Chiba Script is a casual script font inspired by hand lettering and vintage sign painting. Chiba Script has only single weight, bold weight.

Happy Cloud is a fun, tall handwritten font created by Cultivated Mind. This font features five font weights (Light/Regular/Bold/Black/Heavy).

Cicero Series is a bold decorative serif display font that exudes power, strength, magnificence, prestige. Add this grandiose piece to your font collection.

Note: The Alta Bold, Italic, Lined and Outline styles are no longer available due their complexity and the resulting memory and performance issues.

Khaleefa is a classic, elegant and timeless calligraphy font with a bold twist. Get inspired by its modern feel. Ligature Multilingual PUA encoded

Graphite/4b pen illustrations from the past resurrected as vector/tattoo-art! The detailed illustrations can be displayed at large sizes/full magazine layout page down to thumbnail size! a-l: The full Zodiac of Chaos m-u: Parts from the Tarot of Chaos v-z: Faces of Chaos A total of 26 unique illustrations. Upper case A-Z hold mirrored versions. Enjoy!

Thx for checking out DANNI HAND! This hand written font gives a personal feeling to any project. Perfect for logos, initial logos, posters, text copy, printed quotes, t-shirt design and whatever your imagination holds. DANNI HAND comes in 3 font stylesnwith a complete set of uppercase and lowercase alternates, which can easily be accessed through the glyphs panel. Enjoy!

A sugarloaf was a conical lump in which refined sugar was sold until the late 19th century. In Fryslân you can buy sûkerbôle - a yeasty white bread containing large chunks of sugar. I must have been dreaming about the latter when I named this font! Sugarloaf is a versatile, happy, handmade display font. It comes in an inline and a black style.

Maylane is a beautiful, loving elegant typeface. It is suitable for wedding invitation, quote, greeting and many more. “Maylane” includes the full set of upper and lower case letters, multilingual symbols, numbers, punctuation, stylistic set, and ligature. This font has a smooth texture, so it will be perfect for all types of printing techniques. You can do embroidery, laser cut, gold foil etc.

Archimoto V.01 Responded to the design of working drawing techniques in the world of architecture and letters on old stuff photography lens bodies, archimoto is designed with a more modern form, a little touch of detail in the corner area is so smooth that it aims to provide comfort to the eyes, by bringing 20 sizes including italic archimoto can be used more freely and can be adjusted more extensive exploration of its use. archimoto can be used as headlines and body text, the level of readability that looks comfortable makes the arrangement of letters more beautiful.

Meet Obitruk, a powerful display font with a superhero style that will take your projects to a new level. Whether you’re working on a movie, a game, or a design with a strong and bold theme, Obitruk is the perfect solution. With its strong, bold appearance, this font exudes confidence and draws attention. Distinctive superhero style adds fun and adventure to your creations, making them stand out from the crowd. Obitruck not only looks amazing but is also packed with features that will enhance your designs. Ligature and alternative characters provide flexibility and creative possibilities, allowing you to customize and add unique touches to your typography. Plus, multilingual support ensures your message is accessible to a global audience. Show the power of Obitruk and bring your projects to life. Get ready to make a bold statement with this dynamic font that embodies strength, thickness, and a fearless spirit. Improve your designs with Obitruk and leave a lasting impression on your audience. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Geiger is a geometric typeface inspired by type found in the intros of Commodore 64 games, its attention to the grid and its limited set of building blocks. The design of Geiger respects these criteria to create a sturdy alphabet without diagonals, and loosen its grip on the classic limitations to produce a complete character set worthy of today`s high-resolution displays with a retro touch. The properties of classic computing platforms, like their limited memory and low-resolution displays, required that the designers and programmers of the time devise and use certain techniques to produce interesting visual results. These platforms offered limited sets of default building blocks from which to build more complex graphics and type, and some skilled coders would work around these limitations to produce the unexpected. One of the areas that saw experimental digital type flourish is the Commodore 64 intro scene. The Geiger family includes four styles (regular, oblique, bold and bold oblique), all include common ligatures (fi, ff, ffi, fj, fl, jj, tt, Th, TT) and a few stylistic alternates (K, L). A particular attention was paid to the pattern created by the vertical stem and negative spaces of tightly set text, especially for Geiger Bold. Geiger produces good results at a size of 30pt or more, but we suggest using it at higher display sizes.

