In Vasetters the letters are cut from the shape of a tessellating vase. To get the tessellating effect, the two sets of letters (and numbers and some symbols) must alternate, and this is done automatically in applications that support the OpenType feature of Contextual Alternatives (calt). Vasetters is monospaced and comes in two weights. The regular weight is tightly spaced, which should not be a problem at large point sizes. At small point sizes adjacent letters can be colored differently or the character spacing can be increased. The lighter weight can be used alone or layered above the regular weight to create the effect of hollow lettering. Vasetters is is fun, bizarre, weird, and obviously a decorative display font.

Burdigala is a clean-cut, modern yet classic typeface inspired by Didones and Aicher’s Rotis family. Burdigala Sans is especially well suited for on-screen usage such as in apps and pdf documents. It is also ideal for larger amounts of (printed) texts in brochures, magazines and books. It is slighty narrow in order to conserve space, but spacious enough to faciliate reading and overall clarity. Check out its sibling, the Burdigala Semi Serif version. The expanded versions, being wider and more open, works equally well in media intended both for print and on-screen reading, e.g. in Pdf-documents etc. Burdigala is the ancient Roman name of the city of Bordeaux France.

Jochen Schuss, the Biedenkopf, Germany, designer who was most recently responsible for ITC Vino Bianco, has created in ITC Whiskey a condensed display face that's both angular and soft at the same time. While the letterforms of Whiskey are clearly roman, there's a slight reminiscence of blackletter in the face's narrow proportions, its dark weight, and its persistent internal angle - not quite the 45 degrees common in a classic German textura, but a gentler angle of 25 or 30 degrees. And the counters are all rounded, as are the ends of all the strokes, giving Whiskey a comfortable friendliness despite its severe structure. The character set includes an alternate z" and an "ft" ligature."

Deca Serif New is a significantly revised version of Deca Serif. It is a pure low contrast serif face with squarish oval shapes and quite narrow proportions. The typeface is nicely readable in small sizes and can be recommended for scientific, legal, official and business documents. Deca Serif New's distinctions from the original Deca Serif are: slight corrections of the letterforms, extended character set (now including Greek and Extended Cyrillic) and a number of styles. Now there are 8 faces: four upright styles of different weight and corresponding italics. Deca Serif New as well as Deca Serif is an ideal companion face for Deca Sans. The typeface was designed by Natalia Vasilyeva and released by Paratype in 2017.

Twentieth Century was designed and drawn by Sol Hess in the Lanston Monotype drawing office between 1936 and 1947. The first weights were added to the Monotype typeface library in 1959. Twentieth Century is based on geometric shapes which originated in Germany in the early 1920's and became an integral part of the Bauhaus movement of that time. Form and function became the key words, unnecessary decoration was scorned. This clean cut, sans serif with geometric shapes was most appropriate. The lighter weights of the Twentieth Century font family can be used for text setting; the Twentieth Century bold and condensed fonts are suitable for display in headlines and advertising. Commonly spelled 20th Century.

Mirtha Display is a modern display font with distinct Art Nouveau details. Its lighter weights are condensed and sophisticated, while the heavier weights have a more powerful effect, making it perfect for headlines, posters, branding, logos, packaging and more. With a set of over 450 glyphs, this font supports a wide range of languages. Key OpenType Features include numerators and denominators, Old Style and Lining numbers, standard ligatures and localized characters such as Uppercase and Lowercase Sharp S. Mirtha Display covers 5 weights, 10 styles and 2 Variable cuts (regular and italic) to give you more design flexibility. Any suggestion to continue improving Mirtha Display will be welcome, do not hesitate to contact us!

Waters Titling is the work of lettering artist Julian Waters, a multiple master typeface of classical calligraphic roman capitals. This broad-tipped pen design is related to other historically-based titling alphabets but offers a wider range of weights and widths, making it extremely versatile for movie titles, book jackets, posters, banners, calendars, etc. Waters Titling is based on the timeless Roman monumental inscription forms of almost 2000 years ago, but also has a touch of contemporary vigor and flair. The design displays a strong calligraphic thick/thin stroke weight contrast and flowing, subtly bracketed serifs. In lighter weights, Waters Titling is elegant and delicate, while the bolder weights offer a more substantial sparkle.

