On the Town JNL is a reworking of Parks Department JNL, giving it a classic "solid black Art Deco treatment". The wide monoline font of the original design was inspired by hand lettering on a WPA (Works Progress Administration) poster. Art Deco typography and the streamlined style it embraced often conjures up images of New York City in the 1930s and 1940s, thus On the Town JNL is named for the classic MGM musical starry Gene Kelly, Frank Sinatra and Jules Munchen that was filmed on location in "the city that never sleeps".

Introducing Wheaton, the bold and striking headline typeface that brings together the best of retro and techno aesthetics. With its softened letterforms and classic electronic vibe, Wheaton will transport your message into the future while invoking a sense of nostalgia for the past. At first glance, Wheaton’s design may seem like a throwback to the 1980s, with its clean lines and futuristic curves. But upon closer inspection, you’ll notice the subtle details that give it a contemporary edge. Its softened edges and fluid curves evoke a sense of modernity and sophistication, while its retro digital gloss adds a touch of nostalgia to your message. But Wheaton isn’t just about looks. Its scientific elegance and industrial wonder make it the perfect typeface for conveying a sense of technological progress and innovation. Whether you’re designing a website, creating an advertisement, or crafting a presentation, Wheaton is the perfect choice for making a bold statement. In the world of graphic design, standing out is key. With Wheaton, you can be sure that your message will be noticed and remembered. Its unique blend of retro and techno aesthetics gives it a distinct personality that will set your work apart from the rest. So why settle for a boring, generic typeface when you can have Wheaton? Let its futuristic assurance and industrial wonder take your message to the next level, and discover a new world of creative possibilities. 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.

Looking for a typeface that conveys a technical and austere vibe without sacrificing design flexibility? Look no further than Ultraproxi, the cutting-edge typeface that draws inspiration from the high-speed computer printers of the mid-20th century. Designed with the precision and clarity required for high-speed printing, Ultraproxi captures the essence of the IBM 1403 chain printer, with its metal type slugs linked in a chain that whirled rapidly over an ink ribbon. The result is a typeface that conveys both speed and accuracy, perfect for modern design applications. But Ultraproxi is more than just a nostalgic homage to a bygone era of computing. Its semi-monospaced design is uniquely suited to the needs of modern graphic designers, allowing for a technical demeanor without the drawbacks of traditional monospaced typefaces. With six weights and italics, Ultraproxi offers unparalleled versatility and flexibility. Whether you’re designing a sleek and streamlined UI or a complex data visualization, Ultraproxi is the typeface of choice for designers who demand both style and substance. So why settle for a boring, generic typeface when you can have Ultraproxi? With its unique blend of technical precision and design flexibility, this typeface is sure to impress even the most discerning design enthusiasts. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

K-Type’s ‘Banks & Miles’ fonts are inspired by the geometric monoline lettering created for the British Post Office in 1970 by London design company Banks & Miles, a project initiated and supervised by partner John Miles, and which included ‘Double Line’ and ‘Single Line’ alphabets. The new digital typeface is a reworking and extension of both alphabets. Banks & Miles Double Line is provided in three weights – Light, Regular and Dark – variations achieved by adjusting the width of the inline. Banks & Miles Single Line develops the less used companion sans into a three weight family – Regular, Medium and Bold – each with an optically corrected oblique. Although the ‘Banks & Miles Double Line’ and ‘Banks & Miles Single Line’ fonts are based on the original Post Office letterforms, glyphs have been drawn from scratch and include numerous adjustments and impertinent alterations, such as narrowing the overly wide Z and shortening the leg of the K. Several disparities exist between the Post Office Double and Single Line styles, and K-Type has attempted to secure greater consistency between the two. For instance, a wide apex on the Double Line’s lowercase w is made pointed to match the uppercase W and the Single Line’s W/w. Also, the gently sloping hook of Single Line’s lowercase j is adopted for both families. The original Single Line’s R and k, which were incongruously simplified, are drawn in their more remarkable Double Line forms, and whilst the new Single Line fonts are modestly condensed where appropriate, rounded letters retain the essentially circular form of the Double Line. Many characters that were not part of the original project, such as @, ß, #, and currency symbols, have been designed afresh, and a full set of Latin Extended-A characters is included. The new fonts are a celebration of distinctive features like the delightful teardrop-shaped bowl of a,b,d,g,p and q, and a general level of elegance not always achieved by inline typefaces. The Post Office Double Line alphabet was used from the early 1970s, in different colours to denote the various parts of the Post Office business which included telecommunications, counter services and the Royal Mail. Even after the Post Office was split into separate businesses in the 1980s, Post Office Counters and Royal Mail continued use of the lettering, and a version can still be seen within the Royal Mail cruciform logo.

