Font family Opticum is not just a set of fonts, it’s a maze construction kit that hides letters inside. Each inscription is a little brain-twister with variable difficulty, where the level is defined by the style. The third one is the most difficult. When you type with these fonts you fill the space entirely without spaces because characters in the fonts don’t have side bearings and the leadings are set to zero. This converts you into an artist who produces geometric abstractions containing verbal messages. Texts set with this font not only catch an eye, but keep it for a long time. The duration of attention period can be adjusted by selection of the font style. The third one keeps longer. Opticum was designed by Erken Kagarov and released by ParaType in 2009.

Grange Text is optimised for smaller text sizes, having more open character shapes and spacing. Use the non-text version of Grange for larger sizes and headlines, which has tighter spacing and detailing. Grange is the Device interpretation of the classic “Grot” thick/thin sans style. Unlike the traditional models on which it is based, Grange takes a rational, consistent approach across wide range of weights and widths for contemporary use. The font includes alternative curved and straighter versions of key characters, most obviously the lower-case ‘g' and capital ‘R', allowing the font to take on either a sharper or warmer, more playful appearance. These can be toggled on or off using the ‘Alts' feature in Illustrator, or ‘Stylistc Sets’ in Indesign. Contains proportional, lining and tabular numerals.

Slipstream font was developed by Letraset Type Studio in response to the growing need to convey competence and speed through typography. It is based on an italic sans serif letterform and its horizontal lines look like streaks left behind letters speeding to the right. Characters can be slightly overlapped for small spaces without losing this feeling of movement. Slipstream font is ideal for service-oriented advertisements, especially where efficiency and quick service should be emphasized.

Bloomberg Script is a typeface designed from the exploration with the different tools we use to write each day on post its, notebooks, etc. But, applying the traditional handwriting repair method in the construction, spacing the glyphs, and giving it texture of fast strokes, ideal for handletters... is more organic. And finally, we have this typeface, a very comfortable letters to read on packaging, poster ads, screen and every display applications; this is Bloomberg Script.

Red Amaretto is a script typeface influenced by different ancient writing styles. All characters are handwritten by use ink and flat nib pen on coarse paper, scanned, digitized and optimized for best quality without lost its handwritten visual appearance. Coarse glyphs edges are easy visible at medium and higher sizes. Character set support all official and semi-official languages in European Union writen in latin, cyrillic and greek scripts. Supported codepages: 1250 Central (Eastern) European, 1251 Cyrillic, 1252 Western (ANSI), 1253 Greek, 1254 Turkish, 1257 Baltic. Include also spacing characters (M/1, M/2, M/3, M/4, M/6, thin, hair, zero width space etc.) for professional text formatting. OpenType TrueType TTF (.ttf) font file include installed OpenType features: Access All Alternates, Localized Forms, Fractions, Alternative Fractions, Ordinals, Superscript, Tabular Figures, Proportional Figures, Case-Sensitive Forms, Stylistic Alternates, Contextual Alternates, Stylistic Set 1, Stylistic Set 2, Contextual Ligatures. Include also kerning as single 'kern' table for maximum possible backwards compatibility with older software.

This lively script is based on a handlettered offering from The Hunt Brothers, which they called simply "Ornamental Italic". Ornamental, yes, but there’s also a lot of action and attitude in this typeface. Please note that, due to the extreme slant of the characters, spacing in the font has been optimized for upper- and lowercase use. Both versions of this font contain complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

DT Portal: This stylised, partially serifed font, made with a slightly rounded square form, may have been inspired initially by old cathode ray tubes and computer screens. Although not intended to be purely a ‘tech’ font, it can have a strong tech feel to it. More suited to being a headline font than body text. It also appears to have a monospaced look to it, since most letters, (other than letters like ‘i, l and t’), do have the same width. There is some automatic contextual shape adjustment happening in places, to avoid taking up too much space, so contextual ligatures should be turned on. As is the case with most of my fonts, when given the choice, ‘metric’ spacing should be used in preference to ‘optical’. Initially this font was going to be called ‘DT Portal’, because its form was similar to that of a window or doorway. But due to other fonts already having that name, I chose to rename it as ‘DT Partel’, for no reason other than it is only a very small change visually.

