Compatil from Linotype is the first comprehensive type system which enables all typographical elements to be used to full effect in order to reproduce the message conveyed by text information. Four different type styles with a total of 16 weights including italics have been merged into a unique typographical network. There are now no limits to the font user's creativity.The system is a product of technical innovation and constitutes a new design approach which meets the highest aesthetic standards. Compatil is a typeface family from the Platinum Collection. This series was created for the highest quality demanded by professional typography and includes complete families digitized using the newest technology, serving the specific needs of corporate design and similar projects. This Value Pack contains four different type styles of the Compatil type system: Linotype Compatil Exquisit Pro Regular, Italic, Bold and Bold Italic. These Pro fonts include the small caps and Adobe Central European character set for OpenType-supporting applications like Adobe InDesign.

ITC Chino is a type family (Display & Text) designed by Hannes von Döhren and Livius Dietzel. ITC Chino Pro brings legibility and distinction to text copy. It is also a friendly design that will invite readers into content at large or small sizes. It is a melding of soft brush stokes and crisp edges. This is readily apparent in the bolder italic weights where the straight stems provide a counterpoint to the cursive terminals. The Typefamily is highly legible in a wide range of sizes. The text side of the family contains five weights of roman, each with an italic companion. Ranging from Light to Black, ITC Chino Pro provides a rich typographic palette. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages. Each font includes small caps, fractions, old style-, lining-, tabular numbers, scientific superior/inferior figures and a set of arrows.

Genesis is a digitization and expansion of a Frank Riley metal typeface called Grayda, originally published to much applause by ATF in 1939. The concept for this disconnected script is quite novel and original among cursives and calligraphic fonts: The minuscules are mostly made with slightly clubbed strokes, which becomes clearly visible in the ascenders and descenders. This alone gives the face a bubbly appearance unlike any other. The formula is completed with two sets of beautiful calligraphic majuscules and a few alternates. The character set of Genesis boasts full support for Western, Central and Eastern European languages, as well as Baltic, Celtic/Welsh, Esperanto, Maltese, Turkish and Vietnamese. Genesis is available for all platforms and in all popular formats. Genesis Pro, the OpenType version, is where the caps and a few other variations alternate stylistically at the push of a button in OT-savvy applications. Genesis Pro also contains class-based kerning.

Sneakers was a typeface that I originally drew all the way back in 2005, with a release in 2006. Its most recent iteration, Sneakers Pro was released in 2009. Since then, the idea of reworking the design has lingered in the back of my head, but I wanted to add additional flexibility and value to anything offered beyond the originals. Sneakers Max does just that and I am happy to see it released and available to everyone. Sneakers Max raises the bar in terms of functionality… incorporating all of the options found in Sneakers Pro (e.g. Small Caps and a biform/unicase located now in Titling Alternates), but it expands the character offering, improves on letter designs (everything was redrawn) and explores more flexible settings by providing 5 distinct counter widths to keep more uniform multi-line settings with mixed letter heights. Special thanks to Potch Auacherdkul for his additions to the original character set and for his engineering skills.

Handmade, expressive, lively, organic— …words typically used to describe a script font or a casual sans. Spry Roman opens up new possibilities. It’s origin is handwritten letters created using a pointed nib on slightly toothy paper. While based on a Roman form, the letters are designed to break out of the mold and dance along the baseline. Spry Roman Pro is a fully featured opentype font. Among the 964 glyphs are loads of alternate characters and swash letters; a full set of small caps; simple fractions; case sensitive punctuation; and a variety of ornaments, border elements, and flourishes. It also includes a full dose of language support for not only main characters, but also for alternates and small caps. Ligatures have been kept to a minimum to allow users the option of tracking text. **Please note that the Pro version has all the glyphs of the others combined. The smaller versions are for those who don't have opentype savvy apps like Adobe Illustrator.

