Print Shop Parts JNL has a nostalgic assortment of blank sign panels, a pointing hand, decorative embellishments and even an assortment of "Made in U.S.A.", "Made in America" and "Made in United States" emblems located on the 1-9 keys. All are from vintage type catalogs and sign painting instruction books from the early 1900s. When scaled up, the blank sign panels can be used for small signs or price tags as originally made in years past. During the early part of the 20th Century, it was common to create show cards in attention-getting shapes matched with beautiful hand lettering.

JT Energy is a new in 2020 interpreted geometric type with optically consistent line thickness and an interesting look and feel. This type is inspired by designs from Paul Renner and Arno Drescher and was long developed until it was something own.

About the design Spitzkant is a serif typeface family that is characterized by strong contrasts. Pointed, sharp serifs and edges contrast with round and fine forms, making it very individual and expressive. This makes it particularly suitable for branding, editorial, packaging and advertising. The high-contrast display version has been complemented by a lower-contrast text version, making Spitzkant in combination suitable for both strong headlines and extensive body text. An allrounder that can be used for many purposes. Features The Spitzkant Head and Text family has a total of 2 optical sizes, 5 weights and 20 styles, from thin to bold and matching italics. With over 850 characters, it covers over 200 Latin-based languages. It also has an extended set of currency symbols and a whole range of open type features. For example, there are alternative characters as Stylistic Sets, Small Caps, automatic fractions and many other features. Ligatures Especially the extensive selection of ligatures (standard and optional) is a special feature which was an important part during the design process. With over 95 different ligatures there are many possibilities to give headlines and logos an individual touch. Get the Variable Font here: https://www.myfonts.com/fonts/julien-fincker/spitzkant-variable/

Evoque Text is a humanist serif type family specifically designed for a comfortable reading experience. This has been achieved by optically adjusting the regular weights from my original Evoque family (released November 2021). You will notice a significantly reduced x-height and longer ascenders and descenders, complemented by adjustments to weight and spacing. This makes Evoque Text a perfect choice for any long passages of text. All OpenType features have been retained from Evoque. A plethora of swash alternates and discretionary ligatures enhance Evoque Text, giving you the opportunity to embellish your typography. Simply activate Stylistic Sets to start adding these flourishes to your text. Other useful features include Small Caps at the click of a button, and Old Style Figures are an option to the default proportional figure style. There are 14 fonts altogether over 7 weights in roman and italic, you can also avail of two variable fonts which allow you to fine tune the weight to your exact liking. Evoque Text has an extensive character set (900+ glyphs) that covers every Latin European language. Key features: 7 weights in both roman and italic 80 Alternates 26 Ligatures Small Caps Variable fonts included with full family Full European character set (Latin only) 900+ glyphs per font.

Phiz is a diverse suite of 28 decorative fonts based on Figgins Sans Extra Bold. Classic (10 fonts), Rounded (7 fonts), Rough (4 fonts) and Particles (7 fonts). The Rough and Particles styles emerge as a unique niche—neither imitating distressed printing (e.g. the “rusty” look), nor casual, hand-drawn styles. These type designs are conceived and executed as complex algorithmically-generated graphic procedures, in which repetitive elements have been artfully applied to the Sans capitals, and manually nuanced. As such they also differ substantially from textured glyph shapes that have been cut out from larger pattern fields, for the constituent particles are disposed in relation to the specific shape of each character they define. The caps-with-small-caps format was chosen for two reasons. Firstly, titling display usage is predominantly capitals, and secondly, rather like optical scaling, having the same resolution of texture available in two different “sizes” (upper and lower case) should prove useful in the hierarchy of page layout—not primarily for setting upper and lower case text as caps-with-small-capitals, although this is of course an option. All figures and major symbols (punctuation and currency) are provided in both cap and small cap height.

Megaverse VF Design 2023, Volker Schnebel JP-Fonts GmbH, Hamburg, Germany Megaverse VF opens up a universe that is beyond others. Not only its style is mega and the scope of the supported languages is beyond others, but the variety of variants opens up a design space that is unique. The complete family includes at least 90 fonts in 5 width levels from UltraCondensed to ExtraExpanded, each in 9 weights from Thin to Black, both upright and italic. It is a universal font that can be used for almost anything. From the official announcement or the informal letter to the letterpress and to the screen display as a corporate font: Megaverse is always convincing. Her character is quite graceful, but also neutral. She seems likeable, but also serious. She impresses with sharpness and precision and yet remains down-to-earth. Her wide range of variants is unique, both in terms of boldness and width. The very different forms of appearance fit together harmoniously as a whole, which gives the user an enormous freedom of design. Megaverse VF is a must-have for anyone who wants to keep adapting a typeface to different circumstances and who enjoys using variants that make the layout more colorful and perfect. All the advantages of the new variable font technology can be optimally applied with Megaverse VF, including optical scaling. Kerning, hinting and other technical requirements are carefully implemented so that the fonts work perfectly under any condition.