My 9-year old son Sam asks a lot (a LOT!) of questions. Like: ‘what killed the dinosaurs?’ (probably an asteroid), ‘what is the distance to Pluto’ (about 7.5 billion km), ‘how big is space’ (93 billion lightyears - give or take). I am pretty sure he asked me about gravity as well. Gravitational Pull is a messy pencil script font. It comes with a whole bunch of double-letter ligatures and some really wonky glyphs. And no, in its virtual form, this font is not subject to the Earth’s gravitational pull.

Ribbonetter is an experimental font playing with the calt or contextual alternatives feature of OpenType. This feature alternates letters in ovals with letters in hourglass shapes to create a banner. The letters in the ovals will be determined by the start of the line, whether it starts by typing an upper-case or lower-case letter. Using layers, background color can be added (dot accent and ring characters) or the outline color can be changed (sterling and yen characters). The font may also be useful with the contextual alternatives turned off. Different amounts of character spacing may give interesting results. With default character spacing, ovals with will overlap. If you are typing numbers and want the start to be an oval, switch on OpenType style set 2. In at least one word processor (Pages 5 for Macintosh) the carriage return adds the shape assigned to the space character. If you encounter this, try adding a nonbreaking space (option-space on the Macintosh) before the carriage return.

Akira Kobayashi's ITC Seven Treasures is a symbol font for use in patterns and textures. The interlocking patterns, usually circular or oval, are taken primarily from motifs used in Japanese textiles. Most of these designs are known as komon, or tiny patterns," and they are often applied to kimono and other textiles, although their use is not limited to fabrics. They also appear carved in wood in traditional architecture, and painted in pictures as background patterns. Each of the individual designs in ITC Seven Treasures Ornaments is carefully sized and spaced so that it will fit together into a continuous pattern. Most overlap slightly but precisely, so that when you type a row of them you can't tell where one leaves off and the next begins. They may be combined or alternated to vary the texture of a background pattern."

Modérnica is a sans serif type including roman & oblique styles in 9 weights. Originally published in 2014, then in 2020 we released version 2.0, in which we expanded the language coverage and character set, adding a new Fat weight, tabular figures, smart fractions & arrows. We’ve improved the OpenType features adding new Stylistic Sets. Besides this, we have retuned the letters spacing in the whole family. Seeking for the best performance, we added a bit of spacing between letters in the text versions (middle weights from Book to Bold), while as for the display variants (extreme weights from Thin to Fat) we made them gain space in the light versions and loose it in the blacks.

Theorem is an interesting change from the usual calligraphic work of Koziupa and Paul. An art deco font with a 1990s twist in its capitals, Theorem’s lowercase characters were designed to automatically achieve the best optical spacing in typesetting. To accomplish that goal, a variety of alternates were drawn for most letters, and plenty of vowel-focused ligatures were designed. The automagic of OpenType ties it all together to make a very versatile typeface that is quite useful for packaging and many different applications of display typography.

Moules is a mono spaced font family coming in three weights and three different forms, normal, italic and twisted. This font has more details than my first mono spaced font – Memory Square – and gives the possibility for more subtile typography.

Kobely is a reproduction of a local broadcaster's real handwriting. My daughter thought her boss's handwriting was so neat and uniform, it would make a great font and asked if I would be willing to create it. I agreed. She had him write out all the basic characters, which he gladly did with both a standard ink pen and a Sharpie¨ marker. I then turned it into a three weight family, perfect for use on post-it notes, shopping and to-do lists - anywhere you need the natural feel of real handwriting. I created it in various weights to spare you from adding a stroke to make it bolder. Adding a stroke can often compromise the small details of a font. Kobely is designed to be readable in even the boldest weight!

Originally drawn in 1999 as a college project with the ambition to make the ‘most beautiful’ alphabet in the world. After these heroic beginnings Spaghetti lay dormant in the VLNL vaults for many years, appearing to silently peter away. Now look at it! Ten years hence, it is finally being served up in glorious OpenType, precisely al dente. As automated special sauce, each lowercase character before or after a space receives a nice little ball ending to round things off. And finally, the parmesan cheese sprinkled on top is like a tasty bunch of ligatures – enough to make your mouth water.

