Marsden is a bold, no-nonsense Grotesque. It was designed for display, branding, advertising, packaging or anywhere a strong voice is needed. Marsden is built on a geometric foundation, with just enough warmth to keep the style confident and lively. The family features 8 widths in 12 weights; from a Slim Hairline to an extremely bold Wide Super. The fonts flow from condensed to wide with design intent. The condensed forms feature flat sides and subtle curves, while the wider forms feature rounded sides and open curves. The character set is robust, covering extended latin. The default forms are contemporary with alternates including: single-story a, two-story g, curved terminal l, raised vertex M, rounded top A, fully rounded G, rounded leg R, straight tail Q and straight descender y, all separated into individual style sets for control and customization. Completing the family are the Text fonts where the weights, widths and spacing are adjusted for smaller use.

Brecksville is a condensed grotesk typeface that takes inspiration from early German designs of the mid-19th century. It was designed as part of my current research into grotesk typefaces and different letterforms, as part of my dissertation research, “Perfected Letters: German Grotesk in the Nineteenth Century”, which focuses on the role of German design in typography. The Brecksville font family provides a wide range of weights, ranging from light to bold for both its rounded display style and more rugged sharp style. Both its styles feature the same horizontal proportions and metrics so they can freely be combined with no spacing issues. Brecksville's visually punchy condensed style and sharp edges, allows it to stand out on the screen – at almost any size. Its black composition also brings out the details needed in magazine and tabloid headlines, while maintaining readability throughout. The rounded display version is ideal for posters and other uses where you want something eye catching but not too hard on the eyes.

Univa Nova is a beautiful minimalist typeface with masterclass design and outstanding usability features. The typeface is inspired by some of the original Swiss design-based branding projects. Univa Nova is a perfect choice for graphic design, text presentation, web design, print and display use. The typeface can be an amazing option for beautiful branding, logo / logotype design projects, marketing graphics, banners, posters, signage, corporate identities as well as editorial design. Adding extra letter-spacing for the Caps will make this font perfect for minimal headlines and logotypes as shown in promo images here. The typeface is specially handmade with great OpenType features in mind, each weight includes extended language support including Western European & Central European sets. A total of 306 glyphs are included. Univa Nova typeface comes with a total of 16 fonts having 8 weights (Hairline / Thin / Light / Regular / Medium / SemiBold / Bold / Heavy as well as Italic versions of each weights.

Homage to 70s phototype typography in 3 styles The AW Conqueror typeface family is a nod to the spirit of phototype typefaces and transfer lettering from the early 70’s. Founded by Ed Rondthaler, Photo-lettering catalogs swarmed with more daring typefaces than the others. Both transfer letter and phototitling have liberated the principle of letter-to-letter spacing, previously impossible with metal type. Phototype allowed operators to position millimeters, on the fly, letter after letter: words, sentences according to the specifications of the art director. AW Conqueror superfamily AW Conqueror Didot is part of a larger family, who include 4 others subfamilies with great potential: They’re but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skilful to beginner. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast. Club des directeurs artistiques Prix 2010 European Design Awards 2011

Orchidea Pro is a typeface balancing on the verge of sans and serif. Called a stressed sans or a serifless serif, it does not feature any serifs, but resembles a serif typeface by build, and features unilateral nibs that speed up the reading and create a particular distinction in the form. Such solution results in a contemporary-looking yet elegant type, virtually unique in texture, that exists in the same stylistic space as flared serif families. Orchidea Pro will fit particularly well for use in magazines of any theme, as well as in branding for beauty-related products. The typeface comes in 8 weights + corresponding real italics, each supporting numerous Latin-based languages as well as major Cyrillic languages. It is packed with OpenType features like ligatures, small caps, 5 sets of digits, 4 stylistic sets in romans and 1 in italics, superiors and inferiors, fractions, ordinals, respective punctuation varieties including all-cap punctuation, as well as language-specific alternates.

