Royal Banks - Retro Bold Font. In Royal Banks, I try to combine retro style with luxury and aesthetics touch. So the Royal Banks can be used in various projects with retro/vintage and luxury themes or another project with bold font. Such as logos, branding, posters, packaging, book covers, clothes/apparel, quotes, titles and others. Royal Banks come with clean and rough font version. Come with Opentype feature with a lot of alternates, its help you to make great lettering. Royal Banks is also support multi language. To access the alternate glyphs, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign, Corel Draw, Microsoft Office.

Meet Buyan, a unique typeface family that draws inspiration from the iconic Mongolian film title "Nugel Buyan" 1963. Buyan is your go-to All Caps and Sans-Serif typeface, crafted with a sleek Condensed design that effortlessly blends style with readability. Elevate your projects with this versatile display font, adding a cool and contemporary touch to your text. This font family boasts a comprehensive range with 6 distinct weight styles and italics, allowing you to play with contrast and customize your text to suit your creative vision. Whether you're working on branding, headlines, or any display application, Buyan is the perfect choice to bring a modern and impactful aesthetic to your work. Elevate your design game with Buyan!

Megabyte is a modern sans serif typeface built with minimal tapering and a geometric foundation in mind. The family contains 10 weights from light to black with matching italics that slant at 9°. Working on Megabyte, we’ve aimed to create a reliable workhorse typeface with the widest possible range of implementation. With its quirky curves and sharp edges Megabyte functions equally well in bulk text and in headings. Designed with an extensive collection of OpenType features and alternative forms, each weight includes extended language support + Cyrillic, ligatures, arrows, symbols and much more. Megabyte is ready to be put to work. Designed by Thomas Gillett, metrics and engineering with the help of Erin McLaughlin (Hindi Rinny).

Francesco Canovaro created Bakemono as a way to explore the design space around the duality of fixed/proportional width. He was also interested in the concept of monowidth design, inherent in monospaced typefaces, that can bring flexibility and ease of use also to proportional type - allowing you to change the weight of a word without losing the text alignment. In his research on fixed width type design he mixed the lessons of mechanical typewriter technology with the intuitions of eastern brush calligraphy, which has been dealing with for centuries with fixed space grids. The name of the typeface comes from the Japanese shape-shifter yokais that could change their form freely between human and animal, and aptly describes the metamorphic nature of this wide superfamily coming in proportional, monospace and intermediate subfamilies. With a design mixing the expansion principles of the brush with the sharp technicality of typewriter and system fonts, Bakemono can both excel at text size in its regular widths optimized for legibility as well as owning the page at display size with its uncommon design details. Bakemono reflects its multicultural nature with its extended latin + cyrillic charset, soon to be expanded with Bakemono Arabic (exploring the fascinating world of monospaced arabic script) and Bakemono Kana (our first experiment in cjk scripts). • Suggested uses: born to allow you to change the weight of a word without losing the text alignment, Bakemono can both excel at text size in its regular widths optimised for legibility as well as owning the page at display size with its uncommon design details. Perfect for contemporary branding, web design, packaging and countless other projects; • 21 styles: 7 weights x 3 different styles + 1 variable font; • 839 glyphs in each weight; • Useful OpenType features: Access All Alternates, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Ordinals, Scientific Inferiors, 7 Stylistic Sets, Subscript, Superscript, Slashed Zero • 217 languages supported (extended Latin and Cyrillic alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Vietnamese, Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük

MB NOIR is a 4 weight with italics font family that visually has different layers of style, at first glance its a modern clean geometry based face with some nice retro touches, it also has hints of the vintage about it, with a nod to the art deco style, with alternates and ligatures it gives a lot of scope for its uses and works very well at large and small sizes.

A serif font with shadow - done with a steady, but yet shaky hand. Make some catchy headlines with Tied To A Stick. Throw in some different colors for the stroke, the letters and the shadow and make it really look like something homemade! I would use this font for for my next handmade craft project - and I advice you to do the same! :) Comes with ligatures which substitutes double letters!