Sana Sans is a humanist functional typeface with a modern feel. It is intended to be a face well-suited for multiple purposes, especially in publishing. Sana Sans looks perfectly legible and clean in long texts, and neat and simple in headlines. Thanks to its versatility, this font is also ideal for both screen and print usage. Sana Sans consists of 32 styles and 8 weights—ranging from Thin to Heavy—italics, small caps and an alternative family. The alternative family offers slight variants in many glyphs, some of which include the lowercase a, e, l, q, y and uppercase G, L, and Q. Sana Sans was designed by Felipe Sanzana, under the supervision of Latinotype Team.

Armavir by Fontazy is an uppercase type-family consisting of three gradually distressed sub-families Armavir 01, Armavir 02 and Armavir 03 (each in Regular and Bold weights) and Shadow (also in Regular and Bold). Armavir is a sans serif font with a slight touch of handmade. Each typeface contains stylistic alternate version of vowels -A, -a, -E and -e, that converting uppercase font in unicase(-ish). The Shadow style is suitable for each of three text styles. Being a duplicate of the text layer, it gives an additional decorative appearance to the text. All fonts in the family has Latin (West, Central and Baltic) and Cyrillic encoding. Armavir is perfect for logo making, print design, advertising, branding etc.

Patriotica JNL was inspired by some hand lettering designed by the late Alf Becker for Signs of the Times® magazine. The alphabet was modified and the character set extended in this digital version. Special thanks to Tod Swormstedt of ST Publications, Inc. and the American Sign Museum in Cincinnati for providing a copy of the original lettering for use as a work model. Patriotica JNL is available as a complete font or in a set of two layers (stars layer and stripes layer) for creating two-color graphics. As always, keep in mind that there are some slight variations between drawing programs, so some adjustments may need to be made in the alignment of the layers.

Singolare is a contemporary geometric Sans Serif with angular terminals and a great x height. Its main feature is the style difference between the lighter and heavier weights. The more weight it gains, the higher its singularity. With its weights, styles and layers variety, it's perfect for display use and short texts that require a visual impact. Singolare is composed by five weights, from Ultralight to Black. Every weight has its own stencil variation with expressive cuts and four decorative versions: three outline and one inline version, that can work on it’s own or overlapped to the black normal version (changing the colors of each layer) in order to amplify its usage possibilities.

Videomax looks like something from the future - perhaps even something from a future where the world lies in ruins and is about to be taken over by hostile aliens. The worn letters represent the decades of war against the computers...or the aliens...or maybe the letters comes from a sign of a computer company from the eighties, which was recently found in an abandoned place. The speculations are many, but one thing is definitely true: Videomax got that grungy / computer / worldwar feeling! Write your text, and watch how the randomness of letters make your text look really good. I've put it 4 different versions of each letter, which makes it look really nice and worn!

This is of Novecento Sans, a font family inspired by European typographic trends between the second half of 19th century and first half of the 20th. It looks rational and geometric. However, it is optically corrected and balanced. NEWS: you can add a layered effect with Novecento Carved as top layer. This font face is designed to be used mostly for headlines, visual identities or short sentences, both in big and small sizes. Lighter faces provide a more contemporary and design look and feel, while the bolder ones definitely look retro. Novecento Sans family comes in 32 styles, speaks 76 latin based languages, has 590 glyphs and 16 stylistic opentype features for advanced typography.