Pasto is a fun and charming display type family of two styles with four weights each. 'Print' is a textured irregular stamp style, and 'Sharp' is a straightforward soft-edged type with clean strokes. It is clean, playful, and expressive, with a lightweight structure and fairly aired inner space. Pasto is perfect for display use and intended for medium and large settings. Still, it can be used in smaller point sizes for short sentences or words, providing a softer, delicate look. Pasto has three alternating alphabets that slightly differ from one another. Thanks to the Contextual Alternates, these alphabets are automatically replaced to avoid the same letterforms and textures appearing next to each other, creating a more spontaneous look when typing. This OT Feature is available for all the Sharp and Print styles. Some of Pasto's features are ligatures, stylistic alternates, numerators, fractions, special characters, currency symbols, and a glyph coverage that ensures extended language support.

A typeface with lightly-worn futurism, Sagittarius is equally at home among the beauty and wellness aisles, or the coils of the warp core. The Sagittarius typeface was designed by Jonathan Hoefler in 2021. A decorative adaptation of Hoefler’s Peristyle typeface (2017), Sagittarius’s rounded corners and streamlined shapes recall the digital aesthetic of the first alphabets designed for machine reading, a style that survives as a cheeky Space Age invocation of futurism. Sagittarius was created for The Historical Dictionary of Science Fiction, where it first appeared in 2021. From the desk of the designer: Typeface designers spend a lot of time chasing down strange valences. We try to figure out what’s producing that whiff of Art Deco, or that vaguely militaristic air, or what’s making a once solemn typeface suddenly feel tongue-in-cheek. If we can identify the source of these qualities, we can cultivate them, and change the direction of the design; more often, we just extinguish them without mercy. Sometimes, we get the chance to follow a third path, which is how we arrived at Sagittarius. During the development of Peristyle, our family of compact, high-contrast sans serifs, I often found myself unwittingly humming space-age pop songs. Nothing about Peristyle’s chic and elegant letterforms suggested the deadpan romp of “The Planet Plan” by United Future Organization, let alone “Music To Watch Space Girls By” from the ill-advised (but delicious) Leonard Nimoy Presents Mr. Spock’s Music from Outer Space, but there they were. Something in the fonts was provoking an afterimage of the otherworldly, as if the typeface was sliding in and out of a parallel universe of high-tech spycraft and low-tech brawls with rubber-masked aliens. It might have had something to do with a new eyeglass prescription. But I liked the effect, and started thinking about creating an alternate, space-age version of the typeface, one with a little more funk, and a lot more fun. I wondered if softer edges, a measured dose of seventies retrofuturism, and some proper draftsmanship might produce a typeface not only suitable for sci-fi potboilers, but for more serious projects, too: why not a line of skin care products, a fitness system, a high-end digital camera, or a music festival? I put a pin in the idea, wondering if there’d ever be a project that called for equal parts sobriety and fantasy. And almost immediately, exactly such a project appeared. The Historical Dictionary of Science Fiction Jesse Sheidlower is a lexicographer, a former Editor at Large for the Oxford English Dictionary, and a longtime friend. He’s someone who takes equal pleasure in the words ‘usufructuary’ and ‘megaboss,’ and therefore a welcome collaborator for the typeface designer whose love of the Flemish baroque is matched by a fondness for alphabets made of logs. Jesse was preparing to launch The Historical Dictionary of Science Fiction, a comprehensive online resource dedicated to the terminology of the genre, whose combination of scholarship and joy was a perfect fit for the typeface I imagined. For linguists, there’d be well-researched citations to explain how the hitherto uninvented ‘force field’ and ‘warp speed’ came to enter the lexicon. For science fiction fans, there’d be definitive (and sometimes surprising) histories of the argot of Stars both Trek and Wars. And for everyone, there’d be the pleasure of discovering science fiction’s less enduring contributions, from ‘saucerman’ to ‘braintape,’ each ripe for a comeback. A moderated, crowdsourced project, the dictionary is now online and growing every day. You’ll find it dressed in three font families from H&Co: Whitney ScreenSmart for its text, Decimal for its navigational icons, and Sagittarius for its headlines — with some of the font’s more fantastical alternate characters turned on. The New Typeface Sagittarius is a typeface whose rounded corners and streamlined forms give it a romantically scientific voice. In the interest of versatility, its letterforms make only oblique references to specific technologies, helping the typeface remain open to interpretation. But for projects that need the full-throated voice of science fiction, a few sets of digital accessories are included, which designers can introduce at their own discretion. There are alternate letters with futuristic pedigrees, from the barless A popularized by Danne & Blackburn’s 1975 ‘worm’ logo for NASA, to a disconnected K recalling the 1968 RCA logo by Lippincott & Margulies. A collection of digitally-inspired symbols are included for decorative use, from the evocative MICR symbols of electronic banking, to the obligatory barcodes that forever haunt human–machine interactions. More widely applicable are the font’s arrows and manicules, and the automatic substitutions that resolve thirty-four awkward combinations of letters with streamlined ligatures. About the Name Sagittarius is one of thirteen constellations of the zodiac, and home to some of astronomy’s most inspiring discoveries. In 1977, a powerful radio signal originating in the Sagittarius constellation was considered by many to be the most compelling recorded evidence of extraterrestrial life. Thanks to an astronomer’s enthusiastically penned comment, the 72-second transmission became known as the Wow! signal, and it galvanized support for one of science’s most affecting projects, the Search for Extraterrestrial Intelligence (SETI). More recently, Sagittarius has been identified as the location of a staggering celestial discovery: a supermassive black hole, some 44 million kilometers in diameter, in the Galactic Center of the Milky Way. <

