Rogsant Soft is a luxurious sans serif typeface that masterfully blends contrasting letterforms with a gentle flow and delicate rounded edges. Created by Mans Greback & Delaga, this fine and tasteful font emanates beauty and sophistication, making it a perfect choice for luxury branding, high-end fashion, and elegant design projects. The allure of Rogsant Soft lies in its attention to detail and meticulously crafted letterforms, which create a harmonious balance between refinement and legibility. With its clean and polished appearance, Rogsant Soft is an ideal choice for both print and digital designs that demand a touch of finesse and grace. 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. Mans Greback is a typeface designer from Sweden, whose love for design and typography drives him to create innovative and versatile fonts. His commitment to quality and originality has earned him respect and appreciation from designers worldwide.

Welcome to Gobah, a font that presents the future atmosphere in an amazingly modern and futuristic style. Are you looking for the perfect solution for modern, futuristic, sci-fi, and future-themed projects? Gobah is the right choice. Gobah is a font that transports you to an extraordinary world with a unique look that reflects a sophisticated future feel. Each letter is uniquely designed, giving your project a modern, innovative, and charming look. With Gobah, you can steal the show and create an unforgettable impression. The main benefit of Gobah is its ability to deliver stunning styles. Each letter has an exclusive design, creating an eye-catching futuristic look. This font will give your projects a strong visual appeal, reinforcing the message you want to convey. Gobah also supports multilingualism, allowing you to display text in multiple languages without a hitch. This flexibility ensures that you can easily reach a global audience and convey your message with consistent clarity across cultural contexts. Take a step forward in your design with Gobah. This font will give a stunning modern and futuristic twist, creating a memorable impression on your logos, posters, and web presence. Let Gobah be the right choice for your vibrant, modern, futuristic, sci-fi, and future projects.

Malden Sans is a mischievous grotesque sans serif with charming details that gives designers a solid typographic voice. It was created by Michele Patanè with regular and condensed widths, as a utilitarian typeface family for print and digital environments. It was originally designed as part of a type system for cinema magazines, and embodies the devil-may care attitude of the silver screen. Designer Michele Patanè looked back to an earlier era of typography to create the typeface, embracing unusual details, rather than ironing them out. “There is a very naive way of using typography in the 30s and 40s, something not as clean as how it’s used in the late 50s and 60s when everything passed through a rationalisation of the typographic palette,” he explains. “In film magazines you can still see a bit of roughness, and I like that.” This is a design that’s desperate to be used in editorial environments, and has been created to stand up to lower quality paper. It would be equally at home on posters, packaging, and even in digital environments where designers are looking for something more expressive than another geometric sans serif. Malden Sans includes a Normal and Condensed range, with 7 weights in the normal and 6 in the Condensed, both including italics.

Keraasih is a graffiti display font that combines art, freedom, and the beauty of handwriting. Crafted with boldness and expression, this font is the perfect solution for projects that require a unique artistic touch and beautiful handwriting. With Keras, you can create striking and eye-catching designs. This font gives you the freedom to express your creativity and exudes a style like no other. The expressive look and strong character make Kerasih a standout choice among other fonts. The artistic touch in each letter and the intricate details make Keraasih so attractive. Every cut, line, and stroke exudes boundless creative courage and passion. The bold graffiti design and the feel of beautiful handwriting create a unique and eye-catching combination. Keraasih takes you into the world of art and freedom. Use this font to create eye-catching posters, memorable logos, or cool merchandise designs. With Kerashy, you can bring an interesting and evocative touch of art to your projects. What’s Included : - File font - All glyphs Iso Latin 1 - Ligature, Alternate - 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

