AmpleNu is a display type family derived from the Ample typeface. It has optical mono-linear stroke and a bit squarish form in nature. It has a seamless stroke movement instead of sharp angles formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasize the message. It is graphically strong and commands the viewer's attention. The overall appearance of type is suitable for setting and using it as heading, title, headline, logotype, etc. The type family consists of sixteen styles which include eight upright weights and their italics. AmpleNu has a bit more squarish counters and angles than Ample typeface, it even has straight terminals while Ample typeface has a slight curve. In addition to this, few characters have some major or minor changes and the letter ‘g’ plus ‘y’ and their respective diacritics have alternate style variations. AmpleNu is designed by Aakash Soneri during the period between 2018-2020.

This extensive 60-font type family was inspired by the best (and worst) of 1970s science fiction TV shows and movies. Verbatim aims to extract the essence of futuristic type from that era, add a dash of modern style and conjure a cinematic typeface for the 21st century. From the extremes of the thin condensed, all the way through to the black extended, Verbatim has the scope to add drama to your titles and headings, and finesse to your logo and branding projects. Distinguishing features include a large x-height and open counters that aid legibility. This typeface crosses a few boundaries of type specification in that it is both rounded and square, it is part geometric in construction with a touch of humanistic flair and stroke contrast – giving Verbatim a distinctive and confident air. Key features: • 6 weights in Roman and Oblique • 5 Styles – Condensed, Narrow, Regular, Wide, Extended • Small Caps and 7 Alternates • European Language Support (Latin) • 600 glyphs per font. See more detailed examples at the Verbatim microsite.

Doing your design work in magical way? Yes, please. With Against Perfection you can boost your design performance to the max. Against Perfection is a brush script font combined with a pleasing serif font. This pairing of script and serif offers just enough sensuous curves for appealing design result. Together, these complementary fonts convey modern and elegant looks. The swoosh and brush style details make the whole word look custom-designed. On the other hand, the serif font has a nice, solid weightiness combined with smoothed-off shoulders. Further more, this font has fascinating features that helps you maximize your design. Features: Alternates Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuation It is perfect to be used for many design projects, such as poster, logo, book cover, branding, heading, printed product, merchandise, quotes, social media campaign, etc. Learn more about how to use it by seeing the font preview. Thank you for purchasing our fonts. Please don’t hesitate to contact us, if you have any further question or issues. We’re happy to help. Happy Designing.

Klatter is a font that is "in your face". It can't be ignored, and draws attention to itself no matter how noisy the environment. It is available in three styles: - Klatter Regular is a clean, spunky, non-grunge font that uses a combination of straight lines and sharp angles to make a strong, no-nonsense statement; - Klatter SmallCaps, in which the lower case is a true "small caps" and not a shrunken version of the upper case (generated by the operating system); - Klatter Grunge is based on Klatter Regular but is "dirty" and messy, giving the impression of printing problems and wet ink being smudged. Unlike many other grunge fonts, Klatter Grunge is a font that is full of character. Both styles have a full character set with upper and lower case, numerals and mathematical symbols, as well as a full set of accented and special characters. The font has been carefully letter-spaced and kerned and the vertical spacing has been appropriately set. Klatter Grunge and Regular are appropriately purchased together since they complement one another when used in the same graphic design job.

Outside Voice is a handwritten, all-caps typeface, created as an homage to the robust history of handwritten protest signs. It's a beautiful display font for a huge range of projects, from poster art to holiday cards. With contextual alternates enabled, this font will automatically cycle through three sets of handwritten alphabets as you type. The result is type that looks as imperfect and handmade as a digital font can get. This makes Outside Voice a wonderful choice for pairing with hand-drawn illustrations. Consider varying the size, slant, and/or color of each line in your layouts. These adjustments make Outside Voice look even more handmade and organic, which is great for fun designs like posters and quotes. This typeface is quirky and ligature-rich, with over 600 glyphs and icons. It supports Latin and Modern Greek alphabets, and includes all European language diacritical markings. It includes a set of decorated word ligatures comprised of common protest words like 'peace,' 'vote', and 'yes!'. Additionally, you'll get a full set of common protest icons, such as a raised fist, planet, dove, and peace sign.

