Universo and Universo Stencil by Mauro Andrés and Peggo Fonts is a display font family for “Caos Sagrado” specially designed for informative fanzine and magazines. Its name “Universo” comes from the quote “we have to talk about the horrible things of Universe” with the main idea of supporting and help to expose social problems. Inspired on Retro-Futuristic fonts and poster design and old scientific publications that is becoming a new design trend nowadays, and strongly influenced by the Italian type designer Aldo Novarese’s work, developed in the 50’s. "Universo CS" and "Universo CS Stencil" were produced between mid-September and October 2018 by Mauro Andrés under the creative direction of Victoria Rivas and those versions were publicly showed at “Impresionante” (a massive independent printing expo in Chile) with a printed specimen. That phase of the project was updated and completed in March 2019 and was lastly finished between November 2019 and April 7, 2020, developing it in six styles, under the co-production of Peggo Fonts. "Universo" and "Universo Stencil" are both suitable for headlines and short text lines, music and concert posters, books and magazines covers, branding, logotype and graphic design. All stylistic alternates are accessible via OpenType features or character map.

Toma Sans is a sans serif type family of seven weights plus matching italics. Influenced by the geometric-style sans serif faces that were popular during the 1920s and 30s, the fonts are based on geometric forms that have been optically corrected for better legibility. Toma Sans has a functional look with a friendly open touch. While the ExtraLight and the black weights are great performers in display sizes the light, regular and medium weights are well suited to longer texts. The small x-height and the restrained forms lend it a distinctive elegance. The typeface has an extended character set to support most European languages.

Elegant, graceful and timeless. Glories is a versatile font with timeless classic appeal, more than a dozen alternatives & ligatures, multilingual support and great precision for you to incorporate into your designs! Each letter has been hand drawn and crafted with great care. The various weights provide a variety of options that will help you find the best typographical character for your project. Perfect for logos, notes, posters, t-shirts, stickers, posters, mugs, labels, etc. To access alternative glyphs, you'll need a program that supports OpenType features such as Adobe Illustrator CS and Adobe Indesign. How to use the open type feature https://helpx.adobe.com/illustrator/using/special-characters.html

Dominated by a vigorous, african-inspired, jungle-like pattern, this contemporary, 21st century, sans serif font - African Jungle - contains an eclectic mix of elements from the 20th century. It combines gentle curves with base and caps-line transgressions but is substantially more rounded than in most commercial-style sans serif faces. Terminal strokes are slightly rounded and occasional elements are strongly rounded. The African-inspired pattern fill is suggestive of dense vegetation without being too literal. African Jungle is readable and can be successfully used for headers in presentations, magazines etc, and for display use in newspapers, advertising and promotions. Professionally kerned and spaced with 256 characters.

Delphine is a modern and elegant font that exudes sophistication and timeless charm. With its sleek and refined letterforms, this typeface effortlessly combines classic elements with a contemporary twist. Its clean lines and graceful curves lend a sense of luxury and refinement to any design. Delphine is perfect for adding a touch of elegance to wedding invitations, high-end branding, fashion editorials, and other upscale projects. Its versatility allows it to shine in both display and body text, while its attention to detail ensures legibility and readability at any size. Elevate your designs with Delphine and let its understated beauty and refined aesthetics captivate your audience.

ITC Malstock is the work of Czech designer Frantisek Storm. The idea is based on a sign painting technique that uses a flat brush and a Maalstok, a long bar with soft padding which is used as a rest for the painter's hand and a guide for vertical lines. The strokes of this font end with a split stem which recalls the traces of the writer's brush. ITC Malstock is a narrow typeface which is ideal for headlines, invitations and advertisements. The designer recommends combining his typeface with others, to create harmony with sans serif typefaces in text sizes or contrast with serif typefaces.

Script Typewriter Rough from Jeremia Adatte Studio is the very first complete cursive typewriter font ever made after the original 1960 Smith-Corona Electra 210 typewriter that comes with a unique script typeface design. It’s loaded with more than 270 ligatures to avoid letter texture repetition in a word (switch Discretionary Ligatures on) and is extremely detailed to imitate the subtle letterpress effect you get with a real typewriter. During the typewriting era, only a few models came with this rare type style that was created to imitate hand-lettering to add more personality in a correspondence. You can send letters around the world in more than 80 languages!

