Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Typefaces don't simply appear fully formed to a designer, even with a clear concept in mind, they evolve naturally during the design & development process. Out of the current 'Artytype' collection, Omni has evolved the most, being a stripped back off-spring from several exploratory exercises. At first glance and particularly at small scale, you'd be forgiven for thinking the basic characteristics have a conventional outlook; but on closer inspection, it's own distinctive, clean cut, subtle styling becomes apparent, revealing enough personality to stand alone or complement a wide variety of projects; subsequently, it's a font that won't go out of style quickly and may even become a modern classic in time. The Omni family has 2 distinct styles, sans and serif, each style being available in 4 weights; all 8 fonts have slanted options to match making a total of 16 fonts. Dictionary definition of OMNI: Combining form - Of all things, in all ways or places. Quite an apt name for a font with ubiquitous aspirations.

SG Larchett is a stunning new sans serif font perfect for display. It features clean, elegant lines and a modern, minimalist design that is stylish and versatile. The font is characterized by its balanced proportions, uniform stroke width, and subtle variations in letterform, giving it a distinctive and sophisticated appearance. The unique features of SG Larchett make it ideal for use in a wide range of design applications, including branding, advertising, packaging, and web design. The font's clean, uncluttered lines and legibility make it easy to read even at small sizes, while its bold, striking appearance ensures that it stands out in any design. SG Larchett is a font that commands attention, yet remains understated and refined. It is the perfect choice for designers looking to make a bold statement with their typography while maintaining a sense of elegance and sophistication. Whether used in headlines, logos, or body copy, SG Larchett is a font that will impress.

Eurocine is an expansive display typeface – a square sans serif that’s perfect for titling, headlines, logotype and branding. This 36-font family is packed with features to make it supremely versatile. This typeface attempts to capture the mood of movie credits from European Cinema in the 1970s, with a focus on Giallo films in particular. In terms of style, Eurocine sits somewhere between Walter Baum and Konrad Friedrich Bauer’s Folio, and Aldo Novarese’s Eurostile. With Eurocine you get a more versatile typeface by way of its small caps and additional stylistic sets giving you extended caps, extended small caps, and petite caps, as well as upper and lowercase unicase. Creating typographic masterpieces of your own will be so much easier! Key features: • 6 Weights in Roman and Oblique • 3 Widths – Narrow, Regular, Wide • Extended Caps • Small Caps • Extended Small Caps • Petite Caps • Unicase • Old Style Figures • European Language Support (Latin) • 1,200 glyphs per font.

Vellyc - Fun Sans Serif Font that has a distinctive character that is very thick and elegant to use Vellyc is a relaxed and flowing Handwritten Font. Incredibly versatile, this font fits a wide pool of designs, elevating them to the highest levels. Add this font to your favorite creative ideas and notice how it makes them come alive! Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature Multilingual Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Catalan, Chiga, Cornish, Danish, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Zulu There it is! I really hope you enjoy it

The name Captiva is derived from the word captivate, meaning 'enchanting' or 'capturing the heart'. Captiva is a geometric sans serif font with a harmonious blend of clean shapes and straight lines, diagonal lines, and curves. The simple yet sophisticated design shows a soft yet hard, hard yet beautiful appearance. It has a total of 9 thickness levels, and the edges and strokes are rounded to give the user a peaceful impression. The non-decorated form gives the user a comfortable reading of the text, and the high height value and wide inner space make it stand out from other fonts. In addition, it provides comfortable readability in various digital media as well as in general printing environments. Captiva has the following features: 9 thickness levels (from thin to heavy) extended latin 450+ glyphs fixed width numbers The Latin extension offers more than 130 languages with extensive multilingual Latin support for Western, Central, and Southeastern Europe.

Typefaces don't simply appear fully formed to a designer, even with a clear concept in mind, they evolve naturally during the design & development process. Out of the current 'Artytype' collection, Omni has evolved the most, being a stripped back off-spring from several exploratory exercises. At first glance and particularly at small scale, you'd be forgiven for thinking the basic characteristics have a conventional outlook; but on closer inspection, it's own distinctive, clean cut, subtle styling becomes apparent, revealing enough personality to stand alone or complement a wide variety of projects; subsequently, it's a font that won't go out of style quickly and may even become a modern classic in time. The Omni family has 2 distinct styles, sans and serif, each style being available in 4 weights; all 8 fonts have slanted options to match making a total of 16 fonts. Dictionary definition of OMNI: Combining form - Of all things, in all ways or places. Quite an apt name for a font with ubiquitous aspirations.