Horseface is a chic geometric typeface with Didonian roots and a penchant for high fashion. Its mono-linear, formulaic structure is elongated with a generous x-height giving it an upmarket but approachable look, traditional forms remixed with a modern twist. Fundamentally a display typeface, Horseface is best set at large sizes. Because of it's thin line weight it is advised to expand paths after typing. It is available in six different styles and comes in OpenType (.otf) format for Mac and Windows. Features: Horseface Supports the following OpenType features: Standard ligatures, discretionary ligatures, ordinals, custom fractions, denominators, numerators, small caps, superscript, scientific inferiors, proportional and tabular oldstyle and lining figures, and a slashed zero. There are also three stylistic sets containing alternate glyphs. Supported Languages: Each weight has a 665 glyph character set for use in the following Latin languages: Albanian, Afrikaans, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Finnish, French, Gaelic, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Latvian, Lithuanian, Luxembourgish, Maltese, Norwegian, Occitan, Polish, Portuguese, Romanian, Sami, Serbian (Latin), Slovak, Slovene, Sorbian, Spanish, Swedish, Swahili, Turkish, Walloon and Welsh.

"Humanista" is the name of a multilingual chancery script font by Bertram Kaiser. The idea in this long-term project was to blend the boundaries between analogue calligraphic handwriting and designing a font digitally, while using all technical possibilities of modern type design. All glyphs were originally written with a broadnib and then carefully vectorized, creating a human charme inside the font. In this design you will find influences from great calligraphy masters like Hermann Zapf or Werner Schneider. The pro version comes along with a big variety of alternate glyphs, initial and terminal forms, swash capitals and ligatures, which gives you the possibility of designing individual text layouts. Inside the font you will also find a set of italic roman capitals plus fitting numerals and interpunction, which can be treated like a font itself. You can activate them through the Open-Type menue (stylistic-set 4) or set manually via the glyphs window (ADOBE applications). When using the feature "swashletters" make sure to also activate the feature "contextual alternates" to get an appealing textdesign with alternating swashletters. This font can be used for display sizes as well as for smaller textsizes like on Invitationcards or in magazines.

The name of this typeface comes from the surname of James (Jim) Bowie, American pioneer and inventor of the famous Bowie knife. This is exactly what inspired English rockstar David Jones to change his stage name to David Bowie. Bowie is thenew font by Bercz and Latinotype Team. The typeface is a type system that reflects a strong personality, an urban feel and an unprejudiced style. Bowieis well-suited for publishing projects, branding and packaging. This font family is composed of three sections: a group of sharp-shaped uppercase fonts (smallcaps and all caps) in 5 weights, each with matching regular/back slant italics,providing users with 15 different styles for multiple combinations; a set of script catchwords and eclectic sets of dingbats and flags that communicate the blue-sky thinking and feel of the project. Bowie —a collaborative project between Bercz and Latinotype Team—was developed by Leonidas Loyola, Valentina Vega, Rodrigo Fuenzalida, César Araya and Bruno Jara, under the supervision of Dany Berczeller, Daniel Hernández y Luciano Vergara.. Bowie consists of 5 weights, ranging from Thin toBlack, and comes with a 439-character set that supports 206 languages.