HS Elham is a modern Kufi font with a new idea with round shapes. It is a decorative font with mathematical proportions. It is based on Hasan Elham font with a new idea for connecting letters one another. It also includes new shapes for many letters. It may be considered a new modification version of Hasan Elham. It is useful for titles and graphic projects and supports Arabic, Persian and Urdu.

Cygnito Mono Pro™ is a monospaced type design built with 3 shapes: circle (rounded), squircle (semi rounded) and octagonal structure. This pro version come with 4 styles with 3 weights each. Inspired by industrial design and modernism. This font built with modular architecture that’s ideal for programming applications and technology-driven design projects. It’s also well suited to design projects centered on mathematics, science, computers, and UI/UX applications.

Elevate your designs with Sklow, a sleek and modern sans font designed to bring versatility to your creative projects. With a wide array of alternates, Sklow empowers you to craft unique logos that seamlessly blend standard characters with distinctive alternatives. Unleash your creativity and make a lasting impression with Sklow's refined and customizable aesthetic. Explore the perfect fusion of modern simplicity and individuality—download Sklow and redefine your design possibilities today.

Sebino family is a neutral sans-serif type family with 9 weights, from thin to black, with corresponding italics. Sebino has a large x-height with open apertures which make texts more legible at small sizes. Each font includes opentype features such as Proportional Figures, Tabular Figures, Numerator, Superscript, Subscript, Case-Sensitive, Denominators, Scientific Inferiors, Ordinals, Ligatures and Fractions. Sebino will make your artworks better with its clean & clear shapes.

Inspired by thin, childly, unique and a bit bold handwriting style, we present to you Jackal Nest, a handwritten font with thin and childly characters that was comes with alternates and multilingual glyphs to help people around world with that unique accent with this font. Jackal Nest is very suitable like as text, cover book, posters, handwritten style, and more.That way easily change the glyphs to make more unique glyphs.

Rounded and bended slab that's why we named this font "Bandy" This font is great for you to use as a display font and is suitable for body text. cool anyway if you use it for your design and printing needs. Available in many languages, and open type features, supported with Latin and standard Cyrillic. Build with 14 fonts with 7 sizes with matching Oblique and 2 Variables

TCF Noli is a no nonsense straight-sided typeface with a soft technical appearance. Designed with seven weights and true matching italics, TCF Noli was specially developed with corporate and editorial projects in mind. The clarity of the letter forms and the openness of TCF Noli make it very readable in small sizes and suitable for every design purpose. TCF Noli is available with extended Latin language support.

Inspired by Germany Type, Naveid comes with Old Style with different nuances. It was carefully designed to combine the cuppped serif on top and the tinny Subtle Flaring on the terminal, which makes this font look elegant. Naveid designed with low contrast, consists of 18 styles from thin to black with each matching italics, it makes this font not only great for Headlines, but also great for paragraph, text and printing.

Discover the Allure of Fadegent Font: A Signature of Elegance Step into a world of refined design with Fadegent Font, an embodiment of timeless elegance. Crafted with meticulous attention to detail, this signature-style font is a work of art in itself, with its graceful strokes and sophisticated curves that infuse every character with a touch of opulence. Features: Alternate Characters Numbers and punctuation Multilingual PUA encoded Thank You

KD Hachure is a display, geometric font with layering possibilities. Combine the two layers to achieve different color combinations or use them separately to achieve a completely different look. Kerning is optimized so that all latin letters are connected. With the default leading 120%, descenders connect with the top of accents. Set the leading to 100% manually if you want to connect descenders with the top of uppercase or ascender letters.

Viyona is a Script Vintage font with stylistic set and alternates. Combine with Viyona - Extrude to get 3D character style! Fall in love with its incredibly versatile style and use it to create spectacular designs! Viyona is perfect for branding, logo, invitation, quotes, apparel design, product packaging, merchandise, game titles, cute style design, Book/Cover Title and more. What's Included : - Ending Swash - Multilingual Support Hope you enjoy with our font!

