With its well-defined characters that are readily legible even in the small font sizes, Mantika Sans by Jürgen Weltin is ideal for typesetting. The elaborately designed and highly individual set of italics enhances the attractiveness of the font.Jürgen Weltin developed the Mantika™ Sans sans serif font using older designs for an serif font as his inspiration. Nothing more than the merest suggestion of the original serifs has survived. Bevelled line endings and the slight variation in thickness of verticals, in particular, provide Mantika Sans with a very dynamic character that evokes manuscript. Short ascenders and descenders give the font a compact appearance that is also underscored by its condensed proportions. Weltin has achieved his aim of producing a typeface with excellent legibility even in small sizes not just by means of the x-height, which is tall in comparison with the capital letters, but also by using clearly defined and well differentiated designs for critical letters, such as i", "I" and "l". Lower case "i", for example, has a serif while the "l" has a curved base.In addition to uppercase numerals, Mantika Sans also has lowercase or old style numerals that have been designed so that they can be used in both tabular and proportional settings. The uppercase numerals are slightly shorter than the uppercase letters, ensuring that the latter can be sympathetically incorporated within continuous text.The Mantika Sans italics are very unusual. They are inclined at only 4.5° (the usual angle for italics is 10 - 12°) and so appear to be almost upright. In addition, they also have quite distinctive forms. The overall effect calls attention to their curvilinear, manuscript character, enhances contrasts and further emphasizes the terminals. Weltin explains: "Within the variety of forms of the italics there are many contrasting terminal elements that create dynamism. The result is a diversity of interaction between the rounded and angular forms". Mantika Sans Italic thus has all the features of a display typeface, but can also be happily used on its own to set longer text passages. Mantika Sans is available in two weights; Regular and Bold, both of which have corresponding italics sets. Mantika Sans has been designed so that the widths of the four related cuts are identical, meaning that a change of font within a single layout will have no effect on justification. In addition, the members of the Mantika Informal font family, designed by Jürgen Weltin in 2010, also have the same thickness. Other font families having weights with equal thickness can be found in the "Linotype Office Alliance series".The Mantika Sans character sets are paneuropean. There are characters for setting texts in Eastern European languages, Greek and Cyrillic. There is also a range of special symbols, including right-angled brackets, subscript and superscript lower case letters, together with numerals, arrows and many different bullet points.As a vibrant and highly legible text font, Mantika Sans has a broad spectrum of potential applications. Its unusual italics are not just perfect for use in display text. The fact that it has only four cuts means that Mantika Sans is particularly suitable for office use or for the setting of business reports. Its excellent legibility even in the small font sizes also makes it ideal as a text for electronic reading devices; this also applies to Mantika Informal.At the 3rd International Eastern Type Design Competition Granshan 2010, Mantika Sans was awarded in the category Greek text typefaces."

With its well-defined characters that are readily legible even in the small font sizes, Mantika Sans by Jürgen Weltin is ideal for typesetting. The elaborately designed and highly individual set of italics enhances the attractiveness of the font.Jürgen Weltin developed the Mantika™ Sans sans serif font using older designs for an serif font as his inspiration. Nothing more than the merest suggestion of the original serifs has survived. Bevelled line endings and the slight variation in thickness of verticals, in particular, provide Mantika Sans with a very dynamic character that evokes manuscript. Short ascenders and descenders give the font a compact appearance that is also underscored by its condensed proportions. Weltin has achieved his aim of producing a typeface with excellent legibility even in small sizes not just by means of the x-height, which is tall in comparison with the capital letters, but also by using clearly defined and well differentiated designs for critical letters, such as i", "I" and "l". Lower case "i", for example, has a serif while the "l" has a curved base.In addition to uppercase numerals, Mantika Sans also has lowercase or old style numerals that have been designed so that they can be used in both tabular and proportional settings. The uppercase numerals are slightly shorter than the uppercase letters, ensuring that the latter can be sympathetically incorporated within continuous text.The Mantika Sans italics are very unusual. They are inclined at only 4.5° (the usual angle for italics is 10 - 12°) and so appear to be almost upright. In addition, they also have quite distinctive forms. The overall effect calls attention to their curvilinear, manuscript character, enhances contrasts and further emphasizes the terminals. Weltin explains: "Within the variety of forms of the italics there are many contrasting terminal elements that create dynamism. The result is a diversity of interaction between the rounded and angular forms". Mantika Sans Italic thus has all the features of a display typeface, but can also be happily used on its own to set longer text passages. Mantika Sans is available in two weights; Regular and Bold, both of which have corresponding italics sets. Mantika Sans has been designed so that the widths of the four related cuts are identical, meaning that a change of font within a single layout will have no effect on justification. In addition, the members of the Mantika Informal font family, designed by Jürgen Weltin in 2010, also have the same thickness. Other font families having weights with equal thickness can be found in the "Linotype Office Alliance series".The Mantika Sans character sets are paneuropean. There are characters for setting texts in Eastern European languages, Greek and Cyrillic. There is also a range of special symbols, including right-angled brackets, subscript and superscript lower case letters, together with numerals, arrows and many different bullet points.As a vibrant and highly legible text font, Mantika Sans has a broad spectrum of potential applications. Its unusual italics are not just perfect for use in display text. The fact that it has only four cuts means that Mantika Sans is particularly suitable for office use or for the setting of business reports. Its excellent legibility even in the small font sizes also makes it ideal as a text for electronic reading devices; this also applies to Mantika Informal.At the 3rd International Eastern Type Design Competition Granshan 2010, Mantika Sans was awarded in the category Greek text typefaces."