A friend once jokingly told me that what I really do is mine extinct arts for parts to use in modern things, like going to the scrapyard to pick up bumpers, quarter-panels and dashboards off of Datsuns and Ponies to build a shiny new Ferrari. I still kind of grin at that, but I certainly do spend a lot of time looking at old things and imagining ways they would work today. This shiny new Ferrari here is called Bibliophile, and it contains scrap heap parts from various pages by Louis Prang, the Prussian-American printer and publisher who inspired my Prangs fonts. This is my second engagement with the late 19th century man, and it’s quite a bit more intricate than just an italic Didone with a connected lowercase. Bibliophile marries Round Hand calligraphy with Italian capitals, two styles not often relayed in the same alphabet, but work together beautifully when combined well. When you combine them well with a few long-practised tricks of the trade, then mix in a few trusted features from my previous work over the years, you get my usual crazy exuberance, like 17 different shapes for the d, 21 different forms for the y, endings, beginnings, swashes, ornaments, and so on. It’s no secret that I can get carried away when I’m so consumed by an idea. — Bibliophile comes in 2 weights, each of them with over 900 glyphs covering all the latin languages. Bibliophile also comes with a bold weight, something I’m always reluctant to do with something as adventurous and complex as the structure of this historical mashup. But I couldn’t chase away the idea of increasing the contrast while maintaining the hairlines in a lowercase this narrow. Part of it was the curiosity about the outcome, and part was the sheer challenge of it. I think it turned out OK. Words set in either weight will show delicateness and elegance, and the more time you spend inside the font and micro-manage the setting, the more ways you will find to magnify either. Bibliophile can be as muted or luxurious as you want it to be. This is the kind of alphabet that fits well in fashion marketing and high-end packaging, from the very subdued to the super-exquisite. Enjoy the gleaming new vehicle made with freshly polished old parts.

Clean and elegant display sans-serif uppercase family with three weights and rounded corners. Excellent for headers, posters, t-shirts and websites.

Jürgen Weltin's Mantika Informal is pretty difficult to categorize, but very easy to like. This particularly reader-friendly typeface in regular and bold weights, brings to the table the informal fluidity of a script, the consistency of an inclined italic, and the open and airy forms and contrast of a humanist sans. The result is a warm, approachable, and very legible typeface that is never static and staid, but rather invites an attentive, reading eye. The original idea behind Mantika Informal lay in the challenge to create a typeface for setting children's books. German designer Jürgen Weltin aimed to create a reading typeface for those just starting to learn how to read. On the one hand, it should help create clear word-images; on the other, its letterforms should remain uncomplicated but resist mechanical and industrial sterility. Mantika?s subtle cursive lines stress the printed word's connection with handwriting, in addition to making the transition from school writing exercises to printed texts seamless and effortless. The resulting slightly organic and cursive forms that developed during the design process are so captivating that Mantika Informal may be used for a multitude of unintended applications - anywhere a friendly and informal yet sophisticated character could lend a helping hand, Mantika is there, giving a fresh accent to anything from packaging design to food products. With a broad character set encompassing support for Cyrillic and Green, Mantika Informal's two fonts make for a versatile and dynamic typeface that surely will find its place in a broad range of applications.

Jürgen Weltin's Mantika Informal is pretty difficult to categorize, but very easy to like. This particularly reader-friendly typeface in regular and bold weights, brings to the table the informal fluidity of a script, the consistency of an inclined italic, and the open and airy forms and contrast of a humanist sans. The result is a warm, approachable, and very legible typeface that is never static and staid, but rather invites an attentive, reading eye. The original idea behind Mantika Informal lay in the challenge to create a typeface for setting children's books. German designer Jürgen Weltin aimed to create a reading typeface for those just starting to learn how to read. On the one hand, it should help create clear word-images; on the other, its letterforms should remain uncomplicated but resist mechanical and industrial sterility. Mantika?s subtle cursive lines stress the printed word's connection with handwriting, in addition to making the transition from school writing exercises to printed texts seamless and effortless. The resulting slightly organic and cursive forms that developed during the design process are so captivating that Mantika Informal may be used for a multitude of unintended applications - anywhere a friendly and informal yet sophisticated character could lend a helping hand, Mantika is there, giving a fresh accent to anything from packaging design to food products. With a broad character set encompassing support for Cyrillic and Green, Mantika Informal's two fonts make for a versatile and dynamic typeface that surely will find its place in a broad range of applications.

