Gill Sans is a humanistic sans serif family that, while is considered by many to be quintessentially British in tone and concept, has been used in virtually every country and in nearly every application imaginable. Gill Sans has reached this level of near-ubiquity for one simple—and very good—reason: it is an exceptionally distinctive design with a potential range of use that is almost limitless. This toolkit family includes a wide range of styles including the standards such as Light—which is open and elegant—and a Regular that, with its flat-bottomed d, flat-topped p and q and triangular-topped t, has a more compact and muscular appearance. Its Bold styles tend to echo the softer, more open style of the light while the extra bold and ultra bold have their own vivid personalities, but each of them would make for an eye-catching headline. Take into account the family’s many weights, including condensed and extra condensed designs, and extended language support and you have yourself a tool you’ll be thrilled to return to, time and again. Gill Sans was designed by Eric Gill: a versatile, brilliant, and prolifically successful designer of the early part of the last century. One of the main reasons for the enduring success of his namesake design is that it is based on Roman character shapes and proportions, making it unlike virtually any other sans serif out there. Gill also worked his own warmth and humanity into his design, resulting in a typeface in which each weight retains a distinct personality of its own. Pair with serif fonts like Gill's own Joanna; or more modern offerings like Frutiger® Serif, Malabar™, Syntax® Serif, FF Scala®, or DIN Next™ Slab.

Think smart. Think regal. Think SteamCourt, a new font designed specifically for the card game SteamCourt. A bit of background if you will: In early 2014, some friends from my college days banded together to form their own game company. Their first launch? A current Kickstarter they named SteamCourt. I love Kickstarter. It’s a fantastic platform, a great way for individuals to introduce the public to their visions. I've started a couple of them myself--both including fonts designed specifically for the projects. The first is Chatype, a font created exclusively for the city of Chattanooga. The second: Cabrito, a font developed as part of the children’s typeface book, The Clothes Letters Wear. It’s wonderful to work with so many others who come alongside to help you vision become reality. Naturally, hearing of my friends' project, I contacted them about adding a new face to their venture as well. I gave them carte blanche. They wanted steampunk. It was a great challenge, the result of which is now SteamCourt, an unforgettable display typeface that draws from the mix of Victorian regals, metallic and brass engineering, cogs, clocks and blackletter typography. It evokes a time of skillfully forged metalwork and an era of intrigue and excitement, filled with audacious feats of engineering and innovation and the perilous journeys of the airship. While influenced by the era of blackletter, SteamCourt is an unmistakable departure from the style of two centuries past, yet it still shines in its given display roles with a distinct regal twist. The serifs are asymmetrical, yet the characters are all specially and delicately balanced. It’s an eye-catching alternative to blackletter with modern steampunk touches. The game’s signature typeface has sizeable language support on top of 90 alternate characters as well. In addition to a generous number contextual alternates, SteamCourt features stylistic alternates that allow for buyers to customize its visual appearance for their preferences, helping to make it a superior option for packaging, branding and enormous typesetting logotypes as well as shorter textual content. Check out the game, but grab the font, too, to be a part of that crib created as a companion for the new game in court. It'll be the ace up your sleeve for many rounds of design ahead.

Savigny began as an offshoot of Le Havre. Le Havre met my design objective of a geometric sans serif with a strong art deco touch. Le Havre’s primary inspiration came from the art deco titling of the 1930’s, and the lower case was just icing. The art of the 1930’s is of particular interest to me, and I love the art deco era and its art, and the simplicity of geometric shapes. I am mostly interested in designing display typefaces. In many ways Le Havre was the exact opposite of another popular insigne offering, Aviano Sans. Le Havre has very high ascenders, a lower case and is very condensed. Aviano Sans has no lowercase and extremely extended capitals. With the rise of webfonts I began to see Le Havre being used frequently online. It’s short x-height and very tall ascenders made it difficult to read in on screen text settings as it was intended as display type. With this observation, I felt that there is more room for a geometric sans in the insigne catalog. So I set about to design a new geometric sans using the successful skeleton of the Le Havre family. Although I planned to extend the Le Havre line, the new family is so drastically different I decided on a new name: Savigny. The face evolved and began to take on a few humanist touches. Designed from the very beginning as a webfont, the design is open and pleasing to the eye, with a tall x-height. To optimize it for onscreen settings, the spacing is generous. In addition, it includes extended and condensed members, making it insigne’s first superfamily. The family includes over 100 OpenType alternate characters. These include several style sets. Some are stemless, others are purely geometric, and in a nod to Savigny’s origins, Art Deco titling alternates. Please see the informative .pdf brochure to see these features in action. OpenType capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Savigny is a great choice for a professional designer who wants a well rounded typeface family that is ready for the web.

