces following this principle, e.g. the psychedelic Bikini released by Volcanotype. Even my recent work, the multi awarded FF Scuba is inspired by this concept, however with increasing age I have become less interested in experimental typography and more so in designing typefaces which are more versatile in use." For a detailed type specimen have a look at: http://on.be.net/17WyhE6

The Steampunk font is inspired on sixties hand lettered French movie poster of Charles Bronson. This style of type is instantly associated with advertising and design for high-end products with a touch of Arts & Crafts. Steampunk is carefully drawn for quality and readability. Steampunk is great for display, logos, branding, packaging, advertising, food, sports, titles, film, tv, and more. Steampunk comes in 2 styles witch match perfectly together. Steampunk is a great display family with roots in the past century advertising and sign painting industry, and no wits but smooth polished wit hall the features a good designer needs. Steampunk is designed by Coert De Decker in 2018 and published by Kustomtype Font Foundry.

One of the best desserts I have eaten in my life was a treacle tart. I do know that it was in England and I do know that it was delicious. I really don’t know why I was thinking of that, but that pleasant memory did give me a name for this font. I am still learning my new font software, which is a bit of a slow process. The software I used for this font allows me to add several languages, which, hitherto, I couldn’t access. So, in short, this is my most multilingual font ever: it even includes Vietnamese and a bit of Hiragana and Katakana for you to get creative with!

Slope Sans is an original design that combines a technological shape model borrowed from the early Macintosh system fonts with organic, open elements looking futuristic in a retrospective manner. Designed as part of a font family without different weights, Slope Sans Pro provides OpenType features for alternate letter forms in two stylistic sets. The basic version works similar to a stencil font, an alternative set has consistently closed shapes and a more rigid appearance, while the second stylistic set offers some alternative letter forms. Headlines and shorter texts set in Slope Sans provide a variable, modern appearance. Slope Slab Pro goes very well with Slope Sans Pro and can be used as style variant or display.

The "Zornale", is an original manuscript that contains a large amount of data, providing a daily record of the books acquired by the Venetian bookseller Francesco de Madiis, between 1481 and 1488. Zornale is a family of text fonts in five weights that can be combined with the variant Caption with short ascenders and descendants. The family is completed with true italics in two weights (light italics and italics) specially designed for use in reading texts. These fonts have been designed with precise kerning and full OpenType features: Small caps, old-style numbers, Swashes, stylistic and contextual alternates, ligatures and case-sensitive forms. Each font contains 549 glyphs for complete control and enhance typographic refinement.

Acústica is a display font family designed by Carlos Fabian Camargo G. Its styles were designed to form words and phrases related to delicate and feminine contexts. Acústica Caps, Italic, Swashes and Ornaments are drawn investigations with flexible tip pen inspired by Didot capitals. All ideal for mixing with Acústica Script whose idea represents the volatile sound of a fine tip brush against rapid tracing paper. Its script path in width condensed lowercase and uppercase letters in loose horizontal proportions are generous between letters laced with long, agile and thin connecting strokes. Its script sensitivity is in Italian calligraphy with uninterrupted lines of cursive English. Acústica was selected at the Bienal Tipos Latinos 2014. Photos by http://www.desdeesteladodemimundo.blogspot.com

The Eixample project is inspired by modernist signage of various examples found in the Eixample neighbourhood in Barcelona. The name of each subfamily is related to its location or to specific elements of the original sign. Villa is the abbreviation for Carrer Villarroel (Villarroel Street), where the Villarroel Pharmacy has been displaying this sign since the first quarter of the twentieth century. The Eixample Villa typeface system consists of sturdy letters free of ornaments with an industrial aspect. Only the treatment of the curves borrows modernist features. Like the rest of the families in the Eixample series, Villa shows its origin as a display font, but it has been engineered to give good results at small sizes as well.

Toiban is a classy modern sans serif font. Each Toiban glyph has been modernly drawn and designed for this expansive new edition, which maintains the Swiss mantra of clarity, simplicity and neutrality for the demands of contemporary design and branding. The larger View version is drawn to show off Toiban's subtlety and is spaced with the headline in mind, while the Text size focuses on readability, using strong strokes and comfortable loose spaces. The Toiban struggles to be legible at a small size because of its compactness and closed aperture. The Toiban Micro's design is simplified and exaggerated to maintain impression in small, loosely spaced type, providing excellent legibility at microscopic sizes and in low-resolution environments.