Rebirth begins with light streaks that form a vintage style with a touch of rough and stamp. Riborn with 4 fonts in number, as "ribs" in your design work, and able to beautify also strengthen your work in the form of type logos, typography, hand-lettering, packaging, t-shirts, labels, and much more. This family also equipped with an extras weight, which includes beautiful ornaments in a classic and minimalist impression.

Introducing, Qidango is a serif typeface created with elegance and luxury, exuding femininity and glamour, but also a side of beauty with many alternatives to help you create endless variations for your creative needs. Featuring an italic style with striking contrasts and subtle details, as well as luxurious strokes and voluptuous curves, it creates a beautiful and powerful statement for any typographic composition, combining glamor with a contemporary aesthetic.

LAM LAGANG 051 Is a sans serif contemporary with Mid-Century, Modern & Aesthetics style. Sans serif style combined with swash, some letters with shades of Blackletter complete with Ligatures and Alternative Letters to complete all your design explorations. It is suitable for use in any design style such as classic, retro, vintage and also perfect for modern or minimalist design styles. Features: Multilingual Alternates Ligatures Opentype Thank You

Edicia is modern serif family with 5 weights and matching Italics. Distinctive and recognizable, Edicia stands out clearly with charming details. Characterized by asymmetric serifs, Edicia is designed with special care for ink-traps. Contains extended Latin and Cyrillic character set equipped with left & right side Borders, Localised Forms, Denominator & Numerator, OldStyle Figures, Tabular Figures, Tabular OldStyle Figures, Superscript, Subscript, Stylistic Alternates. Thin weight is available for free.

In collaboration with Renov Olivian who was experienced with hand-drawn lettering for a project. We've decided to create Vintage Inspirated Fonts with strong identity for an outdoor design, camping, wild, journey, adventure, masculine, and etc. Burnest Comes with 3 Weight, Thin, Light and Regular. On each Weight have 3 different style, Clean (sharp corner), Round (Rounded Corner), and Rough (Rough Version). 9 Fonts in Total for completing your design style.

ZILETTI POP is a font used by Girolamo Ziletti in Venice in mid/late 1500. A typographic caracter characterized by a Venetian style cage with slight geometrical imperfections but with a great perceptual level. This is a multilayered variant with a wide range of possibility in variations in terms of end results. With the use of the color your artworks will have news optical effects. Ideal for Covers, Posters, Logos…

Heanffe is a one-of-a-kind handwritten font with a beautiful feel. To maintain a true, hand lettered experience, this font includes the following ligatures: Alu, at, ch, dd, ee, ff, ll, oo, pp, ss, tt, ef, es, et, eth, ily, it, ith, om, ot, on, ou, ont, th, ov, ow, sh, st, ut, zz Just use your imagination, your project will become more alive and look Elegant than ever with one of the Heanffe font. Feel free to play with all the whole alternates! Heanffe also includes full set of uppercase and lowercase letters, multilingual symbols, numerals, punctuation. The font has smooth wet ink texture, so would be perfect for all designs. You can make a greeting card or a package design, or even a brand identity, craft design, any DIY project, book title, wedding invitation, identity card, packaging, Website or any purpose to make your art / design project look pretty and trendy.

The Engraver’s Square Gothic—like its rounder cousin, the engraver’s sans serif, Sweet® Sans,has been one of the more widely used stationer’s lettering styles since about 1900. Its minimal forms, made without curves, were popularized long ago by bankers and others seeking a serious, established feel to their stationery. One might argue that the design is a possible precursor to Morris Fuller Benton’s Bank Gothic® typeface. Sweet® Square is based on antique engraver’s lettering templates called “masterplates.” Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century remain both familiar and appealing. Referencing various masterplates, Mark van Bronkhorst has drawn Sweet Square in nine weights. The sources offered just uppercase, small caps, and figures, yet similar, condensed examples had a lowercase, making it possible to interpret a full character set for Sweet Square. Italics were also added to give the family greater versatility. The fonts are available as basic, “Standard” character sets, and as “Pro” character sets offering special characters, a variety of typographic features, and full support for Western and Central European languages. Sweet Square gives new life to an uncommon class of typeface: an early twentieth-century commercial invention that brings a singular verve to modern design. Its unique style is as useful as it is novel. Bank Gothic is a registered trademark of Grosse Pointe Group LLC.

