Looking for a typeface that exudes intelligence, sophistication, and technical know-how? Look no further than Affluent—the sleek, modern sans-serif typeface that blends cutting-edge technology with scientific elegance. One of the key features of Affluent is its unique mix of unconstrained vertical lines and perfectly flat, quantized near-horizontal lines. The result is a design that feels both dynamic and precise—perfect for conveying complex technical information with ease. Whether you’re designing materials for a military organization, a scientific research institute, or a cutting-edge technology company, Affluent is the font that will help you make your mark. With four distinct styles to choose from—Regular, Semi-Bold, Bold, and Italic—you can customize your design to perfectly match your brand’s personality and message. So why settle for a boring, generic font when you can choose Affluent and take your design to the next level? Try it out today and see the difference for yourself! Affluent comes in Regular, Semi-Bold, Bold, and Italic styles. Most Latin-based European, Greek, and some Cyrillic-based 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, Bulgarian, 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, Greek, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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), Ukrainian, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Handy Andy Andy Lethbridge had only just completed his graphic design BA at the University of Portsmouth when he was spotted by Jason, who’d seen Andy’s exquisite hand lettering at his degree show and on Instagram. Keen to push the handwritten theme further, having recently launched a digitally-created, chalky script font (FS Sammy), Jason offered Andy a job and the chance to develop a suite of more stylised, truly hand-drawn fonts. Andy duly got out his pads, pencils and pens, and started experimenting with styles and textures. Magic followed. Imperfection perfected Most ‘handwritten’ typefaces are created entirely digitally. Not FS Shepton. From the start, the intention was to create a collection of alphabets of similar character but different texture and style – 100% hand-drawn and purposely imperfect, with the kind of inconsistent, organic shapes and textures of market stall signs, dashed off in chalk or paint. FS Shepton Regular, drawn with a wet brush pen, is solid with a rough outer edge and a casual but controlled feel. The dry brush used to create FS Shepton Light gives it more inner texture and a more formal, slanted, calligraphic style. FS Shepton Bold, drawn using a wider, looser dry brush pen, has a woody grain in the middle of its broad strokes and greater solidity where the brush moves more slowly. Fresh as a daisy Think of FS Shepton not as a family of three weights of the same font so much as a collection of three fonts penned by the same author. All of them – the light, regular and bold – were created independently as display fonts that offer something different to labelling, packaging, point-of-sale and advertising. Lovingly crafted by hand, they’re a good match for products and settings that share the same artisinal qualities: organic foods, drinks and healthcare products, as well as premium chocolate, coffee and condiments.

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980’s. The styles are loaded with inspiration for great font families, but surprisingly, many of these sleek logotypes are lacking an expansive family to enhance and express their brand in a richer sense, becoming true brand workhorses. The Aspire family finds its origin of inspiration in the ACURA automotive company logo, and from there expands to an 6 font family of weights & oblique styles. Aspire pays homage the techno display styling of the inspiration logotype, further evolving beyond its brand inspired origin to give birth to a font family that pulls on modern and historical styles. It adopts a sturdy yet approachable style with its uniform stroke forms and curves, and goes on to include a lowercase, numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here’s what’s included with the Aspire Family bundle: 477 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) Stylistic Alternates - alternate characters that remove the angled stencil cuts for a more standardized text look. 3 weights in the family: Light, Regular, & Black. 3 obliques in the family, one for each weight: Light, Regular, & Black. Fonts are available in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here’s why the Aspire Family is for you: - You’re in need of automotive sans font family with a range of weights and obliques. - You’re love that ACURA letter styling, and want to design anything within that genre. - You’re looking for an alternative to Eurostile with more stylized letterforms. - You’re looking for a clean techno typeface for your starship console labelling. - You just like to collect quality fonts to add to your design arsenal.

The impetus behind Felbridge was both ambitious and highly practical: to develop an ideal online" typeface for use in web pages and electronic media. Robin Nicholas, the family's designer, explains, "I wanted a straightforward sans serif with strong, clear letterforms which would not degrade when viewed in low resolution environments." Not surprisingly, the design also performs exceptionally well in traditional print applications. In 2001, to achieve his goal, Nicholas adjusted the interior strokes of complex characters like the M and W to prevent on-screen pixel build-up and improve legibility. Characters with round strokes were drawn with squared proportions to take full advantage of screen real estate. In addition, small serifs were added to characters like the I, j and l to improve both legibility and readability. "The result," according to Nicholas, "is a typeface with a slightly humanist feel, economical in use and outstanding legibility - even at relatively small point sizes. Most sans serif typefaces have italics based on the simple "sloped Roman" principle, but italic forms for Felbridge have been drawn in the tradition of being visually lighter than their related Roman fonts, providing a strong contrast when the italic is used for emphasis in Roman text. The italic letter shapes also have a slightly calligraphic flavor and distinctive "hooked" strokes that improve fluency. Felbridge is available in four weights of Roman - Light, Regular, Bold and Extra Bold - with complementary italics for the Regular and Bold designs. The result is a remarkably versatile typeface family, equally comfortable in magazine text copy or in display work for advertising and product branding. As a branding typeface, Felbridge works in all environments from traditional hardcopy materials to web design, and is even suitable for general office use. As part of a corporate identity, this no-nonsense typeface family will be a distinctive and effective communications tool." Felbridge™ font field guide including best practices, font pairings and alternatives.

PHOENICA is a contemporary humanistic typeface family suitable for traditional high-resolution print purposes, office application and multi-media use. Of the creation formed the basis an idea which was developed for the first time by Lucian Bernhard approx in 1930 with the Berhard Gotic and was taken up in the last time by different written creators repeatedly: the repeated elimination anyway (in comparison to a Antiqua, e.g. Garamond) already very much diminished form Grotesque (as for example Helvetica) by systematic leaving out of the serifs. The horizontal direction of the writing is thereby stressed remarkably by which so-called »Rail effect« originates. The eyes can grasp the line to be read very well what is ordinarily left to a Serif-stressed font. By this desired effect is suited PHOENICA also for big text amounts. In numerous test runs Stems and tracking was compared to experienced fonts and was adapted. The experienced was taken over without renouncing, nevertheless, the modern and independent character PHOENICA. PHOENICA offers to you as a welcome alternative to the contemporary humanistic Sansserif. It is a very adaptable family for text and Corporate design uses. Several companies have discovered PHOENICA meanwhile as a Corporate font for themselves and use them very successfully. She provides a respectable typeface combined with refinement and elegance. Every PHOENICA family has at least six weights in each case in regular and italic. In addition more than three fine Haarline weights (Hairline 15, 25, 35). These are a total of 27 possibilities. Phoenica as well as Phoenica Condensed are excellently readable fonts, because they were optimised especially for amount sentence. Both basic styles (Regular and Condensed) are tuned on each other and follow the same form principle. The family is neither exclusively geometrical nor is constructed humanistically, the forms were sketched on quick and light Recognition effect of every single letter. The PHOENICA family design and logo is suited for all only conceivable uses like newspapers and magazines, for the book typography and Corporate Design.