Haigrast Script is the light and thin handwritten font that brings a touch of fashion and fun to any project. Designed by Mans Greback in 2023, this signature script font is the perfect choice for designers looking to add a touch of personality to their work. With its cute and feminine design, Haigrast Script is ideal for wedding invitations, fashion logos, and other creative projects that require a fast, active and wild style. This font is perfect for those who want to make a bold statement in their design work. Whether you're creating a fashion magazine cover, a social media post, or a wedding invitation, Haigrast Script is the perfect choice for designers who want to make a lasting impression. Use underscore _ to make an underline swash. Example: Love_letter Use multiple underscores different underlines. Hand__________writer The Haigrast Script family consists of four high-quality fonts: Regular, Italic, Bold and Bold Italic 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.

Introducing Dominant Youth, a bold and impactful display serif font that exudes confidence and strength. With its commanding presence, Dominant Youth is designed to make a lasting impression on any creative project. The font’s robust and assertive letterforms showcase a unique blend of classic elegance and contemporary style. Its tall and slender structure adds a touch of sophistication, while the sharp serifs give it a distinctive edge. Dominant Youth is carefully crafted to capture attention and evoke a sense of boldness and youthfulness. Whether you’re working on branding, editorial design, headlines, posters, or any other project that demands attention, Dominant Youth is the perfect choice. Its versatile nature allows it to excel in both digital and print mediums, ensuring your message stands out in a captivating manner. The well-defined characters of Dominant Youth provide excellent legibility, even at smaller sizes. The font’s wide range of weights and styles offers flexibility, allowing you to experiment and find the perfect balance for your design needs. From light and elegant variations to bold and impactful options, Dominant Youth empowers you to create visually striking compositions that leave a lasting impression. Don’t settle for ordinary typography when you can make a statement with Dominant Youth. Embrace its commanding presence, embrace its youthful energy, and elevate your designs to a new level of distinction. Features: Dominant Youth Multilingual Support Thank you

Helena derived her curves from the old Chinese Tangram puzzle. She sure is playful, though sometimes she bites furiously. No worries! Helena may seem to be a tad crazy, but all in good moderation. Don’t go overboard, use her well and I can assure you … she’ll be worth all your effort.

A modern blackletter typeface, designed by combining an old english style & modern style. It can be used for textbook, display text, headlines, logotype, and more. Within support by multilingual glyphs (characters), & lot of punctuations to support many people around the world with their unique languange and accent. Thank you very much.

Carbonara. Nope, it's not the pasta sauce, but a nice, grungy typewriter font, made using a pre-war typewriter, some oil and a stack of old-fashioned carbon paper sheets. You can use it to give your designs some oomph. Comes with a whole bunch of contextual and stylistic alternates.

Illuminations Woodcut is inspired by the decorated initial capitals of Medieval manuscripts… and an old book of clip art in which they were found. Try decomposing them in Adobe Illustrator and coloring the pieces or dropping color into them in Photoshop: you can get some stunning results. Caps and TrueType only.

This display decorative slab-serif typeface, contain reverse contrast which remind the old western style, there are also stencil version available (Invertida St). Invertida font family contain Latin and Cyrillic encoding characters and italic versions are also available too. Open type features can provide more options (stylistic alternates, ligatures, swash, figures).

Afiga is a is humanist sans-serif a modern type family inspired form British typography of the early 20th century, Simple and fresh typeface for visual identities, book covers, magazines, and advertisement. Afiga typeface consists of 7 style plus “true italic” set. All of the styles together have over 700 characters, supports more than 50 languages – in Latin based languages Afiga supports OpenType features for fine typography, including Alternate characters, old style figures, Tabular Numbers, proportional figures, ligatures, superscript and subscript figures and support for fractions.

Mediator is a balanced contemporary sans serif typeface that performs well both in display sizes and body text. The family contains 30 fonts in 3 widths: 8 romans with matching italics, of slightly extended proportions, from Thin to Black; 7 narrow and 7 condensed, from Thin to ExtraBold. The character set in normal upright faces was expanded to include small caps and all faces include old style figures. The typeface was designed by Manvel Shmavonyan with the participation of Alexander Lubovenko and released by ParaType in 2016.