Presenting the 🗯️💬CHOPIC Comic Typeface💬🗯️ by alitdesign. The CHOPIC Comic Typeface is inspired by the style of letters in comics that have less serious and fun characters. The lettering of CHOPIC Comic Typeface is a sans serif with display font characters which gives a fun and design impression for retro pop art. The CHOPIC Comic Typeface has 2 style font regular and brushed style and has 2 characters solid and 3D. The CHOPIC Comic Typeface is perfect for creating designs with non-serious concepts, designs for children, book headers, and of course for text on comics. The CHOPIC Comic Typeface also gets a bonus character of 230 Comic-themed illustrations that make creating designs even easier. Simply by downloading The CHOPIC Comic Typeface creating a Comic and non formal themed design is very quick and easy. The CHOPIC Comic Typeface is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with comic, non-serious, pop art, game mobile and fun design. Besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The CHOPIC Comic Typeface contains 565 + 230 bonus glyphs with many unique and interesting alternative

Frutiger Capitalis Regular and Outline belong to the group of typefaces for the Linotype’s Type Before Gutenberg project. However, they are not based on direct historical sources. At first glance, they may seem related to the roman type Capitalis Monumentalis, but upon closer examination, the fonts reveal a vitality unknown to the characters the Romans etched in stone. Frutiger confesses that creating Capitalis was “a liberation”. After working on so many sophisticated and meticulously designed typefaces, Frutiger Capitalis was a breath of fresh air. Stylistically, Frutiger Capitalis Outline forms a bridge to Frutiger Capitalis Signs, a whole universe of its own. Frutiger Capitalis Signs is a personal cosmos of symbols, many are immediately “legible”, others leave room for interpretation. Some of the symbols are the product of Frutiger’s imagination, such as his “Life Signs” — soft, hand drawn figures whose lines have no apparent beginning or end, creating both interior and exterior spaces, new forms emerging at each glance. These contoured drawings have accompanied Frutiger throughout his professional life, a fantasy garden which has provided an important balance to his many years of disciplined typeface design. Yet he does not consider himself an artist. Frutiger says he simply “wants to tell stories, to draw thin lines, create contours of signs; that is my style”.

Presenting the 🗯️💬CHOMOXI Comic Typeface💬🗯️ by alitdesign. The CHOMOXI Comic Typeface is inspired by the style of letters in comics that have less serious and fun characters. The lettering of CHOMOXI Comic Typeface is a serif with display font characters which gives a fun and design impression for retro pop art. The CHOMOXI Comic Typeface has 2 style font regular and brushed style and has 2 characters solid and 3D. The CHOMOXI Comic Typeface is perfect for creating designs with non-serious concepts, designs for children, book headers, and of course for text on comics. The CHOMOXI Comic Typeface also gets a bonus character of 230 Comic-themed illustrations that make creating designs even easier. Simply by downloading The CHOMOXI Comic Typeface creating a Comic and non formal themed design is very quick and easy. The CHOMOXI Comic Typeface is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with comic, non-serious, pop art, game mobile and fun design. Besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The CHOMOXI Comic Typeface contains 579 + 230 bonus glyphs with many unique and interesting alternative options.

Introducing Polotan, the ultimate futuristic and modern sans-serif font. With its sleek and streamlined design, Polotan is perfect for creating a cutting-edge, high-tech look that's perfect for a variety of design applications. Featuring strong lines that convey a sense of power and confidence, Polotan is perfect for headlines, titles, and branding materials. But what sets it apart is its unique alternates, which give you the flexibility to create custom designs that stand out from the crowd. And with its alternates, you can take your designs even further and truly make them your own. Its clean and minimalist design makes it easy to read, while its sharp angles and unique letterforms create a sense of energy and movement!. Whether you're designing a high-tech website, a sleek user interface, or a modern brand identity, Polotan will help you make a bold and unforgettable impression. So why settle for a boring and outdated font when you can make a statement with Polotan sans-serif? Try it today and see how it can take your designs to the next level. And please message me if you want your language included or if there are any features or glyph requests, feel free to send me a message.