Film-P2 is an Ultra Condensed sans serif display typeface designed by Bartosz Panek. It is the follower of the geometric 'Film Poster' (https://www.myfonts.com/fonts/fontsphere/film-poster/) which was inspired by futuristic movie posters. In Film-P2, the letter design is more neutral, the font is more versatile, but no less expressive, which was one of the assumptions of the project. This allows many different application possibilities. In titles, headings, longer text compositions, bold and custom juxtapositions, and in many different formats. The differences in the width of the letters in the narrow, regular, wide versions are not significant, they are fairly balanced, but they give a lot of variation depending on the method of application and design characteristics, e.g. text size, background type, etc. The entire Film-P2 family offers many creative possibilities in graphic design, branding, printing and website design. Each font include multilingual support, numerals and a large range of special characters.

The idea that mathematical precision and the supposed "purity" of geometric forms are part of the discourse of us graphic designers is not new. Studying typography for some time now and learning about all the small alterations and adjustments that this geometry undergoes to better adapt to the imperfect human eye, I found myself with a new way of seeing things. Compasso is, in a way, a result of my growth as a designer. Established and recognized fonts like Futura, Avenir, and their predecessors (including Tempo - published by the Ludlow foundry in the early 20th century) informed the result of Compasso at some level. Others opened my mind to possibilities. Mallory, Azo Sans, the font designed for Audi by Bold Monday, and many other contemporary sans-serif fonts that left me speechless are also responsible for details present in this font. From the first sketch, the family grew on both sides, gaining condensed and extended counterparts. From there - and from a brilliant insight from designer Nicole Rauen - I learned that Compasso was not about geometry. Compasso is about rhythm. It's about the rhythmic movement that provides a foundation, supports, and also makes you dance and swing. My musical taste is too eclectic, I can go from classical to funk in less than two songs on Spotify. Compasso is also eclectic. It's a font to take your project anywhere, a record to listen to on any occasion.

Introducing, Daily Spark, handwritten font duo Daily Spark is a package of two fonts including Bold Sans and Script that will compliment each other. You can use this font for any occasions such as a branding, merchandise, etc. With handmade feels, this font is suitable for quote. For additional, this font also contains underline that you can access from ligature and type underscore + number (1-3) in the middle of the text, for example : Sp_2ark. This font also support multilingual.

Norsy, A Display Typefaces with Variable Weight and Width. Norsy is a modern elegant variable font. Basically this is a Sans with a small touch of serif on every letters. A Simplicity yet very legible with various width and weight that you can explore, combine, create and help you designing something. In a Total of 21 Style Font files or even more if you are using the Single Files Variable, you can slide the weight and width on the sweetest spot of Norsy.

Hey Guys! My new Font Kidplay is a funny and playful sans serif, perfect for child magazine cover, comic creations, branding projects, headlines, posters and packaging! Kidplay font has three styles allow unique and versatile design options! Furthermore it is a unicase font, so you can also play with uppercase and lowercase initials. But that's not all! it is equipped with multilingual accents, so it can be used in several Latin languages. I hope you enjoy my creation. Thank you!

The Bartender Collection its a 14 fonts created multiple that could work together seamlessly. Six different typefaces comes with clear and pressed styles. This collection help you hit the target with your design projects. You can create vintage looks graphics with pressed style and serif fonts, or you can use sans and be more modern. Perfectly for branding, prints, t-shirts or posters. Goes with some alternates (Aa, Bb, Hh). Create dozens of font combinations and get really unique typographic for your project.

Presenting Masa Brush! A Brush San Serif with an organic texture. It looks original and can be used for all your project needs. Each glyph has its own uniqueness and when meeting with others will provide dynamic and pleasing proximity. This font can be used at any time and on any project. So, Masa Brush can't wait to give its touch to all your design projects such as quotes, poster design, personal branding, promotional materials, logotype, product packaging, etc. Happy Creating! www.azetypestudios.com

PT Octava™ was designed at ParaType in 2001 by Vladimir Yefimov. The first (Cyrillic only) version named Scriptura Russica (1996) consisting of three styles (book, italic, bold) was commissioned by the Russian Bible Society. Lately the Latin letters and bold italic were added. Inspired by Lectura, 1969, by Dick Dooijes and Stone Print, 1991, by Sumner Stone. In spite of large x-height the typeface is both space saving and quite legible at small sizes. Expert fonts including small caps (book) and old style figures are available.

