Rolf is a modern font of condensed typeface, Rolf is a narrow neutral geometric font designed for headlines and posters. The Italic weights are designed with high-quality compensation for all circles and strokes, made to combine rotalik techniques and details on each slope. Rolf has expanded Latin coverage to be ideal for Western, Central and Eastern European languages.

Bettrish is made to resemble scratchy quick hand writing, so it looks like a natural style like your own scribbles. Bettrish offers beautiful typographic harmony for a variety of design projects, including logos & branding, wedding designs, social media posts, advertisements, product designs, magazines and more. What's included? -Bettrish Regular (OTF) -Bettrish Italic (OTF) -Ligatures -Multilingual support

Querino Sans is an extra-bold sans-serif font, created by Måns Grebäck during 2018 and 2019. It comes as a regular, upright version and as italic. The font is multilingual and has an extensive range of glyphs; it supports all Latin-based European languages, contains numbers as well as all symbols and characters you'll ever need.

Cocota is a sans serif/display font. This font has a gentle and authoritative character. You can use this font to make banners, advertisements, websites, business cards, quotes, and more. The advantages of this font include features such as : Regular, Italic, All Caps, Stylistic Alternate. Cocota is the best choice for you. Don't hesitate to own it.

Creata is a sans serif typeface with a wide range of application. The font family contains 14 weights (7 straight with match italics). The overall design is neutral but some letters has pretty unusual appearance (for example @, &). Creata has its own personality, its own integrity and a unique voice. Recommended for corporate branding and editorial exercises.

Chella is a friendly display type family of 8 weights and matching italics. Chella has soft forms combined with some sharp edges. It includes swash capitals, end swashes for lowercases and a few options for ascenders and descenders. Chella is a great choice for package design, children's books and where ever you’ll need a playful and friendly font.

Rothek Stencil is a stencil type family based on our bestselling Rothek family. Rothek Stencil is highly legible, versatile and multilingual. • Ideal for graphic design, packaging, branding and signage • Unique stencilled letterforms • 23 Styles (11 Uprights, 11 Italics, 1 Variable Font) • 1000+ Characters per font • Extended Latin, Extended Cyrillic, and Vietnamese support • Versatile OpenType Features • Legible, versatile, and multifunctional

Sovage is a modern minimalist font style and clean feel. To help your creative work, Sovage comes with a regular version and an italic version and is perfect for mixing and matching your creative works harmoniously such as for magazine pictures, for wedding invitations, for branding, poster design, and many others. Sovage Features: Multilanguange PUA Encoded Alternates Ligatures.

Introducing Cendra, a cutting-edge typeface meticulously crafted to seamlessly blend functionality and personality into a harmonious masterpiece. Elevate your design projects with Cendra, boasting an impressive range of 8 weights, from the delicate Thin to the commanding Black. Embrace the synergy of upright and matching italics versions, ensuring your designs exude a dynamic and cohesive aesthetic.

Clinica Pro is a modern take on Swiss grotesques, with a little bit of an added personality. It features 8 weights, italics, 6 sets of figures, small caps and a bunch of ligatures. Still relatively neutral, it lets a brand stand out of the grotesque-crowded environment with support for multiple languages as well as Cyrillic script.

Codeworld is a geometrical sans serif font family (5 weight, italic and variable) It contains more than 800 characters including the Latin, Cyrillic and Greek alphabet. There are also 13 OpenType features (Superior; Inferior; Numerator; Denominator; Fraction ; Small Capital; Small Capitals from Capitals; Contextual Alternate; Case Sensitive; Access All Alternates; Stylistic Set; Standard Ligature; Discretionary Ligature).

Helsinki 2.0 is a completely updated version of our popular Helsinki typeface. We expanded the character set, changed the weight structure, and also added italics. Helsinki is inspired by the Finnish traffic sign typeface. It is based on geometric shapes, with technical and masculine forms. Helsinki is rather narrow, which makes it well suited to headlines and short text.

Introducing WINTER PEN - simple signature font - This font is great for branding, logo, signature, packaging, t-shirt design, social media and anything your project that need an elegant taste. It came with two styles : Regular and Italic. Features: Uppercase Lowercase Number & Punctuations Multilingual Support PUA Encoded Hope you love it Grab it fast... regards, Abo Daniel Studio

Inspired by the grotesque fonts of the 19th century, Parkson is a tall sans serif typeface of 7 weights along with italic and several outline versions. The contemporary typeface aims to be one of the world's best condensed collection of fonts. Designed for optimum legibility, its clean, geometric look is perfect for logotypes, headers, titles and brochures.