Quiroga Serif began in 2007 with the name Quadratta Serif. This typography was designed for continuous text, legible at medium and small sizes, with great saving of space, optimized for 6, 8, 10 and 12 points. The morphology is a mix between tradition and innovation; it has a vertical axis, thick serifs, tall x-height, light modulation and a lot of internal space between letters: key to improve legibility at small sizes. Formally, my idea was to make a serif type that had a unique color, this is visible due to the light modulation. This is also complemented with the incorporation of not common, alternative signs. Some parts of the letters that are usually curb or diagonal where made horizontal (for example: a, q, p, etc.), this makes the eye of each character to be wide and unique. The serifs (wedge type) suffered diverse variations during the process. At the begining they where thicker and ended vertically, but this caused a great deal of printing errors. And so we decided to modify them by giving them an angle to avoid visible errors in medium and small sizes. The ch, and ll ligatures where rescued because they are a part of our current spanish alphabet. The historic ligatures and stylistic alternates give different options to users who want different alternatives within a text. The accentuation signs were composed in a middle line above all signs to avoid visual shock. We also gave plenty of importance to small caps numbers, mathematical signs and currency signs so that the could interact well.

Quarca's masculine power runs strong across the page with bold self-assurance and a raw energy that courses through its thick veins. Don't think the continuous, smooth geometry of this semi-modular face is captively chained to the grid, though. Quarca has been cautiously optimized to engage the reader's eye. Achieving an attractive balance to its sturdy design, the open forms of this "rounded square" geometric sans -together with a tall x-height- make the font legible even when using the compact widths. This high-impact typeface definitely doesn't sacrifice versatility for style. These compact widths, with their raw heart and strength, are perfect for callouts, while the extended widths provide you with the platform for a punchy and extremely efficient headline. The font has a thinner weight and transcends to an intense bold. The face's geometric or technological construction also tends to make it right at home on the web. The family consists of 36 fonts -six weights plus italics. Where Quarca truly stands out, though, is its wide number of OpenType typographic choices and optional glyphs, allowing you to design your piece with a personal, one-of-a-kind variant touch. These variations consist of Experimental Capitals, Angled Capital Terminals, and "Future Stencil". In all, you can find more than one hundred of these alternate glyphs. Quarca is well-suited for anything you are able to throw at it. Devised for today's multi-disciplined designer, this clear and infinitely versatile family provides tremendous value to your toolbox.

Body graphic project at Behance Body is a type family designed for Zetafonts by Cosimo Lorenzo Pancini with Andrea Tartarelli. Conceived as a contemporary alternative to modernist superfamilies like Univers or Helvetica, Body tries to maximize text readability while providing a wide range of options for the designer. It comes in two variants (Body Text and Body Grotesque), each in four widths and four weights: regular and bold for basic typesetting, light and extrabold for display use. Body Grotesque applies to the sans serif modernist skeleton little imperfections and quirks inspired by our research in early 20th century type specimens. Curves are slightly more calligraphic and a light inverse contrast is applied to bold weights, giving the typeface a slight vintage appearance in display use. Body Text, on the contrary, challenges the modernist aesthetics maximizing horizontal lines and using open terminals for letters like “s” and “a” that appear normally dark in modernist grotesques. For both variants, the normal width family is slightly condensed in an effort to maximize space usage; the Slim width is provided for extremely dense texts or side notes while the Fit width is optimized for display usage as in logos, headings or titles. The Large width manages to look elegant in its light weight while becoming a valid heading or subtitle font in its extrabold weights. All the 64 fonts in the Body superfamily include a complete latin extended character set with small caps for over 70 languages, Russian cyrillic, open type positional numbers, stylist sets and alternate forms.

