LTC Athena brings a somewhat “lost” hot-metal typeface back from obscurity into digital Opentype format. In fall 2012, printing historian Rich Hopkins contacted P22 type foundry regarding some inked type drawings he had just uncovered from his acquisition of the Baltimore-based “Baltotype” company some 20 years ago. It is a rare face whose original matrices were destroyed and thought fully lost. The drawings included a full upper and lower case set, numerals, basic punctuation, and alternate forms of some letters. The design is a narrow deco-flavored design from the 1950s with a curious avoidance of straight lines in the stems and main strokes. The face has been expanded to over 340 characters by Miranda Roth and includes ligatures as well as a full Pan-European character set. It is released through the Lanston division of P22 in consideration of its earlier incarnation as a metal typeface.

Larisch is a hand-lettered design by the Austrian calligrapher and teacher, Rudolf von Larisch. The original was used for the title page of the 1903 edition of Beispiele Kunstlerischer Schrift (Examples of Artistic Writing). Larisch is an attractive, casual set of caps of even strokes with rounded terminals. Except for the terminals, it is similar in style to Kunstler Grotesk. The numerals are lining or ranging figures, meaning they line up with the baseline, unlike old-style text figures. All are of equal width for setting up columns of numbers. The letters are well formed and easy to read, as you would expect from a writing master. Ligatures includes CH (123), CK (125), FT (135), LA (137), LO (167), OO (172), CO (177) and TT (181. An alternative O with underscore is provided at position 111. Friendly, but not fancy -- a very useful all-cap font.

Fonts are Inhuman and Human Fonts are IN! Now, the Comicraft Cybernetics Corporation is proud to announce the first in a new line of fonts with GFP... Genuine Font Personalities. Paranoid Android is an outer alloy, inner void, solitary solenoid GFP prototype -- you can tell, can't you? Finally a font that knows its place as a digital servant to the human race. What will Comicraft think of next? No, don't bother to answer that, Comicraftsmen are fifty thousand times more intelligent than you and even they don't know the answer. Warning: Nothing left to be enjoyed, every diode rheumatoid*, terminally Paranoid Android is not so much a font, and more a kind of electronic sulking device. Share and Enjoy! *The moving parts on the left side of this font are in a solid state. It may sit in a corner and rust, or just fall apart where it's standing.

Ryo Gothic is a new Japanese sans serif (or gothic) kana typeface design. Created by Adobe type designer Ryoko Nishizuka , the typeface has a bright and speedy calligraphic touch and can be used to compose readable body text, as it gives a calm and well-controlled color to the typeset page. Supplied in OpenType format, each Ryo Gothic font includes hiragana, katakana and some punctuation marks and should be combined with the kanji and other glyphs in existing Japanese gothic typefaces that contain full character sets. This typeface family is available in seven weights--extra light, light, regular, medium, bold, heavy, and ultra heavy--which allow end users to select the best-matching weight for their favorite full-set Japanese gothic typeface. Creative professionals using the Japanese version of Adobe InDesign may use that program's Composite Font tool to easily combine Ryo Gothic with other typefaces.

Rifton is a heavy display typeface designed for use in large sizes. It is available as a regular and italic font or as one Variable Font with an italic axis. Installing the Variable Font offers users additional benefits because, in addition to the pre-defined “upright” and “italic” instances, the interpolations between them can be used. That allows you to have slanted text – but just a little less slanted than in the italic. Rifton is an all-caps design, but the letters mapped to the lowercase keyboard do not always have the same forms as the uppercase. That is most visible when it comes to the “s”, which takes a Star-Wars-style form (think of the Star Wars logo). The Rifton fonts also include OpenType features like ligatures – including some exciting discretionary ligatures – and super-wide alternate glyphs for several letters, including “B”, “E”, “F”, “H”, “L”, “N”, “P”, “R”, “T” and “Z”. Rifton is ideal for making a bold statement in headlines, poster designs, or logos. -