How many times have you seen lettering on a book cover, poster, or card and wanted to make something similar? Decorata’s eight intertwining weights finally make that possible in an intelligent way. The first major collaboration of its kind, Decorata pairs the talents of supreme lettering artist Martina Flor and masterful type designer Neil Summerour. Lettering was traditionally understood as using words in an artistic way, while type design created written language for easy reading, the one overlapping the other in several ways. For this unique project, Martina created several versions of the alphabet and its decorative layers in her eye-catching style. Neil then took those designs and created an enormous eight-style font family that respects the designer’s need for control and capitalizes on the artist’s expressiveness. Each style can work separately but, on top of the foundational styles, try placing the Lace, then Filigree in contrasting colors. Use any OpenType-capable program to turn headlines from blasé to wowza, make posters with some pow, and design your own cards with that just-right level of detail. Whatever idea you can imagine with the Decorata family, it promises to be a playful and precise wordsmith where the words themselves are the art. Decorata’s glyphs are bifurcated, have medium contrast to showcase their intricate interactions, and include Shadow, Regular, Outline, Filigree, Lace, Fancy, Intricate, and Dingbat styles — eight in all. The Regular style sets the word or phrase to begin the design, Shadow ensures it lifts off the background, and Outline attempts to restrain its ornate flair. Think of those as the foundation and use the rest of the styles for flamboyance. The Intricate and Filigree styles vary only in the thickness of the glyphs, with Filigree being thinner. Lace removes the external curls around each letter but keeps the internal negative space from those decorative lines. The Fancy style is a solid lettershape that includes its attendant elements, and the Dingbats are exactly as expected: borders, manicules, patterns, frames, and many stylized items to bring designs to life.

You wrote on your school notebooks, didn't you. Of course, just about everyone did. And those that didn't are probably in therapy trying to overcome the repression and guilt. Balloon letters are fun, easy to draw and have a light-hearted presence. With little autonomy, what young person can resist the opportunity to make a public, personal statement on their notebook. Guess what! Adults do it too - with our cars, our houses, our toys, our accessories and so on. And how "grown-up" are we really? Anyway, my niece, Cori, made this nice, colorful, hand-drawn birthday card. It was so vibrant and fun - in warm circus colors - that I could not resist making it into a font. Use it for positive, fun stuff, stuff with a light touch - an invitation for an informal party perhaps, but probably not a formal dinner at the White House. This font is not comfortable in a bowtie. But don't be fooled. Casual as Cori is, you can set at least twelve major European languages with it, in addition to English: Albanian, Danish, Dutch, Finnish, French, German, Hungarian, Italian, Norwegian, Portuguese, Spanish and Swedish. Cori Valentine adds a decorative Valentine border to the upper case of Cori. By leaving out the bow in the upper center of the border we were able to fit the border around the accented caps. Similarly, we omitted the butterfly for the Ccedilla glyph. Blank versions of the regular border & the bowless border are provided at positions 135 & 137 in case you want to put a border around your signature or something like that. Just for reference, the letterforms for Cori Valentine are 75% the size as the regular Cori font. We would like to assure you that it is permissible to use Cori Valentine to create a romantic card, flyer or note during any month with less the 32 days.

The world of aviation is filled with clean and iconic logotypes, yet some of the earlier logotypes were friendly and simple. The Tailwind family finds its origin of inspiration in an early Air Jamaica company logo, and from there is expanded into a small but comprehensive font family. Tailwind celebrates the typographic stylings of the 70’s, with the soft rounded terminals and open geometric feel, transcending its brand inspired origin to give birth to a family that feels both retro and modern. It inherited the friendly stylings of the mostly lowercase logo that inspired it, and goes on to include a full standard character set with expansive international support of latin based languages, small caps styles, and three weights jumping from light to regular to a heavyweight black. This family is ready to chart a course for your designs towards that of a modern, comfortable appeal. Here's what's included with the Tailwind Collection bundle: 382 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) 6 fonts in 3 weights: Light, Regular, Black . Small Caps versions available in all weights. Fonts are provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Tailwind Collection is for you: You're in need of a soft rounded font with a variety of weights with small caps for your designs You're a retro airline junkie and have to have anything inspired by Air Jamaica You love VAG Rounded, but you really want something just a little different You really dig the Akademics & Bloomingdales logos, but would like a softer type in that genre You just like to collect quality fonts to add to your design arsenal

Introducing "Black Hearts," a cutting-edge freestyle graffiti font that brings an urban edge to your design projects. This font is a testament to the rebellious spirit and creative expression found in street art. With its bold strokes and dynamic letterforms, "Black Hearts" captures the essence of graffiti culture, delivering a raw and authentic feel to your designs. Freestyle Graffiti Design: "Black Hearts" is crafted with a freestyle approach, emulating the spontaneous and expressive nature of graffiti art. The characters showcase a mix of intricate details and bold lines, creating a visually striking and edgy aesthetic. Regular and Extruded Versions: Take your designs to the next level with the 3D flair of "Black Hearts." The font comes with both regular and extruded versions, providing you the flexibility to experiment with depth and dimensionality in your typographic compositions. Graffiti Swashes: Add an extra layer of creativity to your designs with the included graffiti swashes. These unique elements complement the font's style, allowing you to embellish your text with expressive strokes and energetic curves. Ornamental Elements: Elevate your design projects with the diverse range of ornamental elements included in "Black Hearts." From spray-paint-inspired accents to urban motifs, these ornaments provide additional creative options for making your designs truly distinctive. "Black Hearts" is perfect for projects that demand an authentic urban vibe. Whether you're working on street art posters, album covers, clothing designs, or any project that requires a rebellious and contemporary feel, this font is your go-to choice. Versatile Applications: Streetwear Branding Music Album Artwork Graffiti Art Exhibitions Skateboard Deck Designs Edgy Advertising Campaigns Contemporary Logo Design "Black Hearts" is more than just a font; it's a statement. Embrace the rebellious energy of the streets and infuse your designs with the raw, unapologetic style of urban graffiti culture. Unleash your creativity and make a bold impact with "Black Hearts." ——— Black Hearts features: A full set of uppercase and lowercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Layered Style +425 Total Glyphs +200 Graffiti Swashes and Ornaments included!

I've always been in love with fat didones. That’s the reason of Posh. In search of something unique, I started this family back in 2013 with the aim of creating the fattest yet readable bodonian typeface in the market: It was a challenge, because roman fonts need generous counters (or what some call white spaces) and taking them to the extreme of inexistence attempted against the construction of many glyphs. Ears, dots, terminals and serifs always need some extra space so I had to find the exact point of boldness to make characters which have those attributes work well in the middle of those which haven't. (1) After a while, I felt I was again ‘in my element’: Big contrasted letters, sexy and elegant curves, and that Lubalinesque feeling that characterise my fonts. (2) Words written with Posh are a explosion of elegance and sensuality due to the fact that its didone attributes were exaggerated. Since it’s full of alternate glyphs, one can change and choose them until a nice block of ‘‘black’’ is achieved. (3) To accompany the regular style, I designed Posh Inline, a font with the same quantity of glyphs than the regular one; an all caps style called Posh Capitals, and also a really playful Italic version. I hope you find this one delicious like I do! This font is dedicated to all who understand letters are not just meant to be read, but also to be appreciated in group and individually. Enjoy it. NOTES (1) In example, it can be easy to design a fat letter ‘n’ with almost no counter, but really tough to make a satisfactory letter ‘s’ with serifs to match that ‘n’. (2) Also, it wasn't my first attempt in fat didones. Take a look at my font Reina, made in 2012. (3) Posters above show many words with ball terminals that seem to dance above and below the words in order to fill those “undesired” blank spaces.