Blacker Sans Pro is a complete redesign and development of the original family designed by Francesco Canovaro in 2019 as a sans-serif variant of the successful Blacker created by Cosimo Lorenzo Pancini and Andrea Tartarelli. The original idea of Blacker Sans was to create a versatile pairing for Blacker, parting with its spiky wedge serifs but keeping its dark, elegant character and extending its weight range to 20 weights including italics. This Blacker Sans Pro family did also differ in contrast from the original Blacker family, choosing a more even and monolinear, almost grotesque approach. This choice that favored versatility over elegance left some of the original uses of Blacker not covered by its sans counterpart, and so two subfamilies were added, applying to the same skeleton varying degrees of contrast, from the readability-optimized medium contrast of Blacker Sans Text to the extreme variations of Blacker Sans Display, with its elegant juxtapositions of thin curves and thick black slabs. The original signature details of Blacker, like the hook shape of lowercase "f", have been complemented by new alternate forms, ligatures and swashes, with stylistic sets providing options to easily make logos and headings stand out. The wide range of OpenType features (that includes also small caps, positional numbers, and alternate punctuation) is applied to all the 60 weights of the family, each with over 1600 characters offering language support for 220+ languages using Latin, Cyrillic and Greek alphabets. Ready to make your text look gorgeous? Ditch your usual sans-serifs and try Blacker Sans Pro!

TT Travels useful links: Specimen | Graphic presentation | Customization options About TT Travels: TT Travels is a geometric grotesque with wide proportions and peculiar shapes of circles and brackets. TT Travels incorporates two stylistic sets which add completely different characters to the type family. The first set ss01 (aka salt) makes the font more humanistic, thanks to the ductal and smooth design of the characters defining the style. And if you want to work with the futuristic version of TT Travels, we recommend that you enable the second set (ss02). In this set, most of the characters defining the style change to characters possessing experimental forms of graphemes. For the convenience of the TT Travels font family use and for working within a complex text hierarchy, we've created 9 weights (Thin, X-Light, Light, Regular, Medium, DemiBold, Bold, X-Bold, Black) and added 9 true Italics. TT Travels also implements standard and discretionary ligatures, oldstyle figures, slashed zero, and much more. The full list of OpenType features used in TT Travels is: ordn, sups, sinf, numr, dnom, onum, tnum, pnum, liga, dlig, salt, ss01, ss02, case, frac, zero. TT Travels language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

This family was inspired by the early Fraktur style font used circa 1530 by Jacob Otther, printer in Strasbourg (Alsace-France) for German language printed books. Although it is an early Fraktur pattern, it is easy to see the characteristic differences with the Schwabacher style (look at 1538 Schwabacher), like in the small d, o or y... and the capitals (look at the H, K, T...). Frequently, Schwabacher and Fraktur were used together in the same book : Fraktur style for the main and Schwabacher for marginalia and comments. This font contains standard ligatures and German historical ligatures (German double s, long s, ts...) and diacritics (special ummlaut "e superscript" and "∞" instead of dieresis with letters a, o and u,) naturally, we have added numerous letters lacking in the original to permit a contemporary use of the font.

Cindie Mono is a multi-width display font. Six different widths – A (condensed) through F (super extended) – mathematically correspond with one-another creating a stackable type family. Each face contains all caps full West, Central and East European language support. All diacritics and marks are done in a hairline to add style and contrast. And Cindie Mono is ideal for posters, headlines and display lettering. The inspiration for Cindie Mono came from the lettering styles on optometrists sight-test posters. Then through several stages of development the overall concept for Cindie became of a half-broken Commodore64 and the computer from the 1985 movie 'Weird Science' hooked up to a dot-matrix printer spitting out reams of mechanical but distorted mono-lettering all the while an old modem you can't seem find keeps beeping and beeping and beeping...

This family was inspired from the set of fontfaces used by Francisco Del Hierro, to print in 1726 the first Spanish language Dictionary from the Spanish Royal Academy (Real Academia Española, Diccionario de Autoridades). These two Transitional styles are said to have been the first set of official typeface in Spain, like the French “Reale” (take a look at our "[/fonts/glc/1790-royal-printing/ 1790 Royale Printing)". In our two styles (Regular & Italic), fontfaces, kernings and spaces are as closely as possible the same as in the original. This Pro font is covering Western, Eastern and Central European, Baltic and Turkish languages, with standard and “s long” ligatures and twin letters in each of the two styles and a few Italic swashes inspired from the font used in 1746 by the same printer for another edition from the Royal Academy.

