Hermitage is a modern, elegant serif font that includes six typefaces regular, outline, oblique, outline oblique, rough and rough oblique. This font has a light weight and looks amazing in logos, branding, arranging wedding invitations, business cards, packaging, cosmetics, also works perfectly with text, it is very readable and recognizable, book cover, magazine headers, or simply as a stylish text overlay to any background image. This font includes alternates for Uppercase and Lowercase, with them you can make your project more elegant and unique and the slanted style will add dynamics to your design. Use a rough style on the craft paper, it will look great on it and create an atmosphere of handwriting. This font is easy to use has OpenType features.

Bonjour! Bostvina is a fashiontastic display font. This font was carefully crafted and inspired by one of leading fashion brand in the world. In general, it creates a luxurious and elegant look in design. Coming to you with 90+ luxury alternate to create a perfectly beautiful, classy, chic, elegant, glamorous and luxurious design. Use this font for your fashion brand, resort, cosmetics, invitations, wedding, branding, packaging, magazines, boutique, social media, restaurant, spa, greeting cards, headers, headline and many more. Features: OpenType support Multilingual support (15 languages) PUA Encoded Super Easy to Use alternates - It's OpenType support but you can easly call alternates character using special combination like A.2 B.4 D.3 etc so you dont need special software

Phlebodium - geometric sans serif typeface, 16 fonts Phlebodium is a modern geometric sans serif font family. Nostalgic, soft and playful font in 80s 90s 2000s techno rave style. BONUS: vector cannabis / hemp leaf, sunflower, mushroom / fungus, meat, unicorn, heart, pizza, hot dog, sun, phlebodium, clover, dog, cat, bear, sun character mascot illustrations and t-shirt designs Phlebodium type family available in 16 styles. 8 Italics 4 weights: Thin, Regular, Medium and Bold 2 widths: Normal and Condensed This bold typeface is ideal for use in display sizes. Perfect for headlines and logos, text blocks, any type of graphic design, printing, t-shirts, posters, branding, web and applications, social media and many more Phlebodium typeface contains 4 weights, normal, condensed and italic styles

Bonjour! Embryotic is a mystical display font. This font was carefully crafted and inspired by world top fashion brand. In general, it creates a luxurious and elegant look in design. Coming to you with 90+ luxury alternate to create a perfectly mystical, beautiful, classy, elegant design. Use this font for your fashion brand, resort, cosmetics, invitations, wedding, branding, packaging, magazines, boutique, social media, restaurant, spa, greeting cards, headers, headline and many more. Features: OpenType support Multilingual support (15 languages) PUA Encoded Super Easy to Use alternates - It's OpenType support but you can easily call alternates character using special combination like A.2 B.4 h.3 etc. so you don't need special software. To get results like the preview just type E.4mb.2ryot.3ic

Would you hire one of the top hand lettering artists that worked for companies like Max Factor for your designs? Of course you would! Chas Bluemlein passed away many years back, and you couldn't have afforded his services anyway, but his lettering prowess which graced many advertisements, primarily cosmetic ads, has been pulled together from numerous samples to make this font. Bender Script comes with BONUS Swash alternates to mix up the flavor a bit, and exudes passion and confidence! Now you can own not only a piece of his lettering legacy, but you can also put it to work for you! This beauty is a sure fit into any font collection, so what are you waiting for, buy it today!

Linotype Gotharda is part of the Take Type Library, chosen from contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This display font started as an experiment of the Croatian-German designer Milo Dominik Ivir. He wanted to design a font with characteristics of both sans serif and Gothic faces. From the Gothic he took the heavy strokes, the narrow letters, the exaggerated overmatter and the high x-height. The modern standard forms of the letters s, a, x and z, the clear capitals and the lack of serifs are the characteristics taken from sans serif faces. The result is a font with a constructed, old German feel. Linotype Gotharda is intended exclusivley for headlines in large point sizes.