This is the tallest, skinniest, most condensed, non serif font I know of. I designed this because I felt a serious need for that one big, thin word to fit in a narrow space. It is great for ‘SALE!’ in a one column ad. Also is a life saver for several long words in a narrow space like Merry Christmas... If you need a full character set take a look at the new Ultra Condensed 3 font family. Ultra Condensed was based on Tall Skinny Condensed with some changes and a full character set. Ultra Condensed Lettered is a hand lettered version and Ultra Condensed Line is a lighter hand drawn version

Cut by Monotype between 1900 and 1902, the Monotype Modern font family was based on Miller & Richards News 23 and 28; slightly condensed news text types of the 1890s. Monotype Modern is a lively typeface, with long, fine hairlines and well rounded letterforms, representing the best of nineteenth century modern face design. A classic text face, and typical of the moderns that were produced in the United Kingdom at that time, being less extreme in its rendering than some of the models of purer form being produced elsewhere. Monotype Modern is an excellent text face for magazines, newspapers and books, the heavier and more condensed versions are useful in headlines and display.

Monaly is a display serif font. Designed with large, heavy letters, Monaly is a display font that makes a bold statement. Each letter is meticulously crafted with strong, confident serifs that lend a sense of grandeur and sophistication to your design projects. The artistic flair of Monaly is evident in its carefully balanced letterforms, which blend tradition with a contemporary edge. The font's heavy weight adds a sense of weightiness and substance, making it a reliable choice for conveying authority in your designs. Monaly fits in headlines, logos, posters, flyers, invitations, branding materials, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview.

Catfish is a monoline geometric script with a touch of classic and vintage and can be used for various purposes such as logos, badges, t-shirt design, signage, labels, book cover design, posters etc... The font is best used in an OpenType-aware software such as Adobe Illustrator, InDesign, MSWord etc. Please note that OpenType capabilities differ from one application to another. Underline feature was tested in Illustrator, InDesign, Photoshop and MSWord and works perfectly. The package contains a how-to pdf explaining how to use the underline feature. If you are working in Adobe Photoshop, to get an access to all glyphs you may need an additional software (for example, PopChar http://www.ergonis.com/products/popcharx/).

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

Cities often have their own voice, a voice that can be read... in each location and each business, voice portraying a cultural fabric with an array of manifestations. Balneario Script is a small tribute to a coastal port and tourist city. Through the Sign Painters, in its golden age, a clear, friendly, practical, and functional way of making itself heard evolved. Far from wanting to be perfect, a typeface seeks to be close, warm, and casual. Inspired by the gestures of the brush, Balneario Script reverts to the use of “Casual Letters” so used by Sign Painters. In this adaptation, we sought to adjust its morphology to optimize its performance in small formats and extend the system to include lower case letters as part of the set. The set of fonts has two script weights in addition to an all caps version. The design emphasizes creating a harmonious morphological criterion. Friendly, rhythmic, and with a firm stroke Balneario Script is unique, ideal for headlines and short texts that need to be gestural but simple and highly functional. This typeface was designed to be used in promotional posters or for relaxed and fun Packagings. Balneario Script goes beyond constructive or functional aspects. It seeks to capture the smell of the sea, the warm summer breeze and the nostalgic feeling of a city that from its daily life, knew how to forge a unique personality. This atmosphere allows it to host millions of tourists year after year, and with them reinforce their spirit each summer.

A ”modern“ Gothic – designed according to principles of modern form in three variations Faber Gotik is a reminiscence of Gutenberg’s first script from around 1450. The heavily broken forms allow further development in the direction of a modern, strongly geometric and less formal type. It should be possible to push the principle of design so far to the limit that a type is created which, from the very start, extinguishes reminders of a dark past. The characters are composed of squares which are lined up straight or in a more or less slanted manner. The resulting corners similar to serifs were removed so that a sans serif type in the true sense without up and down strokes was created. The principle of ”breaking“ was applied according to the historical model. Even the form of the characters is based on the model from the Middle Ages. Only the characters which cannot be created with the principle described were modeled on today's forms. Faber Gotik includes three variations: - Faber Gotik Text — most similar to the historical model - Faber Gotik Gothic — pushes the applied principle of form the furthest - Faber Gotik Capitals —; a Gothic upper case font, contrary to tradition. 555 years after Gutenberg, interest in black-letter typefaces is nearly extinct. They are especially looked down upon in German-speaking countries because they are still associated with ”Nazi“ scripts. But yet, the very forms of blackletter, Gothic, Schwabacher and especially cursive have enormous potential with regard to the development of new advanced font forms.

