Diverda Sans is a geometric family of typefaces that are all free from ornament. Swiss designer Daniel Lanz optimized Diverda Sans for maximum legibility. In contrast to many other modern typefaces, which try to squeeze the traditional rounder forms of the alphabet into square designs, and which often attempt to equalize the widths of the capital letters, Diverda Sans remains true to the proper proportions of the Roman alphabet. The x-heights of Diverda's characters are low, and the differences between curved, square, and triangular elements are very clear. Like the more calligraphic typefaces of the past, Diverda's strokes exhibit contrast that is inspired by movements of the pen on paper; down strokes are heavier than up strokes. Possible applications for the Diverda Sans include magazine design, as well as advertising for fashion, design, or architectural products. Because of its 10 different individual styles or weights, Diverda Sans is also a good fit for Corporate Identity solutions.

Nikola is a text typeface that offers a wide range of possibilities. While its regular and medium weights were specially optimized for maximum performance, balanced for excellent legibility and carefully crafted to spread a scent of tradition on long text settings; its extreme weights, on the other hand, were designed with a more display use in mind, and thanks to the flexibility place at disposal by its many alternates, swashes, decorative cartouches, borders and ornaments, can deliver a vintage, reliable, dynamic, fancy and even playful inflection to the text. Nikola includes a large set of over 1400 glyphs, support for more than 200 latin script languages and 1.21 gigawatts of the finest type design generated by classic proportions, the elegance and formality of the early XX century and a glimpse of expressionism on terminals and serifs. Nikola was named after Nikola Tesla as a tribute to the pioneers of the electric age.

Dutch Mediaeval Book ST is a special version of the popular Dutch Mediaeval Book text fonts, engineered specifically for science writing. It is equipped with SciType, a combination of additional characters and OpenType programming included in the fonts to help in typesetting science text. For more information about SciType, please consult the SciType FAQ available in the Gallery section of this page. The Dutch Mediæval design is the historically renowned one made in 1912 by S. H. de Roos. It stands out as one of the most classic Dutch text faces. This Book version comes in two weights and an italic, optimized for body copy use between 8 and 12 pt. Aside from the SciType additions, all the fonts contain OpenType features for ligatures, ordinals, automatic fractions, eight kinds of figures, and a few ornaments. For details about the functionality of Dutch Mediaeval Book ST, please consult its Access Chart PDF available in the Gallery section of this page.

For the next generation, Atiku is the font of choice. This one-of-a-kind and opulent font family was designed from the ground up with beauty and exoticism in mind. Customers recognize the value, sophistication, and uniqueness of your brand with just one glance. Each style in this impressive collection was created to help you get the most out of your designs: ads, posts, and a slew of other creative projects are all made easier with this lovely typeface. This font can be easily optimized for any project or client thanks to its many OpenType features and 18 different styles. With our newest font family, you’ll be able to create stunning looks in minutes. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

Thirty years after its first appearance, Jovica Veljović has produced ITC New Veljovic Pro, a completely revised edition of his first typeface, ITC Veljovic (1984). Prof. Veljović has tapped into all the experience he has garnered over the past decades; by carefully adjusting the proportions of the characters he has provided the new typeface with a more harmonious presence. The serifs have been subtly curtailed and the letters made slightly more condensed. Some new features of ITC New Veljovic are the double-story “g” with its completely closed loop and the more open forms of the “c” and “e”. In the italic variants, the latter is much rounder. Thanks to Veljović’s outstanding work, the optimized ITC New Veljovic can now be used in all contemporary applications. The new Condensed style saves considerable space when it comes to setting longer texts. The Display versions show off the striking, crystal-clear shapes of the design at their best in larger point sizes.

Type designer Hannes von Döhren created Klint. A sans serif typeface with a technical appearance and humanistic streak. The family includes five weights; each weight ships in three widths: condensed, regular, and extended. All of the 15 Klint variants have a companion Italic, rounding out family at 30 fonts. Klint's large x-height makes the design especially legible at small point sizes. In today's day and age, appliance manufacturers and/or companies in the mobile phone, computer hardware and software or Internet sectors are becoming ever more important. Klint fills the rising need for superfamilies with a technical feeling that are also legible in both text and display settings. Through conspicuous letters like R, K, k, or g, as well as the independent nature of its Italic, Klint exudes an ethos that separates it from the competition. Longer text passages in brochures, catalogs, or magazines would be well served by Klint's Light, Regular, and Medium weights. The heavier cuts are optimized for poster settings and headlines."