Thorngumbald is a quirky and playful sans-serif typeface designed to provide a high level of differentiion between glyphs, aiding with reading fro dyslexic and vision impaired users. It’s also a great option for any organistaion or designer looking to use something a little different. There are five weights, ranging from thin to black, with matching italics. Thorngumbald features 885 glyphs, supporting a large nuber of latin languages, with thorough kerning for accented character combinations, polish alternatives for acute accents, oldstyle and tabular figures, expanded currency symbols, contextual, discretionary, and standard ligatures, mathmatical symbols, contextual alternatives, and more. Thorough kerning has been undertaken for non-English languages, making Thorngumbald the perfect choice for organisations that need to display information in different latin-based languages. Originally launched in 2022, Thorngumbald has been through a robust process of updates and refinements and is stronger than ever. Originally featuring a core RIBBI font set, the family has grown to include additional styles for when the occasion calls for something extra. Language support includes: Bosnian, Catalan, Czech, Danish, German, English, Spanish, Estonian, Finnish, French, Irish, Croatian, Hungarian, Icelandic, Italian, Lithuanian, Latvian, Maltese, Dutch, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Albanian, Swedish, Turkish.

EbuScript by José Manuel Urós. OpenType, 1 style The very first font of Type-Ø-Tones, EbuScript, comes from the pen of José Manuel Urós —nicknamed Ebú in those times. Now it is still in our catalogue thanks to a completed and improved version.

The San Jose type family provides an array of variants representing a simplified, bay area slant on traditional Chicano American street scripts. The styles in this set can be used in all caps for the most authentic appearance or in a more typographically traditional small caps format. This set also includes latin supplement support and a robust character set in six styles. 3 Stroke variants: Regular, Rough & Bold each have a leaned back, traditional slant variant.

Premier font was designed by Colin Brignall. Premier Lightline displays all the elegance and sophistacation of the 1920s and 30s and consists of a refined lowercase with high ascenders and generous capitals which can also be used alone. Premier Shaded is an all caps typeface which provides a robust counterpart to the fine elegance of Premier Lightline. Premier Shaded should be used with close or ever overlapping letter spacing and is ideal for strong, eye-catching headlines.

M Ellan HK is a soft yet robust typeface that strikes an appropriate balance between vertical and horizontal strokes (豎、橫). Finials of strokes are sharp but gentle, alluding to the appeal of calligraphy. It is elegant as well as contemporary. M Ellan Light features similar thickness in vertical and horizontal strokes (豎、橫) that together make it lucid and appealing, while thickness of strokes in M Ellan Bold are accordingly adjusted to maintain its friendly and graceful character.

Forbes consists of one bold weight and is an alphabet in the style of the bold English slab serifs, as made evident by its flexed serifs. This style first made its appearance in the 19th century. It was used at first only on posters but later became available in smaller point sizes and was then be used for titling and headlines. With its robust figures, Forbes should be used exclusively for these applications in middle and large point sizes.

Arlo is a geometric sans serif typefac containing purposeful subtle design touches, details, and deviations from conformity. The width of the counters and comfortable, breathable apertures means that Arlo Sans has excellent legibility and contrast throughout weights and sizes. Mastered for optimal readability, Arlo Sans is a versatile typefamily, designed with robust, reliable forms; it contains its contemporary personality. The family includes over 20 stylistic glyphic alternatives making it stunningly versatile with its modern details and classic styles.

This font, as indicated by its namesake, was designed and started by the late Bob Alonso. It represents the first of his unfinished work to be completed by friend and colleague John Bomparte, following Bob's passing in December of 2007. It is a font that speaks with a distinctively robust voice; and would be a great choice for a wide variety of uses. Central European languages are supported through OpenType, and Windows/Mac OSX TrueType versions.

Faculty is a robust, warm and rational sans, with a large x-height that lends clarity in text and headline. Functional, clear and authoritative, it still has character. Stroke terminals are cut vertically or horizontally, minimising inter-letter gaps and lending it an even 'colour' in extended settings. Suitable for both headlines and text, the family has extensive language support, alternative characters, lining, tabular and old style numerals, making it a versatile all-purpose type system.

Horndon is a decorative revival of late art nouveau style typefaces. The robust, high waist forms of these letters lend a unique, early 20th Century feeling of optimism to text designed with them. The letterforms themselves have adapted a three dimensional appearance: they each sport an individual drop shadow. Horndon is an all caps typeface, which was originally designed in 1984 by Martin Wait for Letraset. A similar art nouveau typeface, Galadriel, is also available from Linotype."