A contemporary serif font family. The design takes influence from traditional serif forms to develop a precise, highly functional text face with a low contrast. Smooth radius details are blended with carefully drawn angles that give a crisp, distinctive aesthetic when used across body copy. Modum is a stylish modern day serif with great charm, harmony and practicality that is best suited for complex hierarchical projects, such as editorials, newspapers and text based books. Details include 8 weights and true italics, over 800 characters with alternative lowercase a, e, g and y. 7 variations of numerals, true small caps with accents, ligatures, manually edited kerning and Opentype features.

Inversion is a display typeface that is based on a rare bit of lettering from a 1910 German lettering book. What was the inspiration for designing the font? I found the base lettering years ago in a specimen and scanned it. I've used it perennially for assorted metal bands' logos, and finally decided to digitize it. What are its main characteristics and features? It is a spidery bit of lettering that would work well in Harry Potter movies or on album covers. Usage recommendations: Display type for use in materials that are meant to have a hand-wrought look circa the turn of the century.

Umkhonto is the Zulu word for SPEAR, the traditional weapon of war that the Zulus used. The sharp points of the letters face upwards and represent the sharp points of the dangerous spears. The font includes a full 256 character set: all upper and lower case letters, as well as all numerals and punctuation. It also includes the most commonly used characters used in non-English European languages such as Spanish, French, German and Portuguese. The numerals are mono-spaced so that they will line up correctly in columns of figures. The letters of the alphabet are spaced according to their width and are carefully kerned.

Describe the 21st century politician. Left or right? Fat or thin? War or peace? Straight or gay? Hard or soft? Male or female? Pro or con? Young or old? East or west? Now look at the Politica super-family and see which font they may be. The overused sans serif faces don’t cut it anymore. This day and age requires a sturdy, modern and straight-to-the-point sans to cover the issues. The Politica family also come in OpenType variations which extend the character set to include Cyrillic, Greek, Baltic, Turkish and Central European languages. You have no excuse: the globe is yours with Politica.

Teaspoon was originally designed by Haley Fiege as a project-specific font in 2007, then completed and produced by Canada Type for commercial viability in 2008. With a personality that can only be described as “ironic cute”, it serves as a much needed alternative for the old overused poster faces, such as Cooper Black and Gill Sans Extra Bold. Words that look good set in Teaspoon include puppies, rainbows, salmonella poisoning and Tom Cruise. Teaspoon is available in all popular formats, comes with plenty of alternate characters, and supports a wider than normal range of Latin-based languages, as well as Cyrillic and Greek.

Cajoun is a bold serif face from German designer Hans-Jürgen Ellenberger. The letters sit visually low on their baseline, in part due to their small x-height. Also, the curved portions of the letterforms have an old-style distribution of weight, which pulls the eye downward. This font has a contemporary feel, however, with crisp edges, and some pointy terminals. The typeface also contains old style figures. Cajoun is recommended for use in larger applications, where the eye can get a change to dance along its wide curves. Cajoun was designed in 2002, and is part of the Take Type 5 collection from Linotype GmbH."

Here’s a new take on an old favorite, the Lubalin-Carnase classic Fat Face. This version, intended for large headlines, cranks the original’s very high contrast up another notch. Both versions of this font contain the complete Unicode Latin A character complement, with support for the Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavan, Norwegian, Polish, Portuguese, Provençal, Rhaeto-Romanic, Romanian, Romany, Sámi, Samoan, Scottish Gaelic, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish and Welsh languages, as well as discretionary ligatures and extended fractions.