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

Wedding Regular was originally designed by Morris Fuller Benton for ATF and released as Wedding Text in 1901. It is a lighter version of his ENGRAVER'S OLD ENGLISH of the same period. Wedding Regular is based on the Textura style of blackletter that continued in popularity in England into the 16th century, long after the Dutch, French and Italians had moved to a Roman model that expressed the Renaissance humanism of the period. Wedding Headline is a still lighter version of the regular text face, suitable for setting larger sizes while still preserving the delicacy of the decorative hairlines. Textura continues in use in England and the United States for newspaper mastheads, gift shop signs, wedding invitations and programs and other applications where a feeling of tradition is desired. I recently saw an 1980ish photo of a “Tubby Isaac” sign in London using textura. I believe Benton’s design captures that feeling without being heavy-handed and still remaining quite readable for eyes accustomed to Roman lettering. Both Wedding Regular and Wedding Headline convey a comfortable familiarity. These two fonts may be purchased together at an attractive discount or they may be purchased separately. The full character set may be found in the pdf file that you can download from the gallery section. The two monks (alt-0172 and alt-0177) are from a set of sixteenth century decorative initial letters by Gering and Renbolt. Please note that there are two different eszetts, the blackletter style at alt-0126 and the antiqua style at the alt-0223.

The Typorium presents a new optimized and enriched version of ITC Ellipse which first appeared in 1996 in the International Typeface Corporation typeface library. ITC Ellipse Neo design has been lightly modified. Three weights have been added (light, Medium, Extra Bold, including Italics) to the original Regular and Bold styles. ITC Ellipse Neo is both modern and classic. Modern in the unusual shape based on the geometric ellipse form. And classic in the structure of some letters like the lower cases c, e, g, o, s. These letters alone could come from a traditional typeface, but they fit perfectly with the atypical rest of the alphabet giving it a present-day and traditional mix. Furthermore, the ellipse shape fits naturally in the italic styles, giving the font an organic and fluid feeling. ITC Ellipse Neo offers OpenType features such as alternate characters for upper and lower case, and an extended accented character set to support many languages. Five weights have been created for each style to offer a wide range of graphic possibilities in a tidy digital footprint. Designer: Jean-Renaud Cuaz Publisher: Typorium MyFonts debut: December 15, 2020 Le Typorium présente une nouvelle version optimisée et enrichie d'ITC Ellipse qui est apparue pour la première fois en 1996 dans la bibliothèque de caractères de l'International Typeface Corporation. Le design de ITC Ellipse Neo a été légèrement modifié. Trois graisses ont été ajoutées (léger, moyen, extra gras, y compris les italiques) aux styles originaux Regular et Bold. ITC Ellipse Neo est à la fois moderne et classique. Moderne dans le dessin inhabituel basé sur la forme géométrique de l’ellipse. Et classique dans la structure de certaines lettres comme les minuscules c, e, g, o, s. Ces lettres pourraient provenir d'une police de caractères traditionnelle, mais elles s'intègrent parfaitement avec le reste de l'alphabet plus insolite en lui donnant un mélange de modernité et de tradition. De plus, la forme de l'ellipse s'intègre naturellement dans les styles italiques, donnant à la police une sensation organique et fluide. ITC Ellipse Neo offre des fonctionnalités OpenType telles que des caractères alternatifs pour les capitales et les bas de casse, et un jeu de caractères accentués étendu pour prendre en charge de nombreuses langues. Cinq graisses ont été créés pour chaque style afin d'offrir un large éventail de possibilités graphiques pour une empreinte numérique rigoureuse.