Introducing Brutal Milk Font Collection where prominence, trustworthiness, and sophistication converge. Brutal Milk is a captivating grotesque typeface that seamlessly blends the robust aesthetics of brutalism with the sleek sophistication of Swiss Design and the nostalgia of Y2K. This collection featuring three distinctive variants – Brutal Milk No1, Brutal Milk No2, and Brutal Milk No3 – offers a unique typographic journey for extraordinary design. Let's break down what we present in this work - Brutal Milk No.1 | Modern Elegance with a Brutal Twist Aims for body text with the perfect balance of elegance and modernity. Brutal Milk No.1 is meticulously crafted for optimal readability, making it an ideal choice for a wide range of applications. - Brutal Milk No.2 | Softened Brutalism for Approachable Headers Aims for display/header text with a gentle and approachable impression. Brutal Milk No.2 is crafted to add a touch of warmth to your designs, making it perfect for conveying a friendly and inviting tone. - Brutal Milk No.3 | Rigid Rebellion for Prominent Headers Make a bold statement with headers that exude firmness. Brutal Milk No.3 is designed to capture attention with its rigid impression, injecting a sense of prominence and confidence into a visual identity. The Features The Brutal Milk Font Collection comes loaded with features such as case-sensitive forms, discretionary ligatures, ordinals, fractions, denominators, numerators, superscripts, and scientific inferiors – ensuring flexibility in design needs. Language Support From Western and Central European languages to South Eastern European, South American, Oceanian, and even Esperanto, Brutal Milk Collections caters to a diverse range of linguistic needs. Brutal Milk stands as a testament to versatility and innovation. Whether you're crafting a sleek logo, establishing a brand identity, adorning decor, creating impactful posters, delivering compelling presentations, designing dynamic websites, refining UI/UX experiences, or engaging in graphic design endeavour. The impressions it imparts—modern, minimal, youthful, funky, groovy, trendy, hip, fly, and undeniably cool—speak volumes about its adaptability to contemporary design trends. Redefine the boundaries of creativity and immerse yourself in the dynamic world of Brutal.

Antypica is a soft and friendly slab-serif font that draws inspiration from typewriter styles. This font is designed to be easily legible in both small and large sizes, making it a great option for various applications. Its simple yet timeless design with a modern twist makes it perfect for use in a wide range of design projects. This includes package design, ad campaigns, brand identities, movie titles, poster art, booklets, and even classified documents. With an impressive 790 glyph count, Antypica supports Basic Latin and Latin Extended-A. OpenType features further enhance typography by providing Small Caps and Small Numbers, Lining Figures, Oldstyle Figures, Superscripts, and Subscripts, Fractions, Tabular Lining Figures, Tabular Oldstyle Figures, Ligatures, and Contextual Alternates to prevent some unwanted letter pair collisions. Additionally, Stylistic Sets offer Stylistic Alternate Lowercase a, Alternate Cap T, Alternate Dollar Sign, and Slanted Hyphen to add calligraphic quality to text blocks, while the Special Set offers unique glyphs like Bitcoin and Interrobang. Antypica is highly versatile and can be used in many design applications. Small Caps and Small Numbers can be used creatively to create more visually engaging typography, and the optimized underline effect can be used to enhance the design. To access the Special Set in OpenType features, select it from the OpenType menu. To add special additional marks, type following in your text field. • For the Exclam-Comma mark, type ” ,! ” (comma+exclam) • For the Question-Comma mark, type ” ,? ” (comma+question) • For the Bitcoin mark, simply type " bitcoin " (not case sensitive). • For the alternate (Cap Height) Registered mark, type " registered " (not case sensitive). • For the Published mark, type " published " (not case sensitive). The font also has a small caps version of the Published Mark. • For the Numero mark, type " N° " (N + degree) (case sensitive). • For the Interrobang, type " bang " (not case sensitive). • For Price marking, type ” ,– ” (comma + one of these: hyphen, en dash, em dash). • For Dot(s) Pattern glyph, type " dots " (not case sensitive). • For Line(s) Pattern glyph, type " lines " (not case sensitive).

Crox™ is a sans-serif professional typeface inspired by crude geometry, creativity, and art. In the font family, there are 19 styles, including upright and italic, It is constructed of big lowercase letters with a maximum x-height for excellent optical reading. English letters are supported as a numerator and denominator set, this feature may aid in the creation of fractions using letters and numbers, as well as for sophisticated scripting and various scientific fractions forms. All weights support over 25 professional OpenType features within each style, with extensive coverage of western languages. These features were originally planned for personal and professional use, including multi-alternative characters in Styles: 1, 2, 4, 10, 11. Operational styles 6, 7 are enhanced with some scientific forms, to write the fit derived (SI units' expressions). Otherwise, it supports a wide range of professional factory pricing styles for business and marketing, as well as retail pricing styles in Sets 5, 8, and 9, with ligatures, old-style numerals, ordinals, swashes... Crox™ is enhanced with a poster weight like the fantastical type to fulfill your creative needs in three styles: poster, poster oblique, and poster italic for ADS and web design, branding, or product design. Glyphs: More than 970 glyphs, including those accessible with OpenType features. Powerful OpenType features: Standard Ligature, Alternate access, Automatic ordinals (English, French...), Case sensitive, localized forms, Numerator set, Denominator set, Subscript, Superscript, Swash, Stylistic alternate, Styles 1,2,3,4,5(Pricing style 1), 6(Derived Units),7(Advanced Fractions for Scientific units, Derived Units Vulgar Form), Set 8 (Pricing Style 2), Set (Pricing Style 3), Proportional Old-style, Tabular Old-style, Proportional Lining, Tabular Lining, Zero with slash, Fractions (Default, Automatic). Suitable for: logo and modern branding, web design, packaging, Product packaging, Articles, scientific document, Product user guides, multiple works in the Media, Design, ADS... Specimen Crox™ is a trademark of Yassine Abdi.

Rahere Roman Display is an elegant design with flared stems and subtle old style features, influenced by Berthold Wolpe’s wonderful Albertus font and (to a lesser extent) fonts based on Roman square capitals. It’s a classic design for the modern age, appealing to serious typographers, graphic designers and anyone looking for a beautiful, multipurpose font that also offers value for money. Originally conceived as a display companion for the Rahere Sans typeface family, Rahere Roman harmonizes perfectly with its sans counterpart: use it for headings, sub-headings or pull-out quotes. Want an eye-catching introduction? The small caps have been sized to optically align with the x-height of Rahere Sans or start a paragraph with a swash drop cap. There are also ornaments and devices on hand to spice things up. Of course, Rahere Roman Display works beautifully as a standalone font too. Although predominantly a display font, with a quick flick of its lowercase switch, Rahere Roman transforms effortlessly into a readable text font. Like a Swiss Army Knife, this is a hugely versatile font, capable of conveying different messages from classic and romantic to historical and modern. It’s suitable for a wide range of applications including: branding, posters, advertising, packaging, labels, signage, wedding stationery, museums, art galleries and book covers. Weighing in at well over 2,000 glyphs, Rahere Roman contains a myriad of alternative characters (mostly capitals) including two sets of small caps that allow certain letter combinations - such as RO, LA, LI, TY, etc. - to mimic ligatures. The advantage of this is that if letter spacing is increased or decreased, the letter combinations aren’t fixed and can move too, which helps the space between letters to remain even. However, for lovers of ligatures there is still a bucketload of goodies to play with, including the obligatory ‘OO’ ligature. If that’s not enough, the font also contains start & end swashes, alternative numerals, seven ampersands, ornaments and devices. .ss01 - Initial swash capitals .ss06 - Superior small capitals (aligned to the cap height) .ss07 - Small capitals (sitting on the baseline)