Elegant, graceful and timeless. Calera is a versatile font with timeless classic appeal, more than a dozen alternatives & ligatures, multilingual support and great precision for you to incorporate into your designs! Each letter has been hand drawn and crafted with great care. The various weights provide a variety of options that will help you find the best typographical character for your project. Perfect for logos, notes, posters, t-shirts, stickers, posters, mugs, labels, etc. To access alternative glyphs, you'll need a program that supports OpenType features such as Adobe Illustrator CS and Adobe Indesign. How to use the open type feature https://helpx.adobe.com/illustrator/using/special-characters.html

IMPuzzled uses the OpenType feature of Contextual Alternatives to alternate two sets of characters. The sets are on two puzzle pieces that tessellate, that is, fit together to fill the plane with no gaps or overlaps. Empty pieces are on the brace keys and can be used to fill spaces. The black or solid style is designed to be used in a layer under the regular style, though it can be used alone if adjacent pieces are given different colors. This unusual font has limited uses but may be appropriate when the topic is related to the broad areas of puzzles, puzzled, and fitting pieces together.

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.

Park Avenue Park Avenue was designed by R.E. Smith in 1933 for American Type Founders. Park Avenue is an elegant and light script with freely drawn capitals. Park Avenues pen-drawn quality is particularly evident in the lowercase. The ascenders and descenders of this script font are long; the ascenders are bent-over at the top. Park Avenue has a small 'x' height with tall ascenders, giving the face a refined, elegant appearance. The full elegance and lightness of Park Avenue are only apparent when combining upper and lowercase. It would be worthwhile trying this script in display sizes, for personal messages, invitations, business cards and greetings cards.

Eccles is another of our 'Early Victorian' typefaces, a series we started with the Wolverhampton family a little while ago. It might be described as 'extreme-Tuscan' in style but has a delicacy that many other Tuscan faces seem to lack. It's ideal for giving design projects a clear period feel, particularly in design and advertising work. We also see it having considerable application in preparing invitations to a certain type of happy event. At the other extreme, some of our younger associates have described it as 'your latest Steampunk font'. So perhaps we'll just have to settle on it having a split personality...

Oldskool Script is a bouncy, connected script inspired by graffiti lettering. OpenType features abound to make a powerhouse of a font. It’s so versatile it could grace the cover of a hiphop album or your baby shower invites. You can go all out with the swashes and alternates, or rein it in for a more subtle approach. Whatever aesthetic you choose, Oldskool Script will surely fit the bill. I had a lot of fun making it; now it’s over to you to have fun using it. Check out the user guide in the gallery section for more in-depth info on the OpenType features.

Patricia Pothin-Roesch's Saussa typeface began life as brush-lettered artwork for fruit salad packaging in France. After the key letters had been painted, Patricia Pothin-Roesch switched to digital tools to create the final font. True to its roots, Saussa is a real advertising face, perfect for point-of-purchase displays. Even its name is consistent with its intended area of application: Saussa sounds a lot like the word “sauce.” Saussa is an informal script; its outstrokes function almost like serifs, and the capitals have a lowercase structure. The feelings this typeface conveys are due to the hand of its creator, Patricia Pothin-Roesch, an experienced brush-letterer.

Oswald Bruce Cooper designed Cooper Black, an extra bold roman face, based on the forms of his earlier typeface Cooper Old Style, which appeared with Barnhart Brothers & Spindler Type Founders in Chicago. Copper Black was produced by Barnhart in 1922 and acquired in 1924 by the Schriftguß AG in Dresden, where it was later completed with a matching italic. Although Cooper Black appeared in the first third of the 20th century, it still looks contemporary and it can be found on storefronts in almost any city scene. The flowing outer contours create forms that are both strong and soft, making Cooper Black an extremely flexible font.

Setisa, a delightful monoline script font, enchants with its inherent cuteness and graceful simplicity. Each stroke is meticulously crafted, forming a seamless dance of letters that exude a charming, handwritten aesthetic. The monoline design lends a uniform and contemporary feel, while the script nature adds a touch of whimsy. Setisa effortlessly blends a sense of playfulness with a clean, modern edge, making it perfect for a myriad of creative endeavors. Whether used in branding, invitations, or any design project seeking a sweet and approachable tone, Setisa stands as a testament to the beauty found in simplicity, making every word written a joyful expression of charm and elegance.

