Introducing Archee™ - Display Sans Serif Font Archee™ is a typeface that inspired by modern architecture. Designed for screen and medium sizes. It has 3 different weights and this font also featured with ligatures. Archee cover more than 20 languages including russian and greek. **FEATURES** - Uppercase & Lowercase letters - Numbering and Punctuations - Ligatures - Multilingual Support - Works on PC or Mac - Simple Installation - Support Adobe Illustrator, Adobe Photoshop, Adobe InDesign, also works on Microsoft Word. **All images on the demo is just for preview purpose only and not actually included on the files** Hope you Like it. Thanks.

Zombie™ is a cute and playful whimsical font unlike a real Zombie. This monoline display face does not take itself too seriously and is at home in children's books, invitations, headlines or other decorative design projects.

Tronica Mono™ is a new stencil modular monospaced font designed with pixel taste and solid font style by Radinal Riki. Come in single weight, uppercase and lowercase with a character set that covers over 100 languages.

The original OCR B was designed for optical character recognition systems and was therefore monospaced. Designer Alexander Branczyk made a more typographically tuned and fitted version, with both regular and bold weights, and called it OCRBczyk™.

Medici Script is an elegant calligraphic script. The Medici Script font is ideal for use on invitations, greetings cards and business cards. Medici Script™ is a trademark of Linotype GmbH and may be registered in certain jurisdictions.

Original sanserif designed in 1962 for Fonderie Olive by the late Roger Excoffon. Excoffon achieves brilliant personal effects by calculated breaking of accepted design canons. Antique Olive™ font field guide including best practices, font pairings and alternatives.

Nort Mono™ is a tech-monospaced typeface with inktrap experiment and diagonal edges by Atk Studio. Created for tech display poster, informational video display, ads, and more. Come with single weight. This font covers over 67 languages.

Gungsuh™ features a mincho (serif) stroke style with proportional Latin characters. This Gungsuh font file is 6.9 MB in size. Gungsuh is a trademark of the Microsoft Corporation. Gungsuh Character Set: Latin 1, Korean code page 949

American graphic designer William Addison Dwiggins' (W.A.D. for short) first typefaces were the Metro family, designed from 1927 onward. The project grew out of Dwiggins' dissatisfaction with the new European sans serif typefaces of the day, such as Futura, Erbar, and Kabel, a feeling he expressed in his seminal book Layout in Advertising. Urged by Mergenthaler Linotype to create a solution for the problem, Dwiggins began a professional relationship that would span over the next few decades. The first Metro family typeface to be released was Metroblack, brought to market by Linotype in 1929 (Metroblack #2™ the only one of the two versions that Mergenthaler Linotype eventually put into production which is available in digital form). With more of a humanist quality than the geometric styles popular in Europe at the time, Dwiggins drew what he believed to be the ideal sans serif for headlines and advertising copy. Metroblack has a warmer character than the Modernists' achievements, and the type is full of mannered curves and angled terminals (Metroblack also has an astoundingly beautiful Q). The weights of the Metro family, Metromedium #2™ and Metrolite #2™, were each designed by Mergenthaler Linotype's design office under Dwiggins' supervision. In 2012 Toshi Omagari reworked the Metro family as "Metro Nova" with many weights into a modern type family that even contains the alternate characters from the origin Metro family from Dwiggins. Despite having been created more than three-quarters of a century ago, the Metro family types have aged well, and remain a popular sans serif family. Although spec'd less often than other bestsellers, like Futura, Metro continues to find many diverse uses. The typeface has appeared throughout Europe and the North America for decades in newspapers and magazines, and can even help create a great brand image when used in logos and corporate identity. Dwiggins ranks among the most influential graphic designers and typeface designers of the 20th Century. He has several other quality fonts in the Linotype portfolio, including the serif text faces Electra™ and New Caledonia™, as well as Caravan™, a font of typographic ornaments.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

GungsuhChe™ features a mincho (serif) stroke style with half-width Latin characters. This GungsuhChe font file is 6.9 MB in size. GungsuhChe is a trademark of the Microsoft Corporation. GungsuhChe Character Set: Latin 1, Korean code page 949

There is almost no other font that conveys a sense of speed better than the bold but dynamic letters of Titanium Motors™ by Steve Matteson. Use this headline font to create exciting software titles, logos and user interfaces.