Gin And Tonic is a classical serif typeface family. In a cocktail of soft arches and sharp corners, this traditional type has a multifaceted flavor, just like a well-balanced drink. Inspired by turn-of-the-century quality produce, Gin And Tonic is a genuine victorian typeface, that brings class and authenticity to any graphic project. The type of lettering that could be seen in an old-west saloon. This serif font is provided in eight styles: Thin, Regular, Bold and Thin Italic, Regular Italic, Bold Italic. As well as the Outlined style and its complementary Outline Italic. Write in CAPS for decorative conjunction words. Example: Gin AND Juice, Bird OF Prey (Download required.) The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Say hello to the new classic nineties retro font, Fearlessly Authentic! The trend is to make thin serif fonts that made the 80s and 90s style, so we wanted to make them too but with a different touch. Make it slightly rounded for a retro look and make your design look great! Fearlessly Authentic - A classic nineties retro with a complementary italic version. In the italic family, we make it different from the regular and make a shape with a unique uppercase so it looks more classic, retro but a little modern We've also been loving combining the regular and italic, especially for logos (see the "Symphatize logo, image #3) Included : Regular and Italic Letters, numbers, symbols, and punctuation Use in many programs even in Canva Multilingual Support Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Come and say hello over on Instagram! https://www.instagram.com/dharmas.studio/ Dharmas Studio

INDUSTRIAL-STRENGTH UTILITY. Designed for function. Cutmark fonts features common 45˚ chamfered corners, flattened ink traps and wide apex forms. Customize the look with alternates including an Angled Set, Straight Set, Beam I, single-story a, and hooked l. The OpenType version includes 10 weights in 3 widths with matching italics. Variable Font Cutmark Variable contains the full family of styles in a single file! Select variations along width, weight and slant axes. Test and explore at jfoundry.com. Cutmark Variable is included in the complete package at no additional cost. Use which ever font format you prefer! Please email hello@jfoundry.com for any questions. Variable Fonts require MacOS 10.14 or higher. For browser and software support visit: v-fonts.com/support

Elegance flows through Couturier Poster soul. The new cousin of early launched Couturier, brings higher contrast and an extended family, perfect for big sizes. Inspired by the didones from the 18th century, its design its heavily influenced by contemporary ideas makes it suitable to use for almost anything you can think of. Equipped with swashes, ligatures, small caps and alternates, this typography is very versatile and allows you to set a big range of compositions with discretion or personality. Couturier Poster comes in six weights and matching true italics, from thin to black. It's a good choice to pair with Couturier for smaller sizes and Couturier Poster for the big titles. It has a set of 1248 characters that cover more than 200 languages derived from latin.

Marceaux is a sophisticated font with a touch of elegance and modernity. The letterforms are sleek and slender, with clean lines that give this font a refined and graceful appearance. Whether you're creating a logo, a book cover, or a website, Marceaux will bring a touch of class to your project. Marceaux features a complete set of small caps, uppercase, and lowercase letters. The font has been developed in six weights, from light to black, with corresponding true italics and oblique letters, and two styles (serif and sans-serif) for a total of 24 styles, making it versatile enough to use in a variety of design applications. Marceaux includes an expanded character set that supports over a hundred latin-based languages.

Javiera is a geometric sans-serif typeface with humanist attributes. One of its main features is its small x-height, which makes ascenders and descenders look longer. The contrast gives the font a more stylised look, typical of humanist fonts. Curves and rounded terminals make Javiera a smooth, friendly and versatile typeface, well-suited for branding, magazines and publishing projects. User can take more advantage of the versatility of the font by enabling alternative characters included in the set. Javiera comes in 6 styles—from Thin to Black—plus matching italics, giving a total of 12 fonts. The font’s extreme weights are perfect for display use. Javiera family contains a set of more than 400 characters and supports over 200 different languages.