Barmoor is a robust, classic roman display face, inspired by the letter designs of the Parisian craftsman Claude Garamond and other 16th century French engravers as well as antique roman letterforms. It works especially well letterspaced and in all caps. Alternate W, R, J, M, Q and K can be used to add a modest bit of flair to letterspaced, all cap treatments. Barmoor is mainly intended to be a display font or a limited text font.

The Hobo font is a dynamically tapering face in which all strokes are accentuated curves, achieving a superb decorative effect. Hobo almost suggests a freely drawn alphabet with its unusual robust roundness. The Hobo font was designed to be used at large sizes. It has no descenders: the lower case g, p, q and y are incorporated into the x-height. The Hobo font imparts a friendly personality to display work such as invitations, menus, signage and packaging.

Step back in time and embrace the nostalgic allure of Blinkford, a captivating uppercase display font that transports you to a vintage charm. The characters are bold and robust, evoking a sense of grandeur and prominence that harks back to a bygone era. The open layout enhances legibility and imparts a sense of spaciousness that is characteristic of vintage typography. As a special bonus, this font includes ornaments. Blinkford fits in headlines, logos, branding materials, and many more.

I am inspired by imagery that technology has rendered obsolete. I treasure anachronistic packaging and design which has somehow evaded obliteration by focus groups.I especially admire the packaging for A&P coffee brands Eight O'Clock, Red Circle and Bokar whose eccentric yet elegant typography harkens back to an earlier, less complicated era. The font Bokar is my nod of appreciation to those robust and full-bodied blends spared from the bland, tasteless scourge of corporate branding.

Sánchez, designed by Daniel Hernández, is a serif typeface belonging to the classification slab serif, or Egyptian, that bears a strong resemblance to the iconic Rockwell. Offering contrast and balance to the square structure, Sánchez Slab is a new version, more robust with straight edges, that give greater character and power. Sanchez Slab comprises 12 variants, ranging from extra light to black, each of the same x-height. Regular and Italic variants are available for free.

Inspired by the urban typography, which later led to a grotesque style. It can be used for bold editorial statements graphic heavy prints or just as a simple logo. This new type will definitely make your designs stand out and unique. Its robust, strong and contemporary form makes it perfect for any project that needs the extra strength. Humanism is available from A to Z in the regular and italic style, developed in an urban style.

Markisa is a simple, cool, and dynamic Humanist-flavored Sans Serif type family. It consists of eighteen weights from Thin to Black in both Upright and Italic styles. The resilient yet robust typeface. A san-serif with a humanist touch, a steady combination of seriousness and merriment. Works well as texture in small sizes, while at the same time claiming its space on the display. With its distinctive characteristic, can catch anyone’s attention wherever and whenever.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

DESCRIPTION Now my feelings about didones are more than evident. After some years of roman-abstinence (1) I present Heroe, an interesting combination of elegance and sensuality. Heroe, spanish for hero, takes some aspects of roman typefaces to the extreme like my main inspiration, the great Herb Lubalin, did in the majority of his works: Thins turned into hairlines, altered proportions (for display purposes), unique ball terminals, poetic curves and a graceful way of placing them together on a layout. Its classy style makes the font perfect for a wide range of uses. Imagine Heroe Inline (my favorite) dancing over a bottle of perfume; printed on the cover of a fashion magazine; lighting wedding invitations up. Its partner, Heroe Monoline, may help you to make more elaborated pieces of design. Just combine it with Heroe, or Heroe Inline and see how perfect they match. TECHNICAL The difference between Pro and Std styles is the quantity of glyphs. While Pro styles have all the decorative characters available, Standard ones have only the basic set of them. Heroe Monoline Big and Heroe Monoline Small were made for better printing purposes. If you need to print the font in small sizes, then your choice should be Small. Heroe Monoline has the same alternates (and open-type code) as Heroe Pro and Inline, plus some decorative ligatures. NOTES (1) After fonts like Breathe , Aire , and the award winning Reina , I started experimenting with scripts a little more. Erotica , Bird Script and Dream Script are examples of that.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Cassia - a dynamic ‘Egyptienne’ with contrasting Italics and a classical appearance. More individual and agile and less cold than most Slab Serifs, it joins impetuosity with vitality. In display sizes it dazzles through its lusty appearance, and, even in the smallest sizes, it works superbly for large amounts of text. Cassia comes in ten styles, in OpenType format and with extended language support for more than 40 languages. All weights contain small caps, standard and discretional ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals.