Futo Sans family is a modern & soft sans-serif family has 8 weights upright with matching italics. Its corners and shape give a soft feeling but straight strokes and solid structure make it strong. Each font includes opentype features such as Proportional Figures, Tabular Figures, Numerator, Superscript, Subscript, Case-Sensitive, Denominators, Scientific Inferiors, Ordinals, Ligatures and Fractions.

This delightful semiscript is based on an offering from a 1930s specimen book from the Mergenthaler Linotype Company, originally called, simply, "Card Italic". Elegant without being stuffy, it is equally “at home” announcing anything from formal occasions to casual get-togethers. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Codeworld Mono is geometrical and monospaced sans serif font family (include 5 weight, italic and variable) It contains more than 800 characters including the Latin, Cyrillic and Greek alphabet There are also 11 OpenType features (Superior; Inferior; Numerator; Denominator; Fraction; Small Capital; Small Capitals from Capitals; Contextual Alternate; Case Sensitive; Access All Alternates; Stylistic Set; Standard Ligature; Discretionary Ligature).

Schuss News Poster ist the very heavy headline font (titling/display/poster) of Schuss News. (No italic, no additional figures, no tabular figures, no small Caps, slyghtly different heights as the other font of the Schuss superfamily (Sans, Slab, News and Serif). The character set is different to the other styles. It is not developed for small text sizes.)

Saturator Serif FA is a younger brother of Saturator FA. It comes with upper and lower case letters and with diacritic characters for many Latin languages. Its informal and cheerful character allows for different creative ways of usage. This slab serif typeface is designed to accompany sans serif version. It has three variants: Regular, Italic and Shadow.

Introducing Pragnea, a modern sans serif font with a unique touch. It had many unique quirks such as its distinctive e, curved stroke on R, K, V, W, and many others. The type family consists of three weights plus matching italics. Packed with 300+ glyphs, it works well both for impactful headlines and for reading sizes.

Modal is a sans serif type family intended for corporate, editorial and web design. Each weight comes with around 800 glyphs and supports a large variety of features such as ligatures, small caps, figure sets, case sensitive glyphs and so on. With its two italics, Modal offers new possibilities for designers and creates an additional tool for distinct typography.

Proudly present newest elegant sans serif font, Gexo Sans font is the family font that has 5 weights and 5 italics. Gexo Sans designed for elegant and outstanding purposes for your project. This font is perfect for logotype, advertising poster, title, headline, publishing, text font, and etc. Gexo Sans is supporting multilingual more than 30 languages.

Lonie is sans serif font family (include 5 weight, italic and variable) It contains more than 1200 characters including the Latin, Cyrillic and Greek alphabet There are also 15 OpenType features (Superior; Inferior; Numerator; Denominator; Fraction; Tabular Lining; ;OldStyle Figure; Small Capital; Small Capitals from Capitals; Contextual Alternate; Case Sensitive; Ordinals; Access All Alternates; Stylistic Set).

Mushin is a typeface, that comes with 14 fonts, roman and the matching italics, which draws inspiration from the grotesques of the beginning of the 20th century. However, its humanistic details and endings, remove the coldness so characteristic of this style, making Mushin a typeface of lively and dynamic curves, which can be used for various purposes.

Chonky is a bold script font based on English calligraphy but with touches of the vitality that the commercial lettering of 1950s had, and it is mostly inspired in the work of the master Doyald Young and his lessons. Its rounded terminals, friendly look and heavy weight make Chonky a perfect option for advertising, packaging and visual identities. In the Regular font, the ascenders, descenders and capitals are the shorter they could be; while in Poster, they are larger, in order to achieve more graceful forms. Both options include stylistic sets and ligatures to embellish the words. Use professional software that widely support Open Type features. Otherwise, you may not have access to some glyphs. Keep the Standard Ligatures and Contextual Alternates features always active. For further information about features and alternates, see the User Guide Chonky has extensive Western, Central and Eastern European language support. Enjoy!

Forte e gentile, “strong and kind” is the motto of Abruzzo region located in central Italy on the Adriatic coast. As the region it’s named after, Abruzzo typeface is strong yet inviting with its sharp angular serifs and smooth transitions. Abruzzo is a display typeface with high contrast, large x-height and plenty of character. Abruzzo is equipped several OpenType features: Standard ligatures that take care of the collisions between f and other tall lowercase characters, and for more fun there is over 40 Discretionary ligatures including st, ch and plenty of more unconventional character combinations, such as fy, fr, rw, vi, and so on. See the full range in the specimen poster. On top of that Abruzzo has over 70 variants for the standard characters set in Swash, Stylistic and Titling Alternates. Abruzzo best used in stylish headlines, advertising, packages or as a logotype.

