A highly intrincated set of ornaments inspired from the work of Johann Georg Schwandner (1716-1791). An accurate historical revival and interpretation of Iza W, at Intellecta Design. State-of-art to use in headings, chapter initials from books, magazines and other publications. In Barocque and Renaissance inspired layouts, or modern mixed proposals. If you’re taking a formal approach to your Christmas designs, Schwandner Ornaments from Intellecta Design will provide unparalleled elegance and sophistication. The ornaments and fleurons in this set are intricately drawn, adding a touch of the Victorian era to cards, envelopes, gift tags, and place cards worthy of the grandest holiday feas

Melothias and Melothias Decorative actually started as an idea for designing the logo of a sports company. Melothias, is inspired by the idea of mixing different "Didone" ,"Greek motifs", " ballgame" design yet features different proportions, curvesyet dignified, which give it a classy, playful and a more contemporary look. The extreme contrast between thick and thin strokes gives Melothias a harmonic, yet dignified and stylish look. It comes in 14 weights. Melothias is an elegant typeface well-suited for editorial design and display work in books, magazines, posters, and billboards. Melothias Decorative can be used independently or in combination with Melothias for initials or headlines.

"Street Stronger" is a graffiti font with three layers that can be used to create a three-dimensional (3D) effect on your text. By using these three layers in your design, you can add depth and dimension to your typography. Fonts with these layers are often used in street art, posters, or other designs that aim to create a prominent 3D effect. With "Street Stronger," you have the ability to create text that looks different and adds a strong 3D impression by using the various layers. This allows you to customize the text's appearance to fit your design vision and add a powerful three-dimensional touch to your project.

Jure Stojan first created JY Klin for a student magazine in Ljubljana, Slovenia. ‘It was borne out of my frustration with layout [programs] and their taste for messing with decent fonts (making the headline occupy the entire column width at any cost, for instance). Therefore, I designed a “heavy duty” display font—it can be extended up to 120 per cent without any loss in quality (it is fairly condensed, so no one could think of squeezing it any further). I even used the font, stretched by the very 120 per cent, for 10 point text and the result was surprisingly legible (given some peculiar details prominent at display size).’

Linotype Pisa is part of the Take Type Library, selected from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. It was designed by Swedish artist Lutz Baar and is a modern text font based on the humanistic Old Face style. The dynamic lines and harmonious proportions make Linotype Pisa a pleasant and legible font. Distinguishing characteristics are the elongated cross strokes of the capital A, B, E, F and P and the slanted cross stroke of the lower case e, typical of Venecian Old Face characters of the 15th century. Linotype Pisa is well-suited to longer texts and headlines.

Canadian type designer Nick Shinn created this display, script, and sans FontFont in 2001. The family has 8 weights, ranging from Ultra Light to Extra Bold (including italics) and is ideally suited for advertising and packaging, festive occasions, film and tv, music and nightlife as well as software and gaming. FF Fontesque Sans provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Fontesque super family, which also includes FF Fontesque.

German type designer Jörg Hemker created this sans FontFont in 2002. The family has 16 weights, ranging from Extra Light to Black (including italics) and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries as well as sports. FF Zwo provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Zwo super family, which also includes FF Zwo Correspondence.

Peepz AF features 100 different faces and has been designed to raise much needed money for Keech Hospice Care, a UK charity that runs two hospice services - one for adults and one for children. Their aim is to help patients enjoy the highest quality of life, while providing vital support for their family and friends throughout their loved one's illness and in their bereavement. All of the charity's services are offered free of charge, every single day of the year. This is all made possible because of the generous support of people like you. Profits from the sale of this font will be donated to Keech Hospice Care.

Punto is not made up of grid-based dots. They are optical corrected and there is always the same distance between the dots, with the aim to create more harmonic letterforms. The dots also vary gradually in size to reflect the thickening and thinning of strokes, giving the letterforms a sophisticated overall look. Punto comes up with 3 weights and 3 italics and is perfectly suited for logos, brands, magazines and special for signage systems and mobile devices. The language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages. The little sister of Punto is Punto Poly : A layered type system for cromatic typesetting.