Swedish designer Karl-Erik Forsberg created the original Berling typeface in 1951. Owned by Verbum in Sweden, Berling was completely redesigned and released in 2004, under the name Berling Nova. Forsberg (1914–1995) is considered one of Sweden’s most masterful graphic designers, and his original Berling has come to be seen as possibly the most definitive Swedish typeface. But a redesign was necessary in order to secure that the spirit of Berling would survive in the digital age. Linotype, the distributor of the original Berling™ , provided its collection of source materials to the designers working on Berling Nova. Additionally, Akira Kobayashi — Linotype’s Type Director — lent them his advice as their project advanced. Berling Nova is available in two optical sizes: Text and Display. The original Berling was a classic Renaissance roman face, with fine terminals and sharp, beak-like serifs. If one looks at Berling’s old lead type proofs in the smaller type sizes, it is clear that these had a fuller and more readable form than in later digital versions. So, in order to help return the new Berling Nova to its original splendor, both the base forms and the serifs were softened and inflated. In the text version, the x-height has been increased a bit (by 4%), the diagonal axis is less apparent, and special glyph ranges, such as those for small caps and old style figures, have been included in the font’s character sets. The display version still has the unmistakable “Berling” character that displays Forsberg’s mastery. Berling Nova is well suited for longer text passages in books, publications, and magazines. This typeface fulfils all the demands that one can make on a legible newspaper typeface. Access to both text and display versions are important to the demanding typographer. This is the first time since the typeface was digitalized that it is possible to use it in order to create truly beautiful and functional typography in all type sizes.

Acarau is a 6 fonts display typeface with high reverse contrast—since from Roman capitals and calligraphy, usually Latin alphabet letters have thiner horizontal steams and thicker verticals, these features being optical or visual—quite adequate for logos, headlines and posters. Moreover, the style of the typeface is inspired by Italics form factor: lowercase letters having less strokes to make their shapes; A has one story; E has one stroke shape, such as K, G, Y and Z; F has a descent. To give it more calligraphic feeling, there is contrast for uppercases as well, this is very perceived by the diagonal letters like A, K, M, N, V, W, X, Y and Z. J also has a descent. Q and R have natural swashes, but they have alternates in case the costumer want to go for more usual forms—including accent marked letters. Acarau is a 12 months project, the contrast for uppercases were increasing as the process was made. In the middle it is found suitable blend the letter shapes with the history of Brazilian music from the 70’s and 80’s, since the font has a tropical, warm, spicy and nostalgic feeling. Songs from bands and singers that emerged on Rio de Janeiro like Paralamas do Sucesso, Cazuza, Lulu Santos and Kid Abelha bring the beach accent and rhythm that this font has. OpenType features complement the set, which has Multi-Lingual support for a comprehensive Latin set, including Vietnamese—meaning more than 640 glyphs: Case-Sensitive forms, so symbols can properly align to uppercase letters; Ligatures, to better reading for z_y and L_I, and style for s_s, w_w_w; also for ease arrows and punctuation typing; Stylistic Set 1: two story a—including accent marked letters; Stylistic Set 2: two story g—including accent marked letters; Stylistic Set 3: diagonal (usual) z—including accent marked letters; Stylistic Set 4: flower i and j dots; Contextual alternates; Terminal forms, for R and Q; Ordinals.

Fruitygreen is Indonesian designer Andi AW. Masry's second typeface following Coomeec™. Idiosyncratic but appealing forms are the signature feature of Fruitygreen™ and provide this new typeface with its truly distinctive character that you can utilize for your projects - and not just in headlines. The unique forms of fruits are not only individually fascinating, but are just as captivating when they are brought together, for example as decoration on a dining table. For Masry, these can be compared with an alphabet whose letters spell out in combination different words and with this as his inspiration, he based his designs for Fruitygreen on the versatile forms of fruits. However, it was not the whole fruits as such but rather small sections of their curves and ends that he decided to use. It is not only because of the characteristic line terminals that the rounded characters of Fruitygreen seem at first glance reminiscent of a brush-written calligraphic typeface; these are traces of the creation process, in which Masry used a digital brush. At the same time, Fruitygreen is by no means simply a brush font. Its dynamic characters reference biological forms and there is definitely something amoeba-like about them, particularly in the bolder variants, and they exude the same serenity and harmony that is inherent to organic structures. The many unconventionally shaped characters also provide for optical contrast. There is, for example, the very scaled down g", the open "q" and the lowercase "r", which has the form of the capital letter. Other letters, such as the sinuous "k" and the rounded uppercase "F" impart an exotic touch to Fruitygreen. Similarly remarkable is the "@", that has only a semi-circle. Available to the designer are other characters that can be used to accentuate a design, such as swash capitals and numerous ligatures. And, last but not least, there are also various numeral sets with oldstyle and lining figures for setting proportional text and table columns together with a selection of symbols, such as arrows and, appropriately, fruits. "

Changing nature of work FS Industrie is an extraordinarily versatile new type system, with 70 variants built around five different widths and seven different weights. Type in the future will be increasingly variable, and FS Industrie is specifically designed to address the changing needs of brands. As more of the things we make exist primarily in a digital space, so our need to create type that can adapt within that space grows. It is the spirit of variable design, adaptation and flexibility that drove us to create FS Industrie. A typeface for future work in a future world. FS Industrie is a response to the changing nature of type, for brands that are responding to the changing nature of work. Industrial style Stylistically, FS Industrie feels direct and simple without sacrificing its humanity. It takes inspiration from German fonts of the 1930s, with their roots in manufacturing and signage. A classic sense of functional utility combined with a progressive view of where type is heading. Expressions in width A fundamental challenge with variable type is to ensure that craft and precision is preserved at every interval. Each width and weight is drawn by hand, with subtle variations in terminals and angles as you progress through the system. This ensures each variant can play to its unique strengths, while also pairing perfectly with its siblings. From the closed terminals of the Condensed and the open terminals of the Extended. FS Industrie is a design system that maintains a practical, grounded and robust tone throughout every variable style. Variable nature The 70 styles offer a range of expression. Each width contrasts with the next to clearly define typographic roles in graphic layouts. Every glyph is crafted with adaptability and scalability in mind, creating a pliable design space for the user. The proportions of each letterform flex as weight scales up, stem weights increase as letter width broadens. These subtle design changes create an optically consistent visual impression.

Smallstep - One geometric sans serif with a free spirit. If we presume that geometric typefaces play with the idea of what typography would look like in the future when all unnecessary elements would disappear, than most of their designers seem to envision the future in a rather metropolisque kind of way. We love geometric faces, but the cold and heartless feelings that most of them leave is just not our cup of tea. That is why we are happy to bring some optimism in that genre with our new typeface. We called it Smallstep. Smallstep is a typeface that follows the traditions of classic geometric sans serifs like “Futura”, but is at the same time friendly and whimsical. We took the liberty to deviate from the standard sans serif glyphs while drawing some characters (such as ”a” and ”r” ), others (“w” “k”) are completely redesigned. Probably the biggest trademark of this typeface is the way vertical lines in most lower case characters are “cut” so they end in a 60 degree angle. Smallstep is over all a expressive face, which means it brings some emotions to your design and feelings in itself, and should be used accordingly. Other than that, it is suitable for both headline and body text, print and web. So what kind of name is “Smallstep”? We view the type design process as a form of evolution: There can be no typeface that differs drastically from the current standards, since its characters would be unrecognizable and thus unreadable. But at the same time there are hundreds of faces that differ a little, and still manage to make a difference by moving with small steps towards better and more refined looks. Smallstep consist of 4 weights, that cover all the features, that are expected of a modern Opentype face: kerning pairs, ligatures, true italics and alternative characters, plus a set of symbols, that will help you start off your designs more easily.