Plumage is somewhat unusual in that it has elements of calligraphy as well as script in a semi-loose form that gives it a pleasing appearance for both large and small sizes, and interesting flare finish strokes add to its unique character. As I read a dictionary description of "plumage", I realized that in many ways there is a parallel between a bird's plumage and how it is utilized in the context of writing: Plumage varies in pattern and arrangement for different purposes; what it expresses can of course be even more interesting. Plumage is disposable after a season, as new ones become available... imagine, a self-sustaining quill! - I guess that's equivalent to a refill or disposable pen. Historically, quill pens were made from feathers of a variety of birds, each chosen for its special characteristics. The sturdiest and most reliable feathers, however, come from turkeys, swans and geese. Feathers used to make pens are the stiff-spined flight feathers on the leading edge of the bird's wing. Pens for right-handed writers come from the left wing, and pens for left-handers, from the right! Each bird yields 10-12 good quills, and sometimes only 2 or 3 - so small a yield that the geese reared in England could not furnish nearly enough for local demand, and quills were imported from the Continent in large quantities. At one point St Petersburg in Russia was sending 27 million quills a year to the UK. It is said that geese were specially bred by US President Thomas Jefferson (1743-1826) to supply his own vast need for quills - in his lifetime he wrote almost 20,000 letters. The name "Plumage" was selected to pay homage to the noble birds that supplied countless quills for centuries of literary works. Plumage is recommended for any formal or informal invitation, decorations, awards, poetry, plaques, etc. We hope you will have the pleasure of using Plumage.

Strak is a font that was born out of admiration for the work of E. Vermeulen, a Belgian artist known for his tight, precise line and an unseen masterpiece that is spread around the world. He has published and exhibited his work in London, Liverpool, Angoulême, New York, Geneva, Amsterdam, Lyon and Turku (in Finland) and he even signed for the New York Times. Based on a few characters, a complete font was composed by Kustomtype. After a few sketches, Strak came to life. The name Strak, in this case, refers to the slender, beautiful woman with the correct waistlines and proportions. The font is designed this way; it is completely hand-drawn, digitized and can be used in all modern and graphic media. Strak is available in 8 different styles, has class and will make many people's mouth water when they see it on your designs. Do you want quality and style? Then Strak is the font-perfect solution!

Nick Curtis's love affair with typography began when he was barely past adolescence, in a neighborhood alley of East Dallas. On a routine patrol for tossed treasures, he came across a type specimen catalog: a big, fat green binder displaying hundreds of fonts! He was hooked. Curtis's career has taken him from production art to graphic design to art direction, but type has always remained his graphic passion, especially the provocative designs produced from the late 19th through the early 20th centuries. Curtis's inspiration for ITC CuppaJoe comes from Art Deco lettering, but not from the typical sources. Depending upon your age or your interest in early twentieth-century package design ITC CuppaJoe might look familiar. Its foundation is the label art for Bokar, A&P's premium coffee during the 1930s. Curtis built on the gently sweeping curves and bold angular strokes of the original coffee-can lettering to create a distinctive typeface that commands attention. Rich, full-bodied, satisfying - now that's a ITC CuppaJoe!

Sequel Sans is a new chapter in the book of neogrotesque typefaces. Its core idea and its name were conceived in collaboration with the max bill georges vantongerloo foundation. The main inspiration for its design were the sans-serif typefaces used by Max Bill, the larger-than-life Swiss architect, artist, and designer. Honoring these roots, I designed Sequel Sans to be a clean and adaptable font family that is built upon a comprehensive system of styles. 8 weights, each with a corresponding italic, and a matching set of Variable Fonts are available in 4 optical sizes. These range from standard (for text sizes) to Subhead to Headline to Display—larger optical sizes come with tighter spacing and a number of gently adjusted glyph shapes. Like the great neogrotesques found in mid-century Swiss Style designs, Sequel Sans is a vessel that you can fill with any kind of content. It will amplify your message while retaining its own modernist character.