Introducing gimana sans serif display font, meticulously designed with deep inktrap details. Crafted for optimal legibility and aesthetic appeal, this font seamlessly blends modernity and tradition. Its generous proportions and balanced letterforms provide exceptional clarity and readability across various digital and print mediums. With its deep inktraps, this font showcases subtle details that enhance its overall visual texture, adding a touch of sophistication to your projects. Its humanist characteristics ensure legibility and readability, making it an ideal choice for a wide range of applications. The deep experimental inktraps add an intriguing element to the font, creating an interplay of light and shadow that captures attention.

Parandea, a vintage serif typeface, seamlessly blends the essence of bygone eras with a touch of modern sophistication. Each letter in Parandea exudes timeless charm, featuring elegant serifs and fine details that harken back to the craftsmanship of vintage typography. The typeface’s well-balanced proportions and graceful curves evoke a sense of nostalgia, making it a perfect choice for projects that demand a classic and refined aesthetic. Parandea’s versatility shines through, whether it’s used for branding, editorial design, or any application where a touch of vintage character is desired. With its distinctive yet understated elegance, Parandea captures the spirit of the past while maintaining a contemporary allure.

Fujiwara "A" for sharp contrast neo grotesk & Fujiwara "B" for Display Rounded counterforms is a typeface by WT, these elements plus its aligned counters are Fujiwara's main features. Fujiwara is also the result of studying the proportions of modern Swiss typefaces adding a personal touch to create a versatile and stylized font suitable for all kinds of compositions. Fujiwara includes 20 styles plus 2 VARIABLE FONTS. The slanted versions were very carefully drawn and corrected, it also has a variable option and many open type features like fractions, special numbers, tabular lining numbers, case sensitive forms, standard and discretionary ligatures, emojis, arrows, carefully aligned case-sensitive accents, stylistic alternates, and more.

This humanist sans-serif typeface was exhaustively designed, full-featured typeface family that reveals its character and distinctiveness in complex settings. It features a large complement of ligatures, lining and old-style figures, expert characters, dingbats (arrows, brackets, and symbols for both Regular weights). Lisboa Sans lacks the hook-head terminals, but its structure and proportions are the same. The simplicity of the sans weight created very strong readability at small sizes. After ten years from the first version publication, this new version (0.2) is available with Latin (Western, Central Europe) and Cyrillic alphabets. It was selected by Our Favorite Fonts of 2005 (Typographica).

Castellar is a capital letter typeface from John Peters, named after a location in the Alps. It first appeared in 1957 with Monotype. Peters modelled the design on the Roman script Scriptura Quadrata as it was used in the first two centuries of the Roman Empire. One distinguishing characteristic is the quadratic proportions of many letters, which are however mixed with circular and narrow forms. The original script was called Scriptura Quadrata because the ancient engravers used rectangular stone plates for their work. Castellar is a typical title typeface and is best used in large and very large point sizes to highlight its classic elegance.

Sometimes we feel that we need something fresh, sometimes you may use something like an informal style, or even a little bit of spicy taste in a provocative message. Belha is a curly cursive typeface that can express a seductive atmosphere of casual style. All their glyphs were made carefully and were hand-drawn. The font contains different letter shapes, full of ligatures, swashes and stylistic alternates that can provide great flexibility for your designs. Belha includes diacritics signs for CE languages. It may be used for advertising, packaging design, flyers, posters, children books and many other purposes. How it will work, just depends on you.

French type designer Albert Boton created this serif FontFont in 2003. The family has 8 weights, ranging from Light to Bold (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing as well as logo, branding and creative industries. FF Page Serif provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Page super family, which also includes FF Page Sans."

P22 Mackinac Pro spans four centuries of type design, bridging the Old World with the New. This family of four weights and corresponding italics is of old style construction, with a diagonal weight stress. Contrast between thick & thin is modest and proportioned the same for all fonts. The tall x-height recommends itself to a wide variety of text and display uses; including advertising, publishing, signage and packaging. P22 Mackinac Pro (pronounced Mackinaw) is a general-purpose, utilitarian design incorporating an abundance of OpenType features: small caps, ligatures, ordinals, numerous figure options plus a few bonus goodies. Mackinac supports 56 languages using extended Latin character sets.