An open, evenly spaced book face designed for quality headlines and enhanced readability in text.

Americana was designed by typeface artist Richard Isbell in 1965. The generous forms of this typeface contain large inner spaces. Lines of text look light and airy and require generous line spacing. The high cross strokes and the open inner spaces make this font highly legible even in small and very small point sizes. The triangular serifs are a distinguishing characteristic of Americana. These first appeared in the 19th century in France and inspired by the developments in lithography, which allowed for freer forms. The forms were typical for advertisement and display typefaces. The sophisticated Americana is particularly suitable for advertisements and personal correspondence.

Americana was designed by typeface artist Richard Isbell in 1965. The generous forms of this typeface contain large inner spaces. Lines of text look light and airy and require generous line spacing. The high cross strokes and the open inner spaces make this font highly legible even in small and very small point sizes. The triangular serifs are a distinguishing characteristic of Americana. These first appeared in the 19th century in France and inspired by the developments in lithography, which allowed for freer forms. The forms were typical for advertisement and display typefaces. The sophisticated Americana is particularly suitable for advertisements and personal correspondence.

Packing more copy in a narrow space is the main reason for using a condensed type. Characters with a more ovular shape tend to be less wide than their circular counterparts and will allow for more letters per line. In narrow columns for example, this typeface can provide up to 25% more copy than the regular typeface in the same space. Another reason is when a larger type size is called for — used sparingly it is useful for headings or headlines. For emphasis, narrower letters can provide a stark contrast in the flow of reading, creating impact while retaining typographic character. Condensed types can specially useful in tables and charts because typically both use few words in each block. If space now allows, you may think about the luxury of a larger point size. This optimizes space while keeping your typography more easily legible.

Milton Glaser’s Kitchen Typeface from the mid 1970s exemplifies the bold 3-D art deco revival genre that was a trademark of the Glaser style. This typeface resulted from his involvement in the design of the The Big Kitchen in the World Trade Center’s concourse in New York City. The new P22 Glaser Kitchen takes on the technical challenge of overlapping 3-D shadows by offering two styles. P22 Glaser Kitchen Regular is spaced out so that the shadows do not overlap the white spaces of the neighboring letters. Whereas the P22 Glaser Kitchen 3D Fill and 3D Shadow can be used layered on top of one another to achieve the tight spacing intended by Glaser. P22 Glaser Kitchen was based on original drawings and phototype proofs from the Milton Glaser Studios archives. Typographic punctuation and sorts were imagined by James Grieshaber to work with Glaser’s design, as well as diacritics to accommodate most European languages. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official fonts approved by Milton Glaser Studio and the Estate of Milton Glaser.

Sébastien Truchet designed a modular typographic system during his last year in the School of Fine Arts of Besançon. The system is made of a unique grid and 6 modules which are the components to build several typefaces. The most radical is the "2-2". The last one is the "10-12". This is the 4-4. It is built into a square grid. Four modules in width and in height. This font proposes to you two appearances : the caps are blackest and the small letters are more open.

Intellecta Design, in partnership with Monocracy Types (Paulo W) launches Augusta Torino Ornaments. Classic art deco ornaments digitized from the font catalogues of "Società Augusta Torino", also Nebiolo Fundicion, one of the most important european extinct typefoundry from last century. Soon, more fonts of that collection.

If you need to say something weighty, say it with Blood Orange. Blood Orange is a hearty rounded serif font with an easygoing confidence and a delightful nostalgic feeling, without the dusty burden of actual fonts from the last century. Blood Orange works great as a logotype, in magazines, headlines, posters, advertising and packaging. It’s at its best in short sentences since it’s so bold, but can be used for a bit longer text passages too, with some spacing added. As a product of modern era, Blood Orange is fully equipped with plenty of OpenType goodness: Contextual Alternates and Standard Ligatures do their usual trick in smoothing certain letter combinations, and they’re automatically on. In addition it has a wide range of Discretionary Ligatures, Stylistic, Swash and Titling Alternates that you can trigger on from OpenType controls in any OpenType savvy program, or manually select the suitable variations from the character window. Try these alternates for more eloquent designs, but remember to treat them like you would treat you would treat really strong spices: just a bit at a time. See the full range of the alternative glyphs on the specimen posters.