This versatile font family comprises 10 distinct weights, ranging from the delicate Thin to the bold and distinctive Ultra Heavy. What makes Deuterium special is its approach to the heavy styles. Balancing geometric principles with the challenges of extreme weight, Deuterium manages to preserve the geometric character even when the stems expand to extraordinary widths and the apertures narrow to the size of a dot. In the world of type design, geometric sans-serif fonts are known for their precision and adherence to symmetry. Deuterium deviates from this norm while keeping its geometric essence — it is a thoughtful reinterpretation of the classic style. Whether you’re designing for branding, headlines, or text, Deuterium is a versatile tool that adds a modern touch to your projects. It explores geometry in unconventional heavy styles, making your designs stand out with a subtle yet distinct geometric charm.

This family was inspired by the sets of fonts used in 1543 by Michael Isengrin, printer in Basel (Germany) to print the splendid New Kreüterbuch...(New herbal...), with numerous nice pictures, the masterpiece of Leonhart Fuchs, father of the modern botany. It is a Schwabacher pattern, with three different sets of fonts, small (± 4mm for the upper case) in the main text, larger for titles (± 8mm for the upper case) and large Initials or lettrines (five lines of main text). This font contains standard ligatures and German historical ligatures (German double s, long s, tz, ch,...) and diacritics (special umlaut "e superscript" and "∞" unstead of dieresis with letters a, o and u,) naturally, we have added numerous letters lacking in the original to permit a contemporary use of the font. It can be used in complement with 1538 Schwabacher or/and 1534 Fraktur.

Francker is a sans-serif typeface family based on clean and simple principles of design. The letterforms' curves are inspired by the "super ellipse," a mathematical shape that is about halfway between an ellipse and a rectangle. Francker's lowercase letters appear somewhat reduced, as the a, b, n and u have no spurs. The family is available in nine weights, from Extra Light to Extra Black. Excellent areas of use for Francker signage, posters, magazines, advertisements, or logos; wherever a timeless, modern look is needed. Francker's fonts have a large character set that includes all glyphs in Linotype's W1G specification (World Glyph Set 1). Proportional figures are available as alternatives to the tabular defaults, via an OpenType feature. The Francker type was developed designed by Anders Francker (b. 1972), an engineer and designer living in Denmark.

During a visit to London in 2008 I fell in love with the square font used on the British car number plates. I was immediately inspired to start working on this font and have been developing it intermittently ever since. Several more trips to London and the project evolved before it finally took off and became Shentox. Despite the starting point being inspired by simple, everyday car plates, the font soon evolved into something fine and very rich in detail. Even though the square genre is very restrictive, Shentox is a highly legible contemporary font with a full range of weights, useable not only as a display family for headlines and posters, but as a distinct, clean font family for branding and general editorial use (Especially magazines). It has been carefully drawn paying extra attention to the details, high end finishes that makes Shentox a safe font for use in large scale work. For example, the curves of every individual corner have been adjusted character by character to avoid the common problems encountered with square fonts (Eg. darker corners between weights or a visually inconsistent radius between the Upper and Lowercases as a result of copy/paste). Shentox italic, which has a 12 degree slant, has been corrected to avoid distortion when slanted. The radius of the upper-right and lower-left corners are more pronounced, giving it a more fluid Italic feel. Shentox is available in Open Type format and includes ligatures, tabular figures, fractions, numerators, denominators, superiors and inferiors. It supports Central and Eastern European languages. This type family consists of 14 styles, 7 weights (Thin, UltraLight, Light, Regular, Medium, SemiBold and Bold) plus italics. Shentox PDF

MOTORWAY is the companion typeface to TRANSPORT, the British road sign lettering. The Motorway alphabet was created for the route numbers on motorway signage, and is taller and narrower than the accompanying place names and distances which are printed in Transport. However, for Motorway Jock Kinneir and Margaret Calvert created only the numbers 0 to 9, the capitals A, B, E, M, N, S and W, ampersand, slash, parentheses and a comma. So, although the lettering made its first appearance on the Preston bypass in 1958, K-Type Motorway is the first complete typeface and contains all upper and lower case letters, plus a full complement of punctuation, symbols and Latin Extended-A accented characters. As with the Transport alphabet the starting point was Akzidenz Grotesk, Motorway taking inspiration from condensed versions. Changes were mainly driven by a quest for legibility, resulting in some reduced contrast between horizontal and vertical strokes, and Gill-esque straight diagonal limbs on the 6 and 9, and high vertex for the M. Kinneir and Calvert designed the limited range of characters in two weights; a SemiBold 'Permanent' weight for use as white letters on blue motorway signs, and a Bold 'Temporary' weight for heavier black letters on yellow non-permanent signage. In addition to creating full fonts in both original weights, the K-Type family adds a new Regular weight, plus a set of italics, completing a highly usable condensed typeface which, while rooted in history, is fully functional for both print and web usage. The K-Type fonts are spaced and kerned normally, simply increase the tracking to recapture the generous spacing of motorway signage.