Introducing - Roxale Story. a new fresh & modern serif with smooth curves. It comes with elegant style, classy, and contrasts, with features and consist of regular, italic and calligraphy italic. Roxale Story is perfect for luxury logo and branding, classy editorial design, woman magazine, cosmetic brand, fashion promotional, art gallery branding, museum, historical of architectural, boutique branding, stationery design, blog design, modern advertising design, card invitation, art quote, home decor, book/cover title, special events and any more. Features : · All Uppercase and Lowercase · Number & Symbol · Supported Languages · Alternates and Ligatures · PUA Encoded

If you’re looking for lettering that’s a little fancy-schmancy, a little stylish, lively and free flowing, comic book lettering legend Richard Starkings has a bold, bodacious and exciting pen style for your font library! Richard Starkings Brush is exuberant and yet also quietly confident -- originally rendered with a Brush Pen, this slick new addition to the Comicraft library puts the Flam in Flamboyant. Includes four weights (Regular, Italic, Bold & Bold Italic) with automatic alternate letters, Western and Central European international characters, Vietnamese characters, and Comicraft's patented Crossbar I Technology.

Big Brother is watching you and vile Supervillains are afoot! The cunning characters involved in this font have devised a convoluted Machiavellian plot for world domination that encompasses mind parasites, twitter, deadly viruses in the public water system and possibly a nuclear dirty bomb in a downtown Metropolitan area to which they've strapped your girlfriend and a digital clock rapidly counting down to zero! Will Good Triumph and Defeat Evil?! Stay tuned... Features: Four fonts (Regular, Italic, Bold & Bold Italic) with upper and lowercase characters. Includes Western European international characters.

The Ehrhardt name indicates that this typeface is derived from the roman and italic typefaces of stout Dutch character that the Ehrhardt foundry in Leipzig showed in a late-seventeenth-century specimen book. The designer is unknown, although some historians believe it was the Hungarian Nicholas Kis. Monotype recut the typeface for modern publishers in 1937 to 1938. Ehrhardt has a clean regularity and smooth finish that promote readability, as well as a slight degree of condensation, especially in the italic, that conserves space. Ehrhardt is a fine text face, especially for books.

Griffo Classico™ was produced by Franko Luin in 1993. It is a revival inspired by the types cut by Francesco Griffo for the Venetian printer Aldus Manutius at the end of the fifteenth century. The roman is based on the type Griffo cut in 1496 for Bembo's de Aetna," and the italic on a type he cut in 1501 for an edition of Virgil. Griffo did not make separate italic caps, so Luin designed his own for Griffo Classico. This is a serviceable family with five weights, including small caps.

Claremont is a serif font family designed by Les Usherwood (Typsettra). Usherwood originally created four weights – a light, extra bold, light italic, and extra bold italic. Paul Hickson (P&P Hickson) and Steve Jackaman (ITF) digitized the family and created eight new weights, and it was released exclusively for the Red Rooster Collection in 1993. Claremont shares similarities to Bookman Old Style, but also shares properties with slab serif Egyptian-style typefaces. Like all Usherwood typefaces, the family was engineered with great care for maximum legibility and aesthetics. ©1993. International TypeFounders, Inc.

Inspired by hand lettering and vernacular typography. Its informal and friendly character allows for different creative ways of usage. It is recommended for publishing, advertising and branding to get fresh handmade feeling. First version of Saturator FA Regular was designed by Magdalena Frankowska in 2007 and used successfully by many graphic designers all over the world. New version of Saturator FA is broadened with more diacritic characters for most of Latin languages. In 2016 new styles: Italic, Serif and Serif Italic were designed to enrich the Saturator FA family.

ITC Cushing has a long history. The typeface was originally designed by J. Stearns Cushing, a Boston-based book printer, and famous American type designer Frederic Goudy expanded it to include an italic weight. Under a special license from the American Type Founders, Vincent Pacella modified the design for ITC and added some additional weights. ITC Cushing is slightly condensed with large, bracketed serifs. Pacella changed the capital letters to better complement the lower case and replaced the sloping serifs of the italics to linear type serifs to produce ITC Cushing.