Cowling Sans AOE is a charming Art Deco architectural style typeface. It is the cleaned-up, refined revival and elaboration of a lettering design from “Lettering for Commercial Purposes” by Wm. Hugh Gordon published in 1918. What began as a basic character set of Capitals, lowercase, and two styles of ampersand has been expanded to a full character set including unlimited fractionals, superiors & inferiors, ordinals, tabular, proportional, and oldstyle figures, and an expanded language glyph set, all with a smallcaps and Caps to Smallcap set to match. This lettering style exudes the charm of its era with every word set in it by way of the small details that set it apart from other sans typestyles.

Like many of Jim Parkinson's alphabets, Pueblo began as poster lettering. It shows a range of influences: turn-of-the-century sign painting, old Speedball lettering books, and a touch of art nouveau. While developing Pueblo, Parkinson debated whether to make the ends of the serifs rounded or square. Rounded looked more like the work of a Speedball lettering pen, but squared stroke endings made the letters more legible at small sizes. The finished design sports serifs that are just slightly rounded. According to Parkinson, the design feature is “enough to be noticed at large sizes, while going virtually unnoticed at smaller point sizes,” adding to the versatility of this distinctive typeface.

A Stylized Sans Serif with a Futuristic Flavor. The Rhizo font began as a digitization of a film typeface from LetterGraphics known simply as "Rodin". The original specimen included standard Capitals and Lowercase, Numerals and limited punctuation. We've fleshed out the original style to include alternates, ligatures and a full character set with all the trimmings. Stylish, gorgeous, a little dark, a little friendly...a variety of attitudes conveyed in this typeface. Opentype features include: Full set of Inferiors and Superiors for limitless fractions. A collection of Standard Ligatures. A small set of Stylistic Alternates Smallcaps Approx. 592 Character Glyph Set: Rhizo comes with a glyphset that includes standard & punctuation, international language support, and additional features.

The tale of Pumpkinseed began with a bit of hand-printing I noticed on the dinner menu at a local restaurant. I took a menu home for future reference. Several months later, some similar hand-lettering on another dinner menu caught my eye. I became a sort of connoisseur of hand-done menu lettering. After tweaking and adjusting a few of these menu-inspired (uppercase) characters, I placed them -- along with some other designs -- in an online Type in Progress survey. They won. So I finished the caps, drew out the lower case from scratch, created three weights and oblique styles. The result: Pumpkinseed, a full-featured casual hand-lettering face. Comes in Light, Medium, and Heavy.

Albertus® Nova is a faithful digital revival of Berthold Wolpe’s earlier design of Albertus and is one of the five designs in The Wolpe Collection of typefaces. This new design enlarges the typeface set from its previous two weights into a robust set of five ranging from thin to black, all with extended language support including Cyrillic and Greek. Berthold Wolpe began working on Albertus in 1932, at the encouragement of Stanley Morison. Morison saw an example of Wolpe’s engraved lettering and liked it so much that he commissioned a typeface based on the design. Since then, the original Albertus typeface has been used on book covers, in branding, on signs and in video games.