Okasa, our newest typeface, is now available. We present to you a quirky and contemporary typeface, which you can use to produce an optimal visual display in each of your projects and to impress all of your audience with the unique look of your project. Because everyone does not necessarily understand Japanese letters, we supply fonts with letters that can be utilized for your project. We produced this display font with a Japanese theme or an Asian font, which we designed to fulfill the needs of your Japanese-themed project. Of sure, your initiative will be understood by people all around the world. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out. Caps only fonts

Ceciliany is a classy font family that adds calligraphic touches to the basic structure of the display serif. Italic styles share a language set and OpenType Features compared to static styles, but have a completely different metrics In addition, an elaborate and detailed kerning system is also operated separately. 9 weights and 18 unique styles offer designers the amazing creativity of the serif font family. It offers a variety of options for editorial design as well as typography work for various channels. Features 9weights, 18styles Optimized Kernings Stylistic Set Fractions Oldstyle Figures Discretionary Ligatures : AM, AR, BA, BR, CA, CH, CR, DE, EA, El, FR, GA, GH, HR, IL, IM, JA, KA, KR, Ki, LA, LE, LO, MA, Ma, Me, NA, NE, NT, Nu, PS, RA, RE, RO, Ro, SA, ST, TH, UB, Ze, Zo, ft, li. Standard Ligatures : ff, fi, fl. * In particular, ligatures displayed in preview images can be easily applied to Adobe apps. Check out the ligature features of the software you are using.

Samo Sans Pro is a contemporary sans-serif typeface with a slight contrast of strokes, balancing between technical design and dynamic feeling. The Pro Version is based on the Samo Sans basic typeface, and it is extended by more styles, more glyphs, and other features required for professional typesetting. Beside the complete set of Latin, Samo Sans Pro includes Cyrillic and Greek glyphs as well. Each font includes alternate glyphs, small capitals, standard and discretionary ligatures, oldstyle/lining and tabular numerals, fractions, superiors/inferiors figures, set of arrows, dingbats and a wide range of typographic options applied by the Opentype features. The complete typeface family consists of 16 styles in 8 weights and their Italics. The type has a reduced height of caps and numerals and it has an optimal x-height, which makes it suitable for the typesetting of more extensive texts. It can be effectively applied in corporate identities or in a display typesetting.

Extra Old is a vintage serif typeface. With heavy strokes and miniscule serifs, this classic font family is the perfect lettering for a headline to emit genuine quality. Why not use Extra Old for a traditional logo or balanced product label. Created with pride and care, this type has the optimal appearance of a classic vintage logo but for a modern setting. The font family consists of Regular and Italic, as well as Bold and Bold Italic. Also included are the font styles Coaster and Floria Corner, two typefaces for beautiful decorative elements, combining with the lettering. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Although originally conceived as a magazine face – with strong serifs and open character shapes for good legibility in small sizes, and compact letter forms optimized for narrow columns and tight headlines – Marat evolved into a comprehensive family for general use. This specific construction and the round forms of the letters create an elegant, soft and friendly appearance. The typeface suits a wide range of typography, e.g. editorial, brochures, packaging and corporate design. In particular, in bold weights it works surprisingly well, which is not always the case with serif faces. Marat includes oldstyle and lining figures (both proportional and tabular), a wide range of language support and various OpenType features (e.g. ligatures, case-sensitive forms, fractions, superiors and inferiors). It is the perfect companion for Marat Sans, a clean and lively sans serif typeface. Marat has been selected by the Type Directors Club of New York to receive the Certificate of Excellence in Type Design 2008.

The Youngest is a unique modern font family that contains a handwritten signature script and a classic mid-contrast elegant classic serif in two styles - Display and Book. Both serif and handwritten script benefit from stylistic alternates and ligatures that give your creativity a wide variety of design options. The Book serif is optimized to be comfortably read on screen in small sizes. The Youngest Script has more than 600 ligatures (100+ unique basic Latin ligatures, their multilingual variations, and 70+ Cyrillic ligatures) to mimic a realistic handwriting. The serif style has a lot to offer too - more than 300 ligatures including 40+ basic latin ligatures, their multilingual variations and 30+ Cyrillic ones. All three styles support most of the Latin based languages as well as have basic (Russian) Cyrillic support. All three styles, as usually, fully unicode mapped and can be used in the majority of applications available on the market.

