Inspired by the sleek lines of consumer electronics and the bold shapes of automobile design, Toxigenesis is the ultimate typeface for conveying a sense of scientific and industrial power. With its wide, plastic letterforms, Toxigenesis commands attention and exudes confidence, making it the perfect choice for any high-tech design project. Whether you’re designing the next generation of consumer electronics, presenting cutting-edge scientific research, or creating sleek industrial products, Toxigenesis is the font you need to make your message stand out. Available in five weights and italics, Toxigenesis gives you the flexibility to create powerful, attention-grabbing designs that convey your message with clarity and style. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though; in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from ultralight to heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic.

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though; in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from ultralight to heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic.

Corporate design and branding across global markets requires a universal typographic identity. The timeless, world-famous classic Neue Helvetica® typeface is now available as World fonts in the six most important styles. With support for a total of 181 languages, Monotype’s Neue Helvetica® World typeface family is suitable to meet the typographic and linguistic demands of large international brands, corporations, publishing houses, and software and hardware developers. Neue Helvetica World’s language support covers the pan-European area (extended Latin alphabet, Cyrillic and Greek) as well as Arabic, Hebrew, Armenian, Georgian, Thai and Vietnamese. The Cyrillic alphabet contains not only the standard options, but also the complete Unicode block u+0400. In addition, a large number of new global currency symbols have been included such as the Russian ruble, Turkish lira, Indian rupee and Azerbaijani manat. Neue Helvetica World is offered as OpenType font with TrueType (.ttf) or PostScript CFF (.otf) outlines. The files size are reasonably small, ranging from 140 to 270 KB depending on format and style. The uprights each include 1708 glyphs and the italics have 1285 glyphs (some scripts, such as Arabic, do not have an italic design). Typeface pairings for further global support Should the language support of Neue Helvetica World still not be sufficient for your markets, there are numerous other typefaces available which perfectly complement Neue Helvetica World. These are our recommendations for South and East Asia languages: - Devanagari: Saral Devanagari - Japanese: Tazugane Gothic or Yu Gothic - Korean: YD Gothic 100 or YD Gothic 700 - Simplified Chinese: M Ying Hei PRC or M Hei PRC - Traditional Chinese: M Ying Hei HK or M Hei HK Please contact a Monotype representative for other pairing recommendations or typographic consultations.

The Geometry Pro family has been designed to be the final word in purely geometric fonts, and this rounded “Soft” sub-family is the ultimate web 2.0 style font collection. Even though it is strictly geometric (as drawn with a compass and a ruler fixed to 90 and 45 degree angles) it is not slavishly modular: letters have differing widths, and the sidebearings, spacing and kerning has been finely adjusted to create smooth text. The Soft family contains three weights each with 6 variants: A is the basic form and the starting point B has more dynamic and modern shapes C has open and swirly shapes X is the serious text version Y has a very horizontal look Z is a collection of all the remaining more funky shapes Mix and match to your heart’s desire! Please enjoy the free “Bold N” version - this “notched” variant lets you test out the quality of the outlines and the language support. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

An entry in the Second Linotype Design Contest, Linotype Brewery, designed by Gustavs Andrejs Grinbergs, became part of the TakeType Collection in 1997. Brewery No 2 represents a significantly improved version of its precursor, and the typeface has been both extended and enhanced. When asked about prototypes, Grinbergs cites German typefaces of the early 20th century. It is thus not surprising that the characters of Brewery™ No 2 are based on geometrical forms. However, this is no mere synthetic Grotesque-derived typeface. It has significant contrasts in line thickness and triangular line terminals that are not unlike serifs, placing it in the middle ground somewhere between a Grotesque and serif font. The contrast between the features of a synthetic Grotesque and an Antiqua gives the characters of Brewery No 2 their distinctive charm and is the distinguishing attribute of this contemporary typeface. Additional vibrancy is provided by bevelled line endings (as in the case of the 'E' and the 'F'), the circular punctuation marks and the slight curve of the descending bar of the 'k'. Thanks to a generous x-height and its open counters, Brewery No 2 is also highly legible in small point sizes. Only in its bolder versions is another aspect of Brewery No 2 apparent; Grinbergs has here made the linking elements more rectangular and has emphasized the counters, so that the Bold variants of Brewery No 2 exhibit elements typical of a broken typeface. Brewery No 2 is available in seven finely graduated weights, ranging from Light to Black. Every variant has a corresponding, slightly narrower Italic version. In addition, the lowercase 'a' is given a closed form, the 'e' is more rounded and the 'f' has a descender. The character sets of Brewery No 2 leave nothing to be desired. In addition to small caps and ligatures, there are various numeral sets with old style and lining figures for setting proportional text and table columns. In its most extensive form (the Pan-European variant), Brewery No 2 can be used to set texts in many languages that employ the Latin alphabet and also texts in international languages that use Cyrillic or monotonic Greek orthography. Although some of the features of Brewery No 2, such as the tiny serifs, are only evident in the larger point sizes, this typeface is not just at home when used to set headlines. Brewery No 2 also cuts a good figure in short or medium length texts. This contemporary typeface with its formally elegant quality looks good, for example, on posters, in newspapers and promotional material. It can also be used for websites as it is also available as a web font.