Cruller is a display typeface that is based on a rare bit of lettering from a 1910 German lettering book. What was the inspiration for designing the font? I found the base lettering years ago in a specimen and scanned it. I've used it perennially for assorted metal bands' logos, and finally decided to digitize it. What are its main characteristics and features? It is a spidery bit of lettering that would work well in Harry Potter movies or on album covers. Usage recommendations: Display type for use in materials that are meant to have a hand-wrought look circa the turn of the century.

The name Type Warmers JNL traces its lineage to small catalog booklets issued by Indianapolis' Cobb Shinn for his line of letterpress cuts; of which a few can be found included within this typeface. Presumably type could "warm up to" these stock illustrations and work hand-in-hand to deliver the message, hence the "Type Warmers" sobriquet. Originally known for illustrating many attractive and comical postcards of the early 1900s, Shinn moved into the field of purchasing stock art and redistributing them as electrotypes or "cuts", the predecessor to today's digital clip art. A number of the cartoons he sold can be found in the Shinn Kickers JNL font.

One of my all time favourite movies is Baz Luhrmann’s Moulin Rouge. In it, there’s a brief scene where the proprietor of the Moulin Rouge (Harold Zidler) signs away the deeds to the establishment. The actual signing of his signature is what motivated me to create this script font. Although it’s not an exact replica of the character’s hand, I like to think that it has the same crisp immediacy of the original. With its consistent oblique slant, narrow and long ascenders and descenders, and the occasional blobbing of letters, the overall effect, gives the appearance of a correspondence penned by lamplight while a storm rages outside.

What I needed in my projects was a solid oldstyle serif typeface with impact for heads. I had an old engraving font, which I’d never really finished. It happened to be built on the Minister/Diaconia base drawings I used to create Biblia Serif, so I took a shot at it. It’s wide enough to minimize the large solid ink shapes of many of the bolder display headline faces. It’s not readable, but it’s very legible. This is exactly what I needed for headlines, callouts, and special subheads. It uses the same vertical metrics of the Biblia Serif book Production Group It helps keep fiction designs comfortable

Olicana is a best selling script which was named as one of Typographica’s typefaces of 2007. It was also the very first G-Type release in OpenType, ideal for script faces as there are endless possibilities for the automatic replacement of certain character combinations with ligatures resulting in a much more ‘realistic’ appearance. Olicana is brimming with alternates, swashes and extra features like ink splats and crossings-out, not to mention the choice of using a modern or ornate styling within the same font! All of which makes Olicana the perfect choice for an authentic, rather than typeset appearance. Available in 3 variants: Rough, Smooth and Fine.

Morandi is the first commercial sans serif font created by Jovica Veljović – a much-awarded designer who's been creating typefaces for over thirty years. The product of years of crafting letterforms, Morandi is supremely graceful. Each detail has been carefully refined for legibility, with open counters and generous apertures, and the bottom of round strokes slightly flattened. Not just elegant in appearance, Morandi is an efficient design, versatile enough to work in print and digital environments, including on-screen applications. The family offers three weight ranges and includes a large multi-national character set – making it a practical choice, as well as an aesthetic one.

Introducing our latest font creation, a harmonious blend of elegance and boldness – Gladysh Elegant Condensed Serif Typeface. This unique font is meticulously crafted to cater to a diverse range of design needs, providing a versatile solution for both modern and classic projects. Key Features: Thin and Bold Styles: Strike the perfect balance between subtlety and prominence with our meticulously designed thin and bold variations. Whether you're crafting a sleek corporate logo or designing a minimalist poster, these styles offer the flexibility to express your creativity. Italic Grace: Elevate your design with the added touch of sophistication. The italic variations of ThinBold introduce a graceful slant, ideal for conveying a sense of movement, emphasis, and a touch of editorial flair. Perfect for fashion, editorial, or any project where a dynamic aesthetic is desired. Versatility in Application: From branding and advertising to web design and print materials, ThinBold Italic Typeface adapts seamlessly to various design contexts. Experiment with different weights and italics to achieve the visual impact you desire. Clean and Readable: Despite its stylish intricacies, ThinBold remains highly legible. Each character is meticulously crafted to ensure clarity and readability, making it an excellent choice for body text as well as headlines. Extensive Character Set: The font includes a comprehensive character set, encompassing a variety of accents and special characters to support multiple languages. This ensures that your design projects can maintain a consistent and professional look across diverse linguistic requirements. Elevate your design projects with the Gladysh Elegant Condensed Serif Typeface – where sophistication meets versatility. Download and incorporate this font into your toolkit for a sleek, contemporary, and dynamic visual identity.