Kaligane is a type family designed with passion. A geometric typeface, first designed in a muscular black weight with a high-powered dynamic typographic aesthetic used in various communications, and later developed in a lighter weight where the shape exhibits some vintage-inspired proportions. With these diverse influences, typefaces allow for the use of impressive displays and effective logo designs as well as the use of more subtle editorials in body text - with a natural inclination for effective and powerful advertising. Sports typography typically uses italics for added dynamism and impact, and Kaligane complies by offering a choice of three alternative italic shapes with different slants.

Isaac Newton, father of the theory of gravity, used several forms of handwriting in his life, in numerous texts about numerous scientific subjects. Here, we propose a handwritten font, using a particularly legible script form, coming from texts written in 1672, the year he presented a new reflecting telescope to the Royal Society. It is a Pro font containing Western, Eastern, Central and Northern European, Icelandic, Baltic, and Turkish diacritics. The alternates and ligatures allow the font to look as closely as possible to the real thing. The features allow OTF software to vary the characters of a word automatically, with no more work than selecting contextual alternates and standard ligatures.

JetJane is a geometric sans-serif family. The family has two widths and each width has nine weights. Each of these 18 fonts comes with an accompanying italics version, giving the family a total of 36 members. JetJane, like other geometric sans faces, is plain, unadorned, and highly legible. It is derived from JetJaneMono, a monospaced sans-serif face. This development is unusual because one expects the monospaced variants to be created after the proportional variant, if a monospaced variant is even produced. This development history results in some distinctive differences between JetJane and two other geometric sans faces from IngrimayneType, AndrewAndreas and Yassitf.

ITC Tempus is the work of British designer Phill Grimshaw. He claims that every calligrapher's aspiration is to draw perfect roman capitals with a pen, but admits that this is extremely difficult. For this typeface, Grimshaw used a fountain pen on cheap, porous paper and, of course, the ink bled. The resulting forms are classic but their rugged edges deviate from the perfection of roman type. And Tempus Sans is just Tempus with the serif surgically removed, yet the proportions of the characters work nicely," says Grimshaw. Because of its rough quality, the typeface works best in larger point sizes, yet maintains its characters even in smaller sizes.

Peroba rosa is a modern sans serif type family featuring a blend of modern, classical, and playful characteristics. The simple, clean forms and classically inspired proportions give it a timeless quality and interesting visual rhythm. Peroba rosa is perfect for logo design, magazine headers, product packaging, branding projects, clothing or simply as a stylish text overlay to any images or websites. WHAT’S INCLUDED? • Comes with regular, thin, light, italic, bold, thin italic, light italic, bold italic and bold italic font styles. Uppercase & lowercase letters. numbers. punctuation Ligature & Huge Stylistic alternate. Multilingual support. Still got a question? Send me a message and I’ll be happy to answer! qura.yahya@gmail.com

Badiya is designed by Lebanese designer Nadine Chahine as a modern and slightly modulated Naskh. The design has open counters that enable it to be used in quite small sizes.The resulting effect is that of a clear, legible, and modern text face. Badiya is especially suited for print in magazines and corporate communication. It combines well with Frutiger Arabic and Janna as a text face with a matching headline. The Latin companion to Badiya is Syntax which is included also in the font. The font also includes support for Arabic, Persian, and Urdu as well as proportional and tabular numerals for the supported languages.

Sequel 100 Wide is a static sans-serif or neogrotesque with generous horizontal proportions. A variant of the original Sequel Sans, it considerably expands the stylistic scope of the Sequel superfamily. In addition to its wider letterforms, it has got a larger x-height, slightly shifting the historical flavor from the 1950s to the 1960s. Yet, at its core, it’s as clean and functional as the main font family, with perfectly horizontal stroke endings and vertical terminals. Six weights from 45 (Regular) to 95 (Black), matching italics, and limitless possible interpolations by means of two Variable Fonts offer a rich typographic palette for any situation.