The signs of the Bosnian pyramids The pyramid researcher, Semir Osmanagic, began excavations in 2005 in Visoko, Bosnia, 30 km North from Sarajevo. Mr. Senad Hodocic, the curator at the local museum, pointed out at the pyramidal shape of the Visocica Mountain, which grabbed Osmanagic's attention. It is also suspected that the four adjacent hills, covered by plants and greenery, also hide the pyramids. The main sites of the excavations are called the Pyramid of the Sun and the Pyramid of the Moon, and the results achieved so far have already proved that those structures are man-made and artificial. The Pyramid of the Sun is bigger and older than the pyramid in Giza, which was built by Pharaoh Cheops 4600 years ago. Gábor Szakács, who went to the site in June 2006 for the first time, found the symbols on the megalithic blocks inside the tunnel of the Pyramid of the Sun, which correspond to the ancient Hungarian runic writings. Further information about the Bosnian Pyramids is available at the website http://www.piramidasunca.ba/. There are also researchers who do not accept the subject of the Bosnian pyramids. Time will tell the truth.

This font began its life as a project to design a T-shirt for a student group on a large midwestern university. It has now grown up into a unicode font, including Greek and Cyrillic. It has that look and feel of the T-shirts that are ubiquitous on the campuses of colleges and universities over the world. It would make an ideal tool for designing them, as well as posters and banners. Characters in these fonts include Latin, for English and other European languages; small a and c for names like MacDonald; many fractions, including 0/3 needed in baseball; Latin with diacritical marks for Eastern and Western European, Turkish, and Baltic languages; thorn, eth, cedilla, AE, OE, and sharp S for French, German, Icelandic; Latin extensions for clicks of some African languages; Greek (with tonos); Cyrillic for Russian and many other Slavic and Asian languages that use it; most Runes (the full Futhark plus a few more); six-point Brialle; currency symbols for dollar, cent, pound, yen, euro; and a few other extras like the peace sign. Available styles are regular block letters, outlines, and bold.

Except doodling on your notebook, what a better occupation would you have while the teacher tries to explain physics on the blackboard ? Create an awesome font ? Mathias is a font created in class by a lazy designer named Mathias. The result is one of the most complete font made by Bisou. Mathias font is retro. It will catch the attention of the reader in a blink of an eye. Exclusively recommended for titles, this bold font will suite perfectly your company name on a big truck, your old school car spare parts sign, the logo for a brand of cigarettes, alcoholics or shoe polish.

Dx Gaster is a high-contrast Serif family with a strong impact and elegant typeface. Dx Gaster offers a wide variety of combinations for you to create with. Dx Gasters multiple alternates and swashes can add extra spice to your designs. A Strong sharp typeface specially designed for beautiful titles. Dx Gaster comes with elegant style, strength, and contrasts, with features an extended Latin character set of 404 glyphs covering over 86 languages. Casta is ready to be like a top model on the design catwalk, making your projects look classic but contemporary, finely tuned but assertive, and elegant as the best luxury fashion.