The inspiration source for Tryst Monogram is a showcard script (capitals only) from the 1912 A Show at Showcards book by Atkinson & Atkinson. What began as 26 referenced script letters became an over 800 character font in order to create its unique cameo effect! Tryst Monogram can create one, two, or three letter monograms as well as a unique two letter cameo monogram style - made by simply typing two lowercase letters in a row (using OpenType Ligatures). Add framing to a cameo monogram by adding a number 0-9 before the two letters. It's that easy! Download and view the Tryst Monogram Guidebook if you would like to learn a little more.

Payload began as an early concept for Loaded magazine, and here is developed into a clean outline and rough splattery spraycan version. In this font, the upper and lower case characters are subtly different enabling a more realistic appearance to be achieved by ßipping between cases whenever characters occur together in pairs. Wide and Narrow styles of this popular font have been subsequently been added. This font is reminicent of military stencilling, urban graffiti and freight packaging. The "Outline" version, as before, is a carefully weighted addition where the thickness of the stroke is identical to the stencil gap. It has also been respaced and rekerned to allow for the additional character spread.

Cloister Initials™ have become FontHaus's most popular decorative initials font since we began selling it in 1993. First released in 1919 for ATF, Goudy's "Cloister Initials", sometimes called Goudy Initials is recognized as "one of the most beautifully designed set of initials ever made". We agree. Our digital revival is historically accurate because it was referenced from the actual ATF 144-point brass matrices acquired at the now legendary and final ATF auction in Elizabeth, New Jersey in 1993. The exquisite design of each character inspire it's use. Perfect for holiday invitations, elegant note pads, as drop caps or in period design. We've even sold these initials for use as company logos.

Toastie began as a digitization of a film typeface from LetterGraphics known simply as "Flair 312". The original specimen included standard Capitals and Lowercase and Numerals, a bare bones character set. We've fleshed out the Toastie font to include a full standard character set, an extended international set, SmallCaps, etc. so it can be a powerhouse animated typestyle. See the last graphic for a comprehensive character map preview. Opentype features include: - Full set of Inferiors and Superiors for limitless fractions. - Tabular and Proportional figure sets. - Stylistic Alternates for a variation of the lowercase r characters. Approx. 591 Character Glyph Set: Toastie comes with a glyphset that includes standard & punctuation, international language support, and additional features.

Introducing Guthers, a monoline script font. It's perfect for logotype, headline, apparel, quotes, posters, and labels to create a vintage look. Whats Included? 1. Uppercase and lowercase characters 2. Supports international languages 3. Features: Uppercase, Lowercase, numeral & punctuation, multilanguage, stylistic alternates, and ligatures 4. Accessible in the Adobe Illustrator Glyphs panel, or under Stylistic Alternates in the Adobe Photoshop OpenType menu, Adobe InDesign, Corel Draw, even work on Microsoft Word. 5. OTF files PUA Encoded Characters - Fully accessible without additional design software. Thanks for looking, and I hope you enjoy it! Please don't hesitate to drop me a message if you have any issues or queries. Best Regads, Ibnu Utomo e-mail: ibnu.blawong2@gmail.com

Kamado began its journey as an experimental typeface with a cultural essence. Influenced by type around the globe during my studies. The result... a plausible and exciting typeface! The rhythm of each letter is fundamental to the design, each exploring and exaggerating the way it can be drawn with continuous strokes... full of character. Kamado has a very distinctive look, which would give a clear awareness of a brand. Kamado works great in many type settings. Its variety of weights provides a range of choices that will help you find the best typographic effect for your project. Details include twelve weights including italics, over 470 characters, manually edited kerning, ligatures and case-sensitive punctuation.

Eisley started as an experiment with creating brushes in illustrator. I began by drawing each letter and tweaking until each one balanced next to one another. I painted over 50 paint brush strokes to give a variety of different looks to the final characters. Strategically crafted to look as real and as spontaneous as a sign painter might paint up (although possibly running a bit dry on paint giving the end result a vintage and grungy effect). Eisley is perfect for use in any design branding that requires vintage or distressed display lettering. Eisley is perfect for use in any design branding that requires vintage or distressed display text. Great fun to use AND personalize with your own flair.