Introducing Brutal Milk Font Collection where prominence, trustworthiness, and sophistication converge. Brutal Milk is a captivating grotesque typeface that seamlessly blends the robust aesthetics of brutalism with the sleek sophistication of Swiss Design and the nostalgia of Y2K. This collection featuring three distinctive variants – Brutal Milk No1, Brutal Milk No2, and Brutal Milk No3 – offers a unique typographic journey for extraordinary design. Let's break down what we present in this work - Brutal Milk No.1 | Modern Elegance with a Brutal Twist Aims for body text with the perfect balance of elegance and modernity. Brutal Milk No.1 is meticulously crafted for optimal readability, making it an ideal choice for a wide range of applications. - Brutal Milk No.2 | Softened Brutalism for Approachable Headers Aims for display/header text with a gentle and approachable impression. Brutal Milk No.2 is crafted to add a touch of warmth to your designs, making it perfect for conveying a friendly and inviting tone. - Brutal Milk No.3 | Rigid Rebellion for Prominent Headers Make a bold statement with headers that exude firmness. Brutal Milk No.3 is designed to capture attention with its rigid impression, injecting a sense of prominence and confidence into a visual identity. The Features The Brutal Milk Font Collection comes loaded with features such as case-sensitive forms, discretionary ligatures, ordinals, fractions, denominators, numerators, superscripts, and scientific inferiors – ensuring flexibility in design needs. Language Support From Western and Central European languages to South Eastern European, South American, Oceanian, and even Esperanto, Brutal Milk Collections caters to a diverse range of linguistic needs. Brutal Milk stands as a testament to versatility and innovation. Whether you're crafting a sleek logo, establishing a brand identity, adorning decor, creating impactful posters, delivering compelling presentations, designing dynamic websites, refining UI/UX experiences, or engaging in graphic design endeavour. The impressions it imparts—modern, minimal, youthful, funky, groovy, trendy, hip, fly, and undeniably cool—speak volumes about its adaptability to contemporary design trends. Redefine the boundaries of creativity and immerse yourself in the dynamic world of Brutal.

Designed by Cosimo Lorenzo Pancini with Francesco Canovaro as a development and reinvention of Tarif by Andrea Tartarelli, Ambra Sans is a humanist sans typeface family, drawn around a lively, expressive skeleton but developed with a contemporary, post-digital sensibility that implies low contrast and tall x-height. In designing Ambra Sans, the authors wanted to research the elusive natural signature of handmade humanist letter shapes, in the effort of preserving it while still developing all the capabilities of type as a technical tool in the digital age. Like a frail insect preserved in amber, humanist design is the "ghost in the machine" of this font, that aims at seducing the viewers with its soft, welcoming text flow, firmly opposing the rigid, formal tone of most sans serif fonts. Born to provide a useful tool to graphic designers with branding and editorial needs, Ambra Sans develops around two subfamilies with slight but fundamental differences. The display family offers a taller x-height, optimizing readability and spacing in headings and display use, while offering a single story lowercase g to provide more consistent branding usage. The text family, on the other side, goes for a smaller x-height to give more traditional proportion to the text and removes the slight tapering in the stems to provide better rendering on screen in small formats. Both subfamilies of Ambra Sans develop around a wide range of seven weights with corresponding true italics, with Ambra Display sporting an extra heavy weight for maximum versatility. In total the family counts 30 fonts, each with over 600 glyphs for a wide language coverage. Open type features and glyph alternates further enrich the usage possibility of this typeface that wants to offer contemporary designer an alternative, unexpectedly human approach to contemporary sans type, softly preserving the spirit of handmade calligraphy while encasing its frail nature in a transparent, strong and powerful design language.

Introducing Astro, a charming serif font designed to bring an elegant and classic touch to your designs. Crafted with meticulous attention to detail and inspired by mid-millennium Serifs, Astro seamlessly blends traditional sophistication with contemporary elements, making it suitable for a variety of design projects, both print and digital. Enchanting Letter Shape Designs: Astro exudes charm with its letter design that is heavily inspired by the mid-millennium Serifs often found in European and American designs. Each letter is carefully carved to create a charming and luxurious impression. Unique Alternative Glyphs: Astro is not just a font; it is a standout typographic masterpiece. By offering several unique alternative glyphs, such as the letters a, g, and k, Astro gives designers the freedom to express their creativity in a unique and personal way. Mid-Millennium Serif Elegance: Astro features smooth lines and proportions, creating an elegant impression characteristic of mid-millennium Serifs. This design provides a timeless classic touch making it suitable for a variety of design needs, including books, magazines, posters and other printed materials. Ease Readability: While the Astro exudes striking elegance, its design also prioritizes readability and comfort. Each letter is created with balanced proportions and optimal contrast, ensuring text appears clear and easy to read, whether on a large or small scale. Flexible Use: Astro is designed to provide flexible use across a variety of design platforms. From the logo design to the magazine layout, Astro adapts beautifully, maintaining a consistent feel that enhances the aesthetic quality of the design. European and American inspiration: Astro creates a bridge between European and American typographic styles, combining the best elements of both traditions. This makes it the perfect choice for projects that combine elements from both continents. Astro is more than just a font, it is an artistic statement that leaves an unforgettable impression on any design project. Suitable for designers who appreciate classic beauty and modern uniqueness, Astro brings a special and charming feel to every character it creates.

Step into the future of typography with Cybermontage, a postmodern display typeface that channels the electric energy of the 80s and 90s. This font brings a fresh take on the retro typographic trend with its eclectic mix of campy colors, clean geometric shapes, torn paper edges, faux finishes, and kitschy patterns. Cybermontage is not your average typeface—it’s a work of art that uses OpenType technology to create a pseudorandomized effect by shuffling several variations of glyphs. Don’t worry if your application doesn’t support OpenType, you can access all the character variations from the Unicode Private Use Area (PUA) encoding. Get ready for a typographic adventure with Cybermontage. The character interconnection can get pretty wild, so if your application supports optical kerning, you may want to activate it. Whether you’re designing a bold headline, a retro poster or a quirky logo, Cybermontage will take your design to the next level. Join the postmodern revolution and make your designs stand out with Cybermontage, the font that defies convention and unleashes creativity. 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.