Brema is a modern Sans Serif typeface with light weight anatomy. Created for using principally in big sizes, there is perfect solution first of all for web design, but also very well for fashion magazine tittles, luxury perfumes and cosmetics, logotypes, outdoor advertising and other design projects. Opentype Brema comes with 38 beautiful Ligatures and 17 Stylistic Alternates. To get Alternate just add number 2 after character (works with activated Standard Ligatures). Or use Stylistic Alternate option for change all available characters. Ligatures works with activated Discretionary Ligatures option. Note that this features only works with lowercase letters. Multilingual Support You can use Brema for following languages: Danish, Dutch, English, Estonian, Faroese, Finnish, French, German, Hungarian, Icelandic, Italian, Norwegian, Polish, Portuguese, Slovene, Spanish, Swedish, Turkish.

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.

This set of typefaces was produced in conjunction with the Guggenheim Museum and the Josef Albers Foundation. Josef Albers was one of the most important artists and educators of the twentieth century. He was a member of the Bauhaus first as a student and then as a teacher from 1920 until its closing in 1933. He then moved to America, where he continued making art and teaching at numerous institutions until his death. Known principally as an abstract painter, he was also an accomplished designer, draftsman, typographer, and photographer. His works explore permutations of form, color, and perception using a restricted visual vocabulary. Created when he was at the Bauhaus, his Kombinationschrift alphabets exemplify the school's ethos. Using 10 basic shapes based on the circle and the rectangle, he created a system of lettering that was meant to be efficient, easy to learn, and inexpensive to produce. These 10 shapes in combination could form any letter or number. The letterforms of this computer version were taken directly from Albers' drawings and notes.

Nagel is a contemporary uniwidth display sans serif for headlines and short texts. It’s a closed low-contrast typeface with an emphasis on stroke joints. The length of the line set in Nagel remains the same in all weights. Nagel has all the advantages of monospaced typeface graphics, but none of their functional disadvantages. Characters in Nagel are made monospace-like wide, as opposed to traditionally narrow characters of proportional fonts, and often have slab serifs. Letters of monospaced fonts that have to be narrowed down considerably, have the usual width here. The scope of Nagel is branding and identity of IT companies, infographics, scientific and technical documentation — any areas where a technical, modern typeface with distinctive graphics may be required. The typeface includes three upright styles — Regular, Medium, Bold; two sets of 11 and 18 slanting degrees and a variable version with two axes: Weight and Slant. The character set includes extended Cyrillic and Latin alphabets, arrows, triangular bullets, index numbers and fractions. Designed by Alexander Lubovenko.

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.

The Greek font started from an experiment with designing fonts based on a geometric grid. I joined the points on the grid with straight lines to form the various characters and found that this resulted in a font that closely resembled Greek writing (derived from inscriptions carved in stone) of ancient times. I continued to develop this theme but I now accentuated the look and feel of Greek writing. The three styles shown are the results of this development. I did not kern or letterspace the individual letters since this would have been out of character with the orignal Greek writing. This means that the font is mono-spaced. At a later stage I may produce more refined and "modern" versions of these fonts. Surprisingly, the Greek SCF styles are very readable. The font is fully professional in terms of its character set. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). In fact, it has all the accented characters used in the major European languages.

FS Renaissance is a display stencil typeface by the Monotype Studio. A collaboration between lettering artist and designer Craig Back and Creative Type Director Pedro Arilla, the single style font explores the intersection between art and design. With artist and designer working hand in hand, each letter was crafted as a standalone piece of art, while working harmoniously together as a functioning typeface. The typeface is inspired by the Renaissance period symbolised by flourishing progress in the arts, sciences, learning, and philosophy. The typeface is not a traditional stencil design: the cuts are not rigid but interactions that are hand crafted between each element, emphasising the idea of a typeface as a piece of art or sculpture. Pedro Arilla’s aim was to take the core DNA of Craig's lettering and apply it to a typographic base with a solid internal consistency, balanced with an external elegance. Pedro and Craig worked closely together to make sure the original concept was not compromised and this is reflected in the finished design which strikes the perfect balance between functionality and art.