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.

ATF Alternate Gothic is a new, significant digital expansion of Morris Fuller Benton’s classic 1903 type design. Originally available in one bold weight, the metal typeface came in three slightly different widths for flexibility in copy-fitting layouts.  ATF Alternate Gothic has impact at any size. Its letterforms are instantly familiar: Benton’s original metal type family was used throughout the 20th century in newspapers, magazines, and advertising, providing “strong and effective display” in a compact space. Monotype issued its own metal version for machine typesetting, and Alternate Gothic likely served as inspiration for Linotype’s ubiquitous Trade Gothic® Bold and Bold Condensed. ATF Alternate Gothic expands on the characteristics that perhaps made Trade Gothic so popular, providing a wider range of weights and widths to address the needs of today’s designers and technologies. The space-saving clarity of ATF Alternate Gothic brings readability to the world of advertising typefaces. With its finely graded range of ten weights, with four widths of each weight (40 fonts total), this extensive type family can be used to pack a lot into a narrow space, and the range makes it easy to create variations of an advertisement or announcement for different formats and media. The tall x-height and narrow proportions, combined with a relatively low waist and springy, tension-filled forms, make ATF Alternate Gothic strong and effective in display. All ten weights have been carefully spaced for readability, caps and lowercase work well together, while attention-grabbing all-caps settings are clear and never crowded, no matter how narrow.

The fundamental in creating this typeface is the implementation of our interest in typography over the past year. Inspired by the elegance, consistency, and hard work of Times New Roman pull up our minds to a daunting blank canvas and began to think about what we had to do to take this idea even further. Whatever comes to our mind and when it is poured out, it will certainly remain within the rules of the letterforms. This typeface is created by a careful approach, consisting of 28 fonts 13 weights with matching true italics forms. Feature an extended charset of over 1800 glyphs, covering 219 languages using Latin, Cyrillic (basic to extended), and Greek alphabets. Included advanced open type features like stylistic alternates, terminal form, swash, discretionary ligatures, ordinals, small caps, positional numbers, fractions, and case-sensitive forms. BD Megalona provides a range of choices that will give luxury vibes in symmetrical layouts with selective deviations, and work well in a stylish look for your typographic project. This is a complete package of problem solvers perfectly suited for body text and high-impact headlines. Advance open-type features definitely stunning on logos, branding, magazines, website, etc. BD Megalona is our ego in expression that aims to supply the necessity of design nowadays while still in the corridors of the glory of past traditions as a source of our inspiration. We would like to show you a SHORT FILM about the process of designing BD Megalona Font Family, Click Here!!!

Go Pixel is an exciting game-themed display font designed in uppercase, capturing the essence of retro pixel art. The consistent proportions of this font create a harmonious and balanced visual experience. Each uppercase letter is crafted with precision, ensuring uniformity and maintaining the overall aesthetic appeal. This design choice guarantees that every character fits seamlessly together, resulting in a cohesive and visually pleasing typographic composition. The uneven borders of Go Pixel add a touch of vintage charm and quirkiness to the font. Each letter is outlined with varying thickness, mimicking the imperfections found in retro pixel art. This unique feature gives the font a distinct personality and captures the nostalgia of classic video games. With low contrast, it embraces a softer and more subtle approach to readability. The slight variation in stroke width allows for a smooth and comfortable reading experience. While the low contrast may be unconventional, it enhances the overall retro feel of the font, immersing your audience in the world of classic gaming. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Go Pixel fits in headlines, logos, posters, titles, branding materials, print media, editorial layouts, website headers, and any projects that aim to evoke a sense of fun and nostalgia. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Gerard Unger’s new typeface Alverata is a twenty-first-century type-face inspired by the shapes of Romanesque capitals in inscriptions of the eleventh and twelfth centuries, without being a close imitation of them. It is additionally based on the early twentieth-century model, but tweaked so as to prevent blandness and monotony. Alverata performs beautifully in both screen and on paper, delivering excellent legibility. Its letters are open and friendly in small sizes and lively and attractive in large sizes. They are robust, and show refinement in their detail. Unger’s Alverata is an extensive type family, with versions for both formal and informal applications, and with Greek and Cyrillic relatives. Alverata consists of three different fonts: Alverata, Alverata Irregular and Alverata Informal, that vary in form and width, but maintain the same spirit. The Irregular version is particularly inspired by the Insular letterforms, the uncials, and their constantly changing positioning. Alverata strikes a balance among Europe’s diversity of languages, combining contemporary typographical practices with features of medieval letterforms, from the time when Europe came into being. Visually, some written languages, such as Czech and Maltese, differ quite strongly from languages like English and German, notably because of their many accented characters. While other typefaces will show this difference, Alverata removes it. As a result, Alverata enables harmonious convergence of languages.  For the development of the Greek letterforms, Unger collaborated with Gerry Leonidas (University of Reading) and Irene Vlachou (Athens), and with Tom Grace on the Cyrillic letterforms.