Lettres d’amour! Flirting, fashionable, provocative, emotional, casual, moderate, extremely sensible & beautiful - Liza Pro covers it all. Liza Pro, Underware’s dear creation, is a live-script typeface. Thanks to its extremely intelligent OpenType architecture, she approaches human hand lettering as closely as technically possible. Liza Pro deeply analyzes the text. Out of a stock of 4000 hand crafted characters, Liza creates the most optimal combination. All of this works automatically. All you need to do is start typing your lettres d’amour, and Liza makes the text always look different. She gives your creative piece the impression par excellence. Erotique mais intelligent. She is as clever as we could imagine. She kept all folks at Underware busy for a couple of years. It all started one rainy night back in May 2004 but quickly changed into a fatal affair exceptionnelle. But now, 5 years later we are quite sure: this is something serious. Yes, we are talking about real love. L’amour pour la vie. Liza Pro has Underware’s world-dominating Latin Plus character set, supporting a total of 219 languages (Latin 1 + 2 and beyond). Liza Pro is a package of 4 fonts which work together. Liza Display Pro rocks the script lettering to the max. The build-in Out-of-ink feature, LetterSwapper and Protoshaper makes this font a realtime-digital-calligrapher. She’ll swash up your text drastically, giving long strokes, loops and swashes to letters if their context allows. Liza Text Pro has a more silent, moderate character - she’s well behaving sister of Liza Display Pro, designed to walk long pieces of text in a lively script style. Liza Caps Pro adds more possibilities and functionality to these two script fonts. It bridges the gap in case running script lettering doesn’t do the job, but it also works perfectly on its own. Every capital letter appears in various shapes to obtain the manual lettering feeling. Liza Ornaments Pro is for extra delicatesse et est plus charme. Four heart winning fonts, pour la langue l’amour!

Lapture is based on the Leipziger Antiqua by Albert Kapr, released in 1971 by the East German foundry Typoart. It has been extended and carefully redesigned by Tim Ahrens in 2002-05. The strong calligraphic characteristics are a result of the design process: "The size of the counters and the width of individual characters at small optical sizes were analysed with a steel pen while the letter shapes were designed in larger size with a specially trimmed reed pen. Sometimes the hand is more innovative than the head alone," says Kapr. A unique feature of this font is the introduction of gothic shapes into a latin typeface. "The basic concept is to string together narrow white hexagons as counters and inter-letter spaces, defined by vertical stems and triangular serifs. The interior spaces are at least as important as the strokes that make up the characters." Lapture is an ideal choice if a reference to gothic style is desired, as true black letter types are often too eye-catching and not as legible as latin fonts for unfamiliar readers. "The last few years have seen a number of very elegant typefaces based on the mellow and feminine renaissance model. However, sometimes we require a font that is strong and robust, harmonic yet rigid," says designer Tim Ahrens. JAF Lapture is provided in OpenType format. Each font contains more than 600 glyphs, including true small caps, nine sorts of figures, contextual and stylistic alternates and accented characters. This means that you only need to purchase one font whereas in other families you would have to buy two or three fonts in order to get the same. Technically, they follow the Adobe Pro fonts and provide the same glyph set and OpenType functionality. JAF Lapture Basic is provided in OpenType format. Each font contains the standard sets of both MacOS and Windows. In contrast to JAF Lapture they do not provide any advanced OpenType features and no extended glyph set.

Changing nature of work FS Industrie is an extraordinarily versatile new type system, with 70 variants built around five different widths and seven different weights. Type in the future will be increasingly variable, and FS Industrie is specifically designed to address the changing needs of brands. As more of the things we make exist primarily in a digital space, so our need to create type that can adapt within that space grows. It is the spirit of variable design, adaptation and flexibility that drove us to create FS Industrie. A typeface for future work in a future world. FS Industrie is a response to the changing nature of type, for brands that are responding to the changing nature of work. Industrial style Stylistically, FS Industrie feels direct and simple without sacrificing its humanity. It takes inspiration from German fonts of the 1930s, with their roots in manufacturing and signage. A classic sense of functional utility combined with a progressive view of where type is heading. Expressions in width A fundamental challenge with variable type is to ensure that craft and precision is preserved at every interval. Each width and weight is drawn by hand, with subtle variations in terminals and angles as you progress through the system. This ensures each variant can play to its unique strengths, while also pairing perfectly with its siblings. From the closed terminals of the Condensed and the open terminals of the Extended. FS Industrie is a design system that maintains a practical, grounded and robust tone throughout every variable style. Variable nature The 70 styles offer a range of expression. Each width contrasts with the next to clearly define typographic roles in graphic layouts. Every glyph is crafted with adaptability and scalability in mind, creating a pliable design space for the user. The proportions of each letterform flex as weight scales up, stem weights increase as letter width broadens. These subtle design changes create an optically consistent visual impression.

When Aldo Novarese designed his “tipo inglese” Juliet typeface, he had a simple objective in mind: Reduce the inclination angle of the traditional 18th and 19th centuries English script in order to make the punchcutter’s job easier and the resulting metal type more durable. But when Juliet was released by Nebiolo in 1955, it was a big surprise to both typesetters and calligraphers all over Europe. Novarese’s idea of working the standard copperplate script within the limited technology of the time proved to be a marvel in optical metal sizing (Juliet was available in sizes ranging from 12 to 60 pt), but also opened the door to new calligraphic possibilities. Easier readability and a very friendly color were obvious side effects of the reduced angle. So soon after its release, calligraphers worldwide began emulating the angle reduction and experimenting with the application of the same concept to other calligraphic genres. Today, more than 50 years later, many professional calligraphers point to Novarese’s Juliet as an opening to fresh ideas and new directions in 20th century elegant calligraphy. Ambassador Script, this digital version of Aldo Novarese’s surprising masterpiece, is the result of more than a thousand hours of work. Going above and beyond its duty as a revival, it was expanded by a great number of alternates, swashes, beginning and ending forms, as well as accompanying flourishes and snap-on strokes for even more ending forms. Ambassador Script also supports almost every known Latin-based language, which makes its name all the more fitting. Ambassador Script is available in all popular font formats. The True Type and Postscript Type 1 versions come in 12 fonts, available in different piecemeal configurations or a full volume. The OpenType version collects more than 2300 characters in a single feature-rich font that can sing mightily in OpenType-supporting applications. Ambassador Script is ideal for weddings, invitations, greeting cards, book and magazine covers, or anywhere a touch of calligraphic elegance is desired.

Odile is a text typeface with bracketed head and bracket-free bottom lower case serifs, a quality that counters rigidness most traditional slab serif typefaces possess. This contemporary design draws inspiration from an experimental typeface named Charter originally designed by the American book and type designer William Addision Dwiggins. It consisted of an informal lowercase alphabet, a narrow seemingly non-inclined vertical letter with script attributes, featuring non-joining letterforms. Dwiggins’ contemplated Charter as the italic companion to Arcadia, Experimental No. 221. The Charter project progressed sporadic stalled during the Second World War and came to a halt in 1955. Charter remained incomplete and was never commercially released. Assessing Charter’s whimsical design, its fragments were rethought and developed into a comprehensive text family. Odile Upright Italic reveals recognizable similarities shared by Dwiggin’s Charter and defines the design approach for the family. The steep calligraphic outstroke and low junctions off the stem as in the upright italic “n” or “r”, for example, are gradually lessened in the italic and moved up for the roman weights. The six optically balanced weights range from the delicate Light to stark Black, accompanied by display variants with feminine flair and ardent Ornaments. Two sorts of Initials, one amplified with interweaving swashes, the other more restrained, both are clearly derived from the Upright Italic. This mid-contrast serif offers a wide range of tools for text and display typographies with a palette of strict to playful. This family shines in magazine, book and display use. The graceful serifed type harmonizes perfectly with Elido, Odile’s sans companion. Sans and serif share the family array and OpenType features in perfect tune. Odile offers an extensive character set, numerous OT features including roman and italic Small Caps, five sets of numerals, alluring ligatures, and many more. OT stylistic variants (with accents) offer a one-story “a” for the roman weights, alternate “g” and “s” designs for the italics, and a variant “s” for the Upright Italic.