Publica Sans Rounded is the rounded version of Publica Sans. A clean geometric typeface, equipped with a variety of OpenType features to give you all you need for great typography: Alternates, arrows, rare currency symbols, case sensitive forms, various sets of figures and discretionary ligatures. Publica Sans Rounded has two other sisters: Publica Play and Publica Slab Take a close look at our gallery (especially ‘OpenType Features 1–6’) to discover the versatility of Publica Sans. Alternates Give your typography a certain spin with the variety of alternate letters provided. Currency You need to set prices in exotic countries? No problem: Publica Sans gives you loads of rare currency symbols. Case Sensitive Forms Sometimes you write in all caps and there are some symbols (e.g. brackets) that need some extra treatment to make it look perfect – that’s what case sensitive forms are for. Figures Publica Sans provides 6 sets of figures, like lining, tabular, oldstyle, numerators ... Discretionary Ligatures Ligatures can make your logo or headline look spicy. So there are plenty of them.

Moho is inspired by the Victorian sans shapes, movements and expressions of modernism art deco and constructivism, conceiving a decorative and elegant font, modern and readable display. This provides a retro look style of elegance of the 30s. Moho Condensed font family is straight, vertical, with joints and links or curvilinear or angular. Moho provides an innovation in the form of letters, to replace traditional forms of curves by straight or vice versa. Condensed Moho is a category of square letter, has an efficient OpenType programming for Moho OT Condensed, and basic for Moho Std families to compose texts in European languages ​​of East and West, having wide set of over 610 glyphs. Designed to hold and typesetting over 14 pts or less increasing readability depending on the tracking. Moho Condensed is ideal for publishing newspaper and magazine design, convenient for the design covers and labels due to its space saving. Moho Condensed typefaces are closely related to the arts and fashion are very useful in creating logos and brands.

The design of the first "Fat Face" is credited to Robert Thorne just after 1800 in England. It is considered to be the first type style designed specifically for display or jobbing, rather than for book work. The first instance of Fat Face in wood type is found in the first wood type specimen book ever produced: Darius Wells, Letter Cutter 1828. This style was produced by all early wood type manufacturers. The style is derived from the high contrast, thick and thin Modern style of Bodoni and Didot developed only decades previously. The extended variation makes the face even more of a display type and not at all suitable for text. This type of display type was used to compete with the new Lithographic process which allowed for the development of the poster as an artform unto itself. This new digitization by Jim Lyles most closely follows the Wm Page cut. The crisp outlines hold up at the largest point sizes you can imagine. This font contains a full CE character set.

Moho is inspired by the Victorian sans shapes, movements and expressions of modernism art deco and constructivism, conceiving a decorative and elegant font, modern and readable display. This provides a retro look style of elegance of the 30s. Moho Condensed font family is straight, vertical, with joints and links or curvilinear or angular. Moho provides an innovation in the form of letters, to replace traditional forms of curves by straight or vice versa. Condensed Moho is a category of inline square letter, has an efficient OpenType programming for all Moho family, and basic for Moho Std Style family to compose texts in European languages ​​of East and West, having im Pro a wide set up to 610 glyphs. Designed to hold and typesetting over 14 pts or less increasing readability depending on the tracking. Moho Condensed is ideal for publishing newspaper and magazine design, convenient for the design covers and labels due to its space saving. Moho Condensed typefaces are closely related to the arts and fashion are very useful in creating logos and brands.

The award-winning Conrad was created by Japanese type designer Akira Kobayashi. Its design was based on the fifteenth-century type by Conrad Sweynheym and Arnold Pannartz, two German printers active in Rome at that time. They produced a unique, slightly unbalanced yet attractive type. Kobayashi says of his typeface, “I have designed a couple of typefaces inspired from the past, but this time the original print acted merely as a reference. The distinctive lowercase ‘a’ and some other letters were inspired by Sweynheym and Pannartz’s second roman type, but I revived the type in a more informal way. Here I used the historical type as a springboard. The resulting type looks different, taking on a rather temporary and lively look. I assume that the Conrad is the first revival of the Sweynheym and Pannartz type, though it does not closely resemble the original.” Conrad won first prize for the text typeface category in Linotype’s Third International Typeface Design Contest (2000) as well as the Certificate of Excellence in Type Design from the Type Directors Club (2001).