NEW! Update 3.0 What’s New: • New Narrow version of 18 weights • Bulgarian Localization Support • Tabular Figures • Case-Sensitive Punctuation • Extended Glyph Case • Icon Sets PDF Specimen available: http://myfonts.us/suAc3K Panton has been expanded with Panton Narrow! It has 9 uprights and 9 matching italics ranging from Thin to Heavy. The Panton font family includes 54 fonts - 19 uprights with 19 matching italics and 16 icon sets as a bonus! It is characterized by excellent legibility in both web & print design areas, well-finished geometric designs, optimized kerning, excellent web-font performance and legibility etc. Inspired by the classic grotesque typefaces - Panton has his own unique style, expressed in perfectly softened geometric forms. The font family is most suitable for headlines of all sizes, as well as for text blocks that come in both maximum and minimum variations. Panton font styles are applicable for any type of graphic design in web, print, motion graphics etc and perfect for t-shirts and other items like posters and logos.

Fun. Fun isn't it? But sometimes you can have too much fun, and things can get out of hand. Revla Sans is, in certain situations, too much fun. So, without further ado, let me introduce the straight man to Revla Sans's buffoon - Revla Sans Text. It represents a complete overhaul of Revla Sans. The bounciness has been removed and details reined in, all for the purpose of optimizing the fonts for use in longer runs of text. 'Text' is perhaps a strong word here; you're not going to be setting novels in this typeface. It still retains the charm of the original, and could well be used in display settings. Think of it like this - Revla Sans would be a great choice for the logo and branding of a board game, no? Revla Sans Text, then, would be good for setting the instructions, or body copy on the website. Revla Sans Text is not as feature-rich as Revla Sans, and is priced accordingly. Enjoy!

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! If you're looking for a hand-drawn font to help craft a unique statement piece, you've probably been spending hours looking for the perfect brush font. The problem with most brush fonts is that they're not actually made from real brushes - they look like they've been artificially drawn by a machine. There's now a high-quality alternative available. We are proud to introduce our new, very high resolution Chicago Brush font - the result of our meticulous process of digitizing hand-drawn typefaces and then optimizing them through our exclusive, innovative technology. That’s why we created Chicago Brush, a font made from a real brush. Use it to create logos, names and signage. It will look hand lettered, like you really worked on those letters manually. A Million Thanks Colllab Studio www.colllabstudio.com

At first glance, there is something familiar about this font, but one may not be sure... “Where have I seen this font before?” Known for his diverse portfolio of script style display fonts, typographic designer and lettering artist Rob Leuschke has taken a step back in time with Alumni™. A true departure from present trends, this font resurrects the clean and simple forms made popular in the 1950s. Originally inspired by the black face Impact™, it soon evolved to include numerous weights from the Black flavor of its progenitor to a super thin Pinstripe. The extreme weights (Pinstripe, Hairline and Black) are designed for display situations while the remaining weights may be used for more traditional textual design applications. The Inline and Collegiate flavors offer added display options. Alumni™ is available in Roman and Italic versions of each weight. Extensive kerning and OpenType programming have been applied to give it optimal functionality.

Pusia is a versatile font family with a lot of character and warmth. It is a professional, contemporary sans serif with original letter forms, friendly and dynamic feel. Its subtle curved shapes and attention to details give Pusia a very distinctive look. Its proportions and optimized kerning make it a very clean and legible in all sizes. Pusia is a great choice for all kinds of design work, both print and on-screen. It is perfect for display use in headlines, advertising, logo design and branding as well as long and short paragraphs of text. Pusia consists of 20 fonts - 10 weights and their corresponding italics. It has extended language support including cyrillic and true italics, as well as broad number of OpenType features, such as small caps, case sensitive forms, ligatures, stylistic alternates, contextual alternates, lining, oldstyle, tabular, small cap and circled figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Red Amaretto is a script typeface influenced by different ancient writing styles. All characters are handwritten by use ink and flat nib pen on coarse paper, scanned, digitized and optimized for best quality without lost its handwritten visual appearance. Coarse glyphs edges are easy visible at medium and higher sizes. Character set support all official and semi-official languages in European Union writen in latin, cyrillic and greek scripts. Supported codepages: 1250 Central (Eastern) European, 1251 Cyrillic, 1252 Western (ANSI), 1253 Greek, 1254 Turkish, 1257 Baltic. Include also spacing characters (M/1, M/2, M/3, M/4, M/6, thin, hair, zero width space etc.) for professional text formatting. OpenType TrueType TTF (.ttf) font file include installed OpenType features: Access All Alternates, Localized Forms, Fractions, Alternative Fractions, Ordinals, Superscript, Tabular Figures, Proportional Figures, Case-Sensitive Forms, Stylistic Alternates, Contextual Alternates, Stylistic Set 1, Stylistic Set 2, Contextual Ligatures. Include also kerning as single 'kern' table for maximum possible backwards compatibility with older software.