Styling is a simple, light, sans-serif typeface inspired on old cars and planes with an aerodynamic shape. The font comes in 5 weights plus italics. Styling and Styling Alt families offer professionals a wide range of creative options. Styling was created in 2014, while its designer was 30,000 feet in the air and the plane was flying over some Latin America cities. A flight full of flavours and shapes. This typeface is the result of anxiety and speed. Keep on rollin’ and fly high with Styling!

XXII GeomSlab are the additional slab-serif styles to the geometric sans-serif XXII Geom. XXII Geom and XXII Geom Slab are modern geometric type systems designed with focus on functionality & legibility and with an eye on the old masters. Their well balanced low contrast letter shapes come with a tall x-height. With its range of Opentype features it is designed to fulfill the needs your content deserves (Smallcaps, Case Sensitives, Ligatures…) as well as serving your individual taste (Stylistic alternates & Sets). More information on Behance.

A versatile and elegant sans serif with a hint of Futura and a dash of Gill, but entirely its own design. Clear and legible in small sizes, refined and authoritative in larger sizes, Serenity is perfect for corporations, institutions, museums, galleries, editorial and publishing. Seven weights from a fine Thin to an impactful Heavy, plus italics, present a full range for all text and headline needs. Comes with full international character support, tabular and old-style numerals and alternate versions for the R, K, a and g.

Arinar is a well modulated, rounded, humanist sans serif font family based on Brinar. A distant ancestor the basic letterforms is Minister (a Dutch bible font of the 19th century) through my first font, Diaconia. There are many OpenType features with over 600 characters: Caps, lower case, small caps, ligatures, discretionary ligatures, swashes, small cap figures, old style figures, numerators, denominators, accent characters (including CE), ordinal numbers (1st-infinity: lining and oldstyle), and so on. It is designed for text use in body copy.

The Aspasia is a decorative low contrast sans serif type family suited both for editorial and corporate design, available in five weights, ranging from Thin to Black. It was designed by Mikus Vanags in 2009 influenced by art-deco geometric typefaces and mastered for the needs of today. The Aspasia OpenType fonts have and extended character set to support Central/Eastern European languages like Polish, Czech and Latvian. The font includes old style and lining figures, regular and discretionary ligatures and multiple stylistic alternates.

Sovba is an amiable rounded sans-serif inspired by handwriting. Sovba is useful for a look that is uniquely casual, fresh and smooth. Sovba simplifies character forms down to their basic characteristics, and has a strong, silky smooth forward motion. Sovba includes more traditional optional alternates for a number of characters, including the ëEí and ëF,í OpenType alternate characters, old style figures and small caps. Sovba is a fine choice when you require a versatile upright oblique for logotypes, headlines or short blocks of text.

Inspired by the Appalachian culture of the Southeastern United States, the finely tuned forms of Dulcian strike a clear, empowering chord with your audience. This energetic and fresh sans serif flows fast and smooth with its simple lines and slight hand-written character. All total, there are six weights, with complementary italics and three different widths. Dulcian supports OpenType features and is packaged with unicase alternates, unconnected alternates, ligatures, old-fashioned figures, fractions, titling and small caps. Preview any and all of these features in the interactive PDF manual. The Dulcian family of fonts also includes glyphs for 72 languages, providing you with more than 600 glyphs per font. While designed especially for pull quotes, this display typeface can be used for a variety of applications. Dulcian is an excellent choice for websites as well as flyers and packaging. Other uses include coffee, menus, awards, certificates where a touch of humanity and personalization is needed.

Gojali is a sleek and modern geometric sans serif font family. It offers a range of 5 weights, from Thin to Thick, combining contemporary style with its distinct softness. The design of Gojali is characterized by its minimalistic, elegant, and versatile nature, providing a unique feel and ensuring ease of reading. Gojali was specifically created to deliver an easy-to-read text display. It is suitable for both text and display purposes, making it a perfect choice for headers, titles, posters, websites, branding, apps, and a wide range of other creative designs or projects. Gojali features various OpenType functionalities, including standard ligatures and number variations such as old-style numerals, fractions, numerators, and denominators. It also offers extensive support for the Latin language. With Gojali, you can effortlessly create captivating text displays with a special touch. Its soft yet strong design makes it an ideal option for crafting extraordinary and charming designs.