An entry in the Second Linotype Design Contest, Linotype Brewery, designed by Gustavs Andrejs Grinbergs, became part of the TakeType Collection in 1997. Brewery No 2 represents a significantly improved version of its precursor, and the typeface has been both extended and enhanced. When asked about prototypes, Grinbergs cites German typefaces of the early 20th century. It is thus not surprising that the characters of Brewery™ No 2 are based on geometrical forms. However, this is no mere synthetic Grotesque-derived typeface. It has significant contrasts in line thickness and triangular line terminals that are not unlike serifs, placing it in the middle ground somewhere between a Grotesque and serif font. The contrast between the features of a synthetic Grotesque and an Antiqua gives the characters of Brewery No 2 their distinctive charm and is the distinguishing attribute of this contemporary typeface. Additional vibrancy is provided by bevelled line endings (as in the case of the 'E' and the 'F'), the circular punctuation marks and the slight curve of the descending bar of the 'k'. Thanks to a generous x-height and its open counters, Brewery No 2 is also highly legible in small point sizes. Only in its bolder versions is another aspect of Brewery No 2 apparent; Grinbergs has here made the linking elements more rectangular and has emphasized the counters, so that the Bold variants of Brewery No 2 exhibit elements typical of a broken typeface. Brewery No 2 is available in seven finely graduated weights, ranging from Light to Black. Every variant has a corresponding, slightly narrower Italic version. In addition, the lowercase 'a' is given a closed form, the 'e' is more rounded and the 'f' has a descender. The character sets of Brewery No 2 leave nothing to be desired. In addition to small caps and ligatures, there are various numeral sets with old style and lining figures for setting proportional text and table columns. In its most extensive form (the Pan-European variant), Brewery No 2 can be used to set texts in many languages that employ the Latin alphabet and also texts in international languages that use Cyrillic or monotonic Greek orthography. Although some of the features of Brewery No 2, such as the tiny serifs, are only evident in the larger point sizes, this typeface is not just at home when used to set headlines. Brewery No 2 also cuts a good figure in short or medium length texts. This contemporary typeface with its formally elegant quality looks good, for example, on posters, in newspapers and promotional material. It can also be used for websites as it is also available as a web font.

Introducing Paduka Script, Modern Smooth Calligraphy. 471+ glyphs included, with swashes alternative characters, suitable for any design needs, modern design, branding, stationery design, blog design, modern advertising design, invitation, wedding, special events, any lettering needs and more, for commercial use or personal use. Paduka Script is available for any printing needs, desktop, print on demand, video design, blog header image, or designing a commercial product for reselling. For Adobe Photoshop / Illustrator CC user, Swashes / Stylistic Alternates can be used directly. If you are a non-glyph panel software user, You can use the alternative letters by Install OTF font files. To activate the alternates click on Swash, and Stylistic Alternates in any OpenType savvy program or manually select the characters from Glyph Palette. Then Change the font to Paduka Script.

Mellow Sweety Script is a romantic typography. romantic, elegant & fun script font. Can be used for various purposes such as logos, wedding invitations, t-shirts, letterhead, signage, news, posters, branding, badges etc. Files include: Mellow Sweety Script OTT Mellow Sweety Script TTF See all the glyphs here: http://s28.postimg.org/7osts7ezx/All_Glyphs.jpg To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. How to get alternate glyph access from open type fonts: There are additional ways to access alternatives/swashes, using the Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using the Windows Character Map with Photoshop: Thank you!

“Mitten” is a bold serif that has a classic and bold style. Depicted to provide basic headlines that are confident and impressive - while still feeling warm and welcoming. there are 3 different styles that you can apply in your design projects. This typeface is perfect for an book or movie title design, fashion brand, magazine, clothes, lettering, quotes, social media posts and so much more. Mitten Features: · 3 Weights font (Regular,Italic,Bold) · Uppercase And Lowercase · Numerals & Punctuation · Accented characters · Multilingual Support · PUA Encoded While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to drop us a message. We'd love to hear your feedbacks in order to further fine-tune our products. Thanks and have a wonderful day

Say hello to Marshmallow Hot Chocolate Brush - A super-casual, super-versatile all caps brush font. Great at both Small and large sizes : Fine texture details on its edges make it pop at larger sizes, and at smaller sizes its stays crisp, neatly balanced and nicely legible. Perfect for making a statement - use it in quotes, punchy headers, posters, flyer design, packaging, in your illustrations that need legible handwritten captions - and so much more. Although Marshmallow Hot Chocolate is an all caps font, you will find uppercase and lowercase keystrokes have alternate characters. Opentype Ligatures are included to make it look more naturally handwritten in your designs. Four extra swashes are included in the glyphs set - open your glyphs panel to access them. Play with the letter spacing to get different looks and effects.

Introducing Notela by Forberas Club Notela is a Handwritten Script font that will make your designs look classic, Farmhouse, Boho, and Feminine. It is a great font for events, Wedding Project, fashion, apparel projects, signature, album covers, logos, branding, magazines, social media posts, advertisements, but it also works great for other projects. Add it to your fonts’ library, and it will enhance your creativity! Notela is best for: - logos, branding, & Signatures. - Flyers, Album cover, Magazine, & Advertisements. - Website design , design blogs, & fashion. - Quote graphics for social media. - and also it works great for other projects. Whats included : - Fonts are provided in OTF file formats. - Character Set - Numerals and Punctuation (OpenType Standard) - Accents (Multilingual characters) If you have any questions, before or after purchase, please feel free to get in touch.

Neon Rounded is a rounded monoline typeface inspired by retro neon light bulbs often used in signage. Neon bulbs were first seen back in 1910 in Paris. They later became popular in 1930s New York, especially on Broadway and the Las Vegas strip. Although Neon Rounded was designed with eye-catching signs in mind, its possible usage is vast. Clothing brands, road signs, logos and advertising. The heavier weights lend themselves to children's books and toys, while the lighter weights provide a more modern, futuristic feel. The typeface contains lower and uppercases in five weights: Light, Regular, Medium, Semi-bold and Bold. There are also alternatives for most letters and all numbers. The glyph set includes all languages covered in Basic Latin, Latin-1 Supplement and Latin Extended-A scripts.