Octin College is a typeface that commands attention with its bold and robust appearance, making it an excellent choice for any project that requires a strong and authoritative voice. Designed with the collegiate aesthetic in mind, Octin College is a versatile font family that boasts seven weights ranging from light to black. Each weight of Octin College features a distinct personality, allowing designers to experiment with various typographical compositions to create unique and engaging designs. The lighter weights are perfect for creating elegant headlines, while the heavier weights pack a powerful punch that demands attention. But don’t be fooled by its name, Octin College is not limited to academic applications. Its bold and blocky appearance makes it an ideal choice for various themes, including sports, construction, police, and military themes. This typeface exudes a sense of strength and confidence, making it an excellent choice for any project that requires a bold and impactful design. Octin College is a tough and tenacious typeface that is sure to impress. Its versatility and robustness make it an excellent choice for designers looking to add a touch of collegiate design to their work, while its distinctive personality ensures that it stands out in any application. So whether you’re designing for a university or a prison, Octin College is the perfect choice to make your design stand out. Check out the rest of the Octin families: Octin Sports, Octin Prison, Octin Stencil, Octin Vintage & Octin Spraypaint. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing "Power of Dragon" Typeface - Unleash Your Inner Hero! Unleash the extraordinary with our "Power of Dragon" Typeface, a bold and dynamic serif display font designed for those who aspire to be legendary. Embrace the spirit of a super hero anime with this powerful typeface that combines strength, elegance, and a touch of fantasy. 🐉 Dragons and Wings Illustrations: Feel the might of dragons and soar high with the included intricate illustrations of majestic wings. Each character is crafted to convey the essence of mythical power, bringing an extra layer of magic to your designs. ⚔️ Swords and Pirates: Channel the bravery of a swashbuckling hero with sword illustrations that add a dash of adventure to your projects. The pirate theme brings a sense of daring and excitement, making "Power of Dragon" Typeface perfect for projects that require a touch of maritime courage. 🌟 Super Hero Anime Theme: The "Power of Dragon" Typeface is inspired by the dynamic world of super hero anime, ensuring that your designs exude strength and heroism. Whether you're working on comic books, posters, or branding projects, this typeface brings an electrifying energy to your creations. 🔠 1084 Characters: With a robust set of 1084 characters, "Power of Dragon" Typeface gives you the flexibility to express your creativity without limitations. From uppercase and lowercase letters to numerals and punctuation, every character is meticulously crafted for maximum impact. 🌐 PUA Unicode and Multilingual Support: Seamlessly incorporate "Power of Dragon" into your designs with PUA Unicode support. Additionally, enjoy the versatility of multilingual support, making it easy to communicate your message across various languages and cultures. Let "Power of Dragon" Typeface be your ally in design, helping you create captivating and unforgettable visuals. Elevate your projects to new heights with this font that embodies the spirit of heroic tales and epic adventures. Unleash the power within, and let your creativity take flight!

Imagine a world where typography is not just a tool for conveying information, but an art form that imbues your message with a sense of reverence and awe. That world is possible with Maqui, a postmodern industrial headline typeface that will elevate your message to new heights. With its cathedral-themed peaks and minimalist, pared-down letterforms, Maqui exudes a sense of refined elegance and social connection. The compact design of this typeface ensures that your message will be transmitted clearly and concisely, without sacrificing any of the impact. Maqui is a masterful blend of form and function, with eight different weights and italics to choose from. Whether you need a bold and powerful font for a striking headline, or a lighter weight for more delicate text, Maqui has you covered. So, if you’re looking to make a statement with your typography, look no further than Maqui. With its modern sensibility and timeless aesthetic, this typeface is sure to impress and inspire. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Starlit Neon is a delightful display font that combines the elegance of rounded letterforms with the captivating allure of neon lights. With its bold uppercase characters and unique design, this typeface adds a touch of playfulness and charm to your projects. The defining feature of Starlit Neon lies in its rounded letterforms, which exude a sense of softness and approachability. Each letter is meticulously crafted with smooth curves, creating a harmonious and pleasing aesthetic. The rounded shapes give the font a friendly and welcoming appearance, while the neon style adds a touch of excitement and vibrancy. Inspired by the mesmerizing glow of neon signs, Starlit Neon infuses a sense of enchantment and allure into each character. The font captures the captivating charm of neon lights, casting a radiant glow that evokes a magical atmosphere. In some letters, you'll find additional subtle accent lines, which enhance the overall composition with a touch of sophistication. The uppercase letterforms of Starlit Neon are bold and assertive, commanding attention with their rounded shapes. Each letter of Starlit Neon is thoughtfully crafted to strike a balance between rounded shapes and legibility. The uppercase characters are distinct and easily recognizable, ensuring your message remains clear and impactful. The additional subtle accent lines in select letters add an extra touch of visual interest, elevating the font's overall composition. Find out more ways to use this font by taking a look at the font preview. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Starlit Neon perfect for designs like headlines, logos, and eye-catching titles that seek to make a bold statement with a touch of whimsy. Whether you're creating posters, branding materials, digital artwork, or anything in between, this font will infuse your projects with a sense of joy and uniqueness. It particularly shines in applications related to entertainment, children's products, beauty, and lifestyle themes. 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.