This typeface was inspired by the rough surroundings of a modern city and reflects the contradicting nature of an emerging global youth culture. Ever since its first release—back in late 1999— it is constantly on our ‘most wanted’ list and has been part of numerous product campaigns. Music, mobile telephony, food and beverages, politics, you name it. Coca-Cola used it, José Cuervo used it for about 3 years. The new ‘Pro’ version goes one step ahead. You may now capture the essence of the younger generation in every major European language. PF Fuel has been extended with the full array of Cyrillic characters as well as matching frames for this extra stamped look. Furthermore there more alternate characters than ever. Create a custom look, when same characters sit close, or one next to the other. You may find these useful—alternate characters either in the lowercase positions, or access them through the ‘stylistic alternates’ OpenType Pro feature. If you need some extra fuel, this is where to get it!

A variation of ”Helvetica according to the blur principle.“ The underlying typeface is ”Helvetica“, the only true ”run-of-the-mill“ typeface of the twentieth century. The distortion principle used simulates the photographic effect of halation and/or overexposure. The light weight, »DeFonte Léger«, nearly breaks on the thin points, whereas on those points where the lines meet or cross, dark spots remain. The characters are ”nibbled at“ from the inner and outer brightness. On the normal and semibold typestyles, »DeFonte Normale« and »DeFonte Demi Gras«, the effect is limited almost exclusively to the end strokes and corners, which appears to be strongly rounded off. The bold version »DeFonte Gros« is especially attractive. As a result of ”overexposure“, counters (internal spaces) are closed in, while characters become blurred and turn into spots; new characteristic forms are created which are astoundingly legible. The fat version »DeFonte Gros« is particularly appealing. “Overexposure” leads to drifted counters, letters blur into spots; new characteristic forms emerge, which are surprisingly easy to read.

The thing is that many sans-serif typefaces are usually intended for universal usage. But sometimes faces that work fine in body text look not so good in large point sizes for display purposes when all the contrast in non-contrast sans-serif, or ink traps, become visible to the naked eye. Every designer solves this problem in his own way. We offer a drastic solution in our Stem: a sans-serif with optical sizing. The first part of the type family, Stem Display, is for use in largest point sizes, from 36 pt indefinitely. Stem Display consists of 12 faces of widths from Hairline to Bold, and it has true italics. The development of Stem type family will include Stem Text for body text and “traditional”, universal use, and Stem Caption for small point sizes. Stem is a geometric sans-serif with semi-closed aperture, large x-height and modern proportions of uppercase letters, like in famous Avenir and Gotham. Its important feature is a professionally designed and carefully tested Cyrillic glyph set.

Futura is a classic geometric sans serif, one of the crucial typefaces of the 20th century. It remains relevant today and is widely used in logos, headings, web and print. Futura was designed by Paul Renner for Bauersche Gießerei (Bauer) in 1927. The typeface is based on simple geometric forms and is close in the aesthetics to 1920s-30s constructivism and the Bauhaus. Futura PT is the most complete Cyrillic version of Futura. It’s a type system of 25 styles: 16 regular and 9 narrow, from Thin to Extrabold. Futura PT has linear and old style figures, subscripts and fractions. The typeface supports more than 100 languages: Western and Central European Latin and the Cyrillic-extended. The Cyrillic version of Futura was designed by Vladimir Yefimov in 1991–1995. He partially redesigned the typeface in 2007, making it a wholesome consistent system, and Isabella Chaeva added new styles. The typeface was released under the name Futura PT. Isabella Chaeva returned to work on Futura in 2022. The typeface has three new styles, old style figures and extended Cyrillic support.