Introducing Baby Bison by Forberas Club Baby Bison is a Handwritten Script font that will make your designs look classic, Farmhouse, Boho, and Feminine. It is a great font for events, Wedding Project, fashion, apparel projects, signature, album covers, logos, branding, magazines, social media posts, advertisements, but it also works great for other projects. Add it to your fonts’ library, and it will enhance your creativity! Baby Bison is best for: - logos, branding, & Signatures. - Flyers, Album cover, Magazine, & Advertisements. - Website design , design blogs, & fashion. - Quote graphics for social media. - and also it works great for other projects. Whats included : - Fonts are provided in OTF file formats. - Character Set - Numerals and Punctuation (OpenType Standard) - Accents (Multilingual characters) If you have any questions, before or after purchase, please feel free to get in touch.

Tomato is the digitization and quite elaborate expansion of an early 1970s Franklin Photolettering film type called Viola Flare. This typeface is an obvious child of funk, the audio-visual revolution that swept America and put an end to the art nouveau period we now associate with the hippy era. Funk is of course little more than jazz with a chorus and an emphatic beat. Nevertheless, it became the definition of cool in the 1970s, thanks to blaxploitation movies with excellent soundtracks like Shaft and Superfly. Funk began as a commercial audio experience, then later expanded its signature to cover everything, from design to fashion to the later birth of disco, which is really a further simplification of funk. Funk had very strong and unique typographical elements, particularly a kind of titling with an essentially western, wooden core that suddenly changed and flared in unexpected areas until a very individual brand was achieved. Everything that can be tacked on to the alphabet was used towards that individuality. Things like curls, swirls, swashes, ligatures were always plentiful in funk, sometimes giving the titling a specific gender, sometimes bulging, sometimes speeding, sometimes fading in the distance, sometimes doing nothing but crazily aligning with other design elements, but the result was always a fascinating creature that seemed to invariably want to dance and have fun. Tomato was built in exactly that spirit. The original film type certainly had enough swashes and curls to be an unmistakable funk font in itself, but our further expansion of it cements it and makes it the definite font for the genre. With as many as 12 different possibilities for some letters, the designer's choices for a titling set in Tomato are virtually limitless. The Postscript and True Type versions of Tomato come in five fonts, including two fonts for alternates, one font for ligatures, and one font for swashes. These are split into two affordable packages. The entire family package is also available at an even more affordable price, and includes complimentary Cyrillic, Greek, Turkish, and Central European versions of Tomato. A Tomato Pro OpenType version is also available. It is a single font that includes over 650 characters, glued together with extensive programming for convenience of use in OpenType-friendly applications, where you can watch the letters morph and dance as you push the buttons and change the options of your OT palette. Now you know which font will come to mind when someone says the word "funky".

Shout is a “Hey, Look at ME” font. It is an attention-getting font for posters, flyers and ads. Its lineage includes the Haas Type Foundry’s 19th century advertising font, Kompakte Grotesk, which Jan Tschichold (1902-1974) dryly described as “extended sans serif” and which graphic designer Roland Holst (1868-1938) would have disapprovingly referred to as a “shout,” as opposed to the quiet presentation of information that he believed was the proper function of advertising. In 1963 Letraset released what appears to be an updated variation in multiple weights designed by Frederick Lambert called Compacta. Shout draws heavily on Compacta, as well as other similar fonts of the 50s and 60s like Eurostile Bold Condensed and Permanent Headline. In weight, it falls about halfway between Compacta Bold and Compacta Black, but with a relatively heavier lower case that is not so easily pushed around by the upper case. After all, one can shout while sitting down. Shout is the first font released with our new encoding, as noted in the All_customer_readme.txt. The Euro symbol has been moved to position 128 and the Zcaron/zcaron have been added at positions 142/158 respectively. Otherwise, Shout has our usual idiosyncratic glyph selection, with the German ch/ck instead of braces, a long s instead of the Greek mu and our usual Hand-in-Hand symbol. There are also left and right glyphs of a big mouth ]ing (135/137) and left and right glyphs of an angry man shouting (172/177). Please use Shout with discretion. Folks get tired of being yelled out. After awhile, they stop listening. Shout ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Add glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 355 glyphs. 2. Added OpenType GSUB layout features: pnum, ornm, liga, hist & salt. 3. Added 266 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Revised hyphen, dashes & math operators. 6. Minor refinements to various glyph outlines. 7. Inclusion of both tabular & proportional numbers. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

The ITC Stone Sans II typeface family is new from the drawing board up. Sumner Stone, who designed the original faces in 1988, recently collaborated with Delve Withrington and Jim Wasco of Monotype Imaging to update the family of faces that bears his name. Sumner was the lead designer and project director for the full-blown reworking – and his own greatest critic. The collaborative design effort began as a relatively simple upgrade to the ITC Stone Sans family. As so often happens, however, the upgrade proved to be not so simple, and grew into a major design undertaking. “My initial intent,” recalls Sumner, “was to provide ITC Stone Sans with even greater versatility. I planned to add an additional weight, maybe two, and to give the family some condensed designs.” As Sumner began to look more closely at his twenty-year-old typeface, he decided that it would benefit from more extensive design improvements. “I found myself making numerous refinements to character shapes and proportions,” says Sumner. “The project scope expanded dramatically, and I’m pleased with the final result. The redesign has improved both the legibility and the overall appearance of the face.” The original ITC Stone Sans is part of the ITC Stone super family, along with ITC Stone Serif and ITC Stone Informal. In 2005 ITC Stone Humanist joined the family. All of these designs have always offered the same three weights: Medium, Semibold, and Bold – each with an italic counterpart. Over time, Stone Sans has emerged as the godfather of the family, a powerful design used for everything from fine books, annual reports and corporate identity programs, to restaurant menus, movie credits and advertising campaigns. ITC Stone Sans, however, lacked one attribute of many sans serif families: a large range of widths and weights. “These fonts had enjoyed great popularity for many years – during which graphic designers repeatedly asked for more weights and condensed designs in the family,” says Sumner. “Their comments were the impetus.” ITC Stone Sans II includes six weights ranging from an elegant Light to a commanding Extra Bold. An italic counterpart and suite of condensed designs complements every weight. In all, the new family encompasses 24 typefaces. The ITC Stone Sans II family is also available as a suite of OpenType Pro fonts, allowing graphic communicators to pair its versatile design with the capabilities of OpenType. These fonts offer automatic insertion of ligatures, small caps and use-sensitive figure designs; their extended character set also supports most Central European and many Eastern European languages. ITC Stone® Sans II font field guide including best practices, font pairings and alternatives.