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980’s, but automobile companies don't monopolize the style by any means. Shoe companies have a foothold in the geometric sans serif styles as well, and range from straightforward to full of techno styled play. Nonetheless, these logotypes all lack an expansive family which shows off all the logotypes are and what they "could" be and do. And that's where we come in. The Midsole SC Family finds its origin of inspiration in the CONVERSE shoe company logo, or an older version of their logo, and from there we expanded it into a 40 font family of weights, widths, and obliques. Midsole pays homage to the styling of the earlier logotype, including unicase variations to match the original look, while further evolving beyond the brand inspiration to yield a family that pulls on modern and historical styles. It adopts a sturdy yet approachable and recognizable style with its uniform stroke forms and curves, and goes on to include smallcaps, numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here’s what’s included with the Midsole SC Family bundle: 489 glyphs per style - including Capitals, SmallCaps, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 10th graphic for a preview of the characters included) Stylistic Alternates - alternate characters and unicase variants for a less standardized text look. 4 weights in the family: Light, Regular, Medium & Bold. 4 obliques in the family, one for each weight: Light, Regular, Medium & Bold. Here’s why the Midsole SC Family is for you: - You’re in need of stylish sans font family with a range of weights and obliques. - You’re love that older CONVERSE letter styling, and want to design anything within that genre. - You’re looking for an alternative to Eurostile & Handel Gothic. - You’re looking for a clean techno typeface for your rave poster designs. - You just like to collect quality fonts to add to your design arsenal.

How can Teutonia be called “Art Nouveau” with all those straight lines? It seems like a contradiction. In fact, however, Art Nouveau embraces a rather wide variety of stylistic approaches. Five well-known examples in the field of architecture serve to illustrate the range of diversity in Art Nouveau: Saarinen’s Helsinki Railroad Station, Hoffman’s Palais Stocklet in Brussels, Lechner’s Museum of Applied Arts on Budapest, Mackintosh’s Glasgow School of Art and Gaudi’s Sagrada Familia in Barcelona. Only the last fits comfortably within the common perception of Art Nouveau. Whereas Gaudi would avoid the straight line as much as possible, Macintosh seemed to employ it as much as possible. The uniting factor is that they all represent “new art” -- an attempt to look things differently than the previous generation. Even when they draw on the past -- e.g. Lechner in the use of traditional Hungarian folk art -- the totality of the expression in new. Teutonia clearly shows its blackletter roots in the ‘D’ and the ‘M.’ Roos & Junge of Offenbach am Main in Germany produced Teutonia in a "back-to-basics" effort that has seen many quite similar attempts in the field of topography. In 1883, Baltimore Type Foundry released its Geometric series. In 1910, Geza Farago in Budapest used a similar letter design on a Tungsram light bulb poster. In 1919 Theo van Doesburg, a founder with Mondrian and others of the De Stijl movement, designed an alphabet using rectangles only -- no diagonals. In 1923 Joost Schmidt at Bauhaus in Weimer took the same approach for a Constructivist exhibit poster. The 1996 Agfatype Collection catalog lists a Geometric in light, bold and italic that is very close to the old Baltimore version. Even though none of these designs took the world by storm, they all made a contribution to our understanding of letterforms and how we use them. Teutonia is compact and surprisingly readable at 12 points in print, but does not do as well on the screen. Extra leading is suggested. Four ligatures are supplied: ch, ck, sch and tz. The numerals are tabular.