Mayes is a soft, geometric sans serif font family. It consists of 6 weights ranging from Thin to Black, combining elements of Bauhaus and modern styles with its distinctive softness. Its design is minimalist, elegant, and warm, offering a unique yet versatile and easily readable impression. Mayes was created with the purpose of providing text displays that are easy to read, strong, and make a standout impression. It is compatible with both text and display purposes, making it perfect for headers, titles, posters, websites, branding, apps, and various other creative designs or projects. Mayes features several OpenType functionalities, including standard ligatures and number variations such as old-style figures, fractions, numerators, and denominators. It also offers extensive support for the Latin language. With Mayes, you can effortlessly create text displays that stand out with a touch of specialty. Its soft yet strong design makes it an ideal choice for creating remarkable and captivating designs.

Linotype Textra is a clever twist on the sans serif genre, designed by Jochen Schuss and Jörg Herz in 2002. Schuss says this about Linotype Textra: "Two in one! The same Linotype Textra, which is so neutral and practical for long text passages turns into an eye-catching headline type when used in larger point sizes. The trick? It's all in the details. The type's clear, robust forms give it a high degree of legibility when used in smaller point sizes for texts. When used in larger sizes, the angular, slightly irregular forms that give the type its strong character become apparent. Hence the name Linotype Textra: pure text with a little something extra!" With 15 weights, the Linotype Textra family provides graphic designers with a good basis for almost any type of work. The five regular weights have matching true italics and old style figures, and the five small cap weights include tabular figures.

When I released Halogen, I asked ‘Who doesn't want or need an expansive contemporary extended sans that has a sense of style and swagger… what if it had a lowercase, small caps and various numeral options… how could you say no?’ Go, click on the Halogen link and read on, if you're interested. Halogen was well-received, so I decided to take it further with Halogen Slab (the name kinda tips you off as to what kind of typeface it is, don't ya think?). As always, I prefer not to take short cuts and provide an anemic offering of glyphs — a modern typeface offered today must provide more than just the basics and this one does — lowercase, smallcaps, old style numerals, tabular forms, stylistic and titling alternates, fractions, case-sensitive features, and even an alternate uppercase ordinal set is included. Now go make cool print and digital things with it, and share them with me.