SPQR Senatus Populusque Romanus or The Senate and People of Rome as quoted by the likes of Marcus Tullius Cicero or Tully to his friends and Titus Livius otherwise known as Livy. SPQR appeared on battle standards carried by Roman troops and no doubt can still be seen chiseled into stone facades across the old empire of the ancient Romans. This evokes visions of stonemasons delicately inscribing messages that were meant to endure, one which can still be seen on the Trajan column circa 114AD. Emporia Roman is a modern display font that was inspired by the craft of those ancient artisans, with an added lowercase set, some flourished alternates, an oldstyle set of figures and now with a matching Italic.

Anaphora is a contemporary serif typeface designed by Francesco Canovaro with Cosimo Lorenzo Pancini and Andrea Tartarelli. It features a wedge serif design with nine weights from thin to fat, each with true italics style, for a full range of editorial and advertising uses. Its wide counters and low x-height make it pleasant and readable at text sizes while the uncommon shapes make it strong and recognizable when used in display sizes. Four additional stencil weights provide options for fancy titling and logo creation. Anaphora features an extended character set that covers over forty languages using the latin alphabet, as well as Greek and Russian Cyrillic. Open type features include small caps, four sets of figures, fractions, superior & inferior figures, alternate forms and discretionary ligatures.

Cosmopolitan Elegance Named after a southerly wind that blows over the Mediterranean Sea, FS Ostro breathes warmth into letterforms with their roots in colder, stark Modern typefaces. FS Ostro is a typeface imbued with balanced and sophisticated elegance. It’s discerning and sensitive, self-assured but understated. One for the well-travelled reader. Thoughtful contrast FS Ostro draws inspiration from a wide range of sources, such as 19th century British Scotch Roman designs, Italian modern style typefaces and highly contrasted display Spanish examples. Its text version offers a consistent rhythm and robust texture that is easy on the eye. This elegant, cosmopolitan typeface is characterised by its thoughtfully modulated contrasts between thick and thin, sharp angles, and sophisticated curves. Exaggerated touches in display “What is more restrained and sober in text, becomes purposefully prominent and more detailed in display,” says Fontsmith designer Alessia Mazzarella. These exaggerated details for the display version can be seen in the letter terminals, such as those in the ‘a’ and ‘g’ and the tail of the ‘Q’, as well as in the set of numerals, fractions, arrows, borders and ornaments, which can be used to build decorative framing elements. Fluid italics The less rigid and curvaceous italics of modern style typefaces were the inspiration for FS Ostro’s own subtle, flowing italic styles. The letterforms are confident and fluid, creating an overall sense of refinement and modernity.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to methodical and engineered design. FF DIN Variable offers you more FF DIN than ever before. Pushing font technology to its limits, Variable fonts provide creatives a tool to dial in hyper specific variations which thrive in any design space. FF DIN Variable take bold steps in engineering, which the typefaces behaviour which brings in FF DIN’s technical look-and-feel into the smooth and almost organic world of Variable Fonts. Available in both upright and italic styles, there is a lot more FF DIN to discover with new era of type technology. FF DIN Italic is a sloped roman style, however it is optically corrected – slightly thinner, slightly narrower. As a result, FF DIN Italic stands out subtly. FF DIN Variable stays faithful to its parent’s DNA, the utmost care was taken to ensure that the new instances of FF DIN Variable remained consistent with all the well-known weights. Precision is the mantra of FF DIN, the FF DIN Variable is no exception to this design philosophy. Produce exquisitely fine-tuned typography and expressive animated headlines for any design. Infinite styles, intelligent, and powerful.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to methodical and engineered design. FF DIN Variable offers you more FF DIN than ever before. Pushing font technology to its limits, Variable fonts provide creatives a tool to dial in hyper specific variations which thrive in any design space. FF DIN Variable take bold steps in engineering, which the typefaces behaviour which brings in FF DIN’s technical look-and-feel into the smooth and almost organic world of Variable Fonts. Available in both upright and italic styles, there is a lot more FF DIN to discover with new era of type technology. FF DIN Italic is a sloped roman style, however it is optically corrected – slightly thinner, slightly narrower. As a result, FF DIN Italic stands out subtly. FF DIN Variable stays faithful to its parent’s DNA, the utmost care was taken to ensure that the new instances of FF DIN Variable remained consistent with all the well-known weights. Precision is the mantra of FF DIN, the FF DIN Variable is no exception to this design philosophy. Produce exquisitely fine-tuned typography and expressive animated headlines for any design. Infinite styles, intelligent, and powerful.