Introducing Fadetho, a display font that captivates and brings elegance to each of your projects. With a relaxed and elegant theme, Fadetho is the perfect solution for creating charming and creative looks. Fadetho’s excellent features make it an attractive choice. With the available ligatures and alternates, you can combine beautiful characters and create unique and classy typography designs. Not only that, Fadetho is also multilingual, allowing you to reach an international audience and adapt this font to multiple languages. This gives you flexibility and expands the potential of your project. The elegant style and touch of elegance in every Fadetho lettering make it the perfect choice for projects that require a special feel. Let this font add an exclusive touch to your designs. Choose Fadetho as your loyal partner in creating stunning and classy looks. Get this font now and let its beauty and elegance inspire your creations. 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 that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Proudly present Silver Linings Typeface. Say hello to Silver Linings A classy eighties magazine inspired serif condensed - with a complementary lowercase version. In true Eighties style, they also come in varying degrees of Condensed form - mix and match them to create eye-catching effects. Don't forget to use all caps too in your mixing and matching - it adds contrast and impact to your type design. Design tips! : Tighten your letterspacing for larger titles to create a range of looks. Comes with alternatives and ligatures, and helps to create stunning magazine imagery, quotes, posts, blog posts, branding projects, logo, poster and much more. Font Features : Lettres, numbers, symbols, and punctuation 20+ alternates and ligatures No special software required they may be used even in canva, any basic program /website apps that allows standard fonts That's it folks! Multilingual Support 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). Follow My Shop For Upcoming Updates Including Additional Glyphs And Language Support. And Please Message Me If You Want Your Language Included or If There Are Any Features or Glyph Requests, Feel Free to Send me A Message. Have a Good Day !

Introducing Blackbill Script, an elegant and expressive script font that effortlessly captures the beauty of handwritten calligraphy. With its fluid strokes, delicate curves, and impeccable letterforms, Blackbill Script adds a touch of sophistication and charm to your designs. Whether you're creating wedding invitations, logos, packaging, or branding materials, this versatile script font will make your text stand out with its unique personality. The Uppercase and lowercase letters of Blackbill Script offer a seamless flow and harmonious balance, allowing you to create visually appealing typography. From romantic and graceful to bold and expressive, this font offers a wide range of styles to suit different design needs. With its inclusion of numbers and punctuations, Blackbill Script ensures that your message is conveyed with clarity and professionalism. With multilingual support, Blackbill Script enables you to reach a global audience and communicate in various languages. It ensures that your designs can resonate with diverse cultures and create an inclusive experience for your viewers. Blackbill Script features PUA encoding, providing easy access to a collection of alternate characters and ligatures. These decorative elements and letter variations add versatility and creative flair to your designs, allowing you to customize and personalize your text for a unique look.

ITC Tabula is meant to be read. The design grew out of a study to create a font to set film subtitles. According to Julien Janiszewski, the face's Paris-based designer, “I set parameters for the design whereby the letters had to be able to hold up at very small sizes when set on film and yet must be able to be enlarged 2000 times to be read on a theatre screen.” The subtitle font was not completed, but several months later Janiszewski revisited the design and made a discovery. “I realized that the constraints I had established for the subtitling font was not that far from those people could have in creating typographic signage. Many time this calls for a font that can be used easily in very large sizes for headlines on highway billboards and quite small for text copy.” Work proceeded for two more years before Janiszewski was satisfied with the results. The final design is a somewhat squared sans serif family of four weighs with corresponding italics. Janiszewski also wanted to create what he calls a “sensitive sans-one that is not restricted to geometric shapes but has a subtle calligraphic, foundation.” ITC Tabula is not only easy to read, it is also a distinctive and handsome design.