Lepontic is an ancient Alpine Celtic language that was spoken in parts of Rhaetia and Cisalpine Gaul (now Northern Italy) between 550 and 100 BC. Lepontic is attested in inscriptions found in an area centered on Lugano, Switzerland, and including the Lake Como and Lake Maggiore areas of Italy. While some recent scholarship (e.g. Eska 1998) has tended to consider Lepontic simply as an early outlying form of Gaulish and closely akin to other, later attestations of Gaulish in Italy (Cisalpine Gaulish), some scholars (notably Lejeune 1971) continue to view it as a distinct Continental Celtic language. In this latter view, the earlier inscriptions found within a 50 km radius of Lugano are considered Lepontic, while the later ones, to the immediate south of this area, are considered Cisalpine Gaulish. Lepontic was assimilated first by Gaulish, with the settlement of Gallic tribes north of the River Po, and then by Latin, after the Roman Republic gained control over Gallia Cisalpina during the late 2nd and 1st century BC

Oddval is a unique contemporary display geometric sans-serif with prominent ink traps and a smooth, masculine tone. Due to its modern and original style, it is well-suited for creative projects closely linked to innovation. Oddval has a strong presence in the text due to its high x-height, minimal stroke contrast, and slightly wide oval shapes. The Oddval type family includes 9 weights ranging from hairline to heavy, with corresponding Italics for a total of 18 fonts. These fonts are also available as a single variable font file, allowing you to create without limits. The typeface is designed with extensive language support, including Extended Latin, Cyrillic, and Greek, covering over 220 languages. It also includes advanced typographic features, such as standard and discretionary ligatures, a stylistic set, contextual alternates, tabular and small figures, fractions, and language localizations. Suitable for both print and on-screen media, Oddval is ideal for use in headlines and logotypes. It can also be set in short paragraphs to create a unique contemporary feel.

Acuta is a new all-purpose text serif with a good readability and a contemporary, robust look thanks to its low-medium contrast. The differences between thicks and thins are less strongly marked than in oldstyle text faces; yet the diagonal stress needed to facilitate reading is partly provided by the letter shape itself: sharp angles and italic construction give the right dynamism to the text. Acuta becomes very distinctive as a headline, while its big x-height makes it suitable for texts at rather small sizes too. The family consists of seven weights & correspondent italics, with a large character set. The Book and Medium weights, relatively close to each other, can both be used as “plain” weight depending on the size of the text, background color or backlighting. Small caps, oldstyle and tabular figure alternates, superiors and inferiors and ligatures are available in all styles through OpenType features. The real italics include unobtrusive swash alternates to emphasise the written feeling. Please find a specimen of Acuta (PDF) in the Gallery section.

Ansage does not claim to be neutral; it escapes from the rationalist sans of closed strokes and regular forms. Meaning Announcement in German, Ansage is versatile and communicates effectively across a broad range of media and formats such as branding, posters, websites, apps, titles and compositions with little spacing). Ansage is a sans serif font with a strong personality that emerges from an interest in and the study of a wide variety of typographic specimens of Gothic fonts from the nineteenth century. The design process behind Ansage brought about constant transformations in form; the result is a compact and robust font, with a large x-height, small ascenders and descenders, and open terminals that grow in expressiveness as it increases in weight. It is available in 10 weights, ranging from Hairline to Black, and 3 widths – Condensed, Regular and Expanded – plus italics, which make a total of 60 perfect variables to combine and contrast with each other. In addition, it also includes multiple open-type functions such as alternative styles, Old Style Figures, Tabular Forms, fractions, case sensitive, ligatures and more.

Rubber B is a heavy display typeface with very tight open counters & character spacing and non-existent closed counters. It is an amalgam of styles and influences that demands attention. It is comparable with the highly geometric experimental fonts of the '90s and early '00s, but also heavily inspired by decorative fonts of the '60s and the psychedelic poster art of the '70s. Bold and loud, yet delicate, almost calligraphic in some cases. It works with Latin & Extended Latin, Cyrillic & Extended Cyrillic and Greek. It comes with 1,500+ glyphs, with more than half of them being ligatures. It also contains several Stylistic Alternates as well as Localised forms (available through the Open Type Features and also as ligatures). All these features are available in order to not only make sure that it works with as many languages as possible, but also that depending on the specific glyph or ligature one chooses to use, they have the ability to alter the emotional character of the word(s) they’re setting. Ideal for titles and logos, as it works best in medium and large sizes.