The sister fonts Andron 2 English and Andron 2 Deutsch provide a groundbreaking new possibility to render literature text bodies in a sophisticated traditional and yet modern way of type. In German typographic history there has once been a long-lasting struggle called the Frakturstreit (the blackletter quarrel). It was about wether German text ought to be composed in blackletter or rather in Roman type, a question upon which even Goethe, Schiller and other period celebrities got grey over time. However, blackletter type remained alive and has just recently seen an astonishing renaissance. This is not about a blackletter revisionism or some ‘mixture’ concept arguably bridging the gap between either worlds. Andron 2 English and Andron 2 Deutsch offer a new approach to circumvent that old antagonism. As for the lowercase letters I applied certain features of blackletter type onto the glyphs – but entirely abandoned the principle of the broken stroke as such. The result is a lowercase alphabet in the classical Andron style which may be considered an attractive alternative for text in English, German or even other languages. So it’s no longer entirely about choosing between ‘modern’ Roman or ‘ancient’ blackletter only. Andron 2 English Regular and Andron 2 Deutsch Regular feature the same lowercase glyphs but differ in the majuscules (Andron 2 English has normal Latin capitals). ++++ 2012 + NEW! +++ In response to its growing popularity we now present five new fonts as part of the Andron 2 series. Andron 2 English is completed by an Italic and a Bold font. Andron 2 Deutsch now contains three interesting alternative fonts: Italic, Scriptive and Laendlich. Last but not least – A new set of wonderful classical typographic ornaments is part of the Italic and Scriptive fonts. – You can also purchase these ornaments separately as “Andron Ornamente”.

Born on May 8, 1892 in Reno Nevada, Lewis Franklin (“Lew” ) Hymers left an indelible mark as a caricaturist, cartoonist and graphic artist. At the age of twenty [in 1912] he worked for the San Francisco Chronicle. During World War I he worked for the Washington Post. He even was employed for a time by Walt Disney as an animator - but most of his life was spent in either Tujunga, California or his birthplace of Reno, Nevada as a self-employed illustrator. Hymers inked a feature for the Nevada State Journal called “Seen About Town”, which was published during the 1930s and 1940s. In this panel, he caricaturized many of the familiar faces around Reno. He also designed signs, logos, post cards and numerous other commercial illustrations for clients, but what has endeared him to a number of fans was his vast library of stock cuts (the predecessor to paper and electronic clip art) which feature his humorous characters in various professions and life situations. So popular is his work amongst those “in the know” that a clip art book collection of over seven hundred of his drawings that was issued by Dover Publications [but long out of print] commands asking prices ranging from just under $15 to well over $100 for a single copy. Lew Hymers passed away on February 5, 1953 just a few months shy of his 61st birthday. Although his artwork depicts the 1930s and 1940s lifestyles, equipment and conveniences, more than sixty years after his death they stand up amazingly well as cheerful pieces of nostalgia. The twenty-seven images (and some variants) in Hymers JNL were painstakingly re-drawn from scans of one of his catalogs and is but just a tiny fraction of the hundreds upon hundreds of illustrations from the pen of this prolific artist.