Gitan is a flared sans serif, reminiscent of engraving and stone carving. Sturdy and informal, the design features a moderate contrast that provides durability for text setting. Crisp design details like cuneiform head serifs and deeply cut wedge terminals give Gitan a sculptural appeal – a quality desired for all things display. Gitan’s expressiveness evokes the nuances of forms crafted directly in raw materials. The human touch provides vitality so often absent from purely mechanical designs. Pairing a rhythmic pattern with classic construction makes Gitan shine in text. Its natural look reflects a tangibility that thrives in wooden and rock-solid materials. Gitan’s habitat is at the crossroads of editorial and packaging work, grounded by a feeling of substance, but finished by an artisan’s handicraft. By nature, Gitan is flexible and willing to take risks.

This is a challenge for elegant but radical typography layouts. Standard styles include classic and sophisticated serifs, while italic styles are designed with more adventurous handwritten touches. This serif font family included a total of 14 styles, including 7 weights and separately created italics. It can be the best choice for a unique and meaningful logo and branding design, and it will maintain a refined sense of unity. You need to understand OpenType Features to use these fonts well. Please check first whether the your apps plan to use supports these OpenType Features. Thanks. OpenType Features Discretionary Ligatures : ac, ad, ai, ak, ar, ay, az, ce, ci, ck, co, de, do, dr, er, ft, he, ho, ng, ro, se, sp, te, to, tr Standard Ligatures : fi, fl Alternates : a, d, h, i, k, n, u, z Oldstyle Figures Tabular Figures Fractions

Dakota Motors is a bold script font. This retro font is expressive, and is constructed of sharp strokes and heavy letterforms. Use it for a cool logotype or headline to give your work that genuine look. Use underscore _ to make a swash. Example: Puch_ Use multiple underscores to make longer swashes. Example: RaceCar_____ (Download required.) The Dakota Motors family consists of four high-quality fonts: Regular, Italic, Bold and Bold Italic The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Please welcome the new grotesque family; slightly more geometric than Block Berthold but much softer than the industrial Din Next, Rockeby includes a lot of stylistic alternates and ligatures to help add character to any type of design. The slightly curved diagonal strokes give the sans serif fonts its unique personality and soft look. Even more - the family has two scripts (4 weights each) which will enhance the design even more. Combining italic with the script has never been easier - they both have the same italic angle. These scripts also benefit from contextual alternates, swashes and ligatures. And last but not least, the family also includes Extras fonts (which also have 4 weights) which can further enhance any design you are creating. There is an new addition to the family - Rockeby SemiSerif and Rockeby Brush families!

Introducing a fancy serif font with italics. Radilen Aveline is a series of elegant serif fonts that give traditional design elements a modern feel with their clean lines, smooth curves and sharp details making them suitable for a variety of your design projects making them ideal for titles, headlines, editorial designs, monograms, branding, logos, poster designs, and more. The regular Radilen Aveline has 47 Ligatures and 28 Alternatives. WHAT'S INCLUDED: Radilen Aveline Regular Radilen Aveline Italic We highly recommend using a program that supports OpenType features and Glyphs panels like Adobe apps and Corel Draw, so you can see and access all Glyph variations. This type of family has become the work of true love, making it as easy and fun as possible.I really hope you enjoy it! Thank you Enjoy the font and go get creative :)