A fresh new decorative display face bubbling with life & spontaneity, Jabberwub belongs to a rare genus of creature fonts that time forgotócasual animated. A fun & bouncy eye-catcher that crosses into the land of the zany, dancing a whacky line between discord & rhyme, Jabberwub packs tons of fun into a state-of-the-art OpenType font loaded with 270 extra glyphs, including stylistic alternates, discretionary ligatures, word ligatures and capitalized ligatures, allowing creative typographers to achieve a custom hand-lettered look without all the mess & spilt glue of a manual paste-up job. Just like using rub-down type but it never cracks or splits, and it never runs out. The moment you start using Jabberwub you'll be laffing! Jabberwub is ideal for whatever zany stuff springs to mind. It takes an outline with no problem-o, and you can squish & squoosh it as the occasion takes your fancy. Optimal results are achieved by hand setting each individual glyph. Available in OpenType only.

Koufiya is designed by Nadine Chahine in 2003 as part of her MA project at the University of Reading, UK and later released by Linotype in 2007. It is the first typeface to include a matching Arabic and Latin designed by the same designer at the same time with the intention of creating a harmonious balance between the two scripts. The Arabic part is based on the Early Kufi style popular in the 7th to 10th century AD. It is characterized by a strong horizontal baseline, horizontal stacking order, clear and open counters, and a general open feeling. Though based on the earliest styles on Arabic manuscript, the design paradoxically appears quite modern and fresh. The Latin part of Koufiya recalls a Dutch influence in its shallow top arches and rather squarish proportions. Both Arabic and Latin parts have been carefully designed to maintain the same optical size, weight, and rhythm. However, no sacrifices were made to make them appear closer to each other. They are designed so that they work well together on the printed page, and to make sure that the two scripts are harmonious when they are mixed together even if within the same paragraph. The font includes support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages.

The origin of Quirky lay in the Duke Ellington number It don't mean a thing if it ain't got that swing. For some time I had wanted to create a font from expanded stroked lines. I wanted to produce a light-hearted font, but with some classic touches. One day, whilst doodling in Adobe Illustrator, Quirky’s letterforms just appeared on screen as if from nowhere. First I drew the test word ‘hamburgefonts’ and then just kept going, unable to stop. Character after character appeared as if by magic. From the start, Quirky had a life of its own. The letterforms are rather more sophisticated than merely outlined stroked lines. Subtle adjustments to compensate for optical effects have been been incorporated. For example, horizontal stems have thicknesses slightly less than vertical stems and where stems join together, the thickening effect has been reduced by cutting into the joint. Being almost monoline, Quirky works well reversed out of a solid background and for TV credits. The Quirky fonts are fun fonts, so set, laugh and enjoy! I hope Quirky will give you as much pleasure in using it as I got in creating it! Shortly after the roman version was born, an italic version and then a thin version were created to form a family of three fonts.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to methodical and engineered design. FF DIN Variable offers you more FF DIN than ever before. Pushing font technology to its limits, Variable fonts provide creatives a tool to dial in hyper specific variations which thrive in any design space. FF DIN Variable take bold steps in engineering, which the typefaces behaviour which brings in FF DIN’s technical look-and-feel into the smooth and almost organic world of Variable Fonts. Available in both upright and italic styles, there is a lot more FF DIN to discover with new era of type technology. FF DIN Italic is a sloped roman style, however it is optically corrected – slightly thinner, slightly narrower. As a result, FF DIN Italic stands out subtly. FF DIN Variable stays faithful to its parent’s DNA, the utmost care was taken to ensure that the new instances of FF DIN Variable remained consistent with all the well-known weights. Precision is the mantra of FF DIN, the FF DIN Variable is no exception to this design philosophy. Produce exquisitely fine-tuned typography and expressive animated headlines for any design. Infinite styles, intelligent, and powerful.