Love story is a display hairline typeface for use in big sizes and short texts. It’s inspired by different kinds of love and specially designed for Valentine’s day. Its soft curves and sweet style give it a lovely personality. Designed by Luciano Vergara and his wife Guisela Mendoza who has been studying ornaments since 2007 and has done her best for each project. You can see in her dingbats specially Printa and Abel designed for generate patterns. Now she integrated her passion to the ornament in a clean set which includes dingbats, ornaments and patterns. Luciano Vergara has designed very strong fonts with a particular work in the lines study and close to the geometry since 2005, getting a structure style, you can see in his fonts specially Regia and Kahlo. Now he integrated his study of lines, in a hairline font delicate, continuous and beautiful. In this story both designers have been merged their worlds creating a gorgeous product. This is a romantic type story, a love story.

This typeface appears to be straight out of a science fiction movie thriller. Mingo is a slightly condensed, somewhat vain gothic with thick vertical strokes proudly tapering downward. Capitals which are normally completely round are now square inside with curving outside corners. Lowercase letters carry the same design traits. And, in the capital A and H, crossbars extend on both sides helping give the face a pronounced retro look. Mingo Gothic is a close cousin to Raleigh Gothic and is an excellent choice for book covers and large display settings. Small caps, fractions, and alternate characters have also been developed for greater layout versatility. Mingo Gothic Bold is now available in the OpenType format. Some new characters have been added to this OpenType version as stylistic alternates, historical forms, small caps, oldstyle figures, ornaments, and f-ligatures. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Ragazza Script isn’t just another display typeface. It honors the greatest handwriting skills but in a different way. Although It doesn't represent any traditional calligraphy style, it is still part of that expressive world. With more than 1000 glyphs, and taking advantage of the Opentype features, Ragazza is full of personality. When in use, it gives a feel very close to ornamental Copperplate mixed with some kind of modern 'high-contrast' typeface. Lots of alternates, swashes and initial capitals are the spine of this face, assuring almost infinite combination possibilities. The early forms that would eventually lead to what Ragazza is today, began as a college project –around 2006– in the context of the 'Hyperfuente' exercise developed during Typography 2, chair E. Longinotti, at the University of Buenos Aires. But that seed would never stop growing. Since then a lot of work had been made to take that initial project to a professional quality level. Ragazza Script is perfect for headlines and short phrases. It is the brand new modern script, designed by Guille Vizzari and published by Latinotype.

Economica Pro is a font especially developed for design in complex situations: It is ideal for use in small sizes on screen and in print. It has been tested successfully for use in very small sizes without losing legibility. Its ink traps ensure smooth operation even on low quality papers. It is an ideal font for newspapers, news portals and all designs requiring space saving. Now also in Cyrillic!

Etalage Script was drawn for the first time in the year 2000, based on a early 20th century lettering stencil with what farmer Boelema at Lalleweer stenciled his grainsacks. Eventually the script letter was developed as a typeface with a wink to the ‘lost’ display types for the ‘display window’ of graphic designer Ariënne Boelens, who in exchange made the website www.lalleweer.nl. What originated the Ariënne should be evident now.

Normative Lt is a sans serif type family by Green Type, a low cost version of Normative Pro, includes only a Unicode Latin 1252 character set. Normative Lt is a font with wide sphere of application, legible from very small size to very large ones. Can be used both in technical documentation, office work, business communication, as well as in advertising, visual communication, magazines and posters, in branding and packaging.

Bergen Mono is the latest addition to Bergen font bundle. It's a monospaced 6 piece font family engineered to speak the language of monospaced world fluently, without losing it's legibility and distinctive personality of it's predecessors, Bergen Sans and Bergen Text. It is built to handle most demanding tasks, uncompromisingly, from print to digital. It has Extended Latin, Cyrillic (including Bulgarian character set) and Greek language support included.