Los Angeles’ distinctive “shotgun” style street signs were last produced over sixty years ago, but these durable porcelain and steel signs are still in use all over the city, by both humans and birds, who like to build their nests between the panels. The street names were drawn at wildly different widths to fit on panels which were manufactured in only one size. Beachwood faithfully re-creates the extreme range of widths & weights on these vintage signs, and adds a new matching lowercase. Use the Beachwood Variable font file to access any width, weight or italic angle between the presets — a technology 20th Century sign painters could only dream of! Each weight of Beachwood includes numbers based on the street signs, plus four alternate number sets based on the jerseys of Los Angeles' pro football teams. Beachwood is named for Beachwood Drive, the street which leads to the famous HOLLYWOOD sign, so we just had to include a bouncy HOLLYWOOD mode! FAMILY FEATURES: Five widths (from XTall to XWide), with eight Weights (from ExtraLight to UltraBold), each with matching italics Variable font to access any width, weight or italic slant EACH WEIGHT INCLUDES: 584 glyphs to support 223 languages in Western Europe, Central Europe, Vietnam and Oceania, plus Cyrillics Five styles of numbers, plus Tabular Lining for screen display Ordinals, Fractions and Arrows Hollywood mode!

Cosmopolitan Elegance Named after a southerly wind that blows over the Mediterranean Sea, FS Ostro breathes warmth into letterforms with their roots in colder, stark Modern typefaces. FS Ostro is a typeface imbued with balanced and sophisticated elegance. It’s discerning and sensitive, self-assured but understated. One for the well-travelled reader. Thoughtful contrast FS Ostro draws inspiration from a wide range of sources, such as 19th century British Scotch Roman designs, Italian modern style typefaces and highly contrasted display Spanish examples. Its text version offers a consistent rhythm and robust texture that is easy on the eye. This elegant, cosmopolitan typeface is characterised by its thoughtfully modulated contrasts between thick and thin, sharp angles, and sophisticated curves. Exaggerated touches in display “What is more restrained and sober in text, becomes purposefully prominent and more detailed in display,” says Fontsmith designer Alessia Mazzarella. These exaggerated details for the display version can be seen in the letter terminals, such as those in the ‘a’ and ‘g’ and the tail of the ‘Q’, as well as in the set of numerals, fractions, arrows, borders and ornaments, which can be used to build decorative framing elements. Fluid italics The less rigid and curvaceous italics of modern style typefaces were the inspiration for FS Ostro’s own subtle, flowing italic styles. The letterforms are confident and fluid, creating an overall sense of refinement and modernity.

New from the Monotype Studio’s Creative Type Director, Emilios Theofanous, Touvlo – meaning brick in Greek – is an homage to London and the view from his studio window. A zestful, modern interpretation of a classic genre, Touvlo skillfully captures the spirit of early British grotesque typefaces through playful terminals and lively curves. Touvlo offers an array of styles, from clean uprights to characterful Italics, and exuberant Backslants. Its regular upright weights are optimized for long text, with prominent and visible vertical contrast, creating rhythm and texture for comfortable reading. The Italics are designed to be visibly distinct, with narrower proportions and calligraphic shapes, offering brightness and emphasis wherever needed. The Backslants are an unexpected and energetic addition, providing an element of surprise while following similar design choices as the Italics, packing a particular punch. With a total of 24 weights in 3 styles across 3 variable fonts, Touvlo’s variety adds flavor in any use case, and can withstand complex typographic layouts or unexpected and peculiar settings. Touvlo’s weights range from Thin to Black, giving it an expressive edge for headlines. Its lyrical Drop caps are the finishing touch, featuring exquisite birds and creatures inspired from ornaments found in type specimen books. Touvlo’s spirit is radiant; becoming more than a voice; a reimagining of a classic genre and a must have for every designer's typographic palette.