Useful links Font Specimen SFT Schrifted Sans: The Story of Font Development Article Contacts Follow us on Instagram to know all about our future projects and updates. If you want to customize SFT Schrifted Sans, need font files or have any other questions, please reach out to us at info@schrifteria.xyz. About SFT Schrifted Sans SFT Schrifted Sans is a functional geometric sans-serif typeface with a Nordic character. It can serve as a stylish text font and as an eccentric headline one. With multiple subfamilies (wide geometric and compact neo-grotesque) and numerous alternatives, SFT Schrifted Sans can be customized for various projects and transformed beyond recognition. SFT Schrifted Sans has wide language support: 200+ Latin and 60+ Cyrillic languages, including specific localized forms (for example, for Bulgarian and Serbian languages). Visit the font page for more information. Language support Latin: Abenaki, Afaan-Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese-Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Azerbaijani, Bashkir-(Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bislama, Bosnian, Breton, Cape-Verdean-Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Cornish, Corsican, Creek, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut), Guadeloupean-Creole, Gwich’in, Haitian-Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, Igbo, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese-(Latin), Jèrriais, Kaingang, Kala-Lagaw-Ya, Kapampangan (Latin), Kaqchikel, Karakalpak-(Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Kurdish-(Latin), Ladinlatinlatino-sine-Flexione, Latvian, Lithuanian, Lojban, Lombard, Low-Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam-Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese-Creole, Nahuatl, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Onĕipŏt, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami-(Inari-Sami), Sami (Lule-Sami), Sami (Northern-Sami), Sami (Southern-Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish-Gaelic, Serbian-(Latin), Seri, Seychellois-Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio-(Latin), Somali, Sorbian (Lower-Sorbian), Sorbian (Upper-Sorbian), Sotho (Northern), Sotho-(Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok-Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen-(Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Vietnamese, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zarma, Zazaki, Zulu, Zuni. Cyrillic: Russian, Belarusian (Cyrillic), Bosnian (Cyrillic), Bulgarian (Cyrillic), Kazakh (Cyrillic), Kirghiz, Macedonian, Serbian (Cyrillic), Tadzhik, Ukrainian, Chechen (Cyrillic), Bashkir, Chuvash, Tatar Volgaic, Mongolian, Uzbek (Cyrillic), Avar, Dargwa, Ingush, Kabardino-Cherkess, Kumyk, Lak, Lezgian, Ossetian, Tabasaran, Buryat, Komi-Zyrian, Touva, Mordvin-moksha, Udmurt, Adyghe, Dungan, Rusyn, Oroch, Enets, Chulym, Aleut (Cyrillic), Karaim, Udege, Nganasan, Ulch, Akhvakh, Ket, Karata (Karata-Tukita), Kildin Sámi, Yukagir, Karakalpak, Archi, Saami, Uighur (Cyrillic), Nanai, Koryak, Tsez, Soyot-Tsaatan, Tindi, Veps, Andi, Turkmen (Cyrillic), Karelian, Godoberi, Besermyan, Chukchi, Even (Lamut), Gagauz, Altaic, Moldavian (Cyrillic).

Midnight Edition is a stylish, modern serif font family that gives traditional serif design elements a modern feel, making it ideal for body text, headlines, and calls to action. Its clean lines, generous curves, and crisp details make it suitable for a wide range of design projects. The Midnight Edition complete font family includes 14 fonts (7 weights, each with an upright and an italic version). Each weight and style includes over 400 glyphs — including 10 standard ligatures and a smattering of character variants — and supports over 200 languages. The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (To access these features in Microsoft Word, you'll need to get comfortable with the advanced tab of Word's font menu.)

Sprout is a low-contrast sans serif, slightly condensed for economy of space, and complete with 6 weights in Roman and Italic. It has open apertures and a generous x-height for clarity of reading. It also comes with a weight balanced italic, which can be used for differentiation or as a standalone typeface in itself. The defining feature of the family is the taut curve, where the inner counter pushes out toward the outer contour, creating a feeling of tension in the curve. In the italic this shape language is pushed further, with a playful looped g and cursive form of the f. Sprout also comes with Old Style figures. Its range of weights makes for a versatile family suitable for branding, on-screen publishing and long-form reading.