Mundo Sans, by Carl Crossgrove for the Monotype Studio, is distinctive, approachable – and ready to tackle jobs both big and small. Its open counters and large x-height, which give the design a straight-forward no-nonsense mien, are softened by inviting calligraphic undertones. With 10 weights and a complementary suite of cursive italics, there is little outside the range of the Mundo Sans family. The light weights are elegant in packaging and brochure design, the medium are easy readers in digital blogs and print periodicals and the bold command attention in banners and headlines. Mundo Sans is at home in a wide range of sizes, and comfortable in everything from wayfinding to mobile apps. Mundo Sans takes on complicated branding projects with efficient grace. The family enables companies and products to express their brand seamlessly in websites, advertising, corporate messaging, packaging – virtually everywhere visible engagement is possible. A large international character set, that includes support for most Central European and many Eastern European languages, ensures ease of localization. Mundo Sans was originally released with seven weights. The family was updated with three new roman weights and their italics in 2019 that extend and diversify its range of use: a fine hairline weight, a book weight, slightly lighter than regular, and a demi that is subtly lighter than the medium. The design is also is a good mixer. It easily pairs with everything from refined Didones to stalwart slab serif designs. And if you need a more harmonious palette, look no further than Mundo Sans’ relative, Mundo Serif. The two designs harmonize with each other perfectly in weight, typographic color and proportion. Mundo Sans’ italics are true cursive designs, with fluid strokes and obvious calligraphic overtones. The flick of the down-stroke in the ‘a,’ the descending stroke of the ‘f’ and baseline curve of the ‘z’ add grace to the design and distinguish it from more mechanistic styles. Mundo Sans is a design with deep roots. It was originally drawn to pair with classic Renaissance book typefaces like Bembo® and ITC Galliard®. With a hint of diagonal stroke contrast and gentle flaring of strokes, Mundo Sans complements these designs with warmth and grace. Crossgrove says that Mundo isn’t meant to be showy or distinctive. It is intended to follow the tradition of sans serif designs that have a wide range of uses, enabling comfortable reading and clear expression. Crossgrove has designed a variety of typefaces ranging from the futuristic and organic Biome™ to the text designs of Monotype’s elegant Walbaum™ revival. His work for Monotype also often takes Crossgrove into the realm of custom fronts for branding and non-Latin scripts.

This is a cute story about a mother and her son. :) About a decade ago my own mother got very interested in my work. She used to say my letters had so many swirls and dazzling swashes, and suggested my job seemed to be very fun. She wondered if she could ever try to make her own alphabet... Well, she is a civil engineer and a maths teacher, and appeared to be a little tired of exact sciences... I remember answering this, while she was listening with her typical tender look: -"Mamá... While type-design may be a really enjoyable thing to do, it also involves having a great eye and knowledge about the history of letters: nice curves and shapes require a meticulous study and, like it happens in many fields, practice makes perfect"-. Well, she raised her eyebrows at me. -"and so what?"- She didn't have any experience neither in the field of art nor in the field of graphic design so, I told her that if she really wanted to get into this she should borrow some of my calligraphic books from my beloved shelves in my office. So... she did. Some weeks after that, she came to me with many sketches made with pencils and markers: some letters where very nice and unique while others naturally needed some work. I remember she added ball terminals to all of her letters (even if they didn't need them) because that was one of the rules she imposed. After some back and forth, we had the basis for what would be today, ten years later, the seed of this lovely font Girasol. Her proposal was nice, something I was not accustomed to do, that’s why many years later I decided to watch it with fresh new eyes and finished it. While she was in charge of making the lowercase letters, I helped with the uppercase and also added my hallmark in the alternates, already seen in others of my expressive fonts. The result is an upright decorative font that follows the behavior of the copperplate nib with a naive touch that makes it really cute and useful for a wide range of products. Many alternates per glyph make Girasol a very fun to use font which will delight you. Above posters are a proof of that! This font is a gift for my mother, Susana, who, in spite of her exacts academic background, taught me that beauty can also be found in the imperfect. 1 NOTES (1) In my fonts I'm always in seek of the perfect curve. When I designed Erotica and Dream Script, I read about Fibonacci’s spirals!

Juan Bruce’s Noort is not a type family for wayfinding or mapmaking alone, but for clarifying information and engaging readers along their own journey. The information designer’s role is to bring clarity and style to overwhelming amounts of information, which fortunately is Noort’s purpose as well. Hierarchies submit to its will and layering colour only adds more presence to its active posture. Noort’s design uses the proven editorial text features of a large x-height, ample spacing, and low contrast to check all the boxes for paragraph text use. But it’s the long serifs, wide characters, and overall typographic presence that make it resilient and ease the task of reading in small point sizes. These details mean Noort is able to demonstrate importance not only with its five pitch-perfect weights, but with its brindled colour within a layout. Noort’s roman and italic styles play off each other by transplanting their design features. The roman style’s serifs are transferred in substance but expectedly increased in speed in the italic styles. And the italic’s inktraps and separated strokes are echoed amidst the roman’s upright structure. Where digitisation could have removed the influence of the hand, Noort retains the analogue nature of its creation. This antiphonal seeding of details creates a cohesive family that is as fascinating as it is functional. Noort’s axis and serifs have a slightly varying ductus — the directional flow that aids reading and character clarity. Its latent obviousness in text sizes immediately becomes its signature style when bumped up to subhead sizes. And since Noort’s counters are so wide and welcoming, its heavier weights can expand more within themselves than along their exterior edges. Noort’s ten total fonts cover the Latin A Extended glyph set to bring its unbordered, globetrotting sensibilities to your projects. OpenType features include ligatures, fractions, and several figure styles, along with mature-rather-than-overbearing swashes. Aligned with TypeTogether’s commitment to produce high-quality type for the global market, the complete Noort family can set digital and printed works with ease, capitalising on the dual needs of clear information and fascinating textual artistry.