CA Cape Rock, first released in 2007 and now reissued and expanded, is an impressive display typeface. Designed with a fat Clarendon and wood type in mind, the typeface’s bold and distinctive forms add spice and personality to any design that requires a strong display aesthetic. CA Cape Rock is particularly enjoyable for use in headlines and ideal for highlighted text. With already two dozen existing ligatures and many OpenType swashes, the new edition also received letters for use in the Central European and South Eastern European area. Cleaned and harmonized paths, a completely new kerning as well as a newly added Italic (Slanted) style are also among the new features.

Gentleman font is a sans-serif font family of 10 weights – from hairline to black – designed by Juraj Chrastina. It is a legible typeface with clear geometry and spiced with nice humanist terminals enhancing its identity. We think Gentleman name suits perfectly to this family because of its beautiful outlines and elegant letterforms yet looking tight, compact and with own presence. Gentleman is surely a good choice both for screen applications and print media. Its multipurpose spreads over poster design, logos, headlines, body texts, stationery and back labels. Also very good for books, magazines and newspapers – an excellent choice even for small text size.

Roswell was designed by Jim Parkinson, who acknowledges the 'spacey' ancestry of its name. Yes, Roswell, New Mexico. There was a big anniversary of 'the incident' in the news while I was designing in Roswell. "The incident" is of course the alleged UFO crash in Roswell. "I thought the name was acceptable as a serious font name, while, on another level, having a strangely humorous edge," says Parkinson. Roswell looks great in large sizes on a poster or in a magazine layout. It started out as "a variation on American gothic forms like Railroad Gothic", says the designer, but Roswell is an original design with eccentricities of its own."

So I made five rather odd characters for a logo for a friend… Then I thought I'd fill a couple of spare hours expanding it to a single alphabet… And some considerable time later I ended up with a whole font with full punctuation, a bunch of alternates, pretty broad international support and some OpenType features to keep things varied… There are elements of Art Deco, Art Nouveau, Lego, circuit boards and Ceefax, Memphis lamps and lab clamps, hieroglyphs, googly eyes and who knows what else… Intricate, insane, highly irregular, but somehow it hangs together… Throw down a few letters nice and big when the fancy takes you…

Razumec is a carefully crafted display serif typeface with a highly unique personality. Its epic yet warm sentiment is established by a skillful blend of slab and wedge serifs, tapered stems, curves with raised center, and creative weight distribution. Proper pronunciation of these style elements influenced wide proportions and medium-to-high contrast. Besides its main typology, it incorporates subtle allusions to a spectrum of typographic and visual traditions, from calligraphy, ordinary handwriting, blackletter, and medieval uncial script to the neoclassical Didone and industrial typefaces. All of these flavors are combined tastefully and consistently throughout the whole set. With its rich visual identity, Razumec is primarily intended for display usage, as shown in the promo images. It's perfect for branding and packaging. Fantastic for projects focusing on storytelling like fairy tales, epic fantasy books, board and video games with historic or adventurous themes. Superb for theme magazines, quotes, headlines, museum and concert brochures. On the other side, its authentic historical voice works great as a strong counterpart point in ultra-modern contemporary designs for print and screen. Web design, motion graphics, conceptual art, posters, and social media material are just the first few ideas. The laborious production process focused on achieving a high level of classical typographic virtues rather than having an extensive character set. Beautiful stylistically consistent characters with balanced weight and width, high-quality curves, meticulous spacing and kerning, well-articulated diacritics, and punctuation were priorities. Special attention is given to solving problematic letter pairs through contextual alternates, which enable better spacing and smooth joints (hence the recommendation to always keep the Contextual alternates feature on for this font. Learn more about it HERE). Razumec is a small but well-executed and thoroughly tested font. Font family comprises nine weights plus variable font.* * Variable font lets you access all the weights through the single font file. In apps that support it, you will find a slider where you can pick any number from 100 to 900 corresponding to 800 possible font weights. Learn more about variable fonts and their support on the following two links: VF ABOUT and VF SUPPORT.