An inline adaptation of a distinctive slab serif, Cesium is an unusually responsive display face that maintains its high energy across a range of different moods. The Cesium typeface was designed by Jonathan Hoefler in 2020. An energetic inline adaptation of Hoefler’s broad-shouldered Vitesse Black typeface (2000), Cesium is named for the fifty-fifth member of the periodic table of the elements, a volatile liquid metal that presents as a scintillating quicksilver. From the desk of the designer, Jonathan Hoefler: I always felt that our Vitesse typeface, an unusual species of slab serif, would take well to an inline. Vitesse is based not on the circle or the ellipse, but on a less familiar shape that has no common name, a variation on the ‘stadium’ that has two opposing flat edges, and two gently rounded sides. In place of sharp corners, Vitesse uses a continuously flowing stroke to manage the transition between upright and diagonal lines, most apparent on letters like M and N. A year of making this gesture with my wrist, both when drawing letterforms and miming their intentions during design critiques, left me thinking about a reduced version of the typeface, in which letters would be defined not by inside and outside contours, but by a single, fluid raceway. Like most straightforward ideas, this one proved challenging to execute, but its puzzles were immensely satisfying to solve. Adding an inline to a typeface is the quickest way to reveal its secrets. All the furtive adjustments in weight and size that a type designer makes — relieving congestion by thinning the center arm of a bold E, or lightening the intersecting strokes of a W — are instantly exposed with the addition of a centerline. Adapting an existing alphabet to accommodate this inline called for renovating every single character (down to the capital I, the period, and even the space), in some cases making small adjustments to reallocate weight, at other times redesigning whole parts of the character set. The longer we worked on the typeface, the more we discovered opportunities to turn these constraints into advantages, solving stubbornly complex characters like € and § by redefining how an inline should behave, and using these new patterns to reshape the rest of the alphabet. The New Typeface The outcome is a typeface we’re calling Cesium. It shares many of Vitesse’s qualities, its heartbeat an energetic thrum of motorsports and industry, and it will doubtless be welcome in both hardware stores and Hollywood. But we’ve been surprised by Cesium’s more reflective moods, its ability to be alert and softspoken at the same time. Much in the way that vibrant colors can animate a typeface, we’ve found that Cesium’s sensitivity to spacing most effectively changes its voice. Tighter leading and tracking turns up the heat, heightening Cesium’s sporty, high-tech associations, but with the addition of letterspacing it achieves an almost literary repose. This range of voices recommends Cesium not only to logos, book covers, and title sequences, but to projects that regularly must adjust their volume, such as identities, packaging, and editorial design. Read more about how to use Cesium. About the Name Cesium is a chemical element, one of only five metals that’s liquid at room temperature. Resembling quicksilver, cesium is typically stored in a glass ampule, where the tension between a sturdy outer vessel and its volatile contents is scintillating. The Cesium typeface hopes to capture this quality, its bright and insistent inline restrained by a strong and sinuous container. Cesium is one of only three H&Co typefaces whose name comes from the periodic table, a distinction it shares with Mercury and Tungsten. At a time when I considered a more sci-fi name for the typeface, I learned that these three elements have an unusual connection: they’re used together in the propulsion system of nasa’s Deep Space 1, the first interplanetary spacecraft powered by an ion drive. I found the association compelling, and adopted the name at once, with the hope that designers might employ the typeface in the same spirit of discovery, optimism, and invention. —JH Featured in: Best Fonts for Logos