To design a text typeface "at the top with, at the bottom without" serifs was an idea which crossed my mind at the end of the sixties. I started from the fact that what one reads in the Latin alphabet is mainly the upper half of the letters, where good distinguishableness of the individual signs, and therefore, also good legibility, is aided by serifs. The first tests of the design, by which I checked up whether the basic principle could be used also for the then current technology of setting - for double-sign matrices -, were carried out in 1970. During the first half of the seventies I created first the basic design, then also the slanted Roman and the medium types. These drawings were not very successful. My greatest concern during this initial phase was the upper case A. I had to design it in such a way that the basic principle should be adhered to and the new alphabet, at the same time, should not look too complicated. The necessary prerequisite for a design of a new alphabet for double-sign matrices, i.e. to draw each letter of all the three fonts to the same width, did not agree with this typeface. What came to the greatest harm were the two styles used for emphasis: the italics even more than the medium type. That is why I fundamentally remodelled the basic design in 1980. In the course of this work I tried to forget about the previous technological limitations and to respect only the requirements then placed on typefaces intended for photosetting. As a matter of fact, this was not very difficult; this typeface was from the very beginning conceived in such a way as to have a large x-height of lower-case letters and upper serifs that could be joined without any problems in condensed setting. I gave much more thought to the proportional relations of the individual letters, the continuity of their outer and inner silhouettes, than to the requirements of their production. The greatest number of problems arose in the colour balancing of the individual signs, as it was necessary to achieve that the upper half of each letter should have a visual counterbalance in its lower, simpler half. Specifically, this meant to find the correct shape and degree of thickening of the lower parts of the letters. These had to counterbalance the upper parts of the letters emphasized by serifs, yet they should not look too romantic or decorative, for otherwise the typeface might lose its sober character. Also the shape, length and thickness of the upper serifs had to be resolved differently than in the previous design. In the seventies and at the beginning of the eighties a typeface conceived in this way, let alone one intended for setting of common texts in magazines and books, was to all intents and purposes an experiment with an uncertain end. At this time, before typographic postmodernism, it was not the custom to abandon in such typefaces the clear-cut formal categories, let alone to attempt to combine the serif and sans serif principles in a single design. I had already designed the basic, starting, alphabets of lower case and upper case letters with the intention to derive further styles from them, differing in colour and proportions. These fonts were not to serve merely for emphasis in the context of the basic design, but were to function, especially the bold versions, also as independent display alphabets. At this stage of my work it was, for a change, the upper case L that presented the greatest problem. Its lower left part had to counterbalance the symmetrical two-sided serif in the upper half of the letter. The ITC Company submitted this design to text tests, which, in their view, were successful. The director of this company Aaron Burns then invited me to add further styles, in order to create an entire, extensive typeface family. At that time, without the possibility to use a computer and given my other considerable workload, this was a task I could not manage. I tried to come back to this, by then already very large project, several times, but every time some other, at the moment very urgent, work diverted me from it. At the beginning of the nineties several alphabets appeared which were based on the same principle. It seemed to me that to continue working on my semi-finished designs was pointless. They were, therefore, abandoned until the spring of 2005, when František Štorm digitalized the basic design. František gave the typeface the working title Areplos and this name stuck. Then he made me add small capitals and the entire bold type, inducing me at the same time to consider what to do with the italics in order that they might be at least a little italic in character, and not merely slanted Roman alphabets, as was my original intention. In the course of the subsequent summer holidays, when the weather was bad, we met in his little cottage in South Bohemia, between two ponds, and resuscitated this more than twenty-five-years-old typeface. It was like this: We were drinking good tea, František worked on the computer, added accents and some remaining signs, inclined and interpolated, while I was looking over his shoulder. There is hardly any typeface that originated in a more harmonious setting. Solpera, summer 2005 I first encountered this typeface at the exhibition of Contemporary Czech Type Design in 1982. It was there, in the Portheim Summer Palace in Prague, that I, at the age of sixteen, decided to become a typographer. Having no knowledge about the technologies, the rules of construction of an alphabet or about cultural connections, I perceived Jan Solpera's typeface as the acme of excellence. Now, many years after, replete with experience of revitalization of typefaces of both living and deceased Czech type designers, I am able to compare their differing approaches. Jan Solpera put up a fight against the digital technology and exerted creative pressure to counteract my rather loose approach. Jan prepared dozens of fresh pencil drawings on thin sketching paper in which he elaborated in detail all the style-creating elements of the alphabet. I can say with full responsibility that I have never worked on anything as meticulous as the design of the Areplos typeface. I did not invent this name; it is the name of Jan Solpera's miniature publishing house, in which he issued for example an enchanting series of memoirs of a certain shopkeeper of Jindrichuv Hradec. The idea that the publishing house and the typeface might have the same name crossed my mind instinctively as a symbol of the original designation of Areplos - to serve for text setting. What you can see here originated in Trebon and in a cottage outside the village of Domanín - I even wanted to rename my firm to The Trebon Type Foundry. When mists enfold the pond and gloom pervades one's soul, the so-called typographic weather sets in - the time to sit, peer at the monitor and click the mouse, as also our students who were present would attest. Areplos is reminiscent of the essential inspirational period of a whole generation of Czech type designers - of the seventies and eighties, which were, however, at the same time the incubation period of my generation. I believe that this typeface will be received favourably, for it represents the better aspect of the eighties. Today, at the time when the infection by ITC typefaces has not been quite cured yet, it does absolutely no harm to remind ourselves of the high quality and timeless typefaces designed then in this country.In technical terms, this family consists of two times four OpenType designs, with five types of figures, ligatures and small capitals as well as an extensive assortment of both eastern and western diacritics. I can see as a basic text typeface of smaller periodicals and informative job-prints, a typeface usable for posters and programmes of various events, but also for corporate identity. Štorm, summer 2005