A type designed in a grid, like on display panels Type is not only printed. There were always and still are a number of forms of type versions which function completely differently. Even very early in the history of script there were attempts to combine a few single elements into the diverse forms of individual characters and also efforts to construct the forms of letters within a geometric grid system. The “instructions” of Albrecht Dürer are probably most well-known. But although designers of past centuries assumed the ideal to basically be an artist’s handwritten script, the idea which developed in the course of mechanization was to “build” characters in a building block system only by stringing together one basic element — the so-called grid type was discovered, represented most commonly today by »pixel types.« But even before computers, there were display systems which presented types with the help of a mechanical grid display, like the display panels in public transportation (bus, train) or at airports and train stations. In a streetcar, I met up with a modern variation of this display which reveals the name of each tram stop as it is approached. This system was based on a customary coarse square grid, but the individual squares were also divided again diagonally in four triangles. In this way it is possible to display slants and to simulate round forms more accurately as with only squares. The displayed characters still aren’t comparable to a decent typeface — on the contrary, the lower case letters are surprisingly ugly — but they form a much more legible type than that of ordinary [quadrate] grid types. DeDisplay from ingoFonts is this kind of type, constructed from tiny triangles which are in turn grouped in small squares. The stem widths are formed by two squares; the height of upper case characters is 10, the x-height 7 squares. DeDisplay is available in three versions: DeDisplay 1 is the complex original with spaces between the triangles, DeDisplay 2 forgoes dividing the triangles and thus appears somewhat darker or “bold,” and DeDisplay 3 is to some extent the “black” and doesn’t even include spaces between the individual squares.

Albertina was a typeface ahead of its time. It was in the early 1960s when designer Chris Brand, an accomplished calligrapher, aspired to draw a typeface based on the principles of calligraphy. Unfortunately, typesetting machines of that era put many restrictions on designers. Characters had to be drawn within a very coarse grid, which also defined their spacing. Technological limitations meant that italic designs often had to share the same character widths as the romans. Designers were forced to draw italic faces much wider and with more open spacing than what would be typical in calligraphic lettering or hand-set type. Not surprisingly, production of the first Albertina fonts went very slowly. Brand would submit his character drawings, and the Monotype Drawing Office would modify them to be compatible with the company's typesetting equipment. The new drawings would then be sent back to Brand for approval or rework. Most were reworked. The process took so long, in fact, that by the time the face was completed it was once again out of phase with the times: instead of being released as metal type for the Monotype composing machines it had been tailored for, Albertina debuted as phototype fonts for the Monophoto typesetter. The design's first use was for a catalog of the work of Stanley Morison, exhibited at the Albertina Library in Brussels in 1966. Sales of the design were not remarkable. With the advent of digital type technology, Albertina's story took a far happier turn. Frank E. Blokland, of the Dutch Type Library, used Brand's original, uncompromised drawings as the foundation of a digital revival. The Monophoto version had taken a considerable battering from the limitations of Monotype's unit system," recalls Blokland, "but there was no need for me to incorporate these restrictions in the digital version." With the full backing of Monotype and original designer Brand looking over Blokland's shoulder, a new design for Albertina emerged, displaying all the grace and verve of Brand's original drawings. The basic family drawn by Brand also grew into three weights, each with an italic complement and a suite of small caps and old style figures."

The key words for this font are taste, elegance, storytelling, and a little bit of dynamism. HIGH TABLE family have exquisite details and great quality. We believe that only high quality and unique details can move people more than exaggerated shapes. Fonts are so powerful, they tell a moving story. The PACE typeface was chosen to tell a story quietly but with dynamism. Readers are delighted and relaxed when they see this font family, and colleagues read the story with respect. A brand needs a story, and a brand’s story needs the most appropriate font to carry it.

Grotesque sans typefaces: you know you won’t ever get tired of those. And any moment you decide that Vignelli was right and one Swiss font is enough, here comes a new specimen from the past inviting you to try new takes on the modernist letterforms. It's a tight and crowded design space, so design decisions are subtle and almost unnoticeable. Whoever you decide to be in the details - either God or the Devil - you surely need a taste for the infinitesimal to work with these shapes. Time design borders sandstoning shapes, in a delicate equilibrium between modernist precise ideals and the fascinating energy of old lead grotesques. The resulting typeface develops around an idiosyncratic relationship with negative space, inspired by the tight metrics modernist designers imposed on their layouts. Leaving a text optimised spacing to the text subfamily, Milligram plays with a feeling of attraction behind shapes, something brought to the extremes in the logo-oriented Milligram Macro Variant. Designed by Cosimo Lorenzo Pancini with Andrea Tartarelli, Milligram is a fine but bold homage to the Akzidenz Grotesk that never was. • Suggested uses: Milligram is a versatile type family: perfect for modern branding and logo design (Milligram Macro), for text and editorial design (Milligram Text), web design, packaging and countless other projects; • 36 styles: 7 weights + 7 italics x 3 different styles + 2 variable fonts; • 759 glyphs in each weight; • Useful OpenType features: Access All Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Scientific Inferiors, 5 Stylistic Sets, Subscript, Superscript, Tabular Figures, Slashed Zero; • 207 languages supported (extended Latin and Cyrillic alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Turkish, Italian, Polish, Afaan Oromo, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Latvian, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), M?ori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Sami (Inari Sami), Yindjibarndi, Noongar, Hotc?k (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Slovio (Latin), Volapük.

