Check out the new Lust Pro & Lust Pro Didone to see how the series has grown and evolved. Confident, voluminous and versatile, Lust is an exercise in indulgence—an attempt to create something over the top and vastly useful. Lust Hedonist pushes contrast almost to the limit. The letterforms, especially the Script style are very self-indulgent for me, dare I say Hedonistic, and how I like to see letter masses taken to extreme contrast. The series unapologetically channels Herb Lubalin, but produced with a deliberate, contemporary twist. There is an intentional slyness infused in the letterforms—the extreme thick and thin lines flow effortlessly without becoming gratuitous. It’s always just enough, not too much. What makes the type series so appealing? The curves. When asked to describe the letterforms, most people unwittingly allude to the human form, using adjectives usually reserved for describing physical traits… creating all-too-familiar comparisons. Summerour has grown to accept this as unavoidable and reasonable given his acknowledgement of its influences and has provided nuances within the letterforms to accentuate that.

The Akko typeface family is the first new design from Akira Kobayashi in a very long time - and it is well worth the wait. Picture an industrial strength typeface like the Isonorm™ design. Now blend this with an organic design like the Cooper Black™ typeface. It was the idea of the fusion of these two design concepts that inspired Kobayashi to draw Akko. „My initial idea was to create a sanserif type with a ‚soft-focus‘ effect,“ says Kobayashi. „From here, the design evolved into two families, the robust and structured sanserif Akko and soft and friendly Akko Rounded.“ Akko has a wide range of weights, with options including complementary italics and a new Condensed range. The Akko typeface family is available as a suite of OpenType™ Pro fonts, allowing for the automatic insertion of small caps, ligatures and alternate characters. Pro fonts also offer an extended character set supporting most Central European and many Eastern European languages. And new Paneuropean versions introduce support for Cyrillic and Greek.

The Akko typeface family is the first new design from Akira Kobayashi in a very long time - and it is well worth the wait. Picture an industrial strength typeface like the Isonorm™ design. Now blend this with an organic design like the Cooper Black™ typeface. It was the idea of the fusion of these two design concepts that inspired Kobayashi to draw Akko. „My initial idea was to create a sanserif type with a ‚soft-focus‘ effect,“ says Kobayashi. „From here, the design evolved into two families, the robust and structured sanserif Akko and soft and friendly Akko Rounded.“ Akko has a wide range of weights, with options including complementary italics and a new Condensed range. The Akko typeface family is available as a suite of OpenType™ Pro fonts, allowing for the automatic insertion of small caps, ligatures and alternate characters. Pro fonts also offer an extended character set supporting most Central European and many Eastern European languages. And new Paneuropean versions introduce support for Cyrillic and Greek.

Janagrace is designed for birthday, holiday cards and can be used effectively in other applications for that calligraphy appearance. Regular: Contain ONLY Regular-Caps. Swash: Swash-Caps with NO Regular Caps. OT Swash: Contain BOTH Regular and Swash-Caps. Swash LIGHT: Swash-Caps with NO Regular Caps. Janagrace, Agile, Charming and Lovely.

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though; in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from ultralight to heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic.

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though; in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from ultralight to heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.

Bio Sans is a super neutral sans-serif family for text designed by Ryoichi Tsunekawa and the whole family consists of 6 weights from ExtraLight to ExtraBold and their matching Italics. The basic concept of this family is the same as Bebas Neue which is our most popular free font and used all over the world, that is to say, Neutral, Natural, Minimal, Harmless, Super-flat, Transparent and Legible. The basic skeleton of their letterform was designed geometrically and the sophisticated design gives them universality, neutrality and sense of unity for the use in all media, all purposes and their large x-heights makes this family legible and readable even on small size screen. Bio Sans supports almost all European languages: Western, Central, South Eastern Europeans and afrikaans. And proportional figures, superior figures, inferior figures, denominators, numerators, fractions, ordinals and case-sensitive-forms can be accessed by using OpenType features.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.