New from the Monotype Studio’s Creative Type Director, Emilios Theofanous, Touvlo – meaning brick in Greek – is an homage to London and the view from his studio window. A zestful, modern interpretation of a classic genre, Touvlo skillfully captures the spirit of early British grotesque typefaces through playful terminals and lively curves. Touvlo offers an array of styles, from clean uprights to characterful Italics, and exuberant Backslants. Its regular upright weights are optimized for long text, with prominent and visible vertical contrast, creating rhythm and texture for comfortable reading. The Italics are designed to be visibly distinct, with narrower proportions and calligraphic shapes, offering brightness and emphasis wherever needed. The Backslants are an unexpected and energetic addition, providing an element of surprise while following similar design choices as the Italics, packing a particular punch. With a total of 24 weights in 3 styles across 3 variable fonts, Touvlo’s variety adds flavor in any use case, and can withstand complex typographic layouts or unexpected and peculiar settings. Touvlo’s weights range from Thin to Black, giving it an expressive edge for headlines. Its lyrical Drop caps are the finishing touch, featuring exquisite birds and creatures inspired from ornaments found in type specimen books. Touvlo’s spirit is radiant; becoming more than a voice; a reimagining of a classic genre and a must have for every designer's typographic palette.

AW Conqueror Sans was born out of this desire to fuse geometric and humanistic sans. It remains a typeface fundamentally influenced by both Bauhaus spirit — with its simplified geometric forms — and Jan Tschichold’s attempts to link this modular spirit to Eric Gill’s humanist sans serif. AW Conqueror Sans is a claimed French synthesis of Germanic Modernism and English classical tradition. Spheres of influence The core set of capitals are based on the proportions of the Roman capitals like Futura, Erbar, Nobel, Johnston, Gill Sans. During the 1930s, the Futura was a true success. Since then, Monotype offered a geometric version of the Gill Sans, and Linotype added Futura-like variants to WA Dwiggins’ Metro. AW Conqueror Sans is kind of a “fusion” of this approach. The lower case “b, d, p, q” are also directly influenced by Eric Gill’s, while the “y” is influenced by some of Jan Tschichold’s alphabets. In italics, drawn narrower, AW Conqueror Sans reinterprets Gill’s idea: a rigorous italic like a roman but which sometimes reveals some aspects of a Renaissance italic. AW Conqueror Sans and its extensions AW Conqueror Sans is the initial reference point for an extended family, including AW Conqueror Inline, Slab, Carved, Didot. The potential of these mixed families is powerful. Because AW Conqueror typefaces are based on an identical structure, and compatible proportions.

A new look of Appetite typeface. Swashed initials, and true italic. Try these tasty letters! Look at the new Appetite version — Appetite Pro — Release 2016!

Thought to have developed from a display face first listed in 1890, the Derek Italic font is a heavy face ideal for short titling purposes.

This is That: a family of four weights with roman and true italics, and also with chiselled medium weight, and Irregular variant for, well, variety.

Adapted from Ronsten to make an acceptable chunky, more normal serif font retaining the serif alignment with the letter curves. An Italic is also available.

With smooth curves and a deliciously bold personality, InstaLove Smooth leaves good vibes wherever it goes. The InstaLove Smooth Brush font is loaded with opentype features including character alternates and a large selection of natural looking ligatures. Scroll through the previews to get a good feel for what it can do. Included in the glyphs are 8 super handy swashes , and a few extra doodles, to add some extra punch to your designs. Perfect for making a bold statement, and getting second glances - InstaLove won’t let you down.