jpAlva is a technical and functional sans-serif that consists of 40 typefaces, divided in 2 font families jpAlva and jpAlva Extended. A universal family of typefaces that fits pretty much any purpose. It illustrates a precise balance of modern geometrics, with a functional yet sparing style that effectively communicates without distraction. A straightforward, unadorned appearance with efficient construction. Simple, clean with a technical note and a wide range of styles it is perfectly suitable for a wide range of applications, from identity systems to editorial design, from signage systems to software applications. Designed with powerful OpenType features (e.g. figure sets, fractions, ligatures, case sensitive forms) and extended language support, it is easy and enjoyable to use.

jpAlva is a technical and functional sans-serif that consists of 40 typefaces, divided in 2 font families jpAlva and jpAlva Extended. A universal family of typefaces that fits pretty much any purpose. It illustrates a precise balance of modern geometrics, with a functional yet sparing style that effectively communicates without distraction. A straightforward, unadorned appearance with efficient construction. Simple, clean with a technical note and a wide range of styles it is perfectly suitable for a wide range of applications, from identity systems to editorial design, from signage systems to software applications. Designed with powerful OpenType features (e.g. figure sets, fractions, ligatures, case sensitive forms) and extended language support, it is easy and enjoyable to use.

Belle Helene is a script and symbols font based on handwritten brush letters. The name is inspired by the famous french dessert with the same name (wine cooked pears with vanilla ice cream and chocolate syrup). This soft and smooth shaped font is suitable for restaurants, cafes, shops, bakeries, menus, wedding stationary or wherever a warm and informal feeling is required. It comes with open type features such as standard ligatures and alternate end/initial letters. The symbols font has 62 cute symbols to play around with to spice up your designs. Multilingual support is included for almost all European languages (Diacriticals). Please Note! Test the font in the Font Preview before purchase.

Silvan Kaesar designed Seedbad after observing the unique sign lettering along the shores of Lake Geneva's bathing area. Seebad's four different settings represent the cutting edge new style of Swiss design, which spans the bridge between modern and contemporary. Containing geometrically forms, Seebad has a narrow base. Some characters (the lowercase t", for example) display unicase, even uncial-like tendencies. If you are looking for a face to spice up your layouts with an ultra-modern, cutting-edge flair, while not sacrificing copy length, Seebad is the face for you! The four fonts making up the Seebad family are all included in the Take Type 5 collection, released by Linotype GmbH in 2003."

ATHYRKI is a bold serif font inspired by the evolving world of sports that has recently expanded into digital verse. ATHYRKI’s round and sharp appearance represent its unified nature, equipped with different alternate and ligature features, this font displays its modern mixed style. Accented fonts with the ability to spice up your project for that extra flair to the visuals. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

You think swirls, swashes and curls are kitsch? Wait till you've seen our self-confident set of uncomplicated hand-drawn ornaments. If you're looking for the right flourish to spice up your greeting cards or prettify your wedding invitations, look no further! With LiebeOrnaments your designs will look as accurate as if you had spent three weeks in calligraphy boot camp—while maintaining an aura of softness and loveliness. This single font includes an impressive set of almost 200 variations on classical ornaments (many accessible directly with the keyboard). LiebeOrnaments is the perfect companion for our best-selling typeface LiebeErika, which has a cameo appearance on some of the samples shown above.