Bodoni Ferrara™ Fashionable, Luxury Heritage: The Original Bodoni Ferrara Sculpted from hi-res photos and scans of Bodoni's original Ferrara Font—his 1818 Manuale Tipografico and 1768 specimens. It has never before been available. This cut of Bodoni specially selected by Dave Lawrence from rare book specimens. Part of the California Type Foundry Origin Series. 3 Display Fonts in One!! And 6+ style mixes. Bodoni's 1st Draft - Transitional Serif Bodoni was often inspired by French type designs. His first draft of Ferrara was inspired by Pierre Simon Fournier. But Bodoni added his own Italian sensibilities. Bododni’s first, transitional style can pair with humanist sans, and transitional fonts. Bodoni's Rework - Modern Serif Later, Bodoni reworked Ferrara to match the later neo-classic style or modern serif of Firmin Didot¹. Bodoni’s modern style can pair with geometric sans, grotesque sans, neo-grotesque sans, gothic sans, copperplate script, . Informal On™ - Informal Mode by CAL Type Foundry This can pair with “infant” fonts. Geometric sans, and other sans or serifs with one-storied a’s. + Bodoni’s Tivoli a for another option! Works great with Fournier¹ fonts and grotesques, since the terminals will match. Font Pairing Guide This font includes a 78 page Ferrara Pairing Guide. This book shows you 131 pairings with text fonts. 47 pairings with subheader fonts! We want to help you get more out of your font collection. Design Features • Subtle forward angle (0.5-1.5°) makes Ferrara more lively and engaging than most Bodoni or Didot fonts. • Round curves make this font feel letter-pressed. • Bodoni's original tall x-height and slightly condensed proportions: great for headlines, where space is at a premium. • Better uppercase. Uppercase punctuation for design apps. • Proportional oldstyle and lining figures, both modern style and transitional numbers. Every pair of numbers is kerned for display sizes: no unsightly gaps! • Multiple special symbols for whenever you need a design to pop, including 3 of Bodoni’s amazing ampersands. Language Features Latin standard for western European and other languages. +Advanced support for: German, French, Spanish, Portuguese, Italian, and French. Special, uppercase umlauts for titles! Compare to metal Bauer¹ Bodoni! Special context kerning for French, Spanish, Portuguese, Italian, and French, to allow better better words like L'Angelique & “¿Nosotros?”. This kerning gets rid of unsightly gaps between “¿ and other combinations. Can’t Find the Pairing Guide? Can't find the pairing guide? Google “California Type Foundry” and grab the pairing guide. Get another free pro font while you’re there! Ferrara: many sizes, styles, moods and situations. It's a classic, fashionable font for display, headlines, and titles. Grab Ferrara today! ----------- ¹Trademarks of their respective owners. Ferrara™ is a trademark of the California Type Foundry.

The Neue Haas Unica™ family is an extended, reimagined version of the Haas Unica® design, a Helvetica® alternative that achieved near mythical status in the type community before it virtually disappeared. Originally released in 1980 by the Haas Type Foundry and designed by Team ’77 — André Gürtler, Erich Gschwind and Christian Mengelt— for phototypesetting technology of the day, the design was never successfully updated for today’s digital environments – until now. Toshi Omagari of Monotype Studio has given this classic a fresh, digital facelift with more weights, more languages and more letters to meet today’s digital and print needs. Available in 18 styles, the Neue Haas Unica family is remarkably appropriate for a wide range of applications, possessing a delicate gradation of weights and clear character shapes. The family's lighter weights are perfect for headlines and other large settings, as well as small blocks of copy at typical text sizes. The regular, medium and bold weights know no boundaries and the heavy and black designs are ideal for when typography needs to be powerful and commanding. Like the Neue Helvetica and Univers Next typefaces, the Neue Haas Unica family can be used just about anywhere – or for any project. In addition to its 9 tailored weights and complementary italics, the Neue Haas Unica family also possesses additional characters for Eastern and Central European, Greek and Cyrillic language support, which did not exist in the original design. A cosmopolitan typeface for today's modern, discerning design needs, the Neue Haas Unica collection is a new classic in the making—one that every designer should surely have at their disposal.