Presenting the 🗯️💬CHOMIKU Typeface💬🗯️ by alitdesign. The CHOMIKU Typeface is inspired by the style of letters in comics that have less serious and fun characters. The lettering of CHOMIKU Typeface is a serif with display font characters which gives a fun and design impression for retro pop art. The CHOMIKU Typeface has 2 style font regular and italic and has 3 characters solid, line and 3D. The CHOMIKU Typeface is perfect for creating designs with non-serious concepts, designs for children, book headers, and of course for text on comics. The CHOMIKU Typeface also gets a bonus character of 230 Comic-themed illustrations that make creating designs even easier. Simply by downloading The CHOMIKU Typeface creating a Comic and non formal themed design is very quick and easy. The CHOMIKU Typeface is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with comic, non-serious, pop art, game mobile and fun design. Besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The CHOMIKU Typeface contains 559 + 230 bonus glyphs with many unique and interesting alternative options.

Taglio’s name is derived from intaglio, which means “incised carving” or “an impression from an engraving”. Indeed, Taglio looks like an incised engraving with a contemporary calligraphic interpretation. The down strokes start with a single horizontal line that curves into a dual vertical line and ends with the same single line at the base. The dual elongated strokes create a bold overall impression but is literally twice as sophisticated than if the two lines were solid. That was exactly the goal in creating this font. We managed to create a font that is distinctive, elegant, and crisp that is also intentionally stencilled for more flexibility. For instance, it is ideal for laser cutting signage. One of the unique features in using the capital glyphs is that they stack perfectly without losing legibility, primarily because of the slanted ends of the dual vertical lines - see the example “Miami Fashion Week” display ad. Taglio’s unusual style was carefully crafted to come to life at display sizes. It is therefore ideal for use in branding fashion, restaurants, buildings, packaging, museums, signage, etc. An ideal pairing font is our WERK family which can be seen on some of the display ads below. Taglio has a sparkling and sophisticated personality that will absolutely delight!

Presenting the 🗯️💬CHOMIQY Typeface💬🗯️ by alitdesign. The CHOMIQY Typeface is inspired by the style of letters in comics that have less serious and fun characters. The lettering of CHOMIQY Typeface is a serif with display font characters which gives a fun and design impression for retro pop art. The CHOMIQY Typeface has 2 style font regular and italic and has 3 characters solid, line and 3D. The CHOMIQY Typeface is perfect for creating designs with non-serious concepts, designs for children, book headers, and of course for text on comics. The CHOMIQY Typeface also gets a bonus character of 230 Comic-themed illustrations that make creating designs even easier. Simply by downloading The CHOMIQY Typeface creating a Comic and non formal themed design is very quick and easy. The CHOMIQY Typeface is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with comic, non-serious, pop art, game mobile and fun design. Besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The CHOMIQY Typeface contains 560 + 230 bonus glyphs with many unique and interesting alternative options.

FF Mutual is a friendly geometric sans serif full of subtle, unexpected details. Designer Luis Bandovas drew inspiration from an unlikely source—the credits from one of his favorite childhood shows, Space 1999—and turned that spark into a typeface that is warm and approachable, but contemporary. Bandovas built FF Mutual on a geometric skeleton, but the typeface has enough humanist touches to offset the rigidity usually found geometric designs. These touches are most apparent in the italics, where curved strokes on the “a” and “l” bring a softness to text. Generous spacing, angular details on letters like the “r” and “t,” and flared terminals on the “e,” “s,” and “c,” add further character to the design. FF Mutual’s bold shapes and retro-inspired warmth make it ideal for headlines, where the subtle details can really shine. The typeface is similarly well-suited for small blocks of text such as captions and call-outs, packaging design, and branding.

Cadmium has a comprehensive latin character set and many Opentype features to enhance text, including small capitals, case-sensitive forms, superscript and subscript. Plenty of numeral variants include old-style figures, lining figures and fractions. Default numerals are proportionally spaced. Alternative styles for a handful of key characters provide some useful variations where stylistic sets can be implemented. The fonts are presented as four width-based sub-families: Expanded, Normal, Condensed and Compressed. Each width has a matching range of six weights and italics (obliques). Regular and Bold weights are style-linked, together with their respective oblique forms. Each width differs in its basic construction but all fonts share the same vertical metrics and may be used in combination with each other. Letter spacing is optimised for text sizes but is tolerant of significant tracking changes. Cadmium is good for signage, publicity and packaging, screen credits and titling, general print and publication, as well as web and screen applications.