In isolated Eastern European states, atop cold castle towers, nefarious nonbelievers are discussing their diabolical devises with their minions, acolytes and sweet little Yorkshire terriers! Evil Doings is a font that gives form to the softly spoken schemes and terrifying tweets of these psychopaths, sociopaths and just plain naughty boys and girls. Will Good Triumph and Defeat the EvilDoings of EvilDoers?! Only if we listen to the cries of the oppressed proletariat and quash the devilish dreams and evil schemes of Fascist Dictators EVERYWHERE! Features: Four fonts (Regular, Italic, Bold & Bold Italic) with upper and lowercase characters. Includes Western European international characters.

A condensed font using constructivism history to convey the cold hearted steel of machinery and progress. Gridlock tries it's best to fit as much info as possible in a small space neatly in line and with the subtle curves and smoothness of bent steel. The inspiration for Gridlock actually came accidentally after designing some lettering for a self-promo project and it needed something that just was condensed with visual appear. So imagining about how condensed fonts feel, I imagined them being squished together just like cars in traffic are forced to work together to make it to their end destination.

Inspired by public fonts in New York in the 1970s. Authority pays tribute to the almost unnoticed but powerful effect type have on our lives. From waiting on a cold morning to catch the 307 to Morton West High School, to the rain and snow worn stencil on a postal box. Public typography is a part of the little spaces in your lives where life actually happens. Government designed fonts were chosen to communicate authority and help grease the gears of the day-to-day grind. Authority beckons back to these days with it's mildly condensed feel, squared corners and weight presence.

Michael Gills, formerly a resident designer at Letraset, created the Fling typeface in 1995. Fling's letterforms are based on the Ronde --or round--script style from France. The design includes intricate and generous capital letters, which are contrasted with a more reserved lowercase letters. This allows for a sophisticated and elegant appearance in text. Fling's letterforms are highly legible for those of a script face, and it is a typeface with many uses. Aside from short amounts of running text, Fling's capital letters serve well as initials. In the Opentype font are extra ligatures and alternative letterforms thatoffer expanded typesetting possibilities.

The late 70s and early 80s is sometimes considered to be the period when headline typography went off the rails. Growing up in that period, some designers may beg to differ. Many geometric designs were available in dry-transfer and for the typositor, and were used everywhere a youth-culture look was appropriate - annuals, comics, club flyers, high-street boutiques, TV-advertised compila tion albums. Nightclubber is a fond homage to the excesses of the period, and should be used back-lit in pink neon or at a rakish 45 degree slant across a blurred photograph of a glitter ball.

Normative Lt is a sans serif type family by Green Type, a low cost version of Normative Pro, includes only a Unicode Latin 1252 character set. Normative Lt is a font with wide sphere of application, legible from very small size to very large ones. Can be used both in technical documentation, office work, business communication, as well as in advertising, visual communication, magazines and posters, in branding and packaging.

Smooch is a brushy hand written script full of speedy personality. The Pro version comes complete with all of the forms of the Regular and Alternate versions as well as the titling Sans set. Use the Contextual alternates setting to create clean connectors while keeping the integrity of the speed and flow. Multiple language support is available for all the fonts, with Cyrillic forms available in the Sans versions.

Suit Sans ​STD is a typeface designed for multi-purposes with ​4 weights plus matching​ italics. The set of ​554 glyphs embraces a​ll European languages​, ​and it's perfect for branding, interfaces and everything else you could create on large and small sizes​. ​But if Suit Sans STD is not enough for you, take a look at Suit Sans Pro with extended weight range, character set and more cool features.

Speyside is a round, curved and controlled sans serif with an additional set of decorated uppercase letters, initials and small caps. It's appropriate for text, titling and display. The origin of the name is taken from a small location in Tobago. The font is inspired by the local handicraft, the batik in particular. Each pro font style includes small caps and decorative initials as well as several OpenType features.

The casual characters of Allura Regular are simple and clean and very legible, with an almost handwritten calligraphic appeal. The script and formal sets offer a softer, more formal look. This exceptionally diverse font was designed with advertising, display and package design in mind. The OpenType Pro version of Allura combines all three styles along with extra alternate glyphs and flourished graphics to give the professional designer maximum flexibility.