This all started with a love for Minister. This is a font designed by Carl Albert Fahrenwaldt in 1929. In the specimen booklet there’s a scan from Linotype’s page many years ago. They no longer carry the font. I’ve gone quite a ways from the original. It was dark and a bit heavy. But I loved the look and the readability. This came to a head when I started my first book on all-digital printing written from 1994-1995, and published early in 1996. I needed fonts to show the typography I was talking about. At that point oldstyle figures, true small caps, and discretionary ligatures were rare. More than that text fonts for book design had lining OR oldstyle figures, lowercase OR small caps—never both. So, I designed the Diaconia family using the Greek word for minister. It was fairly rough. I knew very little. I later redesigned and updated Diaconia into Bergsland Pro—released in 2004. It was still rough (though I impressed myself). Now, with 4-font Biblia Serif family 13 years later, I’ve cleaned up, made the fonts more consistent internally, added more functional OpenType features, and brought the fonts into the 21st century. I used the 2017 set of features: small caps, small cap figures, oldstyle figures, fractions, lining figures, ligatures and discretionary ligatures. These are fonts designed for book production and work well for text or heads. Finally, in 2021, I went over the fonts entirely and remade them in Glyphs.

URW Geometric Extended is the matching complement for the URW Geometric, including 20 additional extended styles. URW Geometric is a sans serif typeface inspired by the German geometric typefaces of the 1920s but designed for modern usability. The character shapes have optimized proportions and an improved balance, the x-height is increased, ascenders and descenders are decreased. Special glyphs, which are often designed afterwards for the original geometric typefaces from the 1920s, are perfectly integrated in the URW Geometric. These design characteristics increase the usability and legibility tremendously. With its 10 weights ranging from Thin to Black, plus 10 additional oblique styles, it has a great versatility in mind. The extreme light styles shine bright in large sizes, the middle weights are perfect for body copy and the bolder variants for the use of emphasis information or bring a strong impact to headlines and information. The optically balanced styles are designed to work in perfect harmony together. URW Geometric is functional, strong, simple and harmonized in form, and at a glance appears as a modern variant of its predecessors. Apart from the basic characters the design has an extra focus on the special glyphs. These are designed for today’s needs. For example: the email glyph looks modern and unique, including a perfectly balanced spacing. The number sign, in modern use called “hashtag”, is space saving and optically balanced for body text. Additionally, various extra and alternate glyphs are designed to provide a friendly usability. Including a wide Latin language support and character sets, URW Geometric is perfectly designed for today’s requirements.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to the methodical and engineered nature of its design. The FF DIN family breathes an atmosphere of versatility and authority, FF DIN Stencil follows the same design principles with extra flair. The bridges are arranged vertically, which usually replaces the thinnest parts of the strokes — offering depth in your headlines. Go loud and scale up, as the weights get heavier, the width of the bridges skillfully expand and contract, enabling FF DIN Stencil to provide confidence in volume, and in any chosen style. Also made available as a Variable font, creatives can design hyper specific variations to thrive in any design space, and even to animate movement from one state to the next. Get innovative with the entire FF DIN family, FF DIN Stencil’s spacing and kerning is identical to FF DIN, this enables swapping between any FF DIN font without changes in word length or line breaks. For true FF DIN fans, FF DIN Slab and FF DIN Stencil designed by Albert-Jan Pool, Antonia Cornelius and Achaz Reuss, can be seen as harmonious companions to the FF DIN family, rather than alternatives. Bestowed with its parents distinctive DNA, all the FF DIN extensions open up new possibility with their own unique qualities, but stay true to the FF DIN design philosophy of engineered precision.