OCR A and OCR B are standardized, monospaced fonts designed for Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display graphics. OCR B was designed in 1968 by Adrian Frutiger to meet the standards of the European Computer Manufacturer's Association. It was intended for use on products that were to be scanned by electronic devices as well as read by humans. OCR B was made a world standard in 1973, and is more legible to human eyes than most other OCR fonts. Though less appealingly geeky than OCR A, the OCR B version also has a distinctive technical appearance that makes it a hit with graphic designers.

OCR A and OCR B are standardized, monospaced fonts designed for Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display graphics. OCR B was designed in 1968 by Adrian Frutiger to meet the standards of the European Computer Manufacturer's Association. It was intended for use on products that were to be scanned by electronic devices as well as read by humans. OCR B was made a world standard in 1973, and is more legible to human eyes than most other OCR fonts. Though less appealingly geeky than OCR A, the OCR B version also has a distinctive technical appearance that makes it a hit with graphic designers.

As one of the most distinguished lettering artists of the 20th century, Meyer “Dave” Davison’s greatest contribution to the American visual landscape is arguably Davison Spencerian. The alphabet made its first appearance in Photo-Lettering’s 1946 catalog and remains a benchmark of the ornamental script genre. Thanks to the skillful hands of Mitja Miklavčič and the tireless eyes of House Industries designers Ben Barber and Ken Kiel, we have preserved the poise and precision of Davison’s masterwork in this faithfully-rendered digital incarnation. From automotive exhaust accessories and pirate-themed wedding invites to New Orleans sissy bounce hip-hop CD covers and upmarket bivalve ambrosia packaging, Davison Spencerian offers sober sophistication and unparalleled flexibility. DAVISON SPENCERIAN CREDITS: Typeface Design: Meyer “Dave” Davison Typeface Digitization: Mitja Miklavčič Typeface Direction: Ben Kiel and Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Silent films evoke a sense of nostalgia that is as timeless as the era itself. While the stars of silent cinema may have faded into the past, their influence is still felt in modern-day art, fashion, and design. Silentina is a typeface that embodies the spirit of the silent film era, inspired by the intertitles that were used to convey crucial information to audiences during these films. Buster Keaton, Mary Pickford, Clara Bow, and Rudolph Valentino all graced the silver screen with their emotive faces during the silent film era. These icons used their expressions to convey a range of emotions that captivated audiences and made them fall in love with the magic of cinema. Intertitles, the brief messages that would appear on-screen during the film, were just as essential in conveying information to moviegoers. Silentina is a typeface that pays homage to the unsung heroes of the silent film era—the intertitles. It channels the glitz and glamour of the roaring twenties, taking us back to a time of flapper dresses, jazz music, and speakeasies. But Silentina isn’t just a typeface—it’s a portal to another era. It transports us to a time when movies were an escape from reality, and each trip to the cinema was a chance to lose ourselves in a world of adventure and romance. With Silentina, you can project your message in the same way that the stars of silent cinema projected theirs. This typeface captures the essence of a bygone era, bringing it to life in the modern world. Use it to convey plot information, set the scene, or add a touch of vintage charm to your design. Whatever your message, Silentina will help you communicate it in the same glitzy way as the intertitles of the silent film era. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Polias is an all-caps uniwidth typeface inspired by an ancient inscription carved on a monoblock stone in hybrid characters — between no-contrast linear sans to low-contrast flared serif. The inspiring inscription is the dedication by Alexander the Great, discovered in the Temple of Athena Polias in the ancient Ionian city of Priene. Stanley Morison mentioned this inscription in one of his lectures: “The distinctive feature of this inscription consists of a consistent thickening towards the ends of perpendiculars and horizontals.” … “We have not the right to say that the serif was invented for Alexander the Great's inscription, only that this is its first datable appearance.” The letter proportions are almost identical to the original, but the stroke features have been reinterpreted and characterized. Serif-like nodes at the end of the strokes are subtle extensions that serve to accentuate rather than break its monoline elegance. With an analogy, they are not flowers, but like blooming buds. Polias is a flared sans typeface which is closer to sans-serif forms on the spectrum between sans and serif. It’s especially light looking by design to convey rather thin and white typographic color of its original monumental look. It comes in eight weights and a variable font, scaled from Thin to Bold. It is multiplexed, so the weights do not affect text lengths. Light weights are closely based on the actual carving of the inscription. Thicker weights can be used on smaller typesettings to compensate for the weight difference of larger letters’ strokes, and to keeping the monoline appearance of the entire text block intact. This method can be used for any purpose, such as setting a hierarchy between the lines or to justify their lengths. Some of the original letterforms have been preserved and stylistic alternatives such as Ionic four-bar Sigma, dotted Theta, palm Y are provided as open type feature. Some of the other ancient forms, such as the three-bar Sigma (S), the pointed U, were also added for both the Greek and Latin scripts. Polias is preferable for big type settings such as logos and headlines as a modern representation of perennial classical forms. Its a fine fit for product branding, movie posters, book covers, packaging materials, and more, which require an epic look to attracting attention with a distinctive elegance. Polias can be considered for distinctiveness wherever Roman Capitals work. As a noun, Polias is one of the epithets of Athena / Minerva, and in this case referring to her role as the protector of the city of Priene. Polias is one of the seven typeface designs in Esintype's ancient scripts of Anatolia project, Tituli Anatolian series.