Meet Pamplemousse, a display font that's part fun, casual script and part elegant typeface! Pamplemousse is most decidedly a fellow who enjoys lazy Sunday mornings spent sipping mimosas or bloody marys over a plate of eggs benedict and the New York Times crossword puzzle. He enjoys dressing up for use in branding and headlines (he looks particularly dashing in all caps) and also sitting back and composing a casual note to a dear friend. Pamplemousse is mostly sweet and just a little sophisticated, and he likes being just as he is. Pamplemousse started out as a typeface based on the lettering of Gustav Klimt in his poster for the first exhibition of the Vienna Secession movement (Art Nouveau). This drifted into an homage to Rea Irvin's iconic masthead typeface for the New Yorker magazine. Finally, with the addition of a lowercase (absent from Irvin's typeface), a significant revision away from both Klimt and Irvin into a more casual space, Pamplemousse was born! Oh — why "pamplemousse?" "Pamplemousse" is French for grapefruit. What goes better in your Sunday gin and tonic than an aromatic slice of pamplemousse? Say it a few times. Preferably after a couple of those g & t's. You'll see how fun he can be...

This is a digital revival by Cristóbal Henestrosa based on an experimental typeface named Charter, designed – yet never fully accomplished – by the prominent William Addison Dwiggins. It is an upright italic, unconnected script typeface, whose main features are a pronounced contrast, condensed forms and exaggerated ascenders. While Dwiggins worked on this project from 1937 to 1955, he only completed the lowercase and a few other characters. However, it was used to set a specimen in 1942 and a short novel in 1946. The sources that Cristóbal used for Mon Nicolette were the original sketches by WAD as well as printing trails kept at the Boston Public Library, and a copy of the 1946 edition of The Song-Story of Aucassin and Nicolette. This gorgeous typeface can be used successfully in headlines, subheads and short passages of text from 12 points onwards, in applications such as fashion magazines, soft news, advertising, poetry, albums, and book covers. This project started ten years ago, while Cristóbal was studying the Type@Cooper Extended Program at New York City. A previous version was selected to be part of the Biennial Tipos Latinos 2018, and now Mon Nicolette is finally ready for commercial distribution with Sudtipos… and we are very proud of it! Festina lente.

Frutiger® Serif is a re-envisioning of Meridien,a typeface first released by Deberny & Peignot during the 1950s. Working closely with Adrian Frutiger, Linotype's Type Director Akira Kobayashi expanded the original metal type version of Meridien into a new digital family of 20 variants. Renamed Frutiger Serif, this up-to-date Meridien has new weights, widths, and styles that correspond better with several other of Frutiger's designs. Just as Meridien has always been a fine choice for text settings, Frutiger Serif works brilliantly for large amounts of text & also at small point sizes. With its many weights and styles, this family is strong enough for most typographic projects. However, its added versatility is revealed when used in combination with other fonts. Frutiger Serif works well with the original Frutiger, Frutiger Next, and Univers - just to name a few. Paring these serif and sans serif families together is perfect for creating complex hierarchies and clear information design. Working with complicated typographic systems - involving elements such as headlines, captions, pull quotes, multilingual text, etc - is made easy by selecting Frutiger Serif and another of Frutiger's sans serif families. The designer needs simply to mix and match different weights and styles for the various textual elements to create smart and innovative layouts.