Vanitas is an elegant high contrast contemporary sans. It is rooted in the style of a classic didone, excluding the typical serifs and ball terminals as well as being designed with a cleaner, more reductionist appearance. Strict attention was given to the cohesiveness and balance between letterforms as well as the careful refinement of all curves. Stylistically, Vanitas’ alluring, sophisticated sensibility is directly inspired by high fashion. The upright styles are complimented by a pairing of optically adjusted true italics, which were purposefully adapted to retain the sharpness of their counterparts. Abandoning traditionally executed cursive italic letterforms retains Vanitas’ sharp characteristic through each style. Features include: Precision kerning Standard Ligatures set including ‘f’ ligatures (fb, ff, fh, fi, fj, fk, fl ffb, ffh, ffi, ffj, ffk, ffl, ffy, ae, oe, AE, OE) Discretionary Ligatures set including (st, ct, No) Alternate characters (H, A, AE, Q, $, h circumflex, ¶ and numero sign) Case forms (shifts various punctuation marks up to a position that works better with all-capital sequences) Capital Spacing (globally adjusts inter-glyph spacing for all-capital text) Slashed zero Full set of numerators/denominators Tabular Lining, Proportional Lining, Tabular Oldstyle and Proportional Oldstyle Figures Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Fragua Pro is a family of 14 fonts (Latin Extended-A and the Cyrillic alphabet) Condensed Sans Serif of geometric construction inspired by the Russian constructivism of the mid-20th century; the typography has a rounded finish in all corners to avoid the coldness of the rectilinear fonts and providing warmth and docility, the ascending and descending short and a high height of the x make it very compact, all this results in a unique typeface with maximum readability due to the careful configuration of metrics and Kerning. The cursive styles have an inclination of 8 degrees and a narrower proportion than the regular ones, they also have their own letters and meticulous optical corrections to compensate for the deformations produced by the inclination. Fragua Sans has Advanced Open Type functions, several alternative letters, full support for numbers, monetary symbols and crypto currencies and more. 681 glyphs. This typography is specially designed for advertising and editorial composition, behaving correctly in both short and medium texts and headlines where horizontal space saving is needed, being an ideal typographic system for signage, editorial or corporate design. This typography is dedicated to the memory of my grandfather C·ndido (Pa), the blacksmith of my town. THE COMPLETE 14 FONTS PACKAGE INCLUDES THE REGULAR VERSION IN "VARIABLE FONT" FORMAT, compatible with Adobe CC 2018.

Syntax was designed by Swiss typographer Hans Eduard Meier, and issued in 1968 by the D. Stempel AG type foundry as their last hot metal type family. Meier used an unusual rationale in the design of this sans serif typeface; it has the shapes of humanist letters or oldstyle types (such as Sabon), but with a modified monoline treatment. The original drawings were done in 1954; first by writing the letters with a brush, then redrawing their essential linear forms, and finally adding balanced amounts of weight to the skeletons to produce optically monoline letterforms. Meier wanted to subtly express the rhythmical dynamism of written letters and at the same time produce a legible sans serif typeface. This theme was supported by using a very slight slope in the roman, tall ascenders, terminals at right angles to stroke direction, caps with classical proportions, and the humanist style a and g. The original foundry metal type was digitized in 1989 to make this family of four romans and one italic. Meier completely reworked Syntax in 2000, completing an expanded and improved font family that is available exclusively from Linotype GmbH as Linotype Syntax. In 2009 the typeface family was renamed into a more logical naming of "Syntax Next" to fit better in the Platinum Collection naming." Syntax® Next font field guide including best practices, font pairings and alternatives.

Designed by Cosimo Lorenzo Pancini and Andrea Tartarelli with Maria Chiara Fantini, Lovelace is Zetafonts homage to the tradition of nineteenth century “Old Style” typography - a revival of Renaissance hand-lettered shapes driven by the desire to create a less formal and more friendly alternative to Bodonian serifs. While taking inspiration from the letter shapes created by Pheimester or Alexander Kay - with their calligraphic curves and heavy angled serifs that influenced Benguiat and Goudy’s typefaces in the 70s - we also tried to add elegance and contrast by following another 19th century revival style: the Elzevir. This digital homage to victorian typography, aptly named after the algorist daughter of lord Byron, is developed in two optical sizes, both in a six weights range from extralight to extrabold. The text variant offers maximum readability thanks to the generous x-height and screen-friendly design, while the display variant excels in the sharp contrast and thin details needed for editorial and large-size titling use. The italics, strongly influenced by calligraphy, have been complemented with a display script family, including luscious swashes and connected lowercase letters, lovingly designed by Zetafont in-house calligrapher. All the thirty weights of Lovelace cover over 200 languages that use latin, cyrillic and greek alphabets, and include advanced Open Type features as Stylistic Alternates, Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms.