About Royalis: Royalis is an expressive and extravagant serif typeface family. It is characterized by a high contrast and dynamic features in the details, such as long terminals or deep inktraps. Royalis is available in three versions: a display version in six weights, a corresponding condensed version also for display applications, and a text version for body text in four weights. It also comes with all the corresponding italics. This makes Royalis versatile, especially for editorial, packaging, branding and advertising. The wide range of weights and possibilities allows Royalis to be used variably. The thinner weights are characterized by their elegance, while the thicker weights captivate with their powerful contrast. They complement each other like the three musketeers once did. Be it the charmingly elegant Aramis, the sober strategist Athos, the powerful ruffian Porthos or the charismatic d'Artagnan, who led the group. Features: The Royalis family has a total of 32 weights, from extralight to black with matching italics, as Display, Display Condensed and Text versions. With over 1027 characters, it covers more than 200 Latin-based languages, with a whole range of Open Type features. There are alternative characters as stylistic sets, small caps, automatic fractions - just to name a few. Arrows and numbers: In particular, the extensive selection of arrows and numbers should be mentioned here. Thanks to Open Type features and a simple system, the various designs of arrows and numbers can also be easily "written" without first having to select them in a glyph palette.

Almoneda: Sale at public auction of movable goods, generally used. And also: private and voluntary sale of jewelry and junk that is made without the intervention of justice. Formerly, it was nothing more than the market or sale of things and spoils won from the enemy in war. Nowadays, the almoneda is practically associated with spaces where the sale of "old things" takes place and, in Madrid, they are usually concentrated in the area of El Rastro, an open-air market that is set up on Sundays and some holidays in the center of Madrid. There, you can find everything and, if you walk around a lot and look hard enough, great typographic finds. It is there where I find a large number of elements (usually from the late nineteenth and early twentieth century) such as boxes, posters, books, etc.. in which appear uppercase letters with a variety of shapes, letters embedded, rare ligatures ... In addition, many elements extracted from street signs, tiles from bars and commemorative elements of Madrid have been used to complete this font design made with care and patience. Thus was born Almoneda, a modern typeface with a marked axis and great contrast, and an uppercase with several sets of characters to play with and enjoy. It also includes a large number of ligatures and discretionary ligatures. A Variable font is included with the full package license. Almoneda, a typeface that will not leave you indifferent. They take it out of my hands, hey!

If you still think that an antiqua is a typeface with a strong historical character that difficult to apply in modern realities, meet the new typeface from TypeType! TT Livret is an elegant, modern and functional antiqua featuring a calm text and an expressive display subfamily. TT Livret useful links: Specimen | Graphic presentation | Customization options This font looks harmonious in books and other periodicals, on posters or on magazine covers. The scope is not limited to the printing industry, because TT Livret looks aesthetically pleasing wherever text is used. The text subfamily has uniwidth proportions and a calm spirit, oval round characters, free spacing and more open apertures. The glossy display subfamily is proportional and has round signs that are as close to a circle as possible, the apertures are closed, and the spacing is dense. The font has an intermediate subfamily - Subhead, which can look more relaxed when used as text font, or be contrasting and used as a display font. In TT Livret, we have embodied the idea of ​​an antiqua that will be comfortable to use in modern realities. This is a functional font, where the text face does not distract from reading, and the display face, on the contrary, attracts attention. The TT Livret font family consists of 32 faces: 15 upright, 15 oblique, and 2 variable fonts. Each face has 1031 glyphs. The font contains 26 OpenType features, as well as a large number of ligatures. There are many alternative characters in italics, which are especially diverse in Cyrillic.