Craft String - Display Script Font. This script is a special script or typeface whose emphasis is reversed from general thinking. Craft String is a casual script font inspired by monoline hand written, pop cultures and urban culture Craft String is casual and fun script that stands out from the crowd, Craft String font that perfect for story books, illustrations, comic books, t-shirts, posters, greeting cards, logos, branding, stickers, svg, crafting and all for display purposes. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. This font is also support multi language.

It all started with a Portuguese soap packaging from the first half of the 20th Century. The 5 uppercase letters that spell NAZARÉ were sufficient to drive the creation of this design. Nazaré fits in a semi-serif category and it has a large contrast. It works outstandingly in display use specially in the bolder weights that have even more contrast. The regular weights have a more moderate contrast and an overall less extravagant design, fitting best in the typographical conventions. this provides a better render in text use. You can use this font in large headlines, logos, posters, book covers, and general display use as well as short strings of text. Nazaré is the name of a small Portuguese fishing village known for its giant waves and peculiar people.

In Amaboxi the upper-case letters are all placed upon a background inspired by the cardboard boxes that many people in Africa use to carry their possessions. The box takes its shape from the character and conversely, the character is influenced by the shape of the box. All characters except the six "fractions" are included in Amaboxi. It includes all upper and lower case letters as well as all numerals, punctuation, accented and special characters. All characters have been letter-spaced and kerned in terms of the box (not the character). This improves legibility, however, the inter-character spacing has been minimized so that there is often a very slight overlap between the boxes of adjacent characters. This generates an exciting and variable "white space" around the characters.

Common use(s) of Comicraft's All-new, All-different SENTINEL font include FACTOR-X, X-MAN, GENERATION NEXT and X-CALIBRE. Possible Side Effects: This font should not be used if you are trapped in a world you never made or a world full of people that hate and fear you. Prolonged exposure to this font during an Age of Apocalypse may cause fatigue, muscle soreness, first degree burns and immobility. Contraindications in Homo Superior may manifest as an outbreak of large purple automatons. Interactions: Before using this font in either regular or bold doses, notify your doctor of any recent exposure to mechanoids, synthezoids or paranoid androids. Reprogrammed Sentinel has improved spacing and kerning, Western & Central European accents, alternate lettershapes, and a new Interlocking Mode with over 100 connecting letter combinations!

Axion SER is an original design by Alex Kaczun. Axion SER is a serif style variation based on his original Axion typeface family of fonts. It is a display font not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. The entire font has an original look which is strong, dynamic, machine generated and can be widely used in publications and advertising. Axion SER is a futuristic, techno-looking and expressive typeface with an appearance of machined parts with sharp and rounded edges. This attractive display comes in roman with lower case and lining figures.The font is also available with true small capitals and old style figures. The large Pro font character set supports most Central European and many Eastern European languages.

Noemí is a broad typeface based on a formally classic skeleton, but with a strong Meccano character, where its quadrangular serifs are the protagonists of the slab style. It is a typeface designed to solve the basic problems of newspaper printing, adapted to a novel and strong communication, in the case of a wide typeface and with generous ink traps making the impression. Noemí was born from the need to create a broad, functional typeface family with a strong compact character intended for use in the press. Intended for editing and layout in a newspaper / magazine with a wide range of subfamilies thought and designed to achieve a diverse graphic functionality; designed from the same common skeleton, with a style based on the mix between the Mecan characters of traditional typewriter fonts and Roman fonts.

The name ‘Linkus’ makes reference to the internet and its power to unite humanity, as well as to Linkus’ distinctive design, where the whole character is unified by a single, unbroken line – without sacrificing its elegance and readability. Linkus is based on the aesthetic decision of having a single, unsplit line forming every character, with a smooth transition of the different line directions, in order to strenghten the unity of form and create a singular fluxus throughout the glyph. Different from most other futuristic fonts (e.g. Slazer), who have an aggressive look, Linkus has a more sensible, refined aura. This display futuristic typeface is meant to be used whenever the subject is technology, cellphones, electronics, internet, computers or science in general, as Linkus creates a feeling of modernity, cleanness, efficiency and high-tech sophistication.