Matahari (English : Sun) is the power source of life. The symbol of power and energy that synergies with other part of daily lives. It is one of the most fundamental thing us humans need, just like communication. And like Matahari itself, words are powerful enough to make a living. Referring to Grotesque Font and influenced by the works of Eric Gill, Matahari Typeface is available in 3 widths and 7 weights, also in Oblique version in each font. The font uses oldstyle and transitional letters (double-story ‘a’ and ‘g’). It has a humanist gesture, the thickness of the font is semi-monolinear where the horizontal and vertical size is almost equal, making the font reach its maximum optical readability even in small sizes. The font anatomy refers to the basic geometric square-sized of the letter ‘M’, while the letters of S/C/G/c/e have uneven curve shape which give the sense of humanist and flexibility. This typeface is ideal for various design needs, from Printing to On-Screen/Digital Reading, from Brand Identity, Posters, Caption, Headline, to Body Text. With the numbers of widths available, the font can be used for all kinds of purposes (Label, Signage, Packaging, Website, etc). Supported well over 75+ languages, including Greek & Cyrillic, Matahari Typeface will give you an excellent way in aesthetic communication and message-delivering.

Continuo is a fascinating, all-uppercase display typeface wherein the contour of each letterform is described with a single, continuous line. The challenges presented by that simple idea are similar to constructing letterforms with neon tubing. For example, when the strokes of a letterform need to be heavier than the width of the neon tube, two tubes are employed to create the outer contours, effectively leaving an unfilled void inside the stroke. Also, since neon tubes cannot be broken apart as they trace the contours, they must follow a path that, for reasons of economy and to avoid optical massing (or bright spots in neon), the tubes are not crossed. So too, the construction of Continuo follows. The newly updated Continuo now has alternate forms of letters A-Z available in the lowercase a-z and by extension those alternates are also present in the lowercase diacritics. The new Latin Plus glyph repertoire of Continuo contains almost 900 glyphs, supporting 224 languages, including Vietnamese and multiple African languages. A handy set of arrows and additional international currency symbols were added as well. The name is derived from the musical term “Basso Continuo” meaning an almost constant bass line, an integral part of most musical melodies. As an in-line display type, Continuo is ideal for headlines and most oversized applications and its unique appearance commands attention from viewers.

Bodrum Collection: 1- Bodrum Sans 2- Bodrum Sweet 3- Bodrum Stencil 4- Bodrum Slab 5- Bodrum Styte 6- Bodrum Soft "Bodrum Sweet" is a sans serif type family. Designed by Bülent Yüksel in 2018/19. The font, influenced by style serifs, popular in the 1920s and 30s, is based on optically corrected geometric forms for better readability. "Bodrum Sweet" is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. "Bodrum Sweet" some corner is rounded. These nuances aid in legibility and give "Bodrum Sweet" a harmonious and sensible appearance for both texts and headlines. Bodrum Sweet provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Bodrum Sweet 14 Regular” forms the central point. "Bodrum Sweet" is available in 10 weights (Hair, Thin, Extra-Light, Light, Regular, Meduim, Bold, Extra-Bold, Heavy and Black) and 10 matching italics. The family contains a set of 650+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Bodrum Sweet is the perfect font for web use. You can enjoy using it.

Axial Cut is a sans serif typeface (Latin Extended-A), a contemporary and rounded evolution of geometric fonts for screen, but this time the letters are built on an axial axis that results in trapezoidal counter-shapes, joints with reduced antlers and rounded corners that correct optical effects in small sizes to make the typography more legible, and at the same time, in large sizes it shows its original shapes. The Axial Cut typeface family is made up of four weights: Light, Regular, Medium and Bold, each with 785 characters. I have taken particular care with the metrics and dimensions of each letter or sign, with a very careful and precise kerning configuration to achieve the For maximum readability, these are fonts with slightly higher ascenders than capitals and short descenders to make it more compact. The editing possibilities and unique designs with these complex typefaces are very wide, the fonts have a complete set of uppercase letters and a lowercase set with alternative characters as well as lowercase letters and numbers in different positions (lowercase, denominators, numerals, and uppercase) that They also work as automatic fractions, they also incorporate small capital letters and three sets of alternative numbers (Normal, Old style numbers, Square numbers), etc. Discover other alternative signs, characters and Open Type functions in the PDF: Specimen & The Cheat Sheet.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to methodical and engineered design. FF DIN Variable offers you more FF DIN than ever before. Pushing font technology to its limits, Variable fonts provide creatives a tool to dial in hyper specific variations which thrive in any design space. FF DIN Variable take bold steps in engineering, which the typefaces behaviour which brings in FF DIN’s technical look-and-feel into the smooth and almost organic world of Variable Fonts. Available in both upright and italic styles, there is a lot more FF DIN to discover with new era of type technology. FF DIN Italic is a sloped roman style, however it is optically corrected – slightly thinner, slightly narrower. As a result, FF DIN Italic stands out subtly. FF DIN Variable stays faithful to its parent’s DNA, the utmost care was taken to ensure that the new instances of FF DIN Variable remained consistent with all the well-known weights. Precision is the mantra of FF DIN, the FF DIN Variable is no exception to this design philosophy. Produce exquisitely fine-tuned typography and expressive animated headlines for any design. Infinite styles, intelligent, and powerful.