Discover here the Eastman Roman Family See the Eastman Grotesque Family Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use. The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. All share a solid monolinear design and a tall x-height that makes body text set in Eastman extremely readable on paper and on the screen. Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, Cyrillic and greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms). The most impressive feature of all Eastman fonts remains the huge choice of alternate characters and stylistic sets that allows you to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. Don’t want to lose too much time with the glyphs palette? Use the Eastman Alternate weights, thought for display use and presenting a selection of some of the more eye catching & unusual letter shapes available for the family.

Sonrisa is a design that evolved from my sketches of the skeletal structure of Jakob Erbar’s Koloss, trying to discover its underlying essence without all the contrast and bulkiness of the original design. Sonrisa Thin was the resulting font, from which the other weights of the family were developed. Gentle curves, open counters, generous x-height, and sleekly tapered terminals give Sonrisa a very legible, modern, elegant appearance. When she saw the first draft of this typeface, the smile on my friend Jennifer’s face gave me the idea to call it “Sonrisa” (Spanish for “smile”). Jennifer, a clinical psychologist, described Sonrisa’s personality as: "happy, clean, clear, open, joyful, spacious, playful, calm. I can see it being used for body product lines such as oils and lotions. Can see it being used in home/travel magazines or even Architectural Digest. Yoga magazine, definitely." Sonrisa is what some foundries call a “Pro” typeface family with all the bells and whistles that provide typographic versatility: true small caps, oldstyle numerals, arbitrary fractions, discretionary ligatures, and other powerful OpenType features. All fonts in the family, except Sonrisa Titling, support most European languages, including modern Greek and languages that use the Cyrillic Alphabet. (Cyrillic glyphs designed in consultation with Ukrainian type designer, Sergiy S. Tkachenko.) Sonrisa is available in the original Thin, monoline version as well as six weights (Light, Regular, Medium, Bold, Extra Bold, Black), and a Titling font that is essentially a display font construction kit. If you enjoy using Sonrisa even half as much as I enjoyed creating it, then I know you will have a “sonrisa” (smile) on your face!

☞ Bona Nova is a collective revival project of Bona typeface designed in 1971 by the author of polish banknotes Andrzej Heidrich. Besides giving the project a digital font form the aim was to expand the base character set: preparation of small caps, designing the alternative glyphs and multiple opentype features. Working together with the author we designed two new text versions: regular and bold – to give the family a form of a classic script triad. ☞ It is accompanied by three title versions and three contour styles under the name of Bona Sforza. All styles contains over 1200 glyphs. ☞ Bona Nova is an unprecedented typographic adventure for our team. We hope that our work will allow the cultural heritage of Bona and the work of Andrzeja Heidricha to gain new followers and fans. This project connected three generations of graphic designers who graduated the same school – the Academy of Fine Arts in Warsaw. ☞ Bona Nova isn’t only a typeface. We have also prepared a book about the project (including an interview with Andrzej Heidrich, my text about the digitalisation and a font specimen). The Bona Nova release party was a big exhibition (over 1000 guests). I’ve invited 26 graphic designers to prepare their own initials of Bona Nova – they were presented as posters on exhibition too. LINKS Bona Nova WEB Bona Nova FP Bona-Nova-(FREE-FONT) Bona Nova Book BONA NOVA IN THE MEDIA Typeroom Typography Guru Slanted Designalley Stgu Typografie Info Wikipedia Bona Nova is a non-profit project, all founds that we raise we reinvest to develop the Bona Nova project (new styles, Cyrillic & Greek, extend character set).

Baystar Script is a high-quality script typeface. Drawn and created by Mans Greback in 2021, this calligraphic font has power, style and stamina. The type’s organic, handwritten lettering is well suited for a variety of applications: from happy, playful designs, to super sleek web graphics and vivid logotypes. It has velocity like a mustang, a brilliant look and–with its hundreds of alternates–is truly dynamic. It flows with quick turns, marking out brush strokes and connecting tails, like a genuine, hand-painted writing should. Write multiple underscores to make swashes of different lengths. Example: Corvette_______ Baystar Script is legible and professional while retaining the personality that is valued in handwriting. Drawn in accordance with the latest trends in design, but is inspired by retro logotype lettering such as Chevrolet Chevelle and Camaro. A modern calligraphy, fast as a sport race car or sharp as a stingray, the letters are characterized by thorny edges and tall ascenders. It comes in three weights; Light, Medium and Bold, making it useful in any size and context. The font is built with advanced OpenType auto-functionality and guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more automatic and manual features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europa to South Africa, from America to South-East Asia, as well as Cyrillic (Russian, Serbian, Bulgarian) and the Greek alphabet. It contains all characters and symbols you'll ever need, including all punctuation and numbers. Let this font help you to transform your professional work into an energetic piece of handmade art!