A new font by Calderon A typeface with a contemporary aesthetic, a mix of geometric and organic shapes that give each letter a special and unexpected design. The conceptual process was developed by making a re-interpretation of the Caslon styles making different explorations by using a calligraphic nib pen in order to find a new personality to each letter. The result is a modern, elegant and experimental serif typeface. Delicate in its Extra Light version and impressive in the Bolder style. The sweep design hides harmonic adjustments based on geometric strokes that generate a unique and attractive texture. For a better experience we recommend you to use it in headlines instead of body text. Includes: + 8 weights + 1 variable font + OTF features + Character set that supports Western, Central and Southeastern European languages. + Script: latin

We are pleased to announce the launch of Vástago Grotesk, a nine-weight sans serif font family, inspired by the traditional grotesque designs of the 20th century. The particular ink traps, result of the G drawing, create it a visual universe that is replicated throughout the system, generating personality and a functional distinctive in multiple contexts. Vástago Grotesk was born out of an interest in exploring the possibilities of Sans Serif font design, a process that is complemented by the advice of excellent typographers throughout the world thanks to the Type Crit Crew initiative. The design was carefully constructed, achieving functionality in different sizes, ranging from a subtle Thin to a Heavy weight that projects grandeur and character. Vástago Grotesk is a challenge come true. We hope you enjoy it.

Pilgrim is a re-cut of a Linotype face that Eric Gill originally designed for a book published by the Limited Edition Club of New York. Admired for its tranquil dignity, the Pilgrim type is both firm and elegant. Its general appearance resembles that of Gill’s Joanna font family. The contrast of the font is not very strong. The serifs are bracketed. Eric Gill, who designed the type on which Pilgrim is closely based, observed one sort of model for his lettering - the incised monumental letter of Roman origin. This is clearly seen in his capitals, but is also true of his lowercase letters, which have little of the calligraphic or engraved qualities of most other type designs. Gill’s types are Roman in the classic sense, yet also particular to Gill himself.

Ador is a humanist sans serif especially designed for contemporary typography and comes up with 8 weights from ultralight to black plus true italics and 343 ligatures. A large x-height not only creates space in the letters for extra-bold styles, but also lends Ador an open and generous character in the more narrow and semi-bold versions. The nice balance between sharp ink trapped and soft, dynamic shapes helps to work in small sizes. Diagonal stress, angled finials and the 4 degree true italic styles give Ador a dynamic look. The font contains 981 glyphs including small caps, tabular, old style, fractions … and a wide range of flexibility for Latin language support for every typographical needs. Ador is a contemporary sans serif typeface, special for logotypes, brands, magazines and editorial.

Varisse spans over two centuries of type design and draws its inspiration from well-loved classics that are as fresh today as they were when they were created. The range stretches from a quintessential 18th century transitional serif to an uncompromising 20th century sans. Think Baskerville, think Gill. The idea was to create a family that shared similar forms and the same vertical metrics, allowing them to be mixed to provide impact and readability as required. With a generous x-height and a host of options, Varisse Variable is ideally suited to branding, packaging, magazines and editorial. It also provides a wealth of opportunity in website presentation. The variable axes of weight and serif allow selection of styles from sans light to serif heavy with all the options in between.

Campeche variable is an expressive yet functional typeface family. Seeking to express its beauty, it twists the conventions of classic typography when necessary. Campeche finds its inspiration in the grotesque typefaces of the late 19th century coupled with a typical Latin American playful sense that gives it a modern freshness. The initial form arises from the idea of expanding Seriguela, evolving along the way, becoming its own system with a unique personality. Campeche is designed according to today's visual requirements. Taking advantage of variable technology in 3 axes: width, weight and display. Campeche Variable is a typeface that provides versatility for almost any use. It can be used for packaging, editorial, branding... etc. The mixture of its possibilities can generate complex graphic parts or systems with different levels of hierarchy, without losing unity.

A dinner is not complete without a fine appetizer. Whatever you dinner will be, CA Negroni is the perfect introduction. Delivered in three flavors, Normal (Light + Black + Fill), Inline and Round. Versatility is proved by the extensive language support, covering whole Central Europe. CA Negroni is the well aged and improved version of a typographic classic: in the beginning of the 20th century, type in advertising was mostly drawn by hand. A master of this art and pioneer in logo-design was Wilhelm Deffke (1187–1950). CA Negroni is inspired by his kind of bold and solid letterings, picking up some of the charming details while leaving away other that might have a disturbing effect on the general look. Two stylistic sets let you choose between a more serious or a more playful look.