Oita might be a carefully crafted typeface family, created by a meat-bag human. Or, it might have been made by a supremely clever sentient robot. Found in the dark recesses of a top secret spy agency’s quantum computer, this font came with this somewhat unusual description, which is presented without comment. "To conquer, we cannot simply overcome. Success is found in supremacy--in the dominance of Oita. While looking for the right tool for this success, our research has led us to the finely executed forms found of military domination throughout history. In our labs, we've used our specialized machines to harness these forms' power and refined their impact through elements of contemporary and computer design. The structure proves to be robotic and squared on its edges. However, the chutzpah of this technical face still allows it to pass as if created by human hands. Our resulting payload, Oita, is modern and sturdy. While based on a practical, octagonal structure, make no mistake; this new instrument will drive forward the energy you want to push through your projects. Oita has 42 cuts certain to encompass your designs on world domination. Each font contains the glyphs to support over 52 languages. The font also includes tabular and lining figures, numerous ligatures, and selected advanced Opentype options, including stencil and experimental options to bring out the dynamic characteristics that have already been crafted into Oita. Early tests have found that the new instrument is easily scalable to smaller dimensions without reducing its impact. The font remains highly readable across a variety of applications. We speculate from our findings that it will be successful for sporting and technical applications. So for you who venture to use Oita, use it boldly. Don't just overcome. Dominate. Go and conquer mightily with Oita. We'll be watching." We may never know whether Oita hails from mind or mechanism. What we do know is that, should you choose to take on Oita, you'll be acquiring a dynamic poster and packaging face, a minigun-toting bad robot of a font that exudes pace and power.

Presenting the ✨Brolike Typeface✨ by alitdesign. Inspired by cassette music album covers in the 70s and 80s, a retro font was created in a calm and simple style but still gives an interesting and unique impression. Besides that, combined with a dynamic stencil style, the Brolike font becomes more stylish, especially if the design to be made uses swash on alternative fonts to create, for example, lettering or a logotype that is designed to make your design cool and different. Brolike font is very suitable for making designs with retro concepts, simple and playful designs, for example making magazine cover designs, music covers, YouTube thumbs, text headers, logotypes and so on with an elegant retort theme. Besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). Brolike font has a total of 746 glyphs including symbol, multilingual and alternative glyphs. We really enjoyed the process of making the Brolike font, we hope you are also happy when using the Brolike font. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Welcome King Hoshun, a display font with a superhero style ready to take your projects to a higher level. If you need a strong, bold, and action-packed theme like those in movies, games, or bold designs, King Hoshun is the right choice. With King Hoshun in attendance, your designs will be in the spotlight. Each letter is filled with strength and heroism that will make an unforgettable impact on the audience. The impressive and bold look of this font will make your message feel even more powerful and compelling. Not only does it look impressive, but King Hoshun also offers special features that enrich your creativity. With the available ligatures and alternative characters, you can explore unique and interesting typography combinations. Plus, this font supports multiple languages, so you can present a strong and inspiring message to a global audience. Join the power of King Hoshun and let your projects light up the world. With its bold superhero style and superior features, this font will give your designs an unforgettable impression. Don’t miss the chance to own King Hoshun and create amazing works that amaze and inspire. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Presenting the 🎃 Hellghost Typeface 🦇 by alitdesign. Hellghost typeface is designed for the needs of design concepts themed about Halloween and events in October and November. The Hellghost font uses a serif font style that varies by distorting its shape randomly but still looks good to look at and makes the designs it creates look bold and unique. In addition to the standard type, Helloghost also has a rough version which makes the design look more rusty and suitable for the Halloween concept. The Helloghost font also gets a bonus character of 100 Halloween-themed illustrations that make creating designs even easier. Simply by downloading the Helloghost font, creating a Halloween themed design is very quick and easy. The Hellghost Typeface is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with halloween and dark concepts. besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Hellghost Typeface contains 623 + 100 bonus glyphs with many unique and interesting alternative options. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Say hello to Ridasbin, a loyal friend in the world of design! With this classic serif font, you can feel the luxury of classic modernism in every project you work on. Whether you are creating posters, brochures, or other designs, Ridasbin will give you an elegant and unforgettable touch. The elegant and classy serif style on Ridasbin will make your designs look professional and classy. Each letter is designed with subtle details and perfect proportions, creating a timeless look. Not only that but Ridasbin is also equipped with special features such as ligatures and alternative characters that allow you to experiment with various interesting letter combinations. You also don’t need to worry about using various languages, because Ridasbin supports multilingualism. This means you can be creative and reach audiences from all over the world easily. With Ridasbin, you can present a stunning classic modernism charm in your designs. Display unforgettable elegance and charm, and make a lasting impression on your potential customers. Don’t miss the chance to own this beautiful classic serif font. Get ready for satisfaction and great design results with Ridasbin! What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Meoru Gend is a display font that presents superhero strength, courage, and modernity in every action. With a strong, bold, and futuristic style, this font is the perfect solution for creating action-packed and epic gaming experiences. In every letter, Meoru Gend brings life to your display with electrifying energy. From bold, sharply contoured typefaces to seamlessly blended modern elements, this font will bring immense visual power to your game projects. Meoru Gend offers not only impressive styles but also creative features that enrich your work. With the available ligatures and alternates, you can create unique and interesting variations of your style. Also, with multilingual support, this font can be used in multiple languages to reach a global audience. If you’re looking for a strong, bold, modern, and action-packed font for your game projects, Meoru Gend is the right choice. With benefits that include an impressive look, futuristic style, and creative features such as ligatures and alternates, this font will quickly catch the attention of your potential customers and bring you an extraordinary gaming experience in no time. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Introducing 'Afolkalips' a tribal display font. Inspired by hinterland culture in the world, especially Papua Tribe, Indonesia. The Papuan Culture has many native tribes based on their location, culture and different ancestors. The equation is, they have a culture of decorating the body with paint from plants. The motives are also diverse, but with the characteristics of firm lines. In addition to various line motifs, Papuan hinterland people also explore colors that distinguish one tribe from another. You can see it on face decoration, as well as their body parts. The tools they used to paint their faces were usually with wood or leaves. Clear lines are etched, producing a natural, rough and authoritative form. It is this form that inspires us in designing the 'Afolkalips' typeface. All-capitals font with strong strokes that very recommended for headline or display on a traditional theme. Complete with 50+ custom ligatures that give you more variations. Also featured with 28 accents. This font also has ornament swashes to give your design more tribal looks, you can use the swashes as a frame or decoration. Suitable for your design such as poster, flyer, t-shirt design, logo, magazine, signage, or billboard. Afolkalips is a minimalist-joyful font which is flexible to apply in bright theme or elegant style. What you'll get : - Uppercase - Lowercase - Numbers - Punctuations - Symbols - Stylistic alternates - Ligatures - Accents Hope you like it! Thank you for your support and happy designing!