Diotima Classic is a total upheaval for the 21st century of Gudrun Zapf von Hesse's mid-20th-century Diotima, one of the most beautiful types ever cast in metal. Its roots lay in a calligraphic sheet written by Gudrun Zapf von Hesse. The text was the Hyperion to Diotima" by Friedrich Hölderlin; Diotima is the name of a Greek priestess in Plato's dialogue about love. In the philosopher's imagination, she should appear slim and beautiful. In 1948, Gudrun Zapf von Hesse finished the typeface's Roman. The Diotima family was released as a metal typeface for hand setting by D. Stempel AG in 1951-53. This original Diotima is a festive design particularly suited to invitations, programs, and poems. The delicate Italic drew attention to text passages that should be emphasized. Linotype's previous digital Diotima only had one weight, which looked great in display sizes, but was too thin for text setting. Diotima Classic has four weights. The new Regular has more robust serifs and thicker hairlines, making it more appropriate for text sizes. The Diotima variation with finer serif remains under the name Light. Gudrun Zapf von Hesse also took the opportunity in 2008 to add an extremely heavy weight to the family. In comparison to the old Diotima, letterforms of the Diotima Classic are more harmonious and balanced. The rhythm of the Italic letters in Diotima Classic is more consistent. The lining figures of the Diotima Classic align with caps, and the letter spacing of the tabular lining figures in Diotima Classic is significantly better. The forms of the figures have been improved as well."

SHE'S DEAD, FRANK It's the year 1991, BC (Before Comicraft) when REM were still making records and Frank Miller’s memorable run on Marvel Comics’ DAREDEVIL was just over ten years old. Comicraft’s Richard Starkings found himself working in Anaheim, California for Graphitti Designs. Graphitti had produced the first hardcover edition of Miller’s Batman tale, DARK KNIGHT RETURNS and was now putting together the sequel to Miller’s DAREDEVIL — ELEKTRA LIVES AGAIN! Richard was not engaged to letter this book, the pages of Frank’s incredible original art that came through Graphitti’s studio were already lettered by Marvel Stalwart, Jim Novak. However, there were some cover elements that needed to be added, based on the logo originally rendered by Frank’s brother, Steve. Starkings set about the task of creating an alphabet that could be used to develop Steve’s idea for the trade dress -- the cover elements, the back cover copy and credits on the interior pages. This was long before Macintosh computers and font programs made this work considerably easier, so Rich sat down with a pencil and a sheet of vellum and rendered an alphabet that could be used as the basis for the text that was needed... Those sketches have languished in a drawer for nearly thirty years, but now, finally, Comicraft’s John Roshell has dusted off those old letterforms and Elektrakuted a font based on those designs, a font we HAD to call ELEKTRAKUTION! As for Elektra; she’s dead, Frank. Features: Ten weights (Light, Regular, Bold; Rough Light, Regular & Bold; Inline, Inline Rough, Outline & Outline Rough) with upper & lowercase characters, Western & Central European accents and Greek characters.

The new sans-serif Franzi typeface family – as neutral as can be, but at the same time individual and striking. Its unmistakable character lies in the detail, with no effect pushing itself to the fore. As a wide-running typeface with a relatively large x-height, the typeface family is perfectly suited to small text sizes but, with its elegant details, it leaves nothing to be desired in display applications either. Originally designed with constructed, often rectangular elements, Franzi has gradually been rounded during the development process and is now less hard in order to guarantee optimal legibility. Franzi Variable is designed alongside the italic and the weight axes. The italics are softly and elegantly drawn, while the upright characters appear much more severe. The design appeal reveals itself in the two-storey ‘a’ – a tribute to legibility in body copy; however, for those who prefer the geometric in applications, an alternative single-storey ‘a’ is also available. All styles have small caps, superscript and subscript lowercase letters, lining, non-lining and small caps figures, fractions as well as several ligatures, alternative fonts, symbols and arrows. The Latin uppercase letters are also available as discreet swash variants. In addition to the extended Latin alphabet, the typeface family also includes the complete Greek, Cyrillic and International Phonetic Alphabet IPA. Franzi was created as a further development of an order to produce a sign for a therapy practice in Vienna’s Franz-Hochedlinger-Gasse – hence the name, which is more common as an abbreviation for Franziska than as a diminutive for the male name Franz: Franzi is therefore a hybrid typeface name which has female tendencies.

Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use. The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. All share a solid monolinear design and a tall x-height that makes body text set in Eastman extremely readable on paper and on the screen. Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, cyrillic and greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms). The most impressive feature of all Eastman fonts remains the huge choice of alternate characters and stylistic sets that allows you to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. Don’t want to lose too much time with the glyphs palette? Use the Eastman Alternate weights, thought for display use and presenting a selection of some of the more eye catching & unusual letter shapes available for the family.

Lythmore This font is called Lythmore and is inspired by Lithos. Lithos was originally designed for Adobe by Carol Twombly in 1990, based it on the lettering from ancient Greek inscriptions. The Capitals are similar in feel and design, but is totally original and built from scratch. It is designed to be similar intentionally, but it is not a clone or rip off. Lithos is an example of a simple blocky san serif font style, with subtly concave sides, angled ends, and off centred curves. Lythmore is also an example of that same style. But is also different in places where I felt it could be improved. And it has a complete lower case set, which Lithos doesn't. I built Lythmore with 8 different weights. Lythmore can be very effective when used in advertising and general display work, but it can also be used for much more. Although it was never designed to be body copy, when used as such, it is still perfectly readable and adds its own version of sans serif style and flavour. I have included two versions of the Lythmore family. Lythmore A and Lythmore B. In the Lythmore A family, the lighter 4 weights all vary in weight in both the horizontal and vertical axis. The heavier 4 weights all vary in the horizontal axis only. In the Lythmore B family, the transition is even in both directions across the entire family. The result of this difference is that the A and B versions difference is most noticeable between the Regular and Medium weights. While the extreme ends of each family version are virtually identical.

Discover the complete Eastman type family: Eastman Grotesque and Eastman Condensed! Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use. The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. All share a solid monolinear design and a tall x-height that makes body text set in Eastman extremely readable on paper and on the screen. Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, cyrillic and greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms). The most impressive feature of all Eastman fonts remains the huge choice of alternate characters and stylistic sets that allows you to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. Don’t want to lose too much time with the glyphs palette? Use the Eastman Alternate weights, thought for display use and presenting a selection of some of the more eye catching & unusual letter shapes available for the family.

VAROGE SARO NOEST arrives on your computer with OpenType replacement features standard, along with extended language support for Central European, Greek, Cyrillic and Extended Cyrillic. We've even included some nice character options for our German-speaking customers with the uppercase Eszett and a number of alternatives to the standard lowercase eszett. Also included is the new Turkish Lira. VAROGE SARO NOEST is a font with a very funny name. Sometimes it can be a funny font. Or a font that is fun. It looks kinda casual, but also a little bit handwritten--freeform and freehand. Or a form of block lettering with a rough edge. Not too rough. Just enough to break up the visual rigidity. But this is not a face in distress. It's mostly at ease in its surroundings. If it's in text mode, it handles the job comfortably. In headline mode it does well too. It's quite flexible and looking for a home. Give this font a home. See if you can figure out what to use it for. See if you see what we saw when we made it. We saw a font that's cool and elegant with a bit of a tantrum driving the node count. We also found it's impossible to look away from it. Anyone can see that. That's why you're here. That's why you're reading this. And VAROGE will do you a favor if you let it. Revisit your typographic beliefs and head over to the one persistent constant in life: your font list. Is VAROGE SARO NOEST on it? If it were to set up headquarters there, you might discover something ideal. That's the favor I was promising.

The Thief Bird is an informal grotesque font. Although informal and grotesque may seem to be two quite different ideas, we have to dig into the origin of this typeface in order to understand the matter. The concept behind The Thief Bird was inspired by the adaptation that the vintage sign painters made when they took the grotesque style characters they saw in newspapers and magazines and reproduced them using a brush, aiming to make the prices of the products displayed on wooden boards stand out, as opposed to highlighting large headlines (such as the idea behind fonts like Franklin Gothic). The Thief Bird takes the language from sign painters and turns it into a font --this time around not aiming to set prices but to bring children stories to life. Thus, some legibility features from grotesque fonts were mixed with the brush calligraphy to add grace and zest to a font intended for children. The Thief Bird is a playful display font, with cheerful ligatures and alternate characters. It is really attractive for setting short paragraphs that tell stories for little people. The Thief Bird has one single weight and it’s ideal to be used in storybooks, candy packaging, films, toys, logos, labels, etc. The font has an extended set of 643 characters supporting 219 Latin languages. It has a complete set of small caps, sensitive cases, more than 30 pairs of ligatures, alternate characters and much more. This cool, informal and laid back typeface will be the perfect match for illustrations of fairy tales, comics for children and any product or publishing for the little ones. The Thief Bird supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