Film Fiction Semi Expanded has been updated and will now beautify your designs under the name TA Film Fiction Semi-X. We've already updated and revitalized TA Film Fiction Semi-X to ensure it perfectly matches your evolving creative vision. The inclusion of tabular figures, old-style figures and alternative glyphs expands your design palette and allows you to adapt the font to your unique style. TA Film Fiction Semi-X has been updated experience the appeal – this can be your font of choice to enhance your brand identity, cinematic efforts and editorial design. This brilliant typeface is not just a typographic tool, but a creative catalyst for headlines, logos, web elements, signage, posters and fashion apparel, packaging. TA Film Fiction Semi-X does not follow trends, it defines them, imbuing each project with a true modern essence. Embrace the possibilities with 9 different styles, each boasting a large set of 758 glyphs. Discover OpenType features: Access All Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Standard Ligatures, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Subscript, Superscript, Tabular Figures TA Film Fiction Semi-X supports Khinalyg (Xınalıq) alphabet Test your alphabet, explore the nuances and witness the transformation. And if you're at any creative crossroads, I'm here for you. If you want to customize TA Film Fiction Semi-X, need font files or have any other questions, please reach out to me at t@taft.work. TA Film Fiction Semi-X be the cornerstone of your creative journey. Elevate your designs, embrace innovation and redefine possibilities with TA Film Fiction Semi-X, where each character tells a story. Questions? Contact us at t@taft.work Instagram @taft.work or @tural_a Visit us https://taft.work/

Compatil 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. For almost two years, a team of experts from Linotype has been working with initiator Professor Olaf Leu under the direction of Silja Bilz, Erik Faulhaber and Reinhard Haus to create the Compatil type system. Despite the Internet and TV, it is essential today to be able to absorb information quickly by being able to read it with ease. A fact that is becoming increasingly important both on-screen and on paper. It is the role of the font to increase legibility and to ensure typographically perfect results for text design work. The new Compatil type system meets all these needs. The Compatil is a part of the Platinum Collection. The following four different styles are available: Compatil Exquisit, Compatil Fact, Compatil Letter and Compatil Text. Compatil is available in various font formats: 16 separate OT Pro fonts including the small caps and Adobe Central European character set for OpenType-supporting applications like Adobe InDesign, or as 32 separate OpenType Com fonts for office communication, with the following special features: 1. Optimized display capabilities for computer screens eXcellent Screen Fonts (XSF-quality). 2. An extended, international character set, which supports 48 different languages for Microsoft Office applications like MS Word or as 64 PostScript fonts, which can be used in non-OpenType-supporting applications like Quark XPress.

Compatil 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. For almost two years, a team of experts from Linotype has been working with initiator Professor Olaf Leu under the direction of Silja Bilz, Erik Faulhaber and Reinhard Haus to create the Compatil type system. Despite the Internet and TV, it is essential today to be able to absorb information quickly by being able to read it with ease. A fact that is becoming increasingly important both on-screen and on paper. It is the role of the font to increase legibility and to ensure typographically perfect results for text design work. The new Compatil type system meets all these needs. The Compatil is a part of the Platinum Collection. The following four different styles are available: Compatil Exquisit, Compatil Fact, Compatil Letter and Compatil Text. Compatil is available in various font formats: 16 separate OT Pro fonts including the small caps and Adobe Central European character set for OpenType-supporting applications like Adobe InDesign, or as 32 separate OpenType Com fonts for office communication, with the following special features: 1. Optimized display capabilities for computer screens eXcellent Screen Fonts (XSF-quality). 2. An extended, international character set, which supports 48 different languages for Microsoft Office applications like MS Word or as 64 PostScript fonts, which can be used in non-OpenType-supporting applications like Quark XPress.

Compatil 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. For almost two years, a team of experts from Linotype has been working with initiator Professor Olaf Leu under the direction of Silja Bilz, Erik Faulhaber and Reinhard Haus to create the Compatil type system. Despite the Internet and TV, it is essential today to be able to absorb information quickly by being able to read it with ease. A fact that is becoming increasingly important both on-screen and on paper. It is the role of the font to increase legibility and to ensure typographically perfect results for text design work. The new Compatil type system meets all these needs. The Compatil is a part of the Platinum Collection. The following four different styles are available: Compatil Exquisit, Compatil Fact, Compatil Letter and Compatil Text. Compatil is available in various font formats: 16 separate OT Pro fonts including the small caps and Adobe Central European character set for OpenType-supporting applications like Adobe InDesign, or as 32 separate OpenType Com fonts for office communication, with the following special features: 1. Optimized display capabilities for computer screens eXcellent Screen Fonts (XSF-quality). 2. An extended, international character set, which supports 48 different languages for Microsoft Office applications like MS Word or as 64 PostScript fonts, which can be used in non-OpenType-supporting applications like Quark XPress.