Introducing Akahe, a font that blends traditional elegance with modern sophistication. With its thick strokes and serif edges, Akahe adds a touch of classic style to any design. And with its stylistic set options for upper and lowercase letters, you can personalize the font to suit your unique style. Whether you’re working on a website, a brochure, or a branding project, Akahe is the perfect font to elevate your designs. Its thick strokes and serif edges make it highly legible, so your designs will always be easy to read and understand. But Akahe isn’t just beautiful, it’s also versatile and functional. You can use its stylistic set options to customize the font to your specific needs, making it perfect for a wide range of design projects. And with its comprehensive character set, you can create designs in multiple languages. So why settle for a standard font when you can have Akahe? Download it today and start creating designs that are both classic and modern, sophisticated and stylish. Whether you’re working on a large-scale project or just looking for a new font for your personal designs, Akahe is a perfect choice. What’s Included : - File fon - All glyphs Iso Latin 1 - We highly recommend using a program that supports OpenType features and Glyphs panels like - many Adobe apps and Corel Draw, so you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Introducing Yenisei - a modern serif font inspired by unique typography and lettering found in luxury serif styles, combined with modern typography elements. Yenisei features modern ligatures that allow you to create beautiful lettering and artwork. The font also comes with open type features, including alternate glyphs and end swashes, providing you with creative options for your designs. Yenisei is perfect for a wide range of design projects, such as logotypes, headings, covers, posters, logos, quotes, product packaging, headers, merchandise, social media graphics, greeting cards, and more. Its versatility makes it suitable for various design applications, adding a touch of elegance and modernity. To access the alternate glyphs, you will need a software program that supports OpenType features, such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe InDesign, or Corel Draw. This allows you to fully utilize the font's design possibilities and create unique compositions. Your zip package will include the Yenisei font files in otf, ttf, and woff formats, providing compatibility for different design projects. The font includes uppercase and lowercase letters, numerals, punctuation, and symbols, giving you all the essential elements for your designs. Yenisei also supports multilanguage characters, making it suitable for designing in various languages. Whether you're creating designs in English, Spanish, French, or any other language, Yenisei has you covered. In summary, Yenisei is a modern serif font that offers unique typography and lettering with a touch of luxury and modernity. With its open type features, multilanguage support, and versatile design applications, Yenisei is a great choice for your creative projects. Thank you for choosing Yenisei from our collection. Happy designing!

Regards! Get to know Refdisav, a classic serif font that’s ready to add a magical touch to your design projects! With an elegant classic modernism theme, this font is the perfect choice to give any creation a timeless, classic feel. Rephdisav comes with an alluring elegance and a captivating serif style. Each letter is designed with great attention to detail and perfect proportions, creating an impressive and professional impression. In every project, Rephdisav is able to exude a classic modernist charm that is so charming. Not only that but Rephdisav is also equipped with great features such as ligatures and alternative characters that give flexibility in experimenting with interesting and unique letter combinations. You can easily create designs that are creative and different from the others. Apart from that, Rephdisav also supports multilingualism, allowing you to easily reach an international audience and broaden the scope of your designs. Whatever language you use, Rephdisav will be a loyal partner who is ready to give beauty and perfection to every design. With Refdisav, you can create works that depict the luxury and timelessness of classic modernism. Show an elegant, professional, and classic style in every touch of your design. Don’t miss the chance to own this eye-catching classic serif font. Rephdisav will be a bridge to satisfaction and beauty in your design projects. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Cotton is the perfect addition to your graphic design arsenal. With a vintage t-shirt texture, this casual typeface captures the spirit of the twentieth century. Its unique and informal style will make your message stand out from the crowd. And if you’re tired of plain and repetitive characters, Cotton has got you covered. Its OpenType-savvy apps feature letter pair ligatures that break up the monotony and add a touch of style to your designs. So why settle for boring fonts when you can have Cotton? Let this retro-inspired typeface take your designs to the next level and create a look that’s uniquely you. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