Getlost is an organic signature font inspired by natural brush typography. Written in rapid motion using a slightly dry brush pen. This will give you a fresh and elegant design. Getlost comes with uppercase and lowercase letters, large sets and small sets, numbers, alternative styles for several lowercase characters are also available that make your text and design more attractive. Try Getlost, enjoy the richness of OpenType features and let her fun and elegant excitement make you happy and enhance your creativity! You can use this font very easily. Included multilingual support and special ligatures

Mellifret is a semi-bold script font which has strong, bold, and elegant characters. Mellifret is suitable for posters, logos, book covers and magazines, website tittles, wedding cards and more. Mellifrent offers: 1. Multi-lingual support for Danish, Cornish, Croatian, Czech, Filipino, French, Portuguese, Hungarian, Irish, English, Finnish, Norwegian, Polish, Romansh, Italian, Swiss German and others. 2. Includes ligatures set, alternates and swash characters set. I hope you enjoy using Mellifret! If you have any question about this font, please let me know with your comments. Thanks for watching!

Since their first appearance as Italians on the pages of the 1821 William Caslon type specimens, reverse contrast typefaces have been typography's best loved quirky outcasts. Subverting the traditional relationship between thick verticals and thin horizontals made them perfect for eye-catching advertisements. The unexpected contrasts and the thick slabs produced by reverse-contrast serifs became ubiquitous in period posters, and synonymous with wild west and circus iconography. In designing Stinger, the Zetafonts design team composed by Maria Chiara Fantini, Andrea Tartarelli and Francesco Canovaro and orchestrated by Cosimo Lorenzo Pancini decided to marry this subversive tradition with the workhorse approach of modernist sans serif typefaces like Univers, developing a super-family with four widths, each in five different weights, from thin to heavy. This gives the designer a full range of options for type setting, with the Normal and Fit widths providing two different text-sized alternatives, the wide width adding display and titling options and the Slim ready to deal with the space-saving necessities of extremely long texts. True italics have been added developed for all weights and variants, bringing the Stinger family to a total of 40 fonts, with a latin extended + Russian Cyrillic character set covering over 200 languages, and open type features including positional numbers, stylistic sets and alternate forms. In the crowded panorama of contemporary grotesque typefaces, all aiming to stark geometric perfection, Stinger stands out with its bold choices and strong personality. From the calligraphy-inspired terminals in the thin weights to the logo-ready sculptural approach in the heavy weights, each variant manages to look striking without forgetting the readability and flexibility lessons of modern reverse-contrast classics like those designed by Excoffon or Novarese. A variable version is included with the full family, allowing maximum flexibility and control for the designer over the wide range of expression capabilities of the Stinger super family.

I was inspired to create the Rainier type family during my summer back home in the Pacific Northwest. The concept behind it may be simple - a hand crafted font family - but what it delivers is quite complex! Here is a breakdown of everything you get: FONT FAMILIES: Two sub-families with unique styles - Rainier North and Rainier West WEIGHTS: 4 weights per family, broken down numerically - 100 (light), 300 (regular), 500 (bold), 700 (black) OPENTYPE: In each family, there are tons of OpenType options, offering lots of customizable opportunities (in order to access all these goodies, you must be using Illustrator, Photoshop, Indesign or Publisher). Because Rainier is 100% handmade, contextual alternatives allow each letter has three subtle variations, this way it keeps that authentic hand-drawn look. Additionally, a full alphabet with special descending swashes, as well as start and end swashes for capitals and small caps. Titling alternatives offer a full character set just to help with readability! Meant for captions or smaller text, these letterforms are easy on the eye and a great complement to the regular alphabet. Stylistic Alternatives add a little fun, providing a unified cap height, no matter what case you are using (all caps, small caps or lowercase.) Discretionary Ligatures are created only for capitals, and takes specific letter pairs and creates a unique ligature between them To get a better understanding of everything, please check out the quicker user guide (http://bit.ly/1W0Bfma) and print if you so desire (http://bit.ly/23W9ZV6) that helps you navigate your way around and get the most out of Rainier! Unfortunately those links aren't working right now and soon I will have them fixed. So sorry! ORNAMENTS: In addition to the font, you get a set of awesomely rustic ornaments designed and drawn to go specifically with Rainier! - Rustic Northwest Illustrations - Banners & Flags - Frames - Flourishes - Lines & Line Breaks - Arrows There are a lot of extras packed in this set, so make sure you check out the Ornaments User Guide to get the most out of it! Check it out here: http://bit.ly/1rRVJRx And that’s all folks! Hope you enjoy Rainier!