Minimal, modular, modern—at first glance, Materia shows a contemporary flair, combining pure, strong geometrical form with a subtle, distinct appearance. Actually, the design was inspired by lettering from the turn of the 19th to the 20th century that still can be found in the East of France. While its formal origins date back as far as this, revived e. g. by the constructivists into the nineteen twenties and later on by Dutch information designer Wim Crouwel in the nineteen-sixties, the visual language of Materia still speaks of the »future«. Following a minimalistic concept the font is formally built on a grid. Wherever optical curves are needed for a smoother, more comfortable shape of letters than a simple rectangular block, diagonals cut off the egdes – like a diamond is cut to achieve more beauty. Thus headlines and texts set in Materia are given a certain »egdy« feeling, whereas their tonality is still kept well-balanced, keeping concentation all on information in a nonconfomist way. Materia comes in eight styles, from elegant Thin to attention-forcing Ultra. Even a regular Italic is available, following the classic type-set-principle. Two of the styles are explicitly designed for display use, Shadow and Code. Both are ready for combinations with Bold or each other respectively, the layering of Shadow and Code e. g. allows astonishing effects or highlighting within the letters. For OpenType-users Materia is a real Pro, containing accented Latin letters for over 70 languages, small caps, old style, tabular and lining figures and special condensed titling all caps for cases in which space is all that counts. How useful all of the above mentioned is may be seen in the book David Lynch – Lithos, designed by Koma Amok, published in 2010 by item éditions, Paris, and Hatje Cantz, Germany, which was typeset completely in Materia.

Attention all design enthusiasts! Are you tired of the same dull typefaces dominating the design world? Look no further than Ohitashi, the daring and unconventional creation by Typodermic principal Raymond Larabie. In a world where twentieth-century sans-serif typefaces reign supreme, Ohitashi breaks the mold and blazes its own trail. Larabie has masterfully infused this typeface with a unique blend of humanistic stroke contrast, spontaneous licks and curls, and incised detail, resulting in a one-of-a-kind design that defies convention. But don’t let the unconventional nature of Ohitashi fool you. This typeface offers a practical range of three weights—standard, semi-bold, and bold—making it an incredibly versatile option for any design project. Whether you’re looking to add a touch of personality to a marketing campaign, or looking to revamp your brand identity with something fresh and new, Ohitashi has got you covered. So why settle for the same boring old typefaces when you can break free from the rut favored by reductive competitors? Embrace the unconventional with Ohitashi and see your designs come to life like never before. Trust us, your audience will thank you. 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.

Kentledge is a grotesque sans type family based on geometric forms that have been optically corrected for better legibility. The family includes extended language support (over 200 languages), alternates, ligatures and more. It is best suited for graphic design and any display / text use.

Monograms or connected letters are very popular; apart from looking elegant, the monogram will also present an impression that sticks in the eyes of the audience. Lougra has more than 100 monograms or ligatures, making designing an initial or logo easier. Lougra is elegant and minimal modern sans serif. It has three contrast options which are display, regular and text.

First released by the Woellmer Foundry, Berlin, in 1910, Goethe Fraktur is a strong and legible blackletter font which has been now revived and carefully extended for modern use. To get access to all ligatures, it is recommended to activate both standard and discretionary ligatures. You will find the longs by typing option + b or by using the OT feature historical forms.

Garris is a monoline script font with awesome opentype features such as ligatures, stylistic alternates, swashes, stylistic set, initial and terminal form as well as multilingual support with 360+ glyphs. This monoline script font comes with multiple alternates that will make your words look like a custom lettering. Available in light and regular versions as an option for your typographic design creations.

Although Los Alamos was originally designed as a complementary sister typeface to Grand Canyon, it evolved into a comprehensive and unique type family in its own right. It incorporates a unicase that is fully interchangeable with the caps, and vice versa, giving the user many different options and looks. Los Alamos Pro includes over 800 glyphs and ligatures, and supports 131 languages.