Carl Gauss is a modern sans-serif font that combines geometric precision with the beauty of neo-classic design. Its clean lines and sleek appearance make it an excellent choice for logotypes, branding, and other projects that require a crisp, contemporary touch. The font's distinct elegance and attention to detail make it an attractive choice for a wide range of applications, from digital to print. Carl Gauss is designed to bring clarity and sophistication to your projects while maintaining a sense of warmth and approachability. The Carl Gauss font family includes eight high-quality styles to suit various design needs: Regular: A balanced, versatile style for everyday use Italic: Adds a touch of movement and expressiveness to the regular style Bold: A stronger, more assertive version for impactful designs Bold Italic: Combines the boldness of bold with the energy of italic Caps: An all-caps variant of the regular style for a more commanding presence The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Scrapyard Script is a bold, heavy font with a cool and funky vibe that captures the essence of street style and urban culture. Ideal for streetwear branding, concert posters, funky album covers, and other projects that require a cool, contemporary vibe, Scrapyard Script is a display font that adds an energetic, dynamic touch to your designs. Its unique style makes it a great choice for projects that need to stand out and make an impact. Use multiple _ ¤ # to make swashes of different lengths. Example: Rockstar____ (Download required.) The Scrapyard Script font family includes four high-quality styles to suit various design needs: Regular: A bold, paintbrush-inspired style with a youthful edge Italic: Adds a touch of movement and expressiveness to the regular style Bold: An even bolder and heavier presence for more impactful designs Bold Italic: Combines the assertiveness of bold with the energy of italic Built with advanced OpenType functionality, Scrapyard Script ensures top-notch quality and provides you with full control and customizability. It includes stylistic alternates, ligatures, and other features to make your designs truly unique. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Qualion™ is a modern geometric grotesk typeface with humanist and calligraphic inspirations. The base of design is a minimal geometric sans serif with subtle humanist touches. Letter shapes are crafted with the highest care for beautiful proportions and excellent legibility. Qualion™ is a sibling of Qualion Round™ & Qualion Text™ - type family adjusted to fit paragraph text and small sizes best (narrower width, greater contrast, larger ink traps and tapering, adjusted spacing and kerning & even more calligraphic, elegant true italics). This versatile sans serif is not only well suited to clean, minimal projects and text paragraphs, but it has lots of features making it perfect for branding, logo design and all kinds of display use. All fonts are packed with alternates, swashes, terminal forms and ligatures, which make Qualion™ a very original ornamental type great for posters and packaging design. Qualion™ family consists of 10 weights with corresponding oblique and true italic styles, that give total of 30 styles. Both Oblique and Italic styles were hand drawn to get sharp and fine letter shapes. It has extended language support, as well as broad number of OpenType features, such as small caps, case sensitive forms, standard and discretionary ligatures, swashes, terminal forms, stylistic sets, contextual alternates, lining, oldstyle, tabular and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Slowglass is a geometric semi-serif accompanied by geohumanist italics. Softly rounded edges lend it a friendly tone. The typeface includes two categories of stylistic alternates, available as font features as well as complementary font subfamilies. Text forms for increased legibility (Slowglass Text) and uncial-inspired unicase variants (Slowglass Alt). At over 1500 glyphs per weight, the fonts support 80+ Latin-based languages (incl. Vietnamese), 14 Cyrillic-based languages and polytonic Greek. OpenType features: Six sets of figures: proportional / tabular × oldstyle / lining / petite (ss20) Superscript and subscript figures Fractions, numerators, denominators Optional slashed zero Case-sensitive forms Glyph composition/decomposition (support for Navajo and Greek) Localization (Dutch, Marshallese, Bulgarian) Stylistic Sets: ss01 Roman: Two-story a, loopy α / Italic: Loopy α ss02 Roman: Simple g / Italic: Simple k ss03 Unicase r ss04 Alt f t г п т γ ss05 Descending η χ ss06 Unicase β ζ θ ξ ss07 Alt в г д ж з к п т ю ss08 Latinized ς, cursive и й ss09 Round Δ Λ Д д Л л Љ љ ss10 Full-stem a q ss11 Seriffed I ss12 Unicase A ss13 Unicase E Ω ss14 Descending F T Г П ss15 Descending G P Q Y ss16 Unicase M N И H Y ss17 Extending Φ Ψ ss20 Petite figures

The long awaited and much requested revival of Robert Hunter Middleton's very popular classic is finally here. Mayfair Cursive was an instant hit for Middleton in 1932, and it went on being used widely until late into the 1970s, in spite of it never having crossed over to film type technology. Like a few of its contemporary designs, most notably the work of Lucien Bernhard, Mayfair is a formal script that is somewhat based on traditional italic forms with swash uppercase, but also employs subsidiary hairline strokes in some of its lowercase as an emphasis to the script's cursive traits. Why these gorgeous letters never made the leap into photo typesetting is a mystery to us. But here they are now in digital form, almost three quarters of a century since they first saw the light in metal. Mayfair was redrawn from original 48 pt specimen. It also underwent a major expansion of character set. Plenty of swash characters and ligatures were added. An alternate set of lowercase was also made, in order to give the user a choice between connected and disconnected variations of the same elegant script. Mayfair ships in all popular font formats. While the Postscript Type 1 and True Type versions come in two fonts (Mayfair and Mayfair Alt), the OpenType version is a single font containing all the extra characters in conveniently programmed features that are easily accessible by OpenType-supporting software applications. We are quite sure today's graphic designers will be appreciative of having access to the face that all but defined menus, romance covers, wine and liquor labels and chocolate boxes for almost two 20th century generations.