LTC Italian Old Style is not to be confused with the English Monotype font also called Italian Old Style, which is an earlier design from 1911 based on William Morris’s Golden Type that is based on Nicholas Jenson’s Roman face. Goudy went back to Jenson’s original Roman and other Renaissance Roman faces for his inspiration and the result is what many consider to be the best Renaissance face adapted for modern use. Bruce Rogers was one of the biggest admirers of Italian Old Style and designed the original specimen book for Italian Old Style in 1924 using his trademark ornament arrangement. These ornaments are now contained in the pro versions of the Roman styles—Regular Pro and Light Pro. With most digitizations of old metal typefaces, one source size is often used as reference (as was Goudy’s method for his own cuttings of his Village foundry types) so that all sizes refer to one set of original artwork. The original hot metal fonts made by Lanston Monotype (from Goudy’s drawings) and other manufacturers used two or three masters for different size ranges to have optimal relative weights—smaller type sizes would need proportionally thicker lines to not appear thin and larger sizes would require thinner lines to not appear to bulky. The variations in size ranges can also be affected by the size of the cutter head in making the master patterns. The light weights of LTC Italian Old Style were digitized from larger display sizes (14, 18, 24, 30, 36 pt) and the regular weights were digitized from smaller composition sizes (8,10,12 pt). The fitting for the regular weights is noticeably looser to allow for better setting at small sizes. Very few font revivals take this approach. Italian Old Style, originally designed by Frederic Goudy in 1924, was digitized by Paul Hunt in 2007. In 2013, it has been updated by James Grieshaber and is now offered as a Pro font. The newly expanded Pro font includes all of the original ligatures, plus small caps and expanded language coverage in all 4 Pro styles.

The FF Meta® design is a sans serif, humanist-style typeface that was designed by Erik Spiekermann for the West German Post Office (Deutsche Bundespost). It was subsequently released in 1991 by Spiekermann's company FontFont The FF Meta family, initially released as a commercial font in 1991, now comprises over sixty fonts. The FF Meta 2 family was released in 1992, the FF Meta Plus family in 1993, and in 1998 a facelift of the complete font family reclassified the FF Meta series and combined them into family-sets named FF Meta Normal, FF Meta Book, FF Meta Medium, FF Meta Bold and FF Meta Black. These are all available in Roman, italic, small caps and italic small caps. Between 1998 and 2005, further light stroke weights and a condensed family were introduced by Tagir Safayev and Olga Chayeva and were named: FF Meta Light and FF Meta Hairline. The last addition to the growing FF Meta font family is FF Meta Serif released by FSI in 2007. FF Meta Variable Roman is a single font file that features two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. This Roman (upright) font is provided as an option to customers who do not need Italics, and want to keep file sizes to a minimum. FF Meta Variable Italic is a single font file that features an italic design with two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. This Italic font is provided as an option to customers who do not need Roman (uprights), and want to keep file sizes to a minimum. FF Meta Variable Set is a single font file that features three axes: Weight, Width and Italic. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. The Italic axis is a switch between upright and italic

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980’s, but automobile companies don't monopolize the style by any means. Shoe companies have a foothold in the geometric sans serif styles as well, and range from straightforward to full of techno styled play. Nonetheless, these logotypes all lack an expansive family which shows off all the logotypes are and what they "could" be and do. And that's where we come in. The Midsole Family finds its origin of inspiration in the CONVERSE shoe company logo, or an older version fo their logo, and from there expanded it into a 40 font family of weights, widths, and obliques. Midsole pays homage to the styling of the earlier logotype, including unicase variations to match the original look, while further evolving beyond the brand inspiration to yield a family that pulls on modern and historical styles. It adopts a sturdy yet approachable and recognizable style with its uniform stroke forms and curves, and goes on to include a lowercase, numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here’s what’s included with the Midsole Family bundle: 489 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 10th graphic for a preview of the characters included) Stylistic Alternates - alternate characters and unicase variants for a less standardized text look. 4 weights in the family: Light, Regular, Medium & Bold. 4 obliques in the family, one for each weight: Light, Regular, Medium & Bold. Here’s why the Midsole Family is for you: - You’re in need of stylish sans font family with a range of weights and obliques. - You’re love that older CONVERSE letter styling, and want to design anything within that genre. - You’re looking for an alternative to Eurostile & Handel Gothic. - You’re looking for a clean techno typeface for your rave poster designs. - You just like to collect quality fonts to add to your design arsenal.