Newly remastered, this elegant font features over 770 characters. P22 Pouty Pro is a light contemporary italic, including a large set of ligatures and alternate characters, offering plenty of options for customization. Award winning commercial lettering artist, Michael Clark had noticed that italic, and its limitless variants, is more utilitarian than other calligraphic styles and Pouty—named for his youngest daughter Jennifer, a sulky beauty—is one of his favorite variations. Perfect for wedding materials, fashion editorial, packaging design, product labels and anywhere a sophisticated calligraphic style is desired.

Lakony Regular, italic and display serif lacony are combined into one into a modern serif, lacony pays attention to high readability and a soft font model so that readers feel comfortable. lakony font also has unique alternates, making it easier for you to design as unique a text as possible. However, this does not leave behind the function of the font itself, namely readability, so this font is suitable for titles, posters, branding, invitation cards and much more. Lakony Regular Lakony Italic Lakony Display Uppercase Lowercase 75+ Language Alternates Font

Fugues is a modern monospace display font. The typeface is made from a basic line, circle and square geometry. Fugues Regular and Italic are inspired by straight geometric shapes and Fugues Rounded and Rounded Italic are inspired by organic geometry similar to works by Antoni Gaudí and Alphonse Mucha. The name is derived from the Latin “Fuga” meaning flight and its current meaning “compositions of many parts on a short theme and using counterpoint.” Fugues is great for display work, logos, film titles, sports, monograms, headings and posters.

We have created this family from the numerous derivatives in use for newspapers since the middle of the 1800s to the 1970s, inspired by the well known Clarendon. Mainly, the patterns are those used to print Le Petit Journal, a popular French Newspaper of the era (published from 1863 to 1937). The present version contains Normal, Italic, Bold and Bold Italic styles, in two sub families: 1906 French News for texts and titlings with upper and lower case, and 1906 French News Caps (Caps, small caps, small numerals, for texts and titlings).

The font Kyiv is an attempt to unite old-style antiqua with the Ukrainian tradition and modern requirements. Besides having usual italics the Renaissance tradition of "semi-italics" renewed, compact weights are also provided. Special charm is added by decorative motives of chestnut leaves and flowers. The weights are included in a way to promote the solution of various tasks both text, and an accidental set in various combinations. The font Kyiv was awarded the 2nd prize in category of text fonts in the first Ukrainian typeface competition Ruthenia in 2010.

This family was inspired mainly (Normal and Italic style ) by a Didot pattern font used in Rennes (France, Britanny) by Cousin-Danelle, printers, for Antiquités historiques et monumentales ‡ visiter de Montfort ‡ Corseul, par Dinan... Saint Malo... etc. an historic guidebook for a journey through a part of (French) Brittany in 1820, and many other books. The present version contains 1820 Modern Normal and Italic, 1820 Modern Large Normal and 1820 Modern Narrow Normal, each style with small caps. This font may be used together with 1906 French News and/or 1906 Titrage.

Scharf is a sturdy serif of eight weights with matching true italics. Accurate serif details are carefully drawn to allow improvements to readability and further enhance the fonts' fluid and dynamic personality. This extensive type system is purposefully suited for editorial design and complex typographic hierarchy. Details include eight weights with matching true italics, over 950 characters per font with alternative lowercase a, e, g and y, eight variations of numerals, true small caps with accents, discretionary ligatures and language support covering Western, South and Central European and Vietnamese.

Introducing Stockholm font is charming and elegant handwritten with a quick stroke pen effect. This font was created to look as close to a natural handwritten script, as possible by including lowercase alternates, ligature and underlines. Perfect for any awesome projects that need hand writing taste. Comes with regular and italic. With built in Opentype features, this script comes to life as if you were writing it yourself. What's included: Stockholm (ttf.otf.web) Stockholm Italic (ttf.otf.web) Don't hesitate if you have any questions. Thanks for checking out this font. I hope you enjoy it! AminMario

Soft, fun, confident, sophisticated, and versatile. Luwest Rounded is a modern rounded font family that comes in two weights and in italics. The chunky weight and buttery curves of Luwest Rounded Regular make it well suited as display type ideal for branding, logos, magazines, films, packaging, greeting cards, invitations, posters, slides, and presentations. Luwest Rounded Light adds contrast and even more flexibility. Luwest Rounded includes a generous selection of international characters to support a broad range of languages. Luwest Rounded includes: Caps and lowercase Regular and Light weights Regular and Italics Extensive international character support

Introducing, Selino Family Typeface. An elegant, classy with artistic touch family typeface. Selino Family Typeface is perfectly suitable for layout design for quotes or body copy, best used as a display for headings, logos, branding, magazines, product packaging, invitations. logotypes, and much more. Don't wait to add this luxury font family to your collection and start designing straight away. Features : · Font Family totals 4 fonts (Bold, Bold Italic, Regular, Regular Italic) · All Uppercase and Lowercase · Number & Symbol · Supported Languages · Alternates and Ligatures · PUA Encoded Hope you enjoy with our font!