The Colville fonts began their existence in 2015 as a project-specific typeface, made to be used on a custom-made headstone commemorating Canadian artist Alex Colville (1920-2013) and his wife Rhoda Wright. For that purpose, some initial shapes were modelled after letters Colville himself had used on a Governor General gold medal he designed in the mid-1970s. From there started a year-long project that culminated in a set of four comprehensive fonts ranging in weight from Light to Bold, each containing over 750 glyphs to cover Pan European language support, stylistic alternates, five sets of figures, automatic fractions, and some ornaments rooted in Alex Colville’s art. These fonts exhibit a strong art deco aesthetic that has always been a favourite of architects, metal casters, and sign makers. This is a very humanist geometry alternating from the precisely calculated to the curvy and lithe, subtle contrast, flat stroke stops, and airy proportions that make for a counterspace built for accommodation and comfort. The breadth and timeless humanism of the Colville set makes fit in a variety of applications, from straightforward headlines, titles, and emphasis captions, to branding and packaging.

Petroglifos is a dingbats font as a collection of pre-Hispanic petroglyphs of indigenous ethnic Venezuela, most of them are found in signs carved in stone or painted in caves of the pre-Hispanic period, each icon is an accurate representation of these ancestral signs. Forms are very interesting from a visual, anthropological, historical and semiotic point of view.

Samo Sans is a modern sans-serif typeface with low contrast strokes and is balanced between technical shapes and dynamic feeling. The primary type family is consisted of complete set of Latin glyphs for lower and upper case. It also supports diacritics of all European languages including lining numerals, standard ligatures and other characters sufficient for regular typesetting. Characteristic features are lower spurs (a, b, d, u), and upper spurs (m, n, p, q, r) with distinctive wedge-shaped cuts. These parts are complemented by homogeneously designed diacritics, which is not disturbing and harmonizing with the whole unit. Another very strong feature of the type drawing are lower terminals of the round glyphs, which are finished by moderate narrowing. The type has got decreased caps height, also decreased numerals and optimal x-height, which makes it suitable for more extensive text typesetting. It can be effectively applied in corporate identities or in display typesetting. The narrowness of the basic set of Samo Sans typeface is supplemented by extended type family Samo Sans Pro .

‘Scion’ is an original design by Alex Kaczun. The inspiration for the typeface came from the Toyota SCION logo, which bears its name. In Alex’s own words, "I loved the simplicity, proportions and hi-tech look of the logo and decided to create an entire new design series based on its unique look". The fonts come in five flavors: thin, light, regular, bold and black. All the font weights were designed systematically on tabular widths so that the user can make adjustments to overall type color without changing the line length. In addition, Alex Kaczun has provided us with several alternate glyph substitions to further enhance the overall appeal of this contemporary new design. The large Pro font character set, which supports most Central European and many Eastern European languages, makes this typeface series ideally suited for display copy as well as text composition. In the near future, Alex plans to include a narrow, compressed and ultra expanded, along with true-drawn italic variations to further expand the possibilities of this great new display series.

Prehysteric JNL is the right font for cave dwellers, forest denizens or Cro-Magnon artists. It rocks!

After a long period of wind, rain and cold, summer has finally arrived. It almost felt as if the sunny weather came as a special delivery! Sunshine Delivery is a handmade display font. It comes in a regular, angular version and a rounded one. Need Vietnamese support? Check! Want some Sami? Got it! Feel like a bit of Greek? Dive right in!

Looking for a font that's chic, stylish, and oh-so-slightly handwritten? Look no further than MIX SUENO! This monoline semi-script was crafted with care using an iPad Pro and Apple Pencil, and is the perfect addition to any design project. Whether you're creating invitations, social media graphics, or just sprucing up your website, MIX SUENO will bring a touch of sophistication and personality to your work. So don't hesitate - give MIX SUENO a try today!