Atlantis: The Lost Empire is a 2001 I made the alphabet prepared for Atlantis Lost Empire, the first feature-length animated movie of Walt Disney in 2000 years, in 2 versions in accordance with the original. It is suitable for today's use.

The most space-saving sans serif This font saves more space than any of its kind! Slim proportions, but not “condensed” Characters which nearly touch Sparse ascenders and descenders Distinct forms How close to each other can the characters of a font get? Theoretically, as close as you want. But obviously, the words should still be legible. And as any designer knows, body clearance of characters also depends on other parameters such as point size and line spacing. In practice, there are always situations in which as much information as possible has to be positioned in as little space as possible. The ingoFont ÉconoSans is made for exactly this purpose. Even the name of the font implies its function: French for the infinitive “to save” is “économiser.” Now if that doesn’t sound good… The shapes of the upper and lower case letters are completely matter-of-fact, the way a modern font has got to be. The letters c e, and s are wide open to their neighbors. An especially distinguished trait of this font is the design of the “triangular” characters v w y x k z and A V W Y Z K X M N. And the open form of B R and P is also not typical in a sans serif. The distance between letters is kept tight and often the characters nearly touch, but only nearly. With ÉconoSans you gain approximately 20% more text in a line than with »Tahoma«, and even still more than 10% compared to »Helvetica«. ÉconoSans also includes tabular figures as well as ligatures. Among the ligatures, the double mm is especially unusual and is hardly familiar, but can contribute greatly to saving space without catching the reader’s eye.

Citadina font family has been designed for Graviton Font Foundry by Pablo Balcells in 2016. It is a sans serif typeface with a geometrical, mechanic, neutral appearence and a slightly condensed design which makes it particularly effective for space economizing. It has been conceived to be most suitable for short and middle length text blocks, as well as on all sized headlines. Citadina consists of 12 styles. Each containing small caps and glyph coverage for several languages.

Maisee is a smiling sans serif face for many occasions and has proved itself in art catalogues, wine lists, websites and many other situations. Full of retro influences, it sits elegantly on today's page or screen. A useful modern font which doesn't sacrifice form and charm for space, Maisee is characterised by a generous x-height and a roundness of form based on gentle spirals. Numerals and math characters are tabular from ExtraLight through to SemiBold.

In the fast-paced world of journalism, time is always of the essence. That’s why we need tools that work as quickly as we do. And in the world of typography, Mitigate is the answer. Mitigate is the condensed slab-serif typeface that every designer needs in their arsenal. You see, in a world of broad and regular typewriter fonts, Mitigate stands out with its compact design that makes it perfect for fitting in more text in less space. But that’s not all. Mitigate also features two distressed styles, giving your text that authentic typewriter effect that readers love. And if you’re using OpenType-aware apps, you’ll appreciate the custom ligature combinations that make your text even more unique. So, don’t let your message get lost in a sea of words. Choose Mitigate and make your words stand out. 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.

Maison is a mono-lined grotesque constructed using rigid elements to achieve a minimalist industrial feel in homage to the early twentieth century modernist design concepts.Originally created as a mono-spaced typeface family—with less optical corrections than its successor Maison Neue—Maison has been further developed to work equally in both mono-spaced and proportional alignments.

Fuglesans is a homage to the first Swede in space. The sans serif font is inspired by Scandinavian aesthetics, Sci-fi movies and space. Use it for visionary brands or designs that aspire to be high-tech, modern and futuristic. The font is currently available in 3 weights, Light, Regular and Bold, and comes with over 200 glyphs.