About family “Noema Pro” Steps… The name “Noema” is again borrowed from ancient Greek word, which may have different meanings depending on the phrase: meaning, logic, significance, purpose, reason, value, nod, implied. In this font i tried and here(like in “ErisPro”) to give a different illustration in letters with a reverse dial(…sloping or recline) from Italic, simply because of whims or because the monotony is tiring me… This series is composed and includes twenty-four fonts with 658 glyphs each, with true italics, true Sloping and supports of course: Latin, Greek & Cyrillic.

Jazmín is inspired by "Globe Gothic" design yet features different proportions, curves, serif shapes and contrast, which give it a classy, playful and a more contemporary look. The family comes in two versions: an elegant font of 8 weights-ranging from Thin to Black-with matching italics, and an alternate, more playful counterpart with the same number of weights and italics. The whole Jazmín set contains 566 characters which support over 200 Latin-based languages. Jazmín is ideal for magazines, short text, logos, branding design, packaging and advertising.

Thorowgood was originally released by the Stephenson Blake typefoundry in the UK. The types were first cut by the English typefounder Robert Thorne, predecessor of William Thorowgood, and first shown in his specimen books in the early nineteenth century. The fat face was revived in roman (1953) and italic. The S and the C appear to be smaller than the other capitals. Most serifs are flat and thin horizontals. In the italic the main strokes of h, k, m, n, and r are curved inwards at the foot.

The Englishman William Caslon (1672-1766) first cut his typeface Caslon in 1725. His major influences were the Dutch designers Christoffel van Dijcks and Dirck Voskens. The Caslon font was long known as the script of kings, although on the other side of the political spectrum, the Americans used it as well for their Declaration of Independence. The characteristics of the earlier Renaissance typefaces are only barely detectable. The serifs are finer and the axis of the curvature is almost or completely vertical. The overall impression which Caslon makes is serious, elegant and linear. Next to Baskerville, Caslon is known as the embodiment of the English Baroque-Antiqua and has gone through numerous new interpretations, meaning that every Caslon is slightly different. Caslon Classico appeared in 1993 and was designed by Franco Luin, the designer of various interpretations of classic typefaces. Luin kept his design true to the original and Caslon Classico consists of two cuts with corresponding italic and small caps characters.

Muller Specimen: http://bit.ly/mullers Muller Narrow Specimen: http://bit.ly/mullerns The very first sketches of Muller were made about four years ago. In the process they changed to the point where they had nothing in common with the original idea. As it is with most work we do, when we seek perfection, changes are inevitable. It was specifically designed with a wider structure for better appearance in small sizes and the extra attention to the detail was needed for the big sizes. We managed to find the right balance for the perfect universal font family. The family consists of 20 weights, ranging from Thin to Heavy with matching Italics. This font family is suited for everything, ranging from advertising, packaging, editorial and branding, to web and screen projects. Muller comes with a complete range of figure options, including proportional and old style figures, each in its tabular version. It also includes advanced typographic features such as ligatures, fractions, alternate characters, case-sensitive forms, superscripts and subscripts.

About the design: Ardena is a modern sans-serif typeface family. While neutral and clear at first glance, it can be characterized as both pleasant and confident due to its open, rounded forms and vertical terminals. It can be used in both a restrained and expressive way. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. Completed with an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Features: The Ardena family has a total of 20 styles, from thin to heavy with matching italics. With over 1064 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. The principle is easily explained: If a number is placed in round or square brackets, it will automatically be displayed in an outlined circle or square. If you add a period to the number, it is displayed in a full circle or square. The same principle also applies to the arrows. The arrows themselves are combinations of greater/less symbols with the various slashes or hyphens. Get the Variable Font here: https://www.myfonts.com/fonts/julien-fincker/ardena-variable/