Every single glyph of Helvetica has been redrawn and redesigned for this expansive new edition – which preserves the typeface's Swiss mantra of clarity, simplicity and neutrality, while updating it for the demands of contemporary design and branding. Helvetica Now comprises 96 fonts, consisting of three distinct optical sizes: Micro, Text and Display, all in two widths. Each one has been carefully tailored to the demands of its size. The larger Display versions are drawn to show off the subtlety of Helvetica and spaced with headlines in mind, while the Text sizes focus on legibility, using robust strokes and comfortably loose spaces. The Micro sizes address an issue Helvetica has long faced – that of being 'micro type challenged'. In the past, the typeface struggled to be legible at tiny sizes because of its compactness and closed apertures. Helvetica Now's Micro designs are simplified and exaggerated to maintain the impression of Helvetica in tiny type, and their spacing is loose, providing remarkable legibility at microscopic sizes and in low-res environments. There's also an extensive set of alternates, which allow designers the opportunity to experiment with and adapt Helvetica's tone of voice. This includes a hooked version of the lowercase l (addressing a common complaint that the capital I and lowercase l are indistinguishable) as well as a rounded G, and a straight-legged R, a single storey a and a lowercase u without a trailing serif. In the past, designers had to nudge, trim and contort the design to create stylish display-type lockups with Helvetica. Helvetica Now Display was designed and spaced with those modifications in mind—saving effort and providing more consistent (and more stylish) results. “Helvetica is the gold standard,' says Monotype Type Director Charles Nix. “To use it is to claim that you are the ultimate expression of whatever your brand aspires to be. Its blankness is its power.” Helvetica Now User Guide PDF. Featured in: Best Fonts for Resumes, Best Fonts for Websites, Best Fonts for PowerPoints

Colour is more fun than black, but multicolour is even better. Let me introduce URLOP, a wide type family suitable for your fancy posters, headlines, covers, illustrations, websites, initials, blackmails, chronicles, signboards, poems and many others. Twelve basic styles, which make the overall construction, give a wide range of opportunities. All of them, being able to mix with each other, vary from a thin INSIDE, through a medium FILL, to a double-stem PLUS styles. And then comes a range of colour fonts, so you don’t have to waste any of your precious time for experiments, because I’ve already done it for you! URLOP is an all-caps display collection consisting of three sub-families of fonts, divided by the usage they are designed for. First of all, there is a wide range of alphabets made in the new OpenType-SVG colour fonts format. This is quite a novelty and a very promising technology at the same time. It allows designers to store colour information inside the font. Due to my experience with layered colour thinking that I explored in my first family - Epilepsja , I decided to make several preset layer combinations in this auspicious format. This sub-group is tagged RGB. Make sure that your field of usage and software support OT-SVG format. However, if you feel a need to experiment in the old-fashioned way, you may buy separate layers under the DIY tag. The last group is very similar to the DIY, but it was optimized to look better when standing without other layers. It’s called PRO*. All styles cover Latin alphabets of Europe, basic Cyrillic and Greek sets. Have fun! Before using the font, read the instructions and specimen attached to font files in the purchased package or download them from the Gallery tab on this site. This will help you avoid making unexpected mistakes when combining layers. *PRO subfamily release planned in 2019.

Introducing Chrome Slab, our brand new aesthetic semi-condensed serif font that embodies a perfect balance of elegance and versatility. With its captivating uppercase characters and exquisite design, this font is set to elevate your design projects to new heights. Chrome Slab boasts up to 45 beautiful ligatures, meticulously crafted to add a touch of sophistication and uniqueness to your typography. These ligatures seamlessly blend letterforms together, creating fluid and visually pleasing connections that enhance the overall aesthetic appeal of your text. *Make user to use capital letters to activate ligature features. In addition to its stunning ligatures, this font supports multilingual language, making it an ideal choice for projects with diverse linguistic requirements. Whether you're working with English, Spanish, French, German, or any other language, Chrome Slab ensures seamless integration and legibility across different typographic needs. The semi-condensed structure of Chrome Slab optimizes space utilization, allowing for efficient and impactful designs without sacrificing readability. Its compact yet elegant proportions make it perfect for a wide range of applications, including editorial designs, branding materials, packaging, and digital displays. With Chrome Slab, you'll have a powerful tool at your disposal, enabling you to create visually striking and professionally polished designs. Its aesthetic appeal, versatile ligatures, and multilingual support make it a must-have font for designers seeking to make a lasting impression. ——— Chrome Slab features: A full set of uppercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features +279 Total Glyphs Up to 45 Aesthetic Ligatures ——— ⚠️To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe InDesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as Pop Char (for Windows and Mac). ⚠️For more information about accessing alternative, you can see this link: http://adobe.ly/1m1fn4Y

A classic “American” sans serif with a kink Desphalia belongs to the kind of sans serif fonts that were created in the 19th century. You could also name it “American Gothic”, a sans serif in the style of fonts like Franklin Gothic, News Gothic and similar. Above all, the high x-height characterizes this typeface style, as do the identical heights of uppercase and ascenders. However, I allowed myself a few peculiarities ;-) On the one hand, there is the gently sloping horizontal middle line on letters such as H, E, F, A and e. The M also got gently slanted sides. Some of the lower-case letters have an up- or down-stroke: a d m n p u. This "kink" on the shaft also serves to better distinguish the small l from the capital I — as can be seen clearly with the term »Illinois«. In keeping with the tradition of American typefaces, Desphalia does not have a true italic. Rather, the letters of the “Italic” have the same character forms as the normal upright variant, but in oblique — and so it is not called “Italic” but “Oblique”. Style Set 01: Another American peculiarity is the capital I with dashes above and below. It is included in the Desphalia as an alternate character form. An alternative small l with the “kink” in the ascender is also included — as is a y with the “kink” in the descender. Style Set 02: The corresponding “straight” forms a d l m n p u without the break are included as alternatives in a separate style set. Small caps are uppercase letters that are optically the same size as lowercase letters. They offer a very classy way of emphasis. Desphalia is available in the widths Condensed, Normal and Expanded, the weights include Thin, Light, Book, Bold, Black. Using the variable font, all intermediate levels can be freely selected. The figures are optionally available as tabular figures, proportional lining figures or old style figures.