Monotalic was created as a fun experiment, exploring better solutions for the monospaced type design. Most monospaced (fixed-width) typefaces have the same main design problem regarding the lowercase – filling the empty space around l, f, i, j and r. That usually brings the addition of slab serifs to those narrow characters, causing many monospaced fonts to look and feel alike. Monotalic solves that problem by adopting the handwritten (or cursive) form for those problematic characters, which allows them to be defined in more strokes, thus getting a better distribution of form in that fixed-width space. On the other hand, cursive writing usually lacks the legibility of a Roman (Regular upright) style, so Monotalic was created to be a hybrid, taking the best of both worlds. Monospaced fonts today are mostly used for coding. Modern code editors use colored text in order to differentiate between different kinds of code. So, in that environment there’s actually no need for traditional text styling by adding Italics, Bold or other styles, because the code lines are overstated as it is. That is why Monotalic focuses on one style only, in three widths and four weights. The weights allow users to choose the perfect contrast of text on screen, depending on their monitor resolution and background color in the editor. Movie scripts are almost exclusively set in 12pt Courier. It became the industry standard because when set in the specific “screenplay format" it helps with the breakdown of the schedule and budgeting process of the film production. Although it looks completely different, text set in Monotalic (Normal width) will take the same amount of space as Courier.

In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design of a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for books. A number of parameters needed to be considered, including the pressure of the printing presses and the quality of the thin newspaper ink that would have smothered any delicate strokes. Rough drafts of type designs for the competition were submitted by Vratislav Hejzl, Stanislav Marso, Frantisek Novak, Frantisek Panek, Jiri Petr, Jindrich Posekany, and the team of Stanislav Duda, Karel Misek and Josef Tyfa. The committee published its comments and corrections of the designs, and asked the designers to draw the final drafts. The winner was unambiguous — the members of the committee unanimously agreed to award Stanislav Marso’s design the first prize. His typeface was cast by Grafotechna (a state-owned enterprise) for setting with line-composing machines and also in larger sizes for hand-setting. Regular, bold, and bold condensed cuts were produced, and the face was named Public. In 2003 we decided to digitise the typeface. Drawings of the regular and italic cuts at the size of approximatively 3,5 cicero (43 pt) were used as templates for scanning. Those originals covered the complete set of caps except for the U, the lowercase, numerals, and sloped ampersand. The bold and condensed bold cuts were found in an original specimen book of the Rude Pravo newspaper printing press. These specimens included a dot, acute, colon, semicolon, hyphens, exclamation and question marks, asterisk, parentheses, square brackets, cross, section sign, and ampersand. After the regular cut was drafted, we began to modify it. All the uppercase letters were fine-tuned, the crossbar of the A was raised, E, F, and H were narrowed, L and R were significantly broadened, and the angle of the leg and arm of the K were adjusted. The vertex of the M now rests on the baseline, making the glyph broader. The apex of the N is narrower, resulting in a more regular glyph. The tail of Q was made more decorative; the uppercase S lost its implied serifs. The lowercase ascenders and descenders were slightly extended. Corrections on the lower case a were more significant, its waist being lowered in order to improve its colour and light. The top of the f was redrawn, the loop of lowercase g now has a squarer character. The diagonals of the lowercase k were harmonised with the uppercase K. The t has a more open and longer terminal, and the tail of the y matches its overall construction. Numerals are generally better proportioned. Italics have been thoroughly redrawn, and in general their slope is lessened by approximatively 2–3 degrees. The italic upper case is more consistent with the regular cut. Unlike the original, the tail of the K is not curved, and the Z is not calligraphic. The italic lower case is even further removed from the original. This concerns specifically the bottom finials of the c and e, the top of the f, the descender of the j, the serif of the k, a heavier ear on the r, a more open t, a broader v and w, a different x, and, again, a non-calligraphic z. Originally the bold cut conformed even more to the superellipse shape than the regular one, since all the glyphs had to be fitted to the same width. We have redrawn the bold cut to provide a better match with the regular. This means its shapes have become generally broader, also noticeably darker. Medium and Semibold weights were also interpolated, with a colour similar to the original bold cut. The condensed variants’ width is 85 percent of the original. The design of the Bold Condensed weights was optimised for the setting of headlines, while the lighter ones are suited for normal condensed settings. All the OpenType fonts include small caps, numerals, fractions, ligatures, and expert glyphs, conforming to the Suitcase Standard set. Over half a century of consistent quality ensures perfect legibility even in adverse printing conditions and on poor quality paper. RePublic is an exquisite newspaper and magazine type, which is equally well suited as a contemporary book face.