Carnero™ is a feisty hybrid of precise geometry and calligraphic flair; a design that walks that fine line between being sensible and a standout. In an increasingly monotone typographic landscape – Carnero has a unique pulse that moves the reader along with a new energy. Carnero gives life to simple utility with kinetic letter shapes, open apertures, and generous counters Drawn by Steve Matteson for the Monotype Studio, Carnero’s versatility is its strength. From digital ads and applications to packaging and branding, Carnero is comfortable and contemporary. The lightest and boldest weights create inviting headlines, while the middle weights read well for body copy. Used together, they build a lively brand and a clear hierarchy. Matteson infused Carnero with a modernist exterior resting on a 10th century calligraphic foundation. Delightful flourishes on the capital R and K, and lowercase a, k and l, give the design a distinctive demeanor; while the alternate italic swash caps are a saucy nod to the scribes. The result is a design that is warm, approachable – and a bit lighthearted. Matteson describes Carnero as, “transcending the static posture of the geometric sans genre.” The Carnero family is a compact collection of six distinct weights, ranging from an engaging light to an authoritative black, each with an italic counterpart. Its extended Latin character set ensures worry-free localization for eastern/western European languages. This is a design that will prove its value many times over. Matteson has drawn over 80 distinctive typeface families for major corporations, branding firms and retail sales. His passions for the outdoors and performing music balances an intense focus on work – and subtly finds its way into typefaces like Carnero. Matteson has designed custom fonts for three generations of the Microsoft Xbox® game console, the original core fonts for the Android® mobile-phone platform, in addition to branding typefaces for Toyota®, Rocket Mortgage®, and Google®. He also drew the Kootenay™ family, Monotype’s proprietary branding typeface. Matteson’s retail designs range from the elegant and utilitarian Open Serif™ (a companion to Google’s Open Sans), to a growing series of Frederic Goudy revivals. Carnero Variables are font files which are featuring one axis and have a preset instance from Light to Black.

Carnero™ is a feisty hybrid of precise geometry and calligraphic flair; a design that walks that fine line between being sensible and a standout. In an increasingly monotone typographic landscape – Carnero has a unique pulse that moves the reader along with a new energy. Carnero gives life to simple utility with kinetic letter shapes, open apertures, and generous counters. Drawn by Steve Matteson for the Monotype Studio, Carnero’s versatility is its strength. From digital ads and applications to packaging and branding, Carnero is comfortable and contemporary. The lightest and boldest weights create inviting headlines, while the middle weights read well for body copy. Used together, they build a lively brand and a clear hierarchy. Matteson infused Carnero with a modernist exterior resting on a 10th century calligraphic foundation. Delightful flourishes on the capital R and K, and lowercase a, k and l, give the design a distinctive demeanor; while the alternate italic swash caps are a saucy nod to the scribes. The result is a design that is warm, approachable – and a bit lighthearted. Matteson describes Carnero as, “transcending the static posture of the geometric sans genre.” The Carnero family is a compact collection of six distinct weights, ranging from an engaging light to an authoritative black, each with an italic counterpart. Its extended Latin character set ensures worry-free localization for eastern/western European languages. This is a design that will prove its value many times over. Matteson has drawn over 80 distinctive typeface families for major corporations, branding firms and retail sales. His passions for the outdoors and performing music balances an intense focus on work – and subtly finds its way into typefaces like Carnero. Matteson has designed custom fonts for three generations of the Microsoft Xbox® game console, the original core fonts for the Android® mobile-phone platform, in addition to branding typefaces for Toyota®, Rocket Mortgage®, and Google®. He also drew the Kootenay™ family, Monotype’s proprietary branding typeface. Matteson’s retail designs range from the elegant and utilitarian Open Serif™ (a companion to Google’s Open Sans), to a growing series of Frederic Goudy revivals. Carnero Variables are font files which are featuring one axis and have a preset instance from Light to Black.