Hello Everyone.. Introducing a new Font " El Fonte Angelia " Beautiful Serif Type Family is inspired by the serif typefaces used in editorial media in the 70s and 80s.such as the soft and gentle shapes found in Cooper or the fluid, angled strokes in Windsor— mixed into one single design that features familiar, fresh, modern flavors. Designed to reflect nature, it creates a sense of natural softness and expressiveness. We pushed the concept into a usability focused direction, to work as a bold tool and beautiful communicator. El Fonte Angelia variable allows fluid design across 5 weights The font broadens its use by supplying weights all the way from Light to Bold. The natural curves, swells and sloping trunks, grow in character as the font gains weight. Whilst the thinner weights have lowered contrast and optical corrections to create a warm and gentle appearance. El Fonte Angelia character set incorporates additional symbols, stylistic alternates, unique ligatures and case sensitive punctuation - producing a stable workhorse family ready to tackle projects of any size.The type family melds organic curves and gentle repetition into powerful and harmonious type. At large point sizes you can appreciate the letter shapes, whilst the same restraint and focus creates an even texture for small point sizes and long reading. Its variety of weights provide a range of choices that will help you find the best typographic color for your project. Lighter weights are well-suited for body text while heavier ones are ideal for high impact headlines. The available stylistic alternates offer a number of different characters that give your logo or business card a unique look. Check my other Font here : https://gilarstudio.com/ Thank you Regards, Gilar Studio

The Engraver’s Square Gothic—like its rounder cousin, the engraver’s sans serif, Sweet® Sans,has been one of the more widely used stationer’s lettering styles since about 1900. Its minimal forms, made without curves, were popularized long ago by bankers and others seeking a serious, established feel to their stationery. One might argue that the design is a possible precursor to Morris Fuller Benton’s Bank Gothic® typeface. Sweet® Square is based on antique engraver’s lettering templates called “masterplates.” Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century remain both familiar and appealing. Referencing various masterplates, Mark van Bronkhorst has drawn Sweet Square in nine weights. The sources offered just uppercase, small caps, and figures, yet similar, condensed examples had a lowercase, making it possible to interpret a full character set for Sweet Square. Italics were also added to give the family greater versatility. The fonts are available as basic, “/fonts/sweet/square/” character sets, and as “Pro” character sets offering special characters, a variety of typographic features, and full support for Western and Central European languages. Sweet Square gives new life to an uncommon class of typeface: an early twentieth-century commercial invention that brings a singular verve to modern design. Its unique style is as useful as it is novel. Bank Gothic is a registered trademark of Grosse Pointe Group LLC.

Linotype Ergo was designed by American Gary Munch, and was a winner in Linotype's Second International Digital Design Contest in 1997. Conceived as a blend of traditional and modern type concepts, it works as a legible text family as well as a lively display or headline font. The word ergo means consequently," but it also comes from the Greek word "ergon" for "work." Consequently, Munch sees this family as full of energy -- an ideal font for working hard to make a point, and able to get it across with friendly vigor. The strokes of the characters are carefully designed to accommodate the tendency of the eye to enlarge horizontals and perceive verticals as lighter. The lowercase forms have open, friendly counters and are enhanced by small quirks, such as the slightly leaning s and the wide t. The deep branching of curves from main strokes helps this humanist sans to be very readable at smaller sizes. Linotype Ergo has four normal-width weights, five condensed weights, and two compressed weights - all with companion Italics! The family also includes a clever "Sketch" font for use in headlines, bringing the total number of font styles to 23. Ergo is available with Greek and Cyrillic and as W2G fonts with Hebrew."

Hazim is a display font designed with isolated letters. It uses thin white slits positioned within extra bold black space glyphs emphasizing the main visual characteristics of the Arabetic letters in two positions: initial/medial and final/isolated. The spacing widths between glyphs match that of the slits to give a virtual cursive look and feel. The name Hazim was chosen to honor a friend of the designer, Hazim al-Khafaji. Hazim supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It comes with one weight and a left-slanted “italic”. The script design of this font family follows the Arabetics Mutamathil Taqlidi style and utilizes varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter in an Arabic text. Hazim includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Hazims’s soft-vowel diacritic marks (harakat) are only selectively positioned with most of them appearing on similar lower or upper positions to make sure they do not interfere with the letters. Kashida is enabled.