Alterglam is one of my all time favorite fonts, although I didn't think so at first. The font appeared as a modification of my other default font. But over time, the font turned into an independent work. Moreover, the font began to live its own life and constantly demanded attention. So at the same time the Alterglam font is the most thoughtful and polished font in my collection. It is my pleasure to present this wonderful font set for exquisite designs. In the set there are 20 font sizes, which provides a rich typography. If you need a strict, but at the same time artistic font, Alterglam is the font of your choice.

Inspired by the « lettres bastardes », Arthas is a modern interpretation of ancient letterforms dating far back, before type even existed. It has been subtly adapted for better readability in 2020. The sharpness of the design creates an elegant contrast between old and new, ancient and futuristic, and will add an ominous, regal mood to your graphic design projects. This typeface is meant mostly for display use, but we can’t wait to receive a picture of someone using it for introductory text, at the start of a book…. Maybe that’s you? As all of our releases, it will be updated at time goes on. Those updates will always be free for people having already purchased the font(s).

Simple - The Bilingual Font. The process of Simple began with the usual alphabets followed by a series of icons and soon it was an avalanche of Chinese characters. The pool of proposed Chinese characters were loosely determined by the needs of a lunar calender. In a nutshell, Simple is a single-weight, minimal, grid-based Sans-serif display. Prudent with details and sturdy in form, the geometrically-driven structure marks the foundation of a cross-cultural assortment of Latin alphabets, Chinese characters and thematic icons. After months of extensive typesetting, Simple is also realized to be well-catered for use in graphical information design in games and tournaments, logotypes, advertisements and headlines. http://www.behance.net/gallery/Simple/847905

Patricia Pothin-Roesch's Tendria typeface bases its letterforms on the logo for the French “Tendriade” mark. Clearly inspired by writing and hand lettering, Patricia Pothin-Roesch began her work on Tendria in Adobe Illustrator. After a few letters, she went back to designing the old-fashioned way: drawing by hand on layers of tracing paper. Tendria is a sturdy upright script face with a warm, childlike feeling. Its letters are like the typefaces often used in primary schools; the counterforms are large and open. The name Tendria is reminiscent of the French word for tender, “tendre.” Designers who set Tendria lovingly will reap rewards; this is an excellent addition to a display heading toolkit.

Presenting my font called Hubber. This font has been inspirited by product retro posters from 60s-70s. I tried to make letters as much streamlined and gentle as possible. I hope you'll enjoy how sweet it came up. Hubber consists of​ such features as swashes, alternate glyphs, ligature, ​ and additional shadow font. Hubber perfectly fits for retro designed logos, posters, prints. Hubber Features: Up to 19 alternates for each letter with swashes Contextual alternates feature will automatically match alternate letters depending on their position or pairing 21 ligatures Shadow effect font to save your time. Just place the ​layer with Shadow font behind Regular to make the shadow effect Carefully tuned kerning (preview above doesn't show it for some reason) If you have some issues, questions, please let me know: lhfonts@gmail.com Hope you'll enjoy using Hubber!

Funny Hippo is a stylish display font in a freedom concept to show unique, friendly, fun expressions with smooth, round, curvy accents. The characteristics are the dynamic lines and angles and various letter proportions. In addition, Funny Hippo gives you an extra bonus called the clipart. Use this font for big text sizes for a legibility reason and enjoy the available features as well. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Silentgraph fits for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great experience using our font. Feel free to contact us for further information when you have a problem using the font. Thank you. Happy designing.

Geogrotesque Slab is the ideal companion of the popular Geogrotesque. The challenge was to achieve a fully recognizable font that works as part of the existing family, for that reason the Slab version conveys the same message in a different way. The new font remains clean and tech with a human touch yet provides a new security, confidence and firmness thanks to the serifs. This new addition, combined with Geogrotesque, Geogrotesque Stencil and Geogrotesque Condensed Series provides even more design options and now there’s a Geogrotesque for every need. The type family consist of 14 styles 7 weights (Thin, UltraLight, Light, Regular, Medium, SemiBold and Bold) plus italics. It is available for desktop and WebFont and includes ligatures, tabular figures, fractions, numerators, denominators, superiors and inferiors with support for Central and Eastern European languages. For more details see the PDF.