Woodford Bourne PRO is the evolution of my original Woodford Bourne typeface that was inspired by the iconic stone cast letters on the façades of the 19th century Woodford, Bourne & Co. buildings in Cork City, Ireland. Woodford Bourne PRO has matured with numerous improvements to make it an even more versatile font family. The fonts have been completely redrawn and spaced, there are now an additional 500 glyphs for you to use across 9 stylistic sets. The additions include underlined caps, small caps, petite caps, catchwords, discretionary ligatures and more. Please view the specification sheet before you purchase to see all the glyphs and features. Key features: • Woodford Bourne PRO is a vintage geometric sans, optically adjusted for improved aesthetics and legibility 2 FONTS IN 1 – Use the default contemporary character set, or switch to vintage style with stylistic sets 9 Weights in Roman and Italic Thin | ExtraLight | Light | Regular | Medium | SemiBold | Bold | Black | Ultra Underlined Caps, Small Caps, Petite Caps, Catchwords, Discretionary Ligatures Full European character set 1000+ glyphs per font UPDATED JULY 2021 (v.3) Woodford Bourne PRO v.3 update includes numerous improvements including rebalanced /S/s/ glyphs to make them less ‘top heavy’. Italics have been redrawn to smoothe out irregularities. Improvements have been made to diacritics and glyph coverage now supports all Latin European languages.

Remastered in 2019. Wasabi is the re-imagining of my very first release, Iru. Like Iru, Wasabi was heavily influenced by the monument lettering style, Vermarco. The simple, geometric forms allowed for small lettering sizes to be sandblasted cleanly and has been a monument lettering workhorse for decades… the only issue centered around the lack of a lowercase or any other letters beyond the 26 uppercase glyphs and the numerals. Wasabi solves this with the same simple, efficient line reminiscent of the old Vermarco while bringing it into the 21st century. Visual and optical incongruities of the original uppercase were replaced with new interpretations for the capital letters, a new lowercase and small caps were​ produced and the original single weight alphabet was replaced with six new weights. Wasabi has several ‘lighter’ weights primarily because the thin lines and simple transitions produce very elegant relationships… and I wanted to make sure those relationships could be explored regardless of the scale of letter. Stylistic Alternates show up through the upper, lowercase and small cap glyphs that attempt to simplify these shapes even more when the opportunity arises. Wasabi is as much a utilitarian typeface as it is a headline face. This realization led to the decision to produce a companion Condensed version shortly after the initial regular weights were developed and tested; so, try them all!

Shocka Family is a confident serif. Designed to reflect nature, it creates a sense of softness and natural expression. We pushed the concept in a usability-focused direction, to work as a bold tool and a beautiful communicator. Variable Shocka enables fluid design in 9 weights, italics and 2 styles with major latin based languages. The right slant advances aesthetics, brings energy and makes it suitable for modern designs. The type family blends organic curves and soft repetition into strong and harmonious types. At large dot sizes you can appreciate the shape of the letters, while the same control and focus creates an even texture for small dot sizes and long reads. Fonts extend their use by giving weights ranging from light to black. The natural curve, a swollen and sloping stem, grows in character as the font gains weight. While the thinner weight has lowered contrast and optical correction to create a warm and soft look. The Shocka Family character set combines additional symbols, style alternatives, unique binding, and case sensitive punctuation - resulting in a stable, hard-working family ready to tackle projects of any size. I can't wait to see what you do with Shocka Family! Feel free to use the #Skinny_Type and #Shocka Family font tags to show what you've done visit my Instagram : https://www.instagram.com/skinny.type/ Thank you!