A set of symbols was designed for ParaType in 2002 by Dmitry Kirsanov as a part of PT Mas d`Azil™ family. Based on the images on stones discovered in a prehistoric cave of Mas-d`Azil, France.

Moris™ is a family of modern sans serif typeface with simple and condensed proportions. Moris is recommended for publication, screen and Corporate use. This new font family includes nine weights with true italics, numeric tabular function and Opentype features.

BatangChe™ font features a mincho (serif) stroke style with half-width Latin characters. This BatangChe font file is 6.9 MB in size. BatangChe is a trademark of the Microsoft Corporation. BatangChe Character Set: Latin 1, Korean code page 949

Segoe™ Chess font is part of the Segoe family of fonts from Microsoft. The Segoe Chess font contains the chess figurines and symbols for creating chess diagrams. Segoe Chess was designed by Jim Ford and is a symbol-encoded font.

Glancing™ script typeface with bounce style designed by Ilham Nashrul Huda and published by Etcsupply. Glancing script typeface created inspired from lettering artist in social media. Glancing features: Glancing Vol 1 OTF Glancing Vol 2 OTF Glancing Swash OTF

BB Anonym™ (Std/Pro) is based on the research and realizations of the BB Noname™ Typeface and complements the font family with a rounded version. The idea and design are based on the principle of outsourcing and encryption: an intermediate step in the design process and production is inserted: "Designer, reseller, client". The process is not visible to the end user, but it affects the visual result. Compared to the sharp version, the font looks simpler and the craft and technical requirements are more complex. ● 3 Variants: designer, retailer, client ● 20 Stylistic-sets ● 17 Styles ● 39 OpenType features ● 93 Languages support ● 16,371 Glyphs (963/style)

As a spinoff to his Tagesstempel™ design, Georg John created Johnstemp™ in 2008. The Johnstemp family has four weights, as well as a special Mix" variant. Each of the basic fonts (Light, Medium, Bold, and Heavy) contain many alternate glyphs, allowing users to set text that realistically simulates stamped impressions. For even faster design, Johnstemp Mix is the perfect choice; it contains letters with far more stylistic and weight variation out-of-the-box, and was developed to create even livelier impressions. Here as well, many alternates are included in the character set to prevent too much repetition of the same glyphs. "

A great addition to every graphic designer's toolkit. Realest™ is a modern slab serif display font designed with mathematical precision. The entire typeface is crafted with consistent angles & measurements down to the smallest detail. It is built on mathematics. For this reason, it is a highly versatile display font, ideal for branding, logos, websites, ads, graphics, clothing & printable materials. What makes Realest™ stand out is its classy yet modern style. It could be classified as 'futuristic' (due to its square-shaped structure), yet the slab serif details add a touch of class that most futuristic fonts lack. This gives it a unique character, making it ready to perform well in a wide variety of creative projects. Features: • A unique fusion of Modern & Slab Serif styles. • Designed with mathematical precision. • The characters share the exact same dimensions (where possible). • Monospaced (with even spacing between characters). • Comes with a generous number of alternate glyphs & accented characters. • Available in both Regular & Extended (wide) styles. • Highly versatile Realest™ Extended is a completely free font that can be used in commercial projects.

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

Nyata™ — Clearly Visible, No Matter What. I love London for its finest visual branding, especially its Johnston typeface spreading all over the city. It inspired me to create this new font family: Nyata™. Nyata means clearly visible in Indonesian. The typeface is designed to be clean, unique, and legible. It is a great combination for any display requiring high legibility, such as city’s way finder. Long ascenders help some characters more obvious. You will never confuse wether it is an h or an n. Moreover, I tried to create all the letters are distinguishable. Of course, no time for people to doubt between Uppercase “I” and lowercase “l” when seeing a way finder. Last but not least, it is equipped with tons of OpenType features such as slashed zero to help the words more obvious, or stylistic sets if you don’t fancy the serifed uppercase I. Nyata™ is also delivered in Variable Font format. Enjoy all the styles and everything in between in one variable font only sized less than 150kb.