The Arabetic Sans Serif type family follows the guidelines of the Mutamathil type style but also illustrates the effects of adding and removing Latin-like serifs on Arabetic scripts legibility. It has only one glyph for every basic Arabic Unicode character or letter as defined in Unicode Standards version 5.1. Arabetic Sans Serif employs variable x-height values. It includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph’s isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Arabetic Sans Serif family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. Fonts are available in regular, italic, bold, and bold italic styles.

Das Grotesk was inspired by earlier nineteenth-century grotesques, but it is much more related to American gothic designs such as those by M.F. Benton. Due to their pure geometric structure, most grotesque typefaces tend to have a rather monotonous and lifeless appearance, thus failing to express the ideals of the modern creed. Das Grotesk on the other hand is a lively design with several distinguishable characteristics which attract attention when set at large sizes, whilst they become subtle and blend evenly at small sizes, fostering a neutral identity. This is a very legible and space-saving typeface with a narrow structure. It was designed with slanted curved ends and sheared terminals applied on several straight strokes. It has two-storey ‘a’ and ‘g’ but includes single-storey alternates. The family consists of 14 weights ranging from Extra Thin to Black (including true-italics). It provides simultaneous support for Latin, Cyrillic and Greek and is loaded with several advanced typographic features such as small caps. Download its complehensive PDF Specimen Manual for further details.

The original Swift (1985) proved its worth in corporate identities, magazines and newspapers and occasionally in books. It is a versatile type and can be used in a wide range of circumstances. It is a striking type, with large serifs, large counters and letters that produce a particularly strong horizontal impression. This means that words and lines in Neue Swift are easily distinguished, even where there are large spaces between words, as can occur in newsprint. Neue Swift's large, robust counters were designed to improve legibility particularly in newspapers. It was designed in the early eighties, when papers were less well printed than they are today, and its special features help it survive on grey, rough paper printed on fast rotary presses. Today it is used more often outside newspapers than in them. Neue Swift (2009) is the newest version of the Swift concept. It has been improved by technical and aesthetic enhancements, and has been expanded into a family of twelve variants. Featured in: Best Fonts for Logos, Best Fonts for Websites, Best Fonts for PowerPoints

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.

Milton Glaser commented about this type family: “The typeface is called Houdini after the famous American magician. I wanted to produce a letterform that would gradually disappear as one line after another was removed.” The various versions of Houdini presented by P22 include those originally offered as phototypesetting fonts, plus a solid and an outline version—a variation of which was used for Sesame Place children’s park in 1980. These Houdini variations can all be layered on top of each other for a range of chromatic effects. Each of the Houdini fonts contains over 375 characters for full European language coverage. The family is taken to its logical conclusion with the bonus font “P22 Glaser Houdini Vanished.” This font shares the same spacing and kerning as all of the Houdini font but lacks all visible outlines. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official fonts approved by Milton Glaser Studio and the Estate of Milton Glaser.

We, GalaStudio (Lilia & Galina) represent the SlimOne Normal font from our MELTING FONTS collection. On typing in Google the words "to slim" you can see immediately that the most in demand on the subject is: "to slim in one month", "to slim tips", "to slim - what should I do". We are obsessed with the idea to lose weight. It means now to become more healthy, more fashionable, self-confident and successful. Font as an important element of environmental design reflects contemporary reality. We want to respond to this challenge in our font design. Thus, in our GalaStudio the MELTING FONTS series was born. The fonts of the SlimOne family have a concept of disappearing graphic elements. The letters of these fonts look like melting, dissolving into the space. INCLUDED: GS_SlimOne_Normal.otf GS_SlimOne_Normal.ttf Numbers, additional glyphs & basic punctuation are included. PERFECT FOR: using in books titles, textbooks, notebooks, different brochures and advertising, especially for kids, home-ware design, packaging design; magazines, posters and flyers titles; logos design, books design, fashion design, slogans etc. :) Multilingual support included for the languages based on Latin alphabet.