Be the center of attention through your sophisticated design with the awesome Mostly Bright. It is a serif font. While it’s easy, there are also a little bit curvy strokes for generates modern and elegant vibes. Slay your design with Mostly Bright’s best features so you’ll look your best on what ever your design is, all the time. Features: Alternates Ligatures Swash Lower and uppercases Numerals and Punctuations It is perfectly used for many design projects, such as poster, logo, book cover, branding, heading, printed product, merchandise, quotes, social media campaign, etc. Get more inspiration about how to use it by seeing the font preview. Thank you for purchasing our fonts. Please don’t hesitate to contact us, if you have any further question or issues. We’re happy to help. Happy Designing.

Base & Bloom is an experimental (but relatively organic) fusion of geometric monoline sans and high-contrast flourish didone. It was inspired by the lack of curious modern display sans as opposed to the uprise of contemporary serifs past couple of years. The idea was to incorporate flourishes not as unnecessary elements like swashes, but as a part of letter structure, which was an especially interesting task considering it was not a serif, which potentially could give more room for that. And after all, the idea pays off by generating many inventive letterform solutions. Base & Bloom has alternates for each letter (up to 11) so you can make endless combinations to find the perfect look. It is a bold choice for posters, album covers, identity and packaging, headlines, oversize typography, and editorial design.

Opinion varies regarding the role of Claude Garamond (ca. 1480–1561) in the development of the Old Face font, Garamond. What is accepted is the influence this font had on other typeface developments from the time of its creation to the present. Garamond, or Garamont, is related to the alphabet of Claude Garamond (1480–1561) as well as to the work of Jean Jannon (1580–1635 or 1658), much of which was attributed to Garamond. In comparison to the earlier Italian font forms, Garamond has finer serifs and a generally more elegant image. The Garamond of Jean Jannon was introduced at the Paris World’s Fair in 1900 as “Original Garamond”, whereafter many font foundries began to cast similar types. Simoncini Garamond was designed by Francesco Simoncini to be true to the Original.

Another 48-cut family from a typeface system which originally arose from the need to simply explain to some publishers what it is “serif, sans-serif, egyptian”, etc. including their style variations. Over time, the Trivia became quite popular, which was her goal. Now is the opportunity to explain what it is “grotesque.” Grotesque in art is generally synonymous with bizarre, repulsive impropriety, but also surreal abomination exciting an empathic pity. These are qualities that undoubtedly attract the viewer’s attention since the days of Gothic gargoyles, stone gorgons and chimeras. Grotesque font is unlike the cold sans-serif much warmer, more appealing for the title, poster or advertisement, and is usually given in a variety of widths and weights. With our Trivia it shares basic proportions and OpenType features.

The font is inspired by the history of the native land - a city that blossoms on a high mountain, surrounded by the blue ribbon of the Unava River. The swift rapidity of the river, the important slow flow of its reservoirs, golden beaches and steep banks of which remember the glorious times of Cossack glory. Times when bright flags flew over the Cossack army, which swiftly swept the green meadows with lightning cavalry, and dusty paths under the scorching sun. To go out to defend their homes, to cross the cold steel of ringing sabers with the enemy, and, bravely going into battle, to fight back the invaders. The font combines the straight lines of sharp steel sweeps, the broken lines of jousting blows, and the refinement of the accent of undulating flag lines.

A modern sans serif typeface inspired by the historic geometric’s of the 1920’s, specifically Futura. The design is not a simple pastiche of what went before this is much more than that. It is a close investigation to how Futura inspired other type designs like Avenir and helped push the boundary of what is a modern typeface of its generation. Overlaying perfect geometric shapes careful adjustment is made for each character and each corner to a point of balance between pure mathematics and optical correctness. The result is a distinctively modern geometric font family that is strikingly simple in design yet perfectly pleasing to the readers eye. Details include 550 characters with an alternative lowercase a, g and y, five variations of numerals, manually edited kerning and Opentype features.

This type family is a revival of the old and famous Frank Rühl from 1924. With less contrast the 2 weights make it more readable and pleasant to the eye too. OpenType Pro Excellent support for Niqqud (Vowels). All marks are programmed to fit each glyph's shape and width. OpenType Pro includes new advanced features like Dagesh Hazak, ShevaNa, Qamatz Katan, Holam Haser and wide letters. Best used with Adobe InDesign CC that support complex Hebrew text. Please check these advanced features in this link: https://tinyurl.com/ybgdsxme Font files were re-generated to get better online screen display, as well as refined OpenType features as kerning glyph substitution. Please be aware of minor changes that might impact page layouts done with older fonts' versions. So be careful.