Koufiya is designed by Nadine Chahine in 2003 as part of her MA project at the University of Reading, UK and later released by Linotype in 2007. It is the first typeface to include a matching Arabic and Latin designed by the same designer at the same time with the intention of creating a harmonious balance between the two scripts. The Arabic part is based on the Early Kufi style popular in the 7th to 10th century AD. It is characterized by a strong horizontal baseline, horizontal stacking order, clear and open counters, and a general open feeling. Though based on the earliest styles on Arabic manuscript, the design paradoxically appears quite modern and fresh. The Latin part of Koufiya recalls a Dutch influence in its shallow top arches and rather squarish proportions. Both Arabic and Latin parts have been carefully designed to maintain the same optical size, weight, and rhythm. However, no sacrifices were made to make them appear closer to each other. They are designed so that they work well together on the printed page, and to make sure that the two scripts are harmonious when they are mixed together even if within the same paragraph. The font includes support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages.

Maleha Bold Modern Sans Serif Font Introducing Maleha, a bold and sophisticated modern sans serif font designed to elevate your projects with its confident and sleek aesthetic. Crafted with precision, Maleha embodies a perfect balance between professionalism and contemporary style. With two versatile styles—regular and slant—Maleha offers a dynamic range of possibilities, enabling you to effortlessly convey a sense of authority and modernity in your designs. The bold strokes and clean lines of Maleha's characters exude confidence, making it ideal for headlines, branding, editorial designs, logos, posters, and more. Its versatile nature ensures readability across various mediums while maintaining a strong visual impact. Maleha's boldness is matched by its adaptability; whether for digital or print, its clarity and elegance remain consistent. The regular style presents a crisp, clean appearance, while the slant adds a touch of dynamic flair, perfect for emphasis or adding a contemporary twist to your typography. Features: - Uppercase, Lowercase, Number, and Punctuation - Standard and Special Ligatures and alternates - Works on PC & Mac - Simple installations - Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and even works on Microsoft Word - Fully accessible without additional design software - Multilingual Support, ä, ö, ü, Ä, Ö, Ü, ß, ¿, and ¡. Unleash the power of expression and professionalism with Maleha, the bold modern sans serif font that effortlessly commands attention while conveying a sense of sophistication and modernity in every project.

Refrankt is a multifunctional sans-serif type family with 18 styles, ranging from Thin to Black with matching italic styles. The key visual feature of Refrankt is its wider characters and expanded proportions, which accentuate the character of the type family and extend its application. Refrankt works well as a display font but can also be used comfortably in headings and larger bodies of text. Refrankt offers a clean and thoughtful take on the functional grotesque sans-serif style and can be used in a wide variety of projects, from UI/UX design to packaging and branding. It can also be employed as a font for logos and word marks. Whether you're looking for bold, sturdy letterforms or dynamic flexibility, Refrankt readily adapts to any task. Refrankt would look at home in projects related to technology, athletics, industrial design and many more. The functionality of Refrankt is defined by its multilingual support (200+ languages) and its extensive OpenType features, such as Case-Sensitive Punctuation and Stylistic Alternates, among many others. In addition to a standard set of figures, Refrankt includes tabular figures, old-style figures, superiors, inferiors, and fractions. The entire character set comprises over 800 glyphs. Free trials available on our website: https://groteskly.xyz/ Refrankt Features: • 18 Fonts (9 Upright & 9 Italic) • Variable Font • 800+ characters/font • 200+ languages supported • Extensive OpenType Features • Versatile and Multifunctional

Trasandina is a very unique font-family: a modern, versatile, workhorse typeface with a special personality, given by the mix of humanist and geometric models, remaining far from both extremes. This typeface has 9 styles plus their matching italics, it has an incredible wide range of weights, from very thin to an ultra thick stem. This was made following the Luc(as) de Groot’s Interpolation Theory. Trasandina’s versatility also resides in the +800 characters that each weight includes, having several open type features and language support for more than 200 languages. This font has been specially designed for web (using hinting instructions), making it work in small and large sizes on different types of screen resolutions. Trasandina’s most interesting feature is its flexibility: On one hand, is easy to read thanks to its humanistic letterforms which allow this typeface to be legible in small sizes while remaining neutral (specially around its middle weights). And, at the same time, it’s perfect for logos and posters that need a lot more personality, this is mainly due to its more geometric nature in light and bold weights. Thank you for your support! It’s people like you that allow our team to keep enjoying creating new fonts. That’s why we’d like to hear from you! Send us your work using our fonts: info@tipotype.com, and you'll have a special 50% OFF on Tipotype at Myfonts