Combine, designed by Carlos Fabian Camargo G, is powerful and attractive, multi-layered chromatic type family that consists of 12 fonts, typographically grouped in two logics: “Script and Caps”, so that they could be colored separately or in group. Both designed with contrasting optical techniques and combinable at the same time. The unforgettable central idea of Combine was inspired by unique types of speedball letters designed by ancient artists in Canadian posters of shows and fairs in 1930. This is why its Typographical tools work independently or in group, resulting in highly polished designs that need fonts with coupled effusiveness. Their combined resources offer guaranteed distinguishing letters with shadow effects and worn, in order to help enhance their expressiveness. Combine is excellent in any project on paper or screen as it has more than 2100 glyphs and features of OpenType distributed strategically in fonts easy to use. SEE BELOW THE MAIN ADVANTAGES: • Combine Script & Shadow: It offers incredible case sensitive fluency and eloquence drawn with vertical cursive letters with ornamental non-stop excitement and complementation. It also has a variety of significant upward and downward, alternative strokes combined with its vintage ties that also give authenticity to their designs. • Combine Caps 1,2,3 & Shadow1,2: Guarantees you a colorful horizontal area of narrow case with 2 types of shadows, sound and other shade with diagonal stripes. Its geometric uniformity gives a friendly, open and subtle character by Typographic and special resources and visual properties coloring layers separately or in groups. In addition, its 2 layers of skeletal illuminations, adding internal lines and simultaneously contributing to play perfect confrontation and contrast with their geometric ideas and aesthetics for special attention. • Combine Words & Shadow: It can be used to design a perfect tone in each one of the 50 slogans written diagonally, making a brilliant feeling suggestive seductive style. Compatibility and flexibility works by monoline thin cursive strokes ideal for featured items with and without shade. Combine was selected at the Bienal Tipos Latinos 2016

With designs drawn specifically for comfortable reading in everything from on-screen digital content to print in periodicals and books, Mundo Serif is ready to take on just about any project. Carl Crossgrove drew the suite of typefaces to complement his Mundo Sans family’s classic humanistic design traits – and added a subtle modern influence. Restrained stroke modulation, generous counters, commanding x-height and tall ascenders ensure that content set in Mundo Serif is both legible and easy on the eyes. While primarily designed for text copy in print and on screen, Mundo Serif becomes a powerful display type tool in the lightest and boldest weights. Headlines, navigational links and banners are naturals for this versatile collection of typefaces. Mundo Serif is a large family. Nine weights, each with an italic companion, enable precise typographic tuning. Captions, subheads, pull quotes and long-form copy can be melded to create a welcoming page of modulated text. For best results in digital environments, skipping a weight – or even two – ensures hierarchical clarity. Crossgrove did extensive testing of Mundo Serif to ensure the best possible on-screen readability. To further guarantee optimal digital imaging of the family, he gave the design generous inter-character spacing and slightly expanded intricate characters like the lowercase a and g. If the goal is diversified or multi-platform branding, look no further than Mundo Sans. The two designs harmonize with each other perfectly in weight, typographic color and proportion. Both designs benefit from large international character set that includes support for most Central European and many Eastern European languages. For a stronger contrast, pair Mundo Serif with virtually any sans serif grotesque design. Crossgrove has designed a variety of typefaces ranging from the futuristic and organic Biome™ to the warm, clean lines of the Mundo Sans. His work for Monotype also often takes Crossgrove into the realm of custom fronts for branding and non-Latin scripts.

Get ready to groove with the Okezone Chamoon Groovy Display Serif Font! This font is the perfect blend of retro 80s style, funky cartoon vibes, and a dash of modern flair. With its wavy lines, extensive ligature options, and a whopping 758 characters, Okezone Chamoon is the ultimate choice for designers looking to infuse a playful and nostalgic touch into their projects. Key Features: Groovy 80s Aesthetics: Okezone Chamoon takes you on a trip back to the 1980s with its groovy and wavy design. It's like stepping into a time machine and bringing the funky, vibrant spirit of the 80s into your designs.Funky Cartoon Vibe: This font exudes a playful and fun-loving attitude that's perfect for creating eye-catching headlines, posters, and logos with a whimsical twist. Versatile Ligatures: Okezone Chamoon offers an extensive range of ligatures that seamlessly connect characters, enhancing the flow and style of your text. Experiment with ligatures to create custom and captivating typography. 758 Characters: With a whopping 758 characters at your disposal, you have a wide variety of options to make your text truly unique. Add special characters, symbols, and emojis to express your creativity. Multilingual Support: Don't let language barriers hold you back. Okezone Chamoon supports multiple languages, making it a font that can connect with audiences worldwide. Digital and Print-Ready: Whether you're designing for the web or print, Okezone Chamoon is optimized for both mediums. Your designs will look stunning on screens and in physical publications. Unique Branding: If you want your brand to stand out and be remembered, Okezone Chamoon is the font to make it happen. Its distinct style is sure to leave a lasting impression. Endless Possibilities: Whether you're working on advertising campaigns, retro-themed projects, or simply want to add a touch of nostalgia to your designs, Okezone Chamoon empowers you with endless creative possibilities. With Okezone Chamoon Groovy Display Serif Font, your designs will turn heads, evoke nostalgia, and radiate a playful spirit. Embrace the funky 80s vibe and let your creativity run wild!

Paralucent is versatile all-purpose modern sans. Available in seven weights, from Thin to Heavy, and in two widths each with corresponding italics, it avoids some of the more eccentric calligraphic quirks of Akzidenz or Helvetica or the cool precision of Univers for an elegant, functional, yet warm design. There are two additions to the core 28-weight family: a three-weight stencil set, and a four weight text family. The text weights have been adjusted for use at small point sizes, and feature more open character shapes, looser inter-letter spacing for improved readability, and lining numerals for use in listings and tables. Several core ideas inform Paralucent’s design. Prime attention has given to the negative space between characters, giving a more even “colour”, especially in text. For example, the J, L and T have shorter arms than comparable sans typefaces, while the M and W are wider. The A has a lower bar, opening up the interior counter. An unusually high lower-case x-height again helps to give a more even colour and improve legibility. Care has been taken to rationalise repeated elements like the tails on lower-case letters, or the Q and the “ear” of the g. Typographic design solutions that are consistent across all these features add more stylistic cohesion. ‘Ink traps’ are exaggerated incisions used to open up a letter's narrower internal angles, which can become clogged with ink, especially in small point sizes. Now largely redundant due to the high quality of modern print, they are still sometimes used as a stylistic quirk or design feature. Now that digital fonts are often reversed or outlined, or enlarged to enormous sizes, these can also lead to unexpected or obtrusive results. Paralucent takes these inevitable digital manipulations into account, and adds optical corrections without resort to ink traps. The family has been picked up by many UK and US publishers, featuring heavily in magazines like Loaded, Heat and TV Quick, as well as high-end coffee-table photography books and gallery websites. A perennial Device bestseller.

Milea Lover is a beautiful script font with an irregular baseline. Milea Lover comes with a feminine and trendy style that gives a touch of love to your design projects. Milea Lover looks very beautiful for branding, logo, wedding invitations, greeting cards, fashion, book covers, posters, labels, quotes and other romantic projects. Have fun using Milea Lover!!! I really hope you enjoy it! Feel free to follow, like and share. Thank you so much for checking out my shop!

Amealnia Script is a new modern script font with an irregular baseline. Amealnia looks lovely on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and more. Perfect for using in ink or watercolor. Including initial and terminal letters, alternates, ligatures and multiple language support. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe In design & CorelDraw X6-X7, Microsoft Word 2010 or later versions.

Mancave SRF is the perfect font for the ultimate party Neanderthal. Holding court in his den with a case of beer, wide screen TV and all of his sports buddies, he is safe and secure in his lair. Bold, brash and angular, this typeface was designed for Stella Roberts fonts by Jeff Levine. The net profits from my font sales help defer medical expenses for my siblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.

Malibu was designed for ITC by Alan Meeks in 1992 and is a font with distinctive calligraphic roots. Pronounced stroke contrast and a marked leaning to the right give the font its energetic, lively image. The letters look almost as though cut from paper, their outer contours angular and pointed against a background. Flowing and demure, Malibu works well for both short texts and headlines. For best results, the lower case letters should be set close together.