It's 1984 and everything has sideburns. Shoulder-padded "dress for success" is in, with power suits for women, black and white layers for men, neon brights for the youngsters. Maggie's "enemy within" and "no society" speeches preface the arrival of shopping malls and corporate status symbols. The economy is a philosophy and accountants carry ambiguous but very sophisticated-sounding titles. Thousands of words and expressions are reduced to initials or monosyllabic sounds. Synthesizers are very refined and the music is very catchy. The Macintosh and MTV are making waves. Brands are lifestyles. "Yuppy," Yummy," "Bobo," "Dinky" and "Woopie" are standard consumer categories in advertising lingo. The Volkswagen identity, only 5 years old now, is all the rage in design. VAG Rundschrift, by all appearances a rounded and slightly condensed Futura, is everywhere. Tube design is king. Fast forward two dozen years. Replay, but bigger and much louder. Fab. Let's dance. Fab is Canada Type's tribute to the Eighties. It's a five-font unicase family that brings tube design into the 21st century. The main font is an all-in-one treatment of the shiny roundness that the 1980s were. Fab White is a tightly packed thick outline font that conveys luscious contentedness like nothing else. The Fab Trio package is very useful for layered and colorful design, with the Black style serving as a backdrop, the Bold style as the front forms, and the Fill style for inlining. Fab comes in all popular formats and contains support for Western, Central and Eastern European languages, as well as Baltic, Esperanto, Maltese, Turkish and Celtic/Welsh languages.

Comenia Sans was designed in the framework of a unique typographic project for all types of schools. It is a complementary face for Comenia Serif, released by our friends at Storm Type Foundry. Comenia Sans has a lot in common with its serif sister: the height of both upper and lower case, the length of ascenders and descenders, and the general weight. This makes the two perfect partners which work well even when set side by side in a single line of text. Comenia Sans does, however, lack all serifs, ornamental elements and stroke stress variation. All these elements freshen up the feel of long texts, but for shorter texts use, they are not necessary. Despite that, Comenia Sans retains the soft, friendly character of its big sister, as well as a few tiny details which lend it its unique character without compromising legibility or utility. Open counters give all letters an airy feel and permit enough variation in construction. This is why the face works well even in multiple-page texts. All its letters are easily distinguished from each other, so the reader's eyes are not strained. Diacritics and punctuation harmonize with both upper and lower case. As usually, all diacritical marks fully respect conventional shapes of accents and they are perfectly suitable for Czech, Slovak, Polish and other Central European languages, where a lot of diacritics abounds. Similarly to the renaissance italics which refers to the cursive forms, Comenia Sans introduces novel shapes of some characters drawing from the hand-written heritage. This is most apparent in the single-bellied a, the simplified g, and the stem of f which crosses the baseline and ends with a distinct terminal. In the text, emphasized words are thus distinguished not only by the slant of letters, but also by the shapes of the letters themselves. All twelve styles contain set of small caps, suitable for the names, in the indexes or the headlines in longer texts. Legibility in small sizes under 10 points was at the center of designers' attention, too. This is why the counters of a, e and g are large enough to prevent ink spread in small sizes, both on-screen and in print. After all, the font was specifically optimized for screen use: its sober, simple forms are perfectly fit to be displayed on the computer screen and in other low-resolution devices. When used in the context of architecture, the smoothness of all contours stands out, permitting to enlarge the letters almost without limit. A standard at the Suitcase Type Foundry, each style of Comenia Sans boasts a number of ligatures, an automatic replacement of small caps and caps punctuation, a collection of mathematical symbols, and several types of numerals which make it easy to set academic and other texts in an organised, well-arranged way. For the same purpose, fractions may come in handy, too. Apart from the standard emphasis styles, the family also contains six condensed cuts (each set has the same number of characters), designated for situations where space is limited or the need for striking, poster-like effect arises. Comenia Sans is the ideal choice for the setting of magazines, picture books, and navigation systems alike. Its excellent legibility and soft, fine details will be appreciated both in micro-typography and in poster sizes. Although it was designed as a member of a compact system, it will work equally well on its own or in combination with other high-quality typefaces.