Zulu-Ndebele Pattern is the first ever font to be based solely on the traditional decorative patterns of the Zulu and Ndebele tribes of Southern Africa. The designer has lived in KwaZulu (Place of the Zulu), for over 50 years and has made a life-long study of traditional Zulu beadwork and carving, and of Ndebele wall decoration. There are 52 pattern units that may be combined in many ways to create borders, backgrounds and an unlimited number of designs. The pattern units correspond to the upper and lower case letters. The reason that the Zulu and Ndebele patterns have been grouped together is that the true tribal areas are contiguous and the there has been much artistic cross-fertilization between the two cultures. Many of the patterns that are used by the two tribes are identical.

The 2nd installment of the Enchanted Land family takes us on another medieval adventure, opting to completely rebuild instead of refining the legacy script. More emphasis was put into the undulating nature of the Uppercase characters and how they keep your eyes flowing. For this reason, straight lines and right angles are rarely used in favor of flamboyant terminals and wispy swashes. Lowercase characters, by contrast, adhere to a consistent model defined by its straightened edges and sharp corners. This script flirts with several old world styles but seeks only to borrow elements rather than completely emulate them. German Blackletter, Old English, Uncial, Victorian, it’s in there! Enchanted Land DS would work well in a book, video game, or medieval signage. This family is equipped with Basic Latin, Extended Latin, ligatures, punctuation, a few alternates, and kerning.

Waite Park JNL is based on the smallest of the die-cut letters and numbers contained in the Webway Sign Cabinet - once manufactured by the Holes-Webway Company of Minneapolis, Minnesota. The largest of the set's sizes (2 inch) was the model for Sign Kit JNL, the medium size (1-1/8 inch) was used to make Sign Production JNL and this font is a version from the 3/4 inch size. Each size of alphabet and numerals have their own unique characteristics, although they all follow the same basic font style, which is reminiscent of classic Art Deco-era sanserif typefaces. The name Waite Park JNL was derived from a division of Holes-Webway that (for some reason lost to time) distributed their sign kits under the name Waite Park Sign Company, located in the Minnesota city of the same name.

King Throne is a regal display font that exudes an air of grandeur and elegance. With its high contrast characters and distinctive swinging letter ends, this typeface commands attention and captivates the viewer with its majestic presence. The high contrast design of this font creates a striking visual impact. The stark difference between the thick and thin strokes adds a sense of drama and sophistication to each letter, making them stand out with a commanding presence. The font's weight distribution captures the eye and draws focus to the exquisite details of its letterforms. What sets King Throne apart is the captivating swinging ends of the letters. With a gentle curve and a flourish, these decorative elements add a touch of movement and grace to the font. The swinging letter ends contribute to the font's regal aesthetic, evoking images of royal script and elegant calligraphy. They elevate the font's overall appearance, transforming it into a true symbol of authority and power. For the best legibility you can use it in the bigger text. Enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations King Throne fits in headlines, logos, attention-grabbing titles, product packaging, branding materials, editorial layouts and website headers. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Debugger is a futuristic, sicentific, digital family of next-generation monospaced fonts for developing, programming, coding, and table layout. Some desirable features in monospaced fonts are listed below. 1.Easy to distinguish 2.Easy to identify 3.Easy to read Debugger has very distinguishing letterforms for confusable letters such as Zero&Oh, One&I, and Two&Z. A lot of ingenuity makes this family very distinguishable. Italics have somewhat large inclination angle to be distinguished from their Roman. For the same reason, Italics are slightly lighter than Romans. Italic is not cursive Italic. It is near the slanted Roman. This is an intentional design to identify Italic letters. Cursive is not suitable for programming font. Octagonal and diagonal letterform is good for sci-fi, digital projects. Common elements for each letterform makes harmony and a sense of unity. Debugger supports almost all Latin languages. Try this all-new experiment.

