Codo Mono Modern monospace typeface Standard and italic styles, 6 weights + variable weight versions. Codo Mono is a carefully crafted monospaced typeface featuring stylistic alternatives to help make your design or branding stand out. Codo Mono Family: Codo Mono Thin Codo Mono Extra Light Codo Mono Light Codo Mono Regular Codo Mono Medium Codo Mono Bold Codo Mono Italic Thin Codo Mono Italic Extra Light Codo Mono Italic Light Codo Mono Italic Regular Codo Mono Italic Medium Codo Mono Italic Bold Plus: Codo Mono Variable weight Codo Mono Italic Variable weight This font has extensive Latin language support for Western, Central, and South-Eastern European. Designed to have great legibility with a modern feel, Codo Mono is well suited to branding, magazines, editorial copy, packaging, and more.

Corton was inspired by the traditional lettering on a gravestone in an English village. While that might sound a rather solemn beginning, Corton has wonderfully lively air, with distinctive lively serifs and beautifully swashed downstrokes. Eight faces are offered: regular and titular each in three weights plus regular condensed. Between them they are ideal signage and display faces, merging 'olde-worlde' charm and fun character, but remaining clear and legible.

Mysterious is a bit of an unusual font. It looks old fashioned, but it comes with cool stylistic alternates, it could be a didone, but it is not (really), it looks formal, but it is rather scary. Mysterious was more or less based on the titling pages of 17th century atlases and my own twisted imagination. It comes with a whole bunch of ligatures and stylistic alternates, plus extensive language support.

Circus Wagon is a revival of the old circus style font named Big Top in the Dan Solo catalog. This version has been freshened up with a new matching lowercase. Our original release of this font was named Buckhorn, this 2020 updated release changes the name and adds additional accented glyphs plus Opentype case sensitive forms. You will need an Opentype aware application to access Opentype features in this font.

Fathom is a refined flared-serif face that is elegant and robust, modern yet suggests a legacy. The generous lower-case x-height make it worm and readable. Seven weights, plus matching italics, cover all headline and text requirements. The addition of old-style numerals and tabular numerals for charts make it a versatile family for brochures, corporations, heritage projects, packaging, book covers, reports, signage, magazines and more.

Designed by Olivier Gourvat in December 2015, Univia Pro is a new contemporary OpenType font family with modernity and versatility in mind. Distinctive with its pleasant look and extremely modern, Univia Pro has a lot of personality mostly achieved by smooth curves and round corners that forms a very identical style of the entire family. Univia Pro is perfect both for display and text use and due to its ultra modern look, it is more than excellent for e-books, web-sites, user interface font, mobile apps etc. The Univia Pro font family is heavily equipped with OpenType features: case sensitive, scientific superiors and inferiors, standard ligatures, old style, lining figures, proportional and tabular figures, slashed zeros, stylistic sets. It also provides broad language support. The font family offers 18 variations (9 weights plus italics): Thin, Thin Italic, Ultra Light, Ultra Light Italic, Light, Light Italic Book, Book Italic, Regular, Regular Italic, Bold, Bold Italic, Black, Black Italic, Ultra and Ultra Italic. Univia Pro supports Latin, Extended latin and Cyrillic languages.

Oswald Cooper is best known for his emblematic Cooper Black™ typeface. Although he was responsible for several other fonts of roman design, Cooper never drew a sans serif typeface. But that didn’t stop George Ryan from creating one. Ryan saw a sans serif example of Cooper’s lettering in an old book and decided that it deserved to be made into a typeface. Ryan’s initial plan was to make a single-weight typeface that closely matched the slender and condensed proportions of the original lettering. While the resulting Oz Handicraft™ typeface proved to be very popular, Ryan was not satisfied with the limited offering. So, between other projects – and over many years – Ryan worked on expanding the design’s range. The completed family includes light, semi bold and bold weights to complement the original design, plus a matching suite of four “wide” designs, which are closer to normal proportions. Fonts of Oz Handicraft include a Pan-European character set that supports most Central European and many Eastern European languages.

Another techno-sans with interesting compensators, inspirit by Alexander Rodchenko works. Clean, strong, ultra here and there. Plus free symbol typeface for supporting in various situation.