Galano Grotesque is a geometric sans in the tradition of Futura, Avant Garde, Avenir and the like. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Galano Grotesque aims to be a universal weapon not only because it works great in headlines, short and long copies but also because of its subtle neutrality. It comes in 10 different weights with matching italics and is equipped with a set of powerful opentype features including alternative glyphs, fraction, arrows, ligatures and many more. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. During the design process of the alternative glyph shapes of Galano Grotesque, the interest of creating a standalone version emerged rapidly. This was the birth of Galano Grotesque Alt. Not only because of the legible and unique character created by the alternatives, but also because this could be the small copy embracing stylistic companion to Galano Grotesque. In addition to the alternative glyphs, the height of descender and ascender was increased, supporting structure and rhythm. When finishing Galano Grotesque Alt, it turned out to not only work great in small and long copies but also to be a great performer in headlines and short copies. I'm proud to introduce: Galano Grotesque and Galano Grotesque Alt.

www.Stat-Type.com Complementary Type Family Stat Text Pro Stat Display Pro is an information design sans serif type family legible in circumstances of low visibility. Its large character set with multiple weights is defined by optimal size ratio, distinctive letter shapes, wide aperture and balanced counters. Stat Display Pro remains legible in unfavorable circumstances of distance, size, movement and similar. It contains nearly 700 glyphs, including diacritics, ligatures, small caps, old–style figures, arrows and more. This enables it to achieve wide language support. It consists of four main (Light, Regular, Medium, Bold) and four secondary, negative weights (Light Negative, Regular Negative, Medium Negative, Bold Negative) which are accompanied by their corresponding obliques. Stat Display Pro type family has higher than average x height (72% of cap height) which is accompanied by matching ascender and descender size ratios. With its distinctive letter shape detail it minimizes the possibility of letter shape confusion, while optimizing legibility with wide aperture and balanced counters. Its main intended use is information design, where it, with its characteristics, meets the requirements of wayfinding, infographics, table setting and much, much more. The development of the type family was based on research in legibility to achieve highly legible letter shapes, while not diminishing their visual character. A detailed description of Stat Pro type family is available at Stat-Type.com where a DEMO font can be downloaded.

‘Skiart Serif Mini’ is now available online. Originally inspired by the san serif font ‘Skia’ by Mathew Carter for Apple. ‘Skiart’ was designed to feel more like a serifed font, but without any serifs. It took a step between sans serif and serif fonts. Next on the path towards a serif font comes Skiart Serif Mini, with tiny serifs added. This is a true serif font, all be it on the small side. It remains fully readable and feels as clean and normal as any of the best body copy serifs, and yet still has the strong solid bones of all the other Skiart font familys. If compared to one of the more commonly used serifs like ‘Times New Roman’, the ‘Skiart Serif Mini’ lowercase is more open with a taller x-height, increasing its readability and friendliness. The serifs are smaller and less distracting. They are not pretending to be ligatures. Where ‘Times’ makes its p q b d forms out of a barely touching oval and stem, the ‘Serif Mini’ forms are much more firmly attached, appearing clearly as single letters. The standard setting for the g’s are round single storied, (the italic a’s are also), feeling warmer and more inviting in the ‘Serif Mini’ font. Much more friendly than the stuffy double storied versions in fonts such as ‘Times’ etc.

While sketching for a music project logo, Donald DBXL Beekman looked at several wood type alphabets as a starting poing. One of these was No.120, patented in 1880 by William Hamilton Page. With its distinct diagonally cut serifs and round shapes cut off at top and bottom, it bore just the right feel for the project. DBXL digitized the alphabet, adding all characters needed for a full set. During this process all shapes were widened, tweaked and streamlined to enhance consistency and rhythm along the whole font. VLNL Bonen is an all-caps display font with a very specific western cowboy or circus look. For instance burger or barbecue grill restaurants would do well with this one. We can easily see it shine on a festival flyer or poster as well, and not just country & western festivals. VLNL Bonen is suitable for any ‘big’ use that needs to stand out of the crowd. Bonen is the Dutch word for beans, a world wide source of nutrition and proteins it comes in a multitude of shapes, colours and sizes. Beans are also the most eaten foods in a cowboy’s diet along the trail. Available in abundance and easily preserved and transported, many recipes on the cattle drives in the American Wild West used beans. Think of chili, mashed beans with biscuits and bean soups. “Keep them doggies movin’, cowboy!”