Remastered in 2019. Wasabi is the re-imagining of my very first release, Iru. Like Iru, Wasabi was heavily influenced by the monument lettering style, Vermarco. The simple, geometric forms allowed for small lettering sizes to be sandblasted cleanly and has been a monument lettering workhorse for decades… the only issue centered around the lack of a lowercase or any other letters beyond the 26 uppercase glyphs and the numerals. Wasabi solves this with the same simple, efficient line reminiscent of the old Vermarco while bringing it into the 21st century. Visual and optical incongruities of the original uppercase were replaced with new interpretations for the capital letters, a new lowercase and small caps were​ produced and the original single weight alphabet was replaced with six new weights. Wasabi has several ‘lighter’ weights primarily because the thin lines and simple transitions produce very elegant relationships… and I wanted to make sure those relationships could be explored regardless of the scale of letter. Stylistic Alternates show up through the upper, lowercase and small cap glyphs that attempt to simplify these shapes even more when the opportunity arises. Wasabi is as much a utilitarian typeface as it is a headline face. This realization led to the decision to produce a companion Condensed version shortly after the initial regular weights were developed and tested; so, try them all!

Pauline Script is a Vintage inspired Monoline script. It's a contemporary script inspired by the past, now available to the Instagram era. Pauline Script is a follow up to the popular Pauline typeface. Pauline was one of my first typefaces, all the way back in 2008. Inspired by a variety of influences, from Art Deco signage, to a simple spice label, Pauline Script has very little stroke contrast and was inspired by Retro connected scripts. Over the course of its evolution, it started to take on more influence from geometric sans serif typefaces and lost the connectors. There's a strong geometric streak, derived from 1930s sans serifs like Futura. Tall ascenders and descenders give it a unique look. Now, this script version has now come full circle, utilizing the original sans serif face design and adding connectors back in, with an optically corrected dynamic slant. For invitations, signage, logos or other applications, Pauline Script is there when you need something that stands out with a touch of class and a sense of uniqueness. Turning on Contextual Alternates (non connecting ending forms) and Discretionary Ligatures (better letter connections) is highly recommended. There's a wide range of weights available. It's a playful typeface with options to either have everything connected, or alternate forms which allow for letter connections that still maintain the sense of flow of a script. Includes plenty of ligatures!

Etelka was designed for purposes of corporate identities, branding, product package design and outside lettering. It works anywhere an extremely legible typeface is needed. Package and label design often requires a wide choice of weights and widths: light and narrowed fonts to fit huge amount of mandatory informations onto a small box, or to squeeze text lines around a bottle, fat and wide styles to emphasize information on a poster or vehicle. The regular styles will serve well for business card, small texts and for your website. Etelka’s design idea is wide, open rounded square. Some details are extremely minimized: lower-case “a, n” or “u” lack their typical spur. The typeface has a distinctive industrial expression with all diagonals slightly softened, and her overall strict mono-linear principle is exceptionally broken only for fine optical adjustments in joints. Cyrillic and Greek scripts are present for international business, as well as rich latin diacritics. Etelka is actually very well suited for all kinds of visual communication, especially orientation systems in modern architecture. The first drawing of the font, which was later named “Etelka”, was submitted in 2004 for the Czech Television identity competition and was rejected by the jury. We later concluded that the design was worth extending to the current superfamily of 42 fonts. It is a reliable typeface for corporate identities and websites.

Now check this, Underware’s blockbuster type, Bello. Bello Pro is a brush typeface for headline point sizes - it’s big & beautiful. Bello has lots of ligatures and start and ending swashes. They are automatic in Bello Script Pro, which is a cross-platform OpenType font with many OpenType features. Bello has Underware’s world-dominating Latin Plus character set, supporting a total of 219 languages (Latin 1 + 2 and beyond). After a period of hand sketching and lettering, Bello got two main styles: Script and Caps. These two fonts create a strong typographic contrast - while Bello Script Pro is flourished and flowing, Bello Caps Pro provides upright and sturdy capital lettering. As sturdy as brush lettering allows, of course. Careful spacing and kerning ensures* that Bello appears like fluently written handwriting. However, that’s not enough for a hand-lettered feel. Therefore Bello comes with a set of 64 ligatures. Some of them are typographic, some made simply to create a more intimate, natural impression. For the same reasons we have added a few ornaments and a set of snap-on beginning and ending swashes which attach to the lowercase letters of Bello. With Bello Words Pro you can add some two-color words in your text by the pre-designed word logotypes. Trust the brush! *So take care: use ‘metrics’, not ‘optical’ as a spacing setting in layout apps.

Broomstick - Beautyful Calligraphy Font that has a distinctive character that is very thick and elegant to use Broomstick 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

New Santa - Playful Christmas Font is a font with distinctive handwritten characters perfect for branding projects, logos, wedding designs, media posts, advertisements, product packaging, product designs, labels, photography, watermarks, invitations, stationery, and any project who need handwritten dishes. 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. Comments & likes are always welcome and accepted. More importantly, don't hesitate to send a message if you have a problem or question.