Kenjo I & Kenjo II is an elegant font collection, with Japanese & Art Deco influence. An uppercase character set for display purposes, it houses the standard more versatile Serif (Kenjo I), along with a more fashion-based, stylised option (Kenjo II). Kenjo also includes a versatile collection of unique ligatures, to add a more creative approach to the standard sensibility of Serif based fonts.

Working as a graphic designer for a long time, I realized importance of alternates. Riveruta is a modern typeface designed especially for those who like to experiment with letters. Lots of alternative letters help in creating logos or names. Create your own unique combination using different options. Suitable for any business, this font is gender neutral and should appeal to most people.

Kogah is a bold display serif font with a retro feel. Its bold weight and clean lines make it perfect for headlines, logos and other high-impact design elements. Kogah comes with six styles that will add to your options for combining them. Keep in mind that the font is PUA encoded, meaning you can easily access all the fun glyphs and swashes.

Gyanko is one of a kind display font. With tight and equal side bearing, bold weight, and rhyme! It comes with Regular and Stencil version. Use it with tight space for the best result. Of course it's support multilingual. I also add some alternate, so you can have more option when you using the interlock feature. Have fun with Gyanko!

CASU aérospatiale is an extruded 3-D font supported by equivalent "flat" styles. CASU aérospatiale is relaxed in character yet smooth in details. With the full family, you get many options for playing with text: add juxtaposition, depth, and texture to your work! CASU aérospatiale is extended, containing West European diacritics and ligatures, making it suitable for multilingual environments and publications.

Avayo is a modern sans serif typeface. It is perfect for creating alphabet logos, branding, titles, headlines, but also looks great when being used casually, in copies and texts. Avayo looks simple but special and distinct and is defined by its round cut design. Avayo font family comes in five weights to help you choose the best option depending on your purpose.

Fidelia – OpenType-Pleasure and fun treasure. 3 options in each weight – All in one! Fidelia is a dynamic & modern headline script typeface. You can dive with her into the miracles of Open Type Waters, or simply use the glyphs palette of your layout program the choose between every variation. Fidelia has many alternate letters, ligatures, fleurons, ornaments & ampersands for typographic variety. Play!

Our new font family is modern and exclusive, designed for the most varied uses. With sober and sporty lines, it offers a rounded finish with a lot of sophistication. It ranges from ExtraLight to Black, offering 8 weight options, with regular and italic variations. With 499 glyphs, it can be used in over 90 languages, with a crisp layout and strong contours.

Thrillers is a typeface that evoques the visual landscape of Crime Novel Titles. This high contrast super condensed semi-serif design comprises 6 weights that provide you with a ton of options for your Headlines, Titles and Branding. Because of its minimal white space it is very punchy and its unusual texture captures our attention. End the suspense and go test it out!

Aldin is a stylish and modern typeface based on geometric forms. It is best suited for headlines and subheads but can also work in short paragraphs. Its character makes it a good choice for magazines, advertisements, packaging or logotypes for the fashion or tech industries—particularly the thinner weights. Thicker weights also allow the option for more contrast among elements.

Specimen | Graphic presentation | Customization options TT Firs Text includes 23 font styles: 11 roman, 11 italic, and 1 variable font. Each font style consists of 898 characters, counting in the characters of the expanded Latin and Cyrillic writing systems. The font has 31 OpenType features, among which are localization features for various languages, circled numerators, and stylistic alternate for the ampersand.

Brodaers is a display sans serif font. With the initial concept of the inner shape, made round. Comes in six styles, which makes it easier for the project you are working on, as well as alternative glyphs as an attractive option. It comes with 400+ glyphs, which also includes multilingual languages. Brodaers is perfect for headlines, branding, and many more.

Block Font Family is display font inspired by the forms of communist mass housing architecture (called blocks - resembling straight geometric shapes arranged symmetrically) started in the mid 70's in the 20th century. It comes in 4 weights and its matching italics and rounded options. The Light weight is a free of charge, so you can used to your projects.

Introducing Lumiere Rosie – A Gorgeous modern sans serif with ton of stylistic alternates to choose. Its bold clean and simple. Works wonderfully on its own for logos, headlines, posters, packaging and many more! And with Three different weights to choose, your option to create more unique and versatile design is a lot wider. Have fun and create more. Your Imagination only your limit!