Continuo is a fascinating, all-uppercase display typeface wherein the contour of each letterform is described with a single, continuous line. The challenges presented by that simple idea are similar to constructing letterforms with neon tubing. For example, when the strokes of a letterform need to be heavier than the width of the neon tube, two tubes are employed to create the outer contours, effectively leaving an unfilled void inside the stroke. Also, since neon tubes cannot be broken apart as they trace the contours, they must follow a path that, for reasons of economy and to avoid optical massing (or bright spots in neon), the tubes are not crossed. So too, the construction of Continuo follows. The newly updated Continuo now has alternate forms of letters A-Z available in the lowercase a-z and by extension those alternates are also present in the lowercase diacritics. The new Latin Plus glyph repertoire of Continuo contains almost 900 glyphs, supporting 224 languages, including Vietnamese and multiple African languages. A handy set of arrows and additional international currency symbols were added as well. The name is derived from the musical term “Basso Continuo” meaning an almost constant bass line, an integral part of most musical melodies. As an in-line display type, Continuo is ideal for headlines and most oversized applications and its unique appearance commands attention from viewers.

• Support for 28 languages: Afrikaans Albanian Catalan Croatian Czech Danish Dutch English Estonian Finnish French German Hungarian Icelandic Italian Latvian Lithuanian Maltese Norwegian Polish Portugese Romanian SlovakSlovenian Spanisch Swedish Turkish Zulu Swedish Turkish Zulu • Contains OpenType features with alternates or substitutes • Tabular Figures • Ordinal numbers • 74 icons (It will keep updating.) • 72 graphic patterns for designer (It will keep updating.) • 27 arrows glyphs • 0-20 line circled glyphs • 0-20 solid circled glyphs • A-Z line circled glyphs • A-Z solid circled glyphs Boodle is a modern sans serif with a geometric touch. It comes in 8 weights, 17 uprights and its matching italics, patterns, so you can use them to your heart’s content. Designed with powerful opentype features in mind. Each weight includes extended language support, fractions, tabular figures, arrows, ligatures, icons and patterned. Boodle family consists of 17 styles (8 weights, 8 Italics and 1 patterns), in each of which there are more than 744+ glyphs. In the typeface, each weight includes extended language support, fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for web, signage, corporate as well as for editorial design. documents and folders, mobile interface. Useful links: Gravitica PDF Type Guide and Specimen (You can know how to use icons and arrows, other glyphs.)

Maya Tiles was designed as a set of 62 seamless, endless patterns accompanied by font map(s) and “Idea Book” to get you started on designing your own wallpapers, textiles, stained/etched/privacy glass window films, or even wooden fancy trellises - the choice is yours :) The font features simple, fancy, intricate patterns in three variants (Fill, Outlines and Stencil). - Outlines were designed with an idea of serving as an unobtrusive pattern on its own, or as a playful addition to the Fill pattern. - Fill pattern was designed to give more statement to Outlines, which in some cases may be too subtle for the job you have to be done. - Stencil has the most robust shapes. I have thrown this one in just in case you might want to do some DIY stencils. You may also use this file as a starting point for some CNC cut fancy trellis, however please do match pattern to the cutting method (ie. CNC, bolt cutter etc) and the material you intend to cut. -By overlaying Outlines & Fill (or Stencil & Fill) and manipulating those two layers you may get “more flat” or “more 3D” look. Have fun! Note: Please be aware that you may need to prepare those patterns in order to work with them in CAD-CAM or if you intend them for bolt cutter etc.

Ivy Tiles was designed as a set of 62 seamless, endless patterns accompanied by font map(s). They well might be a base for designing your own wallpapers, textiles, glass wall opaque foil privacy screens or even wooden fancy trellises - the choice is yours :) The font features simple, fancy, intricate patterns in three variants (Fill, Outlines and Stencil). - Outlines were designed with an idea of serving as an unobtrusive pattern on its own, or as a playful addition to the Fill pattern. - Fill pattern was designed to give more statement to Outlines, which in some cases may be too subtle for the job you have to be done. - Stencil has the most robust shapes. I have thrown this one in just in case you might want to do some DIY stencils. You may also use this file as a starting point for some CNC cut fancy trellis, however please do match pattern to the cutting method (ie. CNC, bolt cutter etc.) to the pattern and the material you intend to cut. -By overlaying Outlines & Fill (or Stencil & Fill) and manipulating those two layers you may get “more flat” or “more 3D” look. Have fun! Note: Please be aware that you may need to prepare those patterns in order to work with them in CAD-CAM or if you intend them for bolt cutter etc.