Magnat is a contrasting sans drawing inspiration from designs from the early twenties century and expands them into an elegant and distinctive contemporary design. Playful elements such as the curvy ear on the lowercase g or the long tail on the uppercase Q break the strictness and add character. The combination of closed apertures with the contrasting strokes create an elegant and distinctive overall appearance. The Magnat family is available in 36 weights including matching italics, divided into 3 subfamilies: Poster, Head and Text. Each has been designed for its individual range of text sizes. The Poster and Head styles with their tight spacing and luxurious shapes are made for impactful headlines and short paragraphs, whereas the text weights are either a great addition for small text sizes or, when set in large sizes, perfectly work as a robust standalone font with a lot of character. Each font style is equipped with many opentype features such as alternate characters, different number sets or case sensitive shapes making it a perfect choice for professional type setting in branding, editorial or digital design.

Chilada is an outrageous display family by designer Patricia Lillie for Image Club. Across four versions, the decorate treatment inside Chilada's letters becomes more intense. Chilada characters exude an energy of their own. Their design could be described as a cross between Bank Gothic and Neuland, with a spoonful of funk mixed in. Big and chunky, Chilada's forms are made up of straight lines only. There are no curved elements. The resulting design is angular and cuts a good figure on the page. Of the Chilada family's four members, the basic font is named Chilada Uno. Uno is Spanish for one!" The forms of Chilada Uno's letter are solid black-or whatever color you choose to set them in! Chilada Dos, Tres, and Quatro each offer their own decorative treatments: Chilada Dos's letters sport a zigzag inline, Chilada Tres is decorated or an ornamented leaving leaves more black from the letters than white, while Chilada Quatro's level of decoration is just crazy. Its letters are made up more more from white space than from black marks. Chilada Quatro is almost an outline font!"

Introducing Fiasco Script, a bouncy modern calligraphy font. Fiasco is a clean cursive font with a feminine aesthetic, making it a perfect choice for designing feminine logos & branding, cute paper products like wedding invitation suites, or for displaying headlines on your website. Fiasco can also be used for other print design like magazines and flyers or printed marketing materials. This font can also be used for digital marketing materials and social media items! Fiasco Script’s clean edge makes it a great candidate for craft projects on your Cricut or Silhouette machine; it cuts beautifully! Fiasco Script includes: - full upper + lowercase characters - numbers + punctuation - 2 ligatures — ox, tt - PUA-encoding Extensive Language Support: Western European, Central European, South Eastern European, South American, Oceanian, Vietnamese, Esperanto Fiasco Script can be used with graphic design programs such as Illustrator or Photoshop, word processing programs like Pages or Word, Design Space for Cricut, Silhouette, Procreate, Canva Pro, Glowforge, GoodNotes, & more. This font is an installable for desktop & laptop machines, as well as iPads or iPhones. See below for links to help with installation.

Spekta is an unorthodox Neo-Grotesk typeface devoted to versatility and beauty. Originally designed as an all-caps display typeface influenced by Bauhaus and early grotesque forms, Spekta switched priorities and evolved into a well-equipped 8-weight workhorse boasting 667 characters and italics to boot. Spekta’s focus on condensed forms and a greater x-height and cap height difference compared to typical Grotesque types allows for increased legibility at smaller sizes while utilising less horizontal space. Despite this, Spekta respects its display-type roots with elegant forms influenced by a mix of early and modern Grotesque typefaces and countless trial-and-error. Additionally, two sets of diacritics (marks such as acutes, graves, circumflexes, and so on) have been designed to further improve readability and reading flow, an atypical feature for most typefaces. Spekta is devoted to versatility, handing control to the designer with 8 stylistic sets (that only affect a single character and not a group of them), 4 number sets, true superscript, subscript, and scientific subscript characters (unlike what design softwares generate), ordinals, alternative and full-width characters, and much more.

Introducing Melody Party – a brand new serif with all the nostalgic vibes! I've started seeing classic, tightly-spaced serifs of the 80s & 90s making a comeback, and wanted to create the perfect one for you too! Melody Party is a beautifully nostalgic upper and lowercase typeface and has 191 Special Alternates that looks incredible in both large and small settings as a display and body text. I've been loving combining the Regular and Outline, whether all in word or in body text! What's Included? Melody Party Main File 191 Special Alternates Regular and Outline version Instructions (Access special characters in all apps, even in Cricut Design) Unique Letterforms Works on PC & Mac Simple Installations Accessible in Adobe Illustrator, Adobe Photoshop, Microsoft Word even Canva! PUA Encoded Characters. Fully accessible without additional design software. Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Thank you Dharmas Studio