Norwich Aldine ML is a all-cap typeface with enlarged serifs, designed and produced in wood by William Hamilton Page of Norwich, Connecticut in 1872. Norwich Aldine ML is a fine example of the strength of decorative wood types: large, simple type forms that provide the visual boldness sought by advertisers of the Victorian period. While our marketing has gotten so very sophisticated, there is always a place for a simple, visually strong typeface. Although about 14 miles inland, Norwich, Connecticut lies at the head of the Thames River. The river is both wide and deep, and therefore was not bridged in the early 20th century. Until then, if you wanted to get from Groton on the west bank to the whaling port of New London on the east bank by land, you had to go by way of Norwich. Because of its size, the Thames is navigable all the way from Norwich to New London. Docks were built in Norwich around 1685 and the city became Connecticut’s 2nd largest port by 1800. With the construction of the Norwich & Worcester Railroad in 1835, Page could easily ship his wood type north by rail or south by coastal schooner. Included with our font, Norwich Aldine ML, are two 19th century printer’s ornaments of sailing ships similar to those that sailed up the Thames to Norwich. Reference: Moon’s Handbooks, Connecticut 2nd Edition (Emeryville CA 2004) The family has expanded from one to four fonts: 1. Norwich Aldine ML: the concept font, computer-sharp corners and smooth curves, as we imagine it was designed. 336 Glyphs including some reduced-width alternatives for better letter spacing. 2. Norwich Aldine Worn ML: the way actual wooden type would look after have been used for a while. 332 Glyphs 3. Norwich Aldine Distressed ML: the way the wooden type would look after it had really been used, perhaps abused. Alternatives to the more popular letters reflect the damage that typically occurs on a well-wormn font, with nicks, cuts and scratches and the overall wear that reduces the overall height and leads to uneven inking due to varying heights in the chase. A couple of bullets look like bullet holes. 345 glyphs. 4. Norwich Aldine Cyrillic: Cyrillic includes alll English and Cyrillic letters for MS Windows Code Page 1251, ISO 8859-5 and MacOS Cyrillic. 235 glyphs. We did Cyrillic because is was fun and we felt the basic design cried out for Cyrillic. While obviously subjective, we hope you will agree.

Vast and untamed, the American West once stretched as free and wild as imagination itself. Still beautiful, the Wild West of long ago and the new West of today is now to be found in insigne’s new face, Plathorn. That’s right, folks. When the West called, Jeremy Dooley reached up like Pecos Bill, grabbed it by the reins and pulled it in, then using its wide, roaming elements to design this functional font that still has an unbroken spirit burning deep inside. This down right, no-nonsense, orthodox face leaves off any of that extra fancy stuff that doesn't belong on a ride. Plathorn comes with a family of cowhands as wide as the Rockies, bringing specifically tailored condensed and extended sub-families along with it too. By design, it’s not very obtrusive like its unorthodox reversed tension brethren. Leave those for the next font rodeo. This mount features barely a hint of a serif that hearkens back a hundred years or so to sign painters and package lettering artists of early twentieth century. They're sure to put the sharpness, gumption and grit you need into your copy. So grab a tall glass of Plathorn and drink in the deep taste of America’s big country. Put it in your next magazine. Put it in your brand. This typeface’s offbeat appeal is bound to bring a bit of wild U.S. to your free-spirited work.

Iranica is a new creation of Naghi Naghashian. It is extremely legible even in very small size. "Iranica" is reminiscence to my birthplace and my cultural root. Iranica is a modern Sans Serif font family. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Iranica supports Arabic, Persian and Urdu. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography. It also includes proportional and tabular numerals for the supported languages. Iranica design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Iranica's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Iranica was developed for multiple languages and writing conventions. Iranica supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography.

Grotesques can answer a really wide variety of design problems and go from small sizes to large without missing a beat. Vinila is Flora de Carvalho's take on the genre. The family’s multi-purpose intention comes from having 4 widths - from compressed to extended, each with 6 weights and obliques. Rhythm and music played an important part in the design of this font, which started off as the lettering for a Brazilian Music album. Its distinctiveness comes from having powerful ink traps that go from elegant and supple in the lighter styles to commanding and impactful in the heavier styles. A distinct rhythm is achieved, making it a strong face for editorial design, branding projects and so much more. Vinila is the ideal companion to expressive display faces, where it serves a supporting role with a marked presence. We use Vinila every day in our own brand identity. We've had some of the best designers use it and test it in many different environments, printed, digital, mobile and more (they really like it!). Also in the package, Vinila Variable is an experimental version of Vinila, where you can have a virtually infinite mix of weights, widths and slant, all from a single font file. Available when you license the complete family. Vinila pairs happily with our cheerful Manteiga , elegantly with our organic didone Tenez and mechanically with our monospaced Odisseia . What other matches can you think of?