In the world of graphic design, there are some typefaces that stand the test of time and become ingrained in the collective creative consciousness. Neuropol is one of those typefaces, and Neuropol X is the enhanced version that takes things to the next level. With its broad, futuristic letterforms, Neuropol X is a true classic of the Y2K design era. The smooth, plastic strokes evoke images of a time when technology was exploding with possibilities, and designers were eager to incorporate these visions into their work. The truncated, rounded strokes of Neuropol X bring to mind the shapes of lasers, circuit boards, and oscilloscope vectors—all hallmarks of the Y2K design aesthetic. This expanded version of the original Neuropol, first released in 1996, comes in a bigger family, with five weights, three widths, and italics. This range of options allows designers to create a diverse array of looks, from sleek and modern to bold and attention-grabbing. Whether you’re creating a website, a brochure, or a brand identity, Neuropol X has the versatility and timeless appeal to elevate your design to the next level. If you’re looking to tap into the iconic design trends of the Y2K era, look no further than Neuropol X. It’s a typeface that’s been tried and tested by generations of designers and has stood the test of time for a reason. So why not add it to your toolbox and see how it can help take your designs to new heights? Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Looking for a typeface that’s as unique as your personality? Look no further than Sui Generis, the rounded square sans-serif that’s unlike any other. With its technical letterforms and boxy curves, Sui Generis has an industrial character that’s all its own. It’s the kind of typeface that demands attention, without ever feeling pushy or obnoxious. In fact, its understated charm is part of what makes it so special. But don’t let its quirky personality fool you—Sui Generis is as practical as it is unique. With four weights, two widths, italics, and an outline style, it’s incredibly versatile and perfect for any project that requires a touch of character. So if you’re tired of bland, run-of-the-mill typefaces that all look the same, give Sui Generis a try. Its square letterforms and distinctive voice will make your design stand out from the crowd, and leave a lasting impression on anyone who sees it. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Sparkster - Futuristic Font Introducing Sparkster, a bold and sleek futuristic font inspired by modern digital technology. This typeface is designed to create a cutting-edge and futuristic vibe for your design projects. The Sparkster font family includes both uppercase and lowercase characters, with Opentype features such as alternates and ligatures for a more customized look. The idea behind Sparkster was to create a typeface that captures the essence of digital technology and future-oriented design. With its bold and sleek appearance, it is perfect for a wide range of design projects, including logos, covers, posters, branding, UI, titles, and more. Whether you're designing for a tech company or a forward-thinking brand, Sparkster is sure to make a statement. For a futuristic and modern look, try using Sparkster for your branding and packaging projects. Its bold and sleek appearance is perfect for creating a cutting-edge and futuristic feel that will make your brand stand out. You can also use Sparkster for album covers, posters, and social media graphics to give your designs a high-tech and futuristic vibe. Sparkster comes with a range of features, including uppercase and lowercase characters, Opentype alternates and ligatures, and multilanguage support. It also includes numbers, punctuation, and symbols to make it versatile for a range of design projects. In the font package, you will receive three different file types: Sparkster OTF, Sparkster TTF, and Sparkster WOFF. This ensures that you can use the font on a range of devices and software programs. In summary, Sparkster is a bold and sleek futuristic font that is perfect for creating a cutting-edge and modern look for your design projects. With its unique and customizable features, you can make your designs stand out and make a statement. Try using Sparkster for your branding, packaging, logos, album covers, posters, and social media graphics to create a high-tech and futuristic feel.

Odile is a text typeface with bracketed head and bracket-free bottom lower case serifs, a quality that counters rigidness most traditional slab serif typefaces possess. This contemporary design draws inspiration from an experimental typeface named Charter originally designed by the American book and type designer William Addision Dwiggins. It consisted of an informal lowercase alphabet, a narrow seemingly non-inclined vertical letter with script attributes, featuring non-joining letterforms. Dwiggins’ contemplated Charter as the italic companion to Arcadia, Experimental No. 221. The Charter project progressed sporadic stalled during the Second World War and came to a halt in 1955. Charter remained incomplete and was never commercially released. Assessing Charter’s whimsical design, its fragments were rethought and developed into a comprehensive text family. Odile Upright Italic reveals recognizable similarities shared by Dwiggin’s Charter and defines the design approach for the family. The steep calligraphic outstroke and low junctions off the stem as in the upright italic “n” or “r”, for example, are gradually lessened in the italic and moved up for the roman weights. The six optically balanced weights range from the delicate Light to stark Black, accompanied by display variants with feminine flair and ardent Ornaments. Two sorts of Initials, one amplified with interweaving swashes, the other more restrained, both are clearly derived from the Upright Italic. This mid-contrast serif offers a wide range of tools for text and display typographies with a palette of strict to playful. This family shines in magazine, book and display use. The graceful serifed type harmonizes perfectly with Elido, Odile’s sans companion. Sans and serif share the family array and OpenType features in perfect tune. Odile offers an extensive character set, numerous OT features including roman and italic Small Caps, five sets of numerals, alluring ligatures, and many more. OT stylistic variants (with accents) offer a one-story “a” for the roman weights, alternate “g” and “s” designs for the italics, and a variant “s” for the Upright Italic.

PHOENICA is a contemporary humanistic typeface family suitable for traditional high-resolution print purposes, office application and multi-media use. Of the creation formed the basis an idea which was developed for the first time by Lucian Bernhard approx in 1930 with the Berhard Gotic and was taken up in the last time by different written creators repeatedly: the repeated elimination anyway (in comparison to a Antiqua, e.g. Garamond) already very much diminished form Grotesque (as for example Helvetica) by systematic leaving out of the serifs. The horizontal direction of the writing is thereby stressed remarkably by which so-called »Rail effect« originates. The eyes can grasp the line to be read very well what is ordinarily left to a Serif-stressed font. By this desired effect is suited PHOENICA also for big text amounts. In numerous test runs Stems and tracking was compared to experienced fonts and was adapted. The experienced was taken over without renouncing, nevertheless, the modern and independent character PHOENICA. PHOENICA offers to you as a welcome alternative to the contemporary humanistic Sansserif. It is a very adaptable family for text and Corporate design uses. Several companies have discovered PHOENICA meanwhile as a Corporate font for themselves and use them very successfully. She provides a respectable typeface combined with refinement and elegance. Every PHOENICA family has at least six weights in each case in regular and italic. In addition more than three fine Haarline weights (Hairline 15, 25, 35). These are a total of 27 possibilities. Phoenica as well as Phoenica Condensed are excellently readable fonts, because they were optimised especially for amount sentence. Both basic styles (Regular and Condensed) are tuned on each other and follow the same form principle. The family is neither exclusively geometrical nor is constructed humanistically, the forms were sketched on quick and light Recognition effect of every single letter. The PHOENICA family design and logo is suited for all only conceivable uses like newspapers and magazines, for the book typography and Corporate Design.

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.

Hilluxos Script a new fresh & modern script with a handmade calligraphy style, decorative characters and a dancing baseline! So beautiful on invitation like greeting cards, branding materials, business cards, quotes, posters, and more!! Hilluxos Script come with 300 glyphs+. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. International Languange & Symbols Support Punctuation & Number PUA Unicode Range Standard Ligatures Discretionary Ligatures Stylistic Alternates Stylistic Set 01-02 Character The ZIP file are include the following.