Along Sans Grande is an ultra condensed sans serif font family developed based on the typeface styles of the Along Sans Geometric Font Family. In the case of the black weight with the largest change in the size of the stem, the size is 180:140:100, respectively. And, the thin weight style has the same proportion of stem size. Some Glyphs that need to support the stem alone remain a size 222 for Black Weight. These interpolation rules are sufficient to complement the rhythm and readability of the whole family. This family is perfect for special titling works, logo designs, and cool showcases.

Our Aclonica Pro is a strong and modern sans serif typeface with a slight deco/techno essence to it. Clean letterforms and a generous x-height lend to a friendlier feel and easily legible typestyle, while signature swoops and angular tapering stems exude a subtle sensual nature. The SmallCaps and extensive figure sets not only expand the usefulness of the typeface across a wider gamut, but also convey a more serious tone when needed. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

German type designer Siegfried Rückel created this sans FontFont in 2008. The family has 10 weights, ranging from Regular to Black (including italics) and is ideally suited for advertising and packaging, festive occasions, logo, branding and creative industries as well as web and screen design. FF Nuvo provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Nuvo super family, which also includes FF Nuvo Mono."

Aranjuez is the latest Koziupa and Paul adventure. This time, they max out on calligraphic art deco, then add a healthy dose of the thick-and-thin mantra that's been so trendy for quite a few years now. The result is neo-psychedelia in an upright cross-breed of pseudo-wood deco and ornamental calligraphy, complete with alternates, swashes, endings, playful contrast treatments, and even background possibilities. This font is quite expressive, and its elegance is meant to be shown prominently. So use it for packaging, book covers, or wherever the message needs to be delivered clearly and with a precisely controlled touch of class.

Kessel 205 is inspired by the classic, geometric sans-serifs such as Futura, but has shallower ascenders and descenders for a more compact look, and features an art deco influence with sharp points at the apex of many characters, lowered crossbars and an oblique crossbar on the lower case e. It's a versatile, modern sans, highly legible as a text font and with a distinctive, elegant look as a display font at larger sizes. It includes old style non-aligning (lower case) numbers, both proportional and tabular as well as accented characters for Central European languages. The Kessel 205 family comprises of six weights and is closely related to Kessel 105.

TA Kenisans is a combination of two fonts. You can create very good works with Geometric and Grotesque style. This typeface also equipped with useful OpenType features such as Ordinal, Superior, Stylistic Alternates, Proportional Figure, Fraction, Tabular Figure, Numerator & Denominator. Each font file covers Western & Eastern Europe Latin language, as well as other Latin based languages – over 200 languages supported! This is a new real multi-purpose typeface that will be perfect for logo, packaging, greeting cards, presentations, headlines, lettering, posters, branding, quotes, titles, magazines, headings, web layouts, mobile applications, art quote, typography, advertising, invitations, packaging design, books, book title, & nearly any other type of creative design you’re working on.

Danish type designer Ole Søndergaard created this display FontFont in 2011. The family contains 3 weights: Book, Bold, and Black and is ideally suited for advertising and packaging, film and tv as well as music and nightlife. FF Signa Serif Stencil provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Signa super family, which also includes FF Signa, FF Signa Correspondence, FF Signa Serif, and FF Signa Stencil.

Sigillium is a flare serif typefaces, which inspired by early XX centuries sign painting advertising. It has strong historical nature. Letters proportions are very closed to the Roman Capital Letters. Sharp flare serifs endings give special medieval style to the typeface. Sigillium includes: 4 types in Upper- and Lowercases Each style contains more than 250 glyphs which support Latin, Western European, Central European languages (Cyrillic is also included) Files description: regular, carved empty, - not filled 2 styles carved with shadow, - different "light" directions Hope you are enjoying using Sigillium. Please do not hesitate to ask me any questions about the product. (c) Photo credit - Unsplash

Soerina, a versatile serif typeface, embodies a harmonious blend of classic elegance and contemporary functionality. With its meticulously crafted letterforms, Soerina strikes a balance between sophistication and readability, making it suitable for a diverse range of design applications. The typeface exhibits a timeless aesthetic, featuring subtly modulated serifs that lend a touch of refinement to each character. Whether used for editorial design, branding, or digital interfaces, Soerina exudes a versatile charm, adapting seamlessly to various contexts while maintaining a distinct personality. Its balanced proportions and thoughtful details make it an excellent choice for conveying a sense of professionalism and aesthetic nuance across a spectrum of visual communication projects.