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

First inspired in a leaf from Missale Romanum ex Decreto Sanctrosancti Concilii Tridentinii Restitutum, printed by the Plantin Workshop at Antwerp in 1642, Musee was designed for booktext purposes and is very elegant and highly readable even in small sizes. Includes plenty of OpenType features, like SmallCaps, Alternates and Swashes.

PictiFont’s newest symbol set, intended to be used within any of the PictiFont™ typefaces, features a sampling of the seashore. From seashells to sailboats, surfboards to sunshine, here are the symbols you need to make all things summer a breeze! Sunscreen anyone?

Omnia is a single alphabet font based on the uncial hand. The humanist letterforms of the Omnia font make it a good choice to use for personal messages. Omnia™ is a trademark of Linotype GmbH and may be registered in certain jurisdictions.

HK Requisite™ is a sans serif typeface inspired by the compactness of Neue Haas Grotesk and the strong character of Akzidenz Grotesk. The name came from the fact that fonts are elements that are necessary for the achievement of a specified end.

Hustlers™ was inspired by carnival, circus and tattoo signs shop from the late 1800's. It works well with normal size text, but works even better for large displays, short words, or just to incorporate a few or single characters in a design.

Modeled on the writings chiseled in stone in the second century B.C., Syntax™ Lapidar is an energetic, spirited typeface designed by Hans Eduard Meier in 2000. Linotype Syntax Lapidar Text and Linotype Syntax Lapidar Serif Text have five weights each, with both cap and lowercase letterforms. Lapidar Display and Lapidar Serif Display also have five weights each, with mostly all cap letterforms and many alternates. It's a terrifically fun and inventive family, and if you look closely, you can see the resemblance to the more modern and restrained Syntax™ relatives. Great for menus, artist books, travelogues, or advertising - and if used very sparingly, it could add just the right element of lapidary significance to corporate documents.

Bozon™ is a modern, minimalist geometric grotesk typeface. Letter shapes are crafted with the highest care for proportions and legibility. This clean, sharp sans serif is a great choice for all kinds of modern projects including branding, logo design and display use. Bozon™ family consists of 10 weights with corresponding italic styles, that give total of 20 styles. Italic styles were hand drawn to get sharp and fine letter shapes. The family has extended language support, as well as broad number of OpenType features, such as small caps, case sensitive forms, ligatures, stylistic sets, contextual alternates, lining, oldstyle, tabular, circled and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Modeled on the writings chiseled in stone in the second century B.C., Syntax™ Lapidar is an energetic, spirited typeface designed by Hans Eduard Meier in 2000. Linotype Syntax Lapidar Text and Linotype Syntax Lapidar Serif Text have five weights each, with both cap and lowercase letterforms. Lapidar Display and Lapidar Serif Display also have five weights each, with mostly all cap letterforms and many alternates. It's a terrifically fun and inventive family, and if you look closely, you can see the resemblance to the more modern and restrained Syntax™ relatives. Great for menus, artist books, travelogues, or advertising - and if used very sparingly, it could add just the right element of lapidary significance to corporate documents.

Modeled on the writings chiseled in stone in the second century B.C., Syntax™ Lapidar is an energetic, spirited typeface designed by Hans Eduard Meier in 2000. Linotype Syntax Lapidar Text and Linotype Syntax Lapidar Serif Text have five weights each, with both cap and lowercase letterforms. Lapidar Display and Lapidar Serif Display also have five weights each, with mostly all cap letterforms and many alternates. It's a terrifically fun and inventive family, and if you look closely, you can see the resemblance to the more modern and restrained Syntax™ relatives. Great for menus, artist books, travelogues, or advertising - and if used very sparingly, it could add just the right element of lapidary significance to corporate documents.

«fj Trance™» is the first colaborative display typography of frncojonastype this 2020. «fj Trance™» is a display typography that characterizes. For having reverse contrast and play with the exaggeration of shapes and counterforms from the same typography. Conceptualized and designed originally by Jorge Morales Salas, produced by Franco Jonas Hernandez, collaborating Valentina Pino Faúndes and Rodrigo Araya Salas. Also, Greek and shadow variable version has been designed only available by his distributor of favorite typefaces :) • To exclusive licenses and to follow the develop of this project please visit frncojonas.com Learn about upcoming releases, work in progress and get to know us better! WB: frncojonas.com BE: beh.net/frncojonas TW: @frncojonas ING: @frnco.jonas