Say hello to Qene-G Typeface, Qene-G is based on a problem that often occurs when I design, which is to combining typefaces in typographic art. I am pretty sure you also in this problem, so Qene-G Typeface comes to solve the problem. Qene-G is a complete package consisting of serif fonts and signature scripts. A careful approach makes this font give a luxurious and elegant taste to your project. Smooth curves, some flowy terminals, and flirty tails will make your project looks unique. The handmade signature combination emphasizes the style that you create in the natural beauty atmosphere. Qene-G consists of 5 families, they are Qene-G-Regular, Qene-G-Regular Italic, Qene-G-Outline, Qene-G-Outline Italic, and Qene-G-Script. You will get all caps letters with 2 styles that you can access via uppercase and lowercase buttons, charming script fonts, and tons of ligatures and stylistic alternates. Complete with Unicode and PUA which allows you to access all features without graphic design software. Your project will travel around the world with 131 languages ​​of this font. Qene-G is a strikingly versatile font, It is a bold choice for branding projects, fashion magazine imagery, social media text overlays, posters, website headers, and more. Let's start creating stand out designs with this font. We are pleased to tell you about our newest product made with totality, please CLICK HERE

How does one arrive at a font name? With the thousands of digital typefaces available, it's not an easy process. Bandleader JNL was modeled from the hand-lettered title on a piece of sheet music called "Largo", which means "slow tempo". Since the names "Largo" and "Tempo" were already taken, what other musical theme would fit? The lettering is in an Art Deco style, and Big Band was all the rage of the Art Deco period; therefore "Bandleader". Sometimes the road to naming a font takes on many twists and turns but the end result is always gratifying.

Bloxic is a chunky, counter-less display typeface, packed full extra characters and some bonus icons! Bloxic comes packed with over 320 glyphs, including stylistic alternate characters, circled numbers, and a whole bunch of useful symbols and stuff. It started life back in 2008, when pop/punk/emo bands were all the rage. Pulled from a hand lettered t-shirt design, adapted and systemised – it now exists for your typographic pleasure. It still carries some of the hand rendered feel of the original design, and has some slightly different takes on a zero counter typeface (which the world clearly need more of...).

Latin music was all the rage in the United States from the 1930s through the 1950s and songs with a “South of the Border” or “Old Mexico” theme were plentiful. The 1940 sheet music for “Make Love with a Guitar” evoked the idea of serenading one’s lovely lady on horseback while strumming the guitar. ..at least if you went by the by the illustration under the song’s name. As the hand lettered title was rendered in an Art Deco design, it became the basis for Jazz Guitar JNL [which seemed a more befitting name], and is available in both regular and oblique versions.

A heavy-set but lively font, Kendrick’s dense strokes were hand-painted using a thick wet brush. This all-caps set of letters is bold but brushy, textured and expressive; fun but very much meaning business. Kendrick is streetwise and no-nonsense, but with a big cheesy grin to boot.