Bo Berndal, the master Swedish typographer, is the eponymous designer of Berndal, a contemporary text family with five different styles. This family represents a new achievement for Bo Berndal, who has spent many years working to optimize text legibility in the printed media. Several small tricks make the Berndal family an interesting milestone in legibility. Berndal's letterforms contain large x-heights. Large x-heights open up the counterforms of letters, making text appear lighter on a page, but their correspondingly shorter ascenders and descenders can hinder legibility. This does not occur in Berndal at all! Coupled with this experiment, Berndal's various font weights display a certain softness and roundness. The letterforms themselves are relatively wide, with an overall consistency in width. The calligraphic nature of the strokes has been minimized, yet a contrast stroke-thickness is still to be noticed within the alphabet. Berndal's five styles offer almost everything that one could want from a good text family. The Regular weight may be paired with Small Caps, Italic, Bold, and Bold Italic. All styles ship in the OpenType format, and include tabular and old style figures. The two italic weights are made up of true italics, not obliques. The Berndal family is a part of the Take Type 5 collection from Linotype GmbH."

Linotype Ergo was designed by American Gary Munch, and was a winner in Linotype's Second International Digital Design Contest in 1997. Conceived as a blend of traditional and modern type concepts, it works as a legible text family as well as a lively display or headline font. The word ergo means consequently," but it also comes from the Greek word "ergon" for "work." Consequently, Munch sees this family as full of energy -- an ideal font for working hard to make a point, and able to get it across with friendly vigor. The strokes of the characters are carefully designed to accommodate the tendency of the eye to enlarge horizontals and perceive verticals as lighter. The lowercase forms have open, friendly counters and are enhanced by small quirks, such as the slightly leaning s and the wide t. The deep branching of curves from main strokes helps this humanist sans to be very readable at smaller sizes. Linotype Ergo has four normal-width weights, five condensed weights, and two compressed weights - all with companion Italics! The family also includes a clever "Sketch" font for use in headlines, bringing the total number of font styles to 23. Ergo is available with Greek and Cyrillic and as W2G fonts with Hebrew."

Download PDF Specimen Created as a display typeface in 2012 by Cosimo Lorenzo Pancini, Cocogoose is one of Zetafonts most loved typefaces. A sans serif typeface of geometric proportions, with very low contrast and slightly rounded corners, it was the first typeface to be produced in the Coco series, an ongoing research on the design variation in gothic typefaces through the ages. Cocogoose extreme x-height and ultrabold weight (with regular being comparable to heavy weights of other typefaces), have since then made it very popular for effective display and logo use, also thanks to decorative versions like Cocogoose Letterpress. Since 2016, Andrea Tartarelli has been improving the typeface expanding the original glyph set to include cyrillic and greek and adding extra weights, widths, and italics to the original family range, and bringing Cocogoose to an impressive count of 52 variants. In 2019, Francesco Canovaro has teamed with Andrea Tartarelli and Cosimo Lorenzo Pancini to create a new variant subfamily: Cocogoose Classic, featuring 8 weights and matching italics. Cocogoose Classic keeps the original design for uppercase characters while developing a new design for lowercase, with a smaller x-height, round dots and expanded open-type features, including positional numerals, alternate forms, and extended ligatures and bringing the glyph count to over 1000 characters.

Valuxe — modern and minimalist sans serif. This font pairs well with a basic font like Arial and any script with an elegant style.

Alphabet primarily used for writings with magical purpose in ancient times NOTE: this font comes with a comprehensive interpretation guide in pdf format.

Mondaine is a clean script font with a touch of lettering style. Have fun with a ton of special endings and contextual ligatures!

This was created during experimentation with thin pencil lines and thus unremitting was created. This font works well with illustrations and gentle photography.

An unorthodox font with an edgy vibe. Great for use in editorial, advertising, music, film and EXTREME sports projects. With western language support.

Jacoby Modular is a geometric sans serif display typeface with six styles. Jacoby Modular is a dynamic, bold typeface with a sculptural feel.