Polias Varia is an all-caps uniwidth variable weight typeface inspired by an ancient inscription carved on a monoblock stone in hybrid characters — between no-contrast linear sans to low-contrast flared serif. The inspiring inscription is the dedication by Alexander the Great, discovered in the Temple of Athena Polias in the ancient Ionian city of Priene. Stanley Morison mentioned this inscription in one of his lectures: “The distinctive feature of this inscription consists of a consistent thickening towards the ends of perpendiculars and horizontals.” … “We have not the right to say that the serif was invented for Alexander the Great’s inscription, only that this is its first datable appearance.” In Polias Varia, the letter proportions are almost identical to the original, but the stroke features have been reinterpreted and characterized. Serif-like nodes at the end of the strokes are subtle extensions that serve to accentuate rather than break its monoline elegance. With an analogy, they are not flowers, but like blooming buds. Polias Varia is a flared sans typeface which is closer to sans-serif forms on the spectrum between sans and serif. It’s especially light looking by design to convey rather thin and white typographic color of its original monumental look. It comes in eight weights and a variable font, scaled from Thin to Bold. It is multiplexed, so the weights do not affect text lengths. Light weights are closely based on the actual carving of the inscription. Thicker weights can be used on smaller typesettings to compensate for the weight difference of larger letters’ strokes, and to keeping the monoline appearance of the entire text block intact. This method can be used for any purpose, such as setting a hierarchy between the lines or to justify their lengths. Some of the original letterforms have been preserved and stylistic alternatives such as Ionic four-bar Sigma, dotted Theta, palm Y are provided as open type feature. Some of the other ancient forms, such as the three-bar Sigma (S), the pointed U, were also added for both the Greek and Latin scripts. Polias Varia is preferable for big type settings such as logos and headlines as a modern representation of perennial classical forms. Its a fine fit for product branding, movie posters, book covers, packaging materials, and more, which require an epic look to attracting attention with a distinctive elegance. Polias Varia can be considered for distinctiveness wherever Roman Capitals work. As a noun, Polias is one of the epithets of Athena / Minerva, and in this case referring to her role as the protector of the city of Priene. Polias (family) is one of the seven typeface designs in Esintype’s ancient scripts of Anatolia project, Tituli Anatolian series.