Salty Milky is a display font in thick weights to be your best choice for showing casual, charming, fun expressions. The uneven proportions and forms of the artistic letters add more attractiveness to this font. Furthermore, Salty Milky gives you a special bonus called the clipart. Use this font for big text sizes for a legibility reason and you can make use of the interesting features available here as well. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Salty Milky fits for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great experience using our font. Feel free to contact us for further information when you have a problem using the font. Thank you. Happy designing.

P22 Graciosa is a five font family based upon designs for a metal type by Carlos Winkow (1882–1952), a German type designer who lived and worked in Spain in the early 20th Century. Graciosa is a sort of hybrid blackletter/text font, with simplified blackletter caps and a serifed lowercase with subtle script flare. There is a Regular, Black, an open version called White, and an engraved version called Gris. The version called Multi serves as a fill font to allow for multi-colored layering options. A revival of these designs was initiated by Matthias Beck in 2015. The character set was expanded for use in 21 languages (OpenType Standard). The digitization and reintroduction of these old fonts—created in Spain and practically forgotten—makes them regain a new life. This project was subsidized by the Spanish Ministry of Education, Culture and Sport.

Honey Splash is a stylish display font to express unique, fun impressions focusing on various line style combinations in friendly curves. Furthermore, the different shapes and heights makes the font visually unique. In addition, Honey Splash gives you a special bonus called the clipart. Use this font for big text sizes for a legibility reason and make use of the available interesting features to beautify your designs as well. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Honey Splash fits for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great experience using our font. Feel free to contact us for further information when you have a problem using the font. Thank you. Happy designing.

Gracious Bowing is a meticulously designed display serif font to meet your design needs. It expresses formal yet simple nuances in modern, elegant designs. Its main characteristic is the consistent geometry, proportion, and line thickness on each letter to be legible. For this reason, you can use this font for any text sizes. In addition, you can improve your designs with the available features. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Gracious Bowing fits for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great experience using our font. Feel free to contact us for further information when you have a problem using the font. Thank you. Happy designing.

Nobody Home JNL is unusual in nature as it combines two vintage typestyles into one font. Both have been used for home and property identification for decades and still remain popular. Over the years the letters and numbers have been made of cast steel, aluminum, brass and plastic. The alphabet is in a distinctly bold, asymmetrical style, while the numbers almost take on a calligraphic feel. There is just a basic character set - alphabet, numerals and simple punctuation. While the font has been reasonably spaced and kerned, it's best to remember that neither type design was made with digital technology in mind, so it's suggested to adjust your layout manually for optimum results. Nobody Home JNL is best-suited for replicating street addresses, apartment numbers on doors, and homeowner (or apartment house) names on buildings - whether in print design or as plotter-cut vinyl graphics.

Agile Jewelry a stylish, modern display serif font to give you informal, modern impressions. The characteristics of this font are the extra hooks on the letters’ edges and some of the letters have curvy ending wipes. The thick and thin lines on every letter are clearly visible. For a legibility reason, apply this font for big-sized texts instead of the body texts. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Agile Jewelry fits for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great experience using our font. Feel free to contact us if you require more information when you are dealing with a problem. Thank you. Happy designing.

Quatre is a clean, friendly, monoline display script with a number of subtle but significant features. Originally based on the style of cursive you may or may not have been taught in middle school, Quatre has a clean geometric flow to it while containing a robust set of OpenType features such as ligatures, swash capitals, and stylistic alternates that give it a unique look. With over 700 glyphs, coverage for over 30 languages, arbitrary fractions, contextual alternates and more, Quatre will have you covered for whatever situation you may run into. I mean, probably. I can’t know every single weird way you might be trying to use it. The point is, it’s got all of the bells and whistles you could reasonably hope for. Make sure you open up the OpenType panel in Illustrator, Photoshop, and InDesign to make use of all of those features.