Ultra Condensed is a three-font family with a full character set. Ultra Condensed is a remastering of Tall Skinny Condensed from 1999 which continues to be a favorite. While similar, the fonts are not interchangeable. Shapes of some letters have changed, kerning and spacing are different. Tall Skinny Condensed does not have a full character set. Ultra Condensed Lettered is a hand lettered version of the hard edged Ultra Condensed. Ultra Condensed Line also hand lettered, is a thinner version of Ultra Condensed Lettered. These three fonts work well together or with a non condensed font, great for headlines at a large size. Works well for lots of copy in a small space.

Condensed sans family Sidro comes in 9 weights – from extreme light Thin to dark Heavy. Compact, solid and still new and recognizable, Sidro is designed with purpose to serve in every project. It is tightly spaced family which is ideal for space saving in variety projects – from posters, packages and branding in general, to websites, editorial usage and applications. Sidro comes with Small Caps, Fractions and one Stylistic Set in extended Latin character map.

This variation of Tangential (see also the Standard & Semi Serif variants) continues with the angles that give the typeface its name; however, the square terminals are half-rounded to create a softer and slightly more fluid styling. The Tangential style I envisaged for the family is complemented by the prominent use of negative space throughout, most apparent on the drop-shaped ‘o,’ which is a key feature of the typeface and a letterform I'm particularly pleased with. Available in 2 weights, Regular & Bold, in both OpenType OTF & TrueType TTF formats.

This typeface is a new and improved (really!) version of one of my most popular freeware fonts, Team Spirit, which has made appearances in the Tank McNamara comic strip and on Blue Collar TV. Add the “nose” at the front with an open parenthesis -(- and add the tail with a close parenthesis -). To continue the bar beneath between words, use the _underscore in place of a space. No math operators and limited punctuation, but complete accented characters for the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Urbana is a contemporary, naturally condensed sans-serif typeface inspired by the traditional lettering found in Colombian city buses. A mixture of influences reminiscent of modernism, hand lettering, cluttered spaces and improvisation are the source of its unique forms. Urbana was designed to save space and catch the reader’s attention while keeping a high legibility in virtually all situations. Urbana is recommended for setting headlines and short paragraphs in newspapers and magazines or wherever graphic designers need to save space. Its distinctive shapes also help designers to produce easy-to-recognize logos and work as an ideal companion of visual identity systems.

Pittsbrook Family, a pack of classic typefaces that inspired by the letters used in old advertisement and packagings. Its rigid shape gives you strong, sharp and blocky feelings, no curves were harmed in the making of these typefaces. Comes in three styles; Sans, Serif and Outline, all of them are consistently mouse-crafted characters, we spent a lot of attention to every details. Suits best for any classic/vintage design project, such as E-Sport logo, liquor/food label, packaging, headline, space-filler, logotype, typographic quote writings, etc.

After releasing Amsi in 2015, this year Sans Beam is now ready to launch with the design that support many different usability from Headline to Body text, and specifically designed to be compatible with other font families of Stawix Foundry. This typeface has been designed under the simple idea of ‘Choose. Play. Repeat.’ on the limited space of typographic layout, in which most of the time faces the problem of choosing appropriate font weight that would serve the right intention. This typeface is designed to erase those problems, preventing impossibility in designer’s layout in both Body Text and Headline, which comes in 15 different weights.

Capistrano BF is an all-connecting, monolinear handwritten script that exudes much verve and vigor. A number of Automatic Ligatures and Contextual Alternates, for beginning and ending (lowercase) letters are included in the font, along with Stylistic Alternates for uppercase letters A, F, and T. Enable these features in OpenType-savvy programs (such as InDesign CS+, Illustrator CS+ and QuarkXpress 7 and later) to enhance your typography. In line-upon-line settings, Capistrano benefits from generous line spacing. As with most scripts, it is not recommended that word settings be in all uppercase, but rather in settings of initial capitals together with lowercase letters.

HiTone emulates a natural hand-lettered typeface that provides exceptional legibility with a quirky style. It comes in three widths, the narrowest of which enables text to be placed compactly within a limited space. The widest, on the other hand, increases readability while maintaining the same stroke weight. In addition, each width comes in two weights, regular and black, enabling the user to provide emphasis or headline display without changing the essential style of writing. The font is most useful as a stylish text font. The font has all the features of a fully professional typeface. Language support includes all European character sets.