The rounded forms found in Chennai have proven to be one of insigne's more popular designs for web-based company logotypes. Now, insigne's new superfamily Madurai takes its popular predecessor to a new level, offering a wide range of complementary fonts. Madurai removes Chennai's rounded stems and then adjusts the character width to account for its reduction in geometry, resulting in a balanced sans-serif face with humanist touches that works well for extended text. The Madurai family has a full range of six weights from thin to black and includes Condensed and extended options for a total of 36 fonts. All members of the Madurai series include a wide variety of OpenType alternates. Madurai is equipped for complex professional typography, including alternates, small caps and plenty of alts, including "normalized" capitals and lowercase letters that include stems. The face also has a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Madurai also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Madurai supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. For your next project, explore the fantastic potential of Madurai.

The characteristic ‘French face’ was originally made in 1899 under the supervision of Joseph Pinel. Thus, what was originally French 10 pt. Nº 2, got its present name. The Frenchman Joseph Pinel called himself a "typographical engineer", but was at the time employed as a type draughtsman at the Linotype Works in Altrincham. It appears that this and some other faces that he supervised, were, except for use on the Linotype, also meant for manufacturing matrices for the Dyotype. This composing machine was an invention of Pinel. The Dyotype was a rather complicated machine and consisted, like the Monotype, of two separate contraptions, a keyboard which produced a perforated paper ribbon and a casting machine which produced justified lines of movable type. Unlike the Monotype which has a square matrix carrier, the Dyotype had the matrices on a drum (in fact two drums, hence the name of the machine). A Pinel Diotype company was founded in Paris and a machine was built with the help of the printing press manufacturer Jules Derriey. As is often the case, a lack of sufficient capital prevented the commercializing of this ingenious composing machine. Coen Hofmann digitized the font from a batch of very incomplete, damaged and musty drawings, which he dug up in Altrincham. He redrew all characters, bringing up the hairstrokes somewhat in the process. The result is a roman and italic, while the roman font also includes Small Caps

Mocking – Retro Groovy Font With A Childish Touch . Font is the perfect choice for projects that need a playful and quirky touch. Inspired by the groovy era of the 1960s and 70s, this font combines a fun and childish style with a hint of nostalgia. It features bouncy curves and playful swashes that will make any design stand out. With uppercase and lowercase letters, numbers, and punctuation marks, as well as several alternates and international characters, the Groovy Font is a versatile choice for a variety of projects. Whether you're creating posters for a music festival, designing a retro-themed event, or simply adding a touch of whimsy to your designs, the Groovy Font is sure to bring a smile to your audience's face. Mocking Features: · Uppercase & Lowercase · Alternates · Numerals & Punctuation · Accented characters · Multilingual Support · Unicode PUA Encoded So add a touch of groovy style to your next project with Mocking Font! If you want the SVG version please contact me. Thanks and have a wonderful day .

Homenko was the only Ukrainian typeface for metal type casting developed in the last century. It has already become a 'classic'. Vasyl Homenko worked on it from 1964 to 1967. The typeface successfully combines the qualities of lineal humanist typefaces with the Ukrainian tradition of asymmetrical slab serif. The works on its digitization and further development has been in progress since 2000. The present version contains Latin Extended characters, Cyrillic with stressed alternates and several ornaments based on Vasyl Homenko's works. It works perfectly for books for children and is ideal for publications related to culture, history, literature and traditional art of Ukraine and other nations of Eastern Europe.

German type designer Verena Gerlach created this sans FontFont in 2011. The family has 10 weights, ranging from Light to Black (including italics) and is ideally suited for book text, editorial and publishing as well as small text. FF Karbid Text 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 Karbid super family, which also includes FF Karbid, FF Karbid Display, and FF Karbid Slab.