Xaver Grotesk Variable, a font that emerged in the creative landscape of 2023, stands as a testament to contemporary typographic innovation. This font is not just a mere collection of characters but a meticulously crafted expression of modernity and sophistication. Its genesis was driven by a desire to infuse the typographic realm with a fresh take on the classic grotesque style while embodying a technical allure that whispers of a slightly futuristic essence. At its core, Xaver Grotesk is a testament to the marriage of form and function. The deliberate choice of monospacing adds a unique rhythm and structure to the font, instilling it with a sense of order and balance. The low capital height introduces a distinctive visual characteristic, creating an unconventional yet captivating silhouette that stands out in various design contexts. One of the font's most striking features lies in its letter design. Each character is meticulously sculpted, bearing angular and horizontal traits that not only convey a sense of modernity but also evoke a hint of technological precision. These angular and horizontal elements work in tandem, shaping the font's overall personality and lending it a forward-thinking edge. The fusion of these elements—monospacing, low capital height, and angular/horizontal letter design—creates a harmonious interplay that sets Xaver Grotesk apart. It's not merely a collection of letters; it's an experience, a visual journey that captivates and engages the viewer. Whether used in digital interfaces, printed materials, or other design mediums, this font transcends its utilitarian purpose to become an artistic statement in itself.

Big News! Tenez has been selected for the Tipos Latinos Biennial 2016 and Typographica’s Favorite Typefaces of 2015! Tenez is a Grand Slam display didone typeface from Plau. We designed it for a branding project, further developing the resulting logotype into a typeface we felt could solve many designers’ needs. Its origins are rooted in pointed nib calligraphy which can be seen in contemporary Didot and Bodoni inspired typefaces. But Tenez’s shapes are organic (these modern typefaces were originally cut by hand after all) – in fact that was the challenge we set from the start: to make a typeface as organic in construction as possible. This echoes some of late 19th century typefaces and advertising, yet we thought of it for contemporary uses. One of the several unique features of Tenez is its unusual Thin weight, in which the contrast between thin strokes and the black area left by the serifs makes for a typewriter-like personality. The italics provide a perfect counterpoint to the roman weights. Tenez was unapologetically conceived as a display typeface meant to be used large as in magazine openings, drop caps or everywhere there’s a need for elegant impact. The family includes support for almost all Latin languages available, figure sets for almost every conceivable occasion (tables, text, you name it), alternates for the quirky beautiful R (sometimes simpler is better, but not always!) and Q (with a nice big tail for that article opener). Tenez pairs really well with our no-frills sans-serif Motiva Sans and our cute vertical connected script Primot.

Jack History is a unique, amazing font inspired by creative, experimental handwritings of which letters are always connected to each other to create surprising, dynamic flows, and adopt unconventional proportions and variations. Some of the letters may actually seem bigger or smaller than the others in free moving and curvy lines to express bravery and freedom nuances of the font. Differences in proportions and letter style changes of the font have become the design’s integral parts. Despite the absence of strict rules, creativity and courage to combine the connected letters in a unique way is all that matters because this script font offers extraordinary attractiveness and uniqueness in all designs. Furthermore, the connected letter flows in various proportions reflect some explorations and innovations in the handwritings. You may then apply this font for big text sizes for a legibility reason and enjoy the available features here. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Jack History fits best for any design projects requiring artistic, elegant displays such as wedding invitations, greeting cards, merchandise designs, and more. For such artistic and elegant displays, this script font is also applicable for logo designs, posters, and packaging. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Disruptor's Script is the alter ego of our previous project Gentlemen's Script. Unlike the Gentlemen's Script, the new font is an elegant rebel and defies traditions. The font is painted with a brush pen, which is especially noticeable in the characteristic shabbiness and different thicknesses of the strokes. While the Gentlemen's Script is an embodiment of a classic costume, dress shoes and an expensive watch, Disruptor's Script is a fashionable suit, sneakers, an iWatch and a tattoo that peeks from under the shirt. The font retained the incline, speed and overall sense of dynamics inherent in Gentlemen's Script, but got a bit more chaotic and unpredictable. This is especially noticeable in the newly added shabbiness, elongated extenders, a large number of contextual alternates and different ligatures. For some high-frequency letters (10 for the Latin alphabet and 10 for the Cyrillic alphabet), we painted alternative versions that are substituted in the word instead of the standard characters when following our preceding certain groups of letters. In addition, in the Disruptor's Script you can find functional ligatures, including some of the frequently occurring two- and three-letter combinations. All these solutions dilute the monotonous line of the set, add a bit of unpredictability to the font and a touch of chaos to inscriptions. To fully enjoy usage of the font, we recommend that you always keep the features contextual alternates (calt) and standard ligatures (liga) turned on. If you do not have access to applications that support OpenType features, it does not matter—even without these features you can use and enjoy our font!