Stena is a very functional sans serif typeface with calligraphic feel, especially designed for contemporary typography. This family features deep and sharp ink-traps as part of its design. Thanks to its proportions, solid and balanced forms, combination of straight and curve lines, high x-height and expressive ink-traps, Stena combines readability with a strong personality. This dynamic typeface provides advanced typographical support with features such as ligatures, alternate characters, stylistics sets, fractions, etc. It also comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This carefully designed family consists of 8 weights, ranging from Thin to Black, each with matching true italics. It comes with a set of 566 characters per weight, supporting over 40 different languages using the Latin alphabet. Stena is the ideal choice for editorial, branding, corporate identity, and more.

Versina is a display typeface with a unique and expressive yet moderate personality resulted from its organic elegant shapes which are inspired by Spanish transitional typefaces from the 18th century. This font is perfectly suitable for both titles and short text. Versina features a flowing organic stroke and asymmetric bracketed serifs, and its shapes convey rhythm and dynamism. The font has a large x-height and its ascenders are shorter than the cap height, making it look more slender and modern. Calligraphic and crescent-like terminals give the design great formal richness. Versina comes in 5 weights with matching italics plus a set of ornaments, in Regular and Black styles, and also includes old style/lining/tabular figures, fractions, superscripts and subscripts as well as a set of small caps, standard ligatures, historical ligatures, symbols and frames. Versina contains a set of 694 characters that support over 200 Latin-based languages.

Informative is a typeface consisting of a whole family of sans fonts and a collection of thematic pictograms. This combination of two different types of communication reflects the current need for using text and images as means of conveying information in a complementary way. The family comes with a text version of 7 weights (with matching italics)—Thin, Light, Regular, Medium, SemiBold, Bold and Black, and includes 7 thematic icons sets which allude to elements related to alimentation, city, energy, people, politics, sports and work. Each set contains 88 glyphs and includes both outline and black versions. The text font contains a set of 423 glyphs that support 207 different languages. Informative is a clean, simple and versatile typeface well-suited for a wide range of graphic design and visual communication projects. This font has especially been designed for infographics, maps and digital applications.

I do a lot of taller, narrower handwriting fonts; this time around, I was inspired to make a wider, shorter handwriting font! MUGGSY has everything you expect from one of my fonts: clean and smooth curves, a full set of alternates, and a feeling of fun! MUGGSY has two uppercase-height alphabets (with a few lowercase-style letters like a and e in the lowercase set), plus a full set of 63 "smallternates" -- the same letters, numbers, and ampersand sized down to 75%, and beefed up in weight so they can be mixed in with the full-size letters. Plus 30 double-letter ligature sets, and a few additional alternates for variety! You also get a ton of punctuation, and my usual 300+ extended Latin characters for language support, for a total of over 600 glyphs! And just because you may want things a bit heavier, I've also made Muggsy Heavy, a bolder weight of Muggsy with all of the same alternates and extras. Enjoy, my fonty friends!

Berimbau is a whimsical narrow hand-drawn typeface. It’s stylish, versatile and loaded with amazing OpenType features that do their magic in OpenType savvy applications. Its sprightly swashes and twisting stylistic alternates (say that 3 times fast!) play together to deliver a really cool contextual feature that, in a push-button way, substitutes the first letter in a word with its left swash version and the last letter with its right swash version (please type a space before and after the words).The feature also applies stylistic variants to some of the intermediate letters. Which button to push? The Contextual Alternates one! If you're not a one-click-way-person you can pick your preferred glyphs through the glyphs palette. There you’ll find at least 4 variations for each letter: left swash, right swash and 2 regular forms that correspond to the upper and lower case keys. Some letters also have a 5th variation that acts as stylistic alternate. This font is conveniently packed with the ‘access all alternates’ functionality, so when you click on a glyph at the glyphs palette you’ll see all variations available for it, making it easier to choose the one that will fit better. A bold weight was made to provide that extra-strength when a bit of… boldness is needed. Please note that it doesn’t have the advanced OpenType features (but is still very charming!). Yet, both weights have a handy set of ornaments for added yumminess.