The Miramonte™ Pro Family was designed by Steve Matteson in 2006 as a friendly sans serif design suitable for user-interface design, corporate branding and publishing. The name means 'behold the mountains' in Spanish, suggesting the rustic, unrefined type design. Miramonte™ Pro Family is based on Stanislav Marso's humanist sans serif released by Graphotechna in 1960. This revival includes a cursive style italic rather than a sloped roman. Miramonte Pro Family includes an extensive character set for publishing Central and Eastern European languages. Its OpenType features include the euro symbol, alternates, old style figures, proprtional lining figures, diagonal fractions, stacked fractions, superscript/subscript and scientific inferiors. Character Set: Latin-1, CE, OpenType Pro features. View Miramonte Pro Type Specimen (PDF)NOTE: An OpenType-savvy application such as Adobe Creative Suite, Mellel or QuarkXPress is required to access the OpenType typographic features.

Serial: a killer font takes influence from the Son of Sam letters. Depicting an unstable mind and ill motives, this font is as erratic and discomforting as its author. Containing two similar but discernible font styles, you can mix and match to create your own story. Serial Regular is neater and more thoughtful. It is controlled and has an obvious flow. Serial Alternates illustrates a very different frame of mind - it is turbulent and rushed with little to no consistency. Serial Regular contains a secondary A-Z set, and a latin character set. Serial Alternates contains over 60+ ligatures (which gives it its natural handwriting style).

Boris is my son: he was born on January 7th and he is as cute as can be. Boris Brush font is a very loud, very useful brush typeface, which I created using some fine-haired brushes and black paint. It is all caps, but lower and upper case are different and can be freely interchanged. Comes with all the diacritics you need.

This font is based on a lot of the downtempo culture in Paris. Smoky bars, jazz clubs, that sort of thing. How a font can be influenced by intangibles is a question that I can't quite answer, but I can say that when I created it, it strongly reminded me of a couple of times spent in Paris back in the mid-90s.

Cursed Stone is a spine-chilling display font that will transport your designs to a realm of dark enchantment. Designed in large letters and with a bold weight, this typeface demands attention and exudes an aura of haunting mystery. Each letter is meticulously crafted with eerie stone texture details, adding an ominous and cursed touch to the font. The large size of the letters enhances the font's imposing presence, making it impossible to ignore. The stone texture details in each letter of this font bring an authentic and sinister feel, as if the font was chiseled from the depths of an ancient cursed monument. These haunting details add an element of mystique and darkness, immersing the viewer into a world of malevolent enchantment. The combination of bold weight and stone texture gives Cursed Stone a rugged and formidable look, evoking images of cursed relics and forbidden ruins. The letters appear to hold secrets from the past, carrying a haunting energy that captures the imagination. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Cursed Stone fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed project. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Bloque es una fuente moderna de tipo bloque perfecta para proyectos de grandes dimensiones como vallas, pósters artísticos, señalización, packaging, títulos y logotipos. Ya que su contador es tan estrecho no debes usarla en tamaños pequeños porque la definición de cada carácter se perderá. Es una fuente que cuenta con una sensación limpia y minimalista. Bloque es una excelente elección cuando se necesita una fuente impactante de letras en bloque para crear diseños impresionantes. Bloque is a modern block font perfect for large projects like billboards, poster art, signage, packaging, headlines and logos. Since its counter is so narrow you should not use it in small sizes because the definition of each character will be lost. It's a font that boasts a clean, minimalist feel. Bloque is an excellent choice when you need a striking font of block letters to create impressive designs.

Runde Wien Pro, the rounded sans serif by Ekke Wolf. Typeface lovers looking for a modern, well-developed sans serif font with a touch of retro and warm, individual lettering will get excited about a new addition to the font market. The more than complete Runde Wien Pro front comes in three styles and four different weights. In addition to the upright Runde Wien Pro there is the Runde Wien Pro Oblique with a moderate 6° slant and the Runde Wien Pro Superoblique with an 18° slant. Available weights are light, regular, medium, bold and black. These fonts are equipped with extended Latin alphabet for Central and Eastern Europe and also Cyrillic and Greek alphabet. The set of characters includes nine different sets of numbers, plus its own set for the small caps, as well as alternative characters and groovy ligatures. In addition, all Runde Wien Pro styles are also available as unicase with upper case and lower case x-height alignment. The style, metrics and proportions of Runde Wien Pro combine perfectly with the Liebelei Pro and the script fonts of the Calafati Pro.