Danish type designer Morten Olsen created this sans FontFont between 2003 and 2004. The family has 18 weights, ranging from Extra Light to Fat (including italics) and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, software and gaming as well as sports. FF Max provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Max super family, which also includes FF Max Demi Serif.

Mediator Serif is a balanced contemporary serif typeface that performs well both in display sizes (like in packaging or branding) and body text (books or periodicals where narrow styles will be extremely useful). Mediator Serif is a complementary serif face for Mediator Sans. The family contains 32 fonts in 2 widths: 8 romans with matching italics, of slightly extended proportions, from Thin to Black; and 8 narrow styles with matching italics too. The character set in all faces was expanded to include small caps and old style figures. The typeface was designed by Manvel Shmavonyan with the participation of Alexander Lubovenko and released by ParaType in 2017.

Macha shares the same DNA as its sibling Anago, but is a completely different species than the former or any of my other sans serifs (Aaux Next, Air, Akagi Pro or Wasabi). It's no-nonsense construction bears many influences from Gill Sans and Frutiger while stubbornly blending my own humanist touch. The focus on developing Macha was just to get to the point with each letterform and discard the rest. Macha takes a little but gives a lot. A fully-loaded character set includes: Small Caps, Proportional Lining and Oldstyle Numerals, Tabular Lining and Oldstyle Numerals, Fractions, Ordinals, Inferiors, Superiors, Stylistic Alternates, Ligatures, Case-sensitive, and more.

Geller Sans typeface have been developed based on his serif predecessor’s proportions. He’s quite handsome, quite organised. Looking at thin–extraheavy styles he has enough of charm to stand out in advertisement. In text styles you can relay on him. He’s able to meet demand of complex design tasks. Geller Sans has been fitted with wide range of OpenType features. As Geller Serif, he has bullets & dingbats, for easier entry-point making. Entire font family comes in 4 width (Regular, Narrow, Condensed, Compressed). Each width finds its best application in different typographic fractions what makes Geller Sans easy to apply in editorial graphic design. Who’d like to challenge him?

Scatio is squarish with vertical terminal cut, a multi-purpose sans serif which can be use for many kind of graphic design projects. The Light, Regular and Medium weight have good legibility for text, the bolder and lighter weights can be used for headlines, display, posters, and more. Each members of the Scatio family contains 400+ glyphs which covers Western and Eastern Latin based languages. Each font is also equipped with some useful OpenType Features, such as: Fraction (frac) Numerator (numr) Denominator(dnom) Standard Ligatures (liga) Localized Forms (locl) Ordinals (ordn) Proportional and Tabular Lining (pnum & tnum) Superscript and Subscript (sups & subs) Scientific Inferior (sinf)

This font has been on my drawing board since the late eighties. It was based on drawings provided to me by an old sign-painter family friend and we used it extensively as a caps-only font in the early 90s on a cellphone ad campaign. It loves to be tight set and stacked and provides real grunt when you need it. Small caps have been added and have been weight and proportion adjusted so as to complement the caps. At Type Associates we believe that a font is not complete until the spacing is optimal. Carmel is another example of quality through extensive experience, testing, adjusting and refining.

Our Righteous Pro was inspired by the all-capital letterforms from the deco posters of Hungarian artist Robert Berény for Modiano. Grid based and geometric in execution, the font is highly readable at a wide range of point sizes, ideal for display and print. Unlike that of its original inspiration source, Righteous has both a full lowercase and a SmallCaps set as well as an extensive figures set to increase flexibility and ease of use. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.