During the Covid pandemic, I noticed that a lot of public figures (politicians, actors, influencers and even kings and princesses) had to apologise for not following the social distance rules, the lockdown rules or the 'stay at home' rules. They threw parties, went on holidays abroad and - in general - made a nuisance of themselves. When I finished this font, I decided to call it Public Figure! Public Figure is quite a neat, handmade font. It doesn't stick to the rules (but does like to keep up appearances), likes to party (but manages to stay safe) and brightens up your work (without being too gaudy). Public Figure comes with two alternate sets for the lower case glyphs (that cycle as you type) and a massive amount of diacritics, including Vietnamese.

"To us it ain't vandalism. It's just letting the people know: We grew up here. This is our neighborhood. And as they pass by they know where we're at." – Los Angeles gang member Graffiti is equivalent to local news, its intended purpose is to inform general populace where gang members are, where they operate, as far as territory lines, and which neighborhoods are at war. Gang Graffiti can be used for: – Marking territory with graffiti. – It's a form of gang advertisement. – Letting people know who's in the gang, living, dead, or in prison. – Which neighborhoods they are at war with. – Who are their allies. Graffiti has along history, specifically Los Angeles gang graffiti, which has has been around since the 1930s. South Central typeface includes uppercase letters, numbers, and select punctuation glyphs.

Martin, a condensed semi-serif with rounded edges and friendly serifs, shows its charme best in short, pointed sentences, in headlines set in about 20 to 36 p. The playing with serifs in a condensed, very characteristic type design is attractive and the technical skill is convincing. More styles are planned. The idea was to try to apply a given design criteria (also see Volker Schnebel's Marita and Manuel fonts) to every single character. In other words, start with a character and develop all of the others from it. This is quite easy for some characters but extremely difficult for others. This process generates creativity and the characters move away from the initial constructed sketch. Together in a typeface, the individual characters are now all of a piece and character.

Rig Sans is a streamlined geometric typeface, that speaks in a confident, affable tone. Its open, clean structure lends text a neutral, transparent quality. Distinct features enable Rig Sans to thrive, both in print and on screen: Minimalist Design Terminals clipped at 90º Generous x-height Wide apertures Distinct I,l,1 (uppercase i, lowercase L, Number 1) Rig Sans’ sturdy characters produce text settings with excellent clarity and readability. Their shape has been adapted from robust letterforms originally designed to withstand 3D distortions. This unique approach has resulted in an original sans serif rendition and an adaptive, durable type family. Rig Sans is comprised of eight weights and accompanying italics. Each weight contains 514 glyphs. OpenType features include: Alternate characters Three figure styles All caps punctuation Fractions Ordinals Superscript Subscript

Gia is 7 weights, true small caps and unicase options, designed after iconic letterforms of the 1960’s to 1980’s. In the early years of the American tech revolution, when Silicon Valley was more closely identified with Dallas, Texas, a curious type of letterform began to appear—strict in geometry, and curiously minimal in geometry and stroke, making it easier to be read by machine-readers, and people more used to reading machine-generated typography. Coders! As the years went on, this kind of sinewy, curved letterform began popping up in logotypes and music videos and upright video games: NASA, The Buggles, Atari, Pong, Sega, Namco, Stern, Devo, Apple. Gia pays homage to that letterform, and is named after Gia Carangi, the iconic face of early 1980’s pop fashion.

Electrostatic JNL was inspired by the 1930s lettering for radio station WMCA in New York City. It was found as part of an ad for the station in a 1932 radio broadcasting trade magazine. WMCA went on the air Feb. 6, 1925. According to Wikipedia, the "MCA" call letters stood for the Hotel McAlpin, where the station's original studio and transmitter were located. "W" is the call sign prefix for all broadcast stations East of the Mississippi River; with the exception of KDKA (Pittsburgh), which was the nation's first commercial radio station. This bold novelty typeface with lightning bolds intersecting the characters can be used to represent anything from electricity to stormy days; power generators to brute force and so forth. Electrostatic JNL is available in both regular and oblique versions.