Eurostile Next is Linotype's redrawn and expanded version of Aldo Novarese's 1962 design. This new version refers back to the original metal types and to its mid-century modern aesthetic of squarish characters and subtle curves. Eurostile Next brings back the gentle curves, which were lost in other digital versions, therefore regaining the spirit of the original design and its somewhat softer demeanor. The family has been greatly expanded, now consisting of five different weights: ultra light, light, regular, semibold, and bold. Along with the regular width, all weights also have extended and condensed versions. Stylistically, Eurostile Next is well suited for designs in the fashion of the 50's and 60's, yet it still has a remarkably new and contemporary feeling. Its numerous variations and typographic features are invaluable for projects ranging from extensive corporate branding to one-off posters and from large signage to small print text.

Miracle Fairway is a display serif font in a thick weight design with which you can create elegant, modern, interesting designs full of fun energy. The letters’ proportions and the high contrasts are at the same level for a great legibility reason to make this font applicable to any text sizes. You may also enjoy various features available in this font. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Miracle Fairway fits best for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Eksperiment is danish for experiment. Without much guessing or knowledge to danish, you probably already knew that! I like those danish words containing a "k" - is it because my name is spelled with a "k"? I don't know - maybe it's because it kind of represents the danish language, which is full of words with "k"s. Anyway, the reason for the name is that I wanted a font looking like it had gone through tough times, a bad copy machine and perhaps even crumpled paper...but the experiment is that the font is 100% made using digital media. I used my MacBook and my iPad creating this font. I find it quite amusing, that something 100% digital looks like something organic. I've added 5 different versions of each letter, which is really helpful when working with grunge fonts. It looks more natural, when the same letter rarely repeats itself.

Groovy started out as a prospective variant in the ‘Flashback’ series but very quickly established its own distinct appearance, especially with the lower case letters blending into the format so well. There wasn't any preconceived idea to design a retro looking font in principle, it simply evolved that way, but I do think it has several characteristics reminiscent of style genres from the '70s. It’s probably quite subliminal and like me, you may find yourself thinking, what does that remind me of? The double-entendre'd title is quite apt too, not merely for reasons of its outwardly retro appearance but also because of the considered, rounded elements forming the negative spaces throughout. The font also has something of a chameleon-like personality, being both adaptable and capable of having a trendy / fun appearance, or alternatively something solid and stylish, depending on the use, as demonstrated in the banner examples here.

URW Grotesk was designed exclusively for URW by Prof. Hermann Zapf in 1985. At the same time, Zapf designed URW Antiqua to go with URW Grotesk. At that time, we were working with a large German publishing house (Axel Springer) on type design solutions to replace certain of their newspaper fonts. Test pages of large German newspapers (e.g. Bildzeitung) were printed with URW Grotesk and URW Antiqua font families. For reasons not disclosed to us, the project was dropped and Springer never used URW Grotesk and URW Antiqua for that purpose. Anyway, Zapf finished his designs and URW produced both families. Zapf’s intention for the two typefaces was to design two highly legible, open and classical fonts that could be used for any kind of typography, especially books, newspapers, magazines, etc. However, we realized later on, that URW Grotesk is very well suited for multi media applications on screen.

URW Grotesk was designed exclusively for URW by Prof. Hermann Zapf in 1985. At the same time, Zapf designed URW Antiqua to go with URW Grotesk. At that time, we were working with a large German publishing house (Axel Springer) on type design solutions to replace certain of their newspaper fonts. Test pages of large German newspapers (e.g. Bildzeitung) were printed with URW Grotesk and URW Antiqua font families. For reasons not disclosed to us, the project was dropped and Springer never used URW Grotesk and URW Antiqua for that purpose. Anyway, Zapf finished his designs and URW produced both families. Zapf's intention for the two typefaces was to design two highly legible, open and classical fonts that could be used for any kind of typography, especially books, newspapers, magazines, etc. However, we realized later on, that URW Grotesk is very well suited for multi media applications on screen.