Compatil 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. For almost two years, a team of experts from Linotype has been working with initiator Professor Olaf Leu under the direction of Silja Bilz, Erik Faulhaber and Reinhard Haus to create the Compatil type system. Despite the Internet and TV, it is essential today to be able to absorb information quickly by being able to read it with ease. A fact that is becoming increasingly important both on-screen and on paper. It is the role of the font to increase legibility and to ensure typographically perfect results for text design work. The new Compatil type system meets all these needs. The Compatil is a part of the Platinum Collection. The following four different styles are available: Compatil Exquisit, Compatil Fact, Compatil Letter and Compatil Text. Compatil is available in various font formats: 16 separate OT Pro fonts including the small caps and Adobe Central European character set for OpenType-supporting applications like Adobe InDesign, or as 32 separate OpenType Com fonts for office communication, with the following special features: 1. Optimized display capabilities for computer screens eXcellent Screen Fonts (XSF-quality). 2. An extended, international character set, which supports 48 different languages for Microsoft Office applications like MS Word or as 64 PostScript fonts, which can be used in non-OpenType-supporting applications like Quark XPress.

Originally designed by Sol Hess for the Lanston Monotype Foundry in 1938, this revival was designed by Ann Pomeroy in the early 90s. Spire is a condensed serif with a very 1930s retro look. PLEASE NOTE: Each Spire font (Regular, Extra Light and Monoline) include a companion Expert font in the download. The Experts feature several alternate glyphs. The Family includes three Styles and three Expert styles. 6 fonts all together.

Natalya is a flashy and rhythmic script. The script has more space between characters than most for better legibility, and the basis point for the ornate swirls is the golden ratio. This makes for an especially harmonious typeface with timeless appeal. The typeface includes three alternates with variations of the ascenders and descenders. All three fonts include OpenType ligatures, oldstyle figures and ending swashes for an even more elaborate appearance.

Kadigan: (noun) A placeholder word. A kadigan can be used to substitute for any other noun: persons (John Doe, Acme Company), places (Anytown, 123 Main Street) or things (whatchamacallit, thingamajig). Just like kadigans can be used in nearly any situation, the members of the Kadigan font family can be used in nearly any design! These sans-serif beauties are clear and easy to use, but they also have a little bit of wiggle in their strokes and weights, for a fun hand-lettered look! The three members of the family: - Kadigan Light: An all-purpose lightweight stroke, with sharp corners. - Kadigan: A nice mid-weight stroke, with slightly rounded corners. - Kadigan Heavy: A thick, chonky stroke with pillowy rounded corners. And each member of the family is packed with features, including: - All of the basic stuff you expect from every font; - 340+ extended Latin characters; - Cyrillic character set; - Greek character set; - Those character sets? Support over 110 languages! - 52 double-letter ligatures for variety (That's right, EVERY letter. I'm looking at you, savvy revved trekkers!); - A full set of small caps (including Cyrillic & Greek); - And more! (Seriously, it was hard to stop.) So whether your work is in English, Español, български, ελληνικά, Türkçe, or over a hundred other languages, this cute and fun sans-serif may be just what you've been looking for!

CONSO is an elegant, modern and contrast sans-serif font family. It includes upright and Italic style, each of them has seven weights from thin to bold. This is a multi-purpose font that is perfect for any project, it is contrasted, modern and easy to read. With it, you can create logos, use in advertising, packaging, book covers and magazines, headings, descriptions and much more. CONSO includes stylistic alternates with a teardrop-shaped tail for uppercase and lowercase, with them, you can change the style of your project and add personality to it and make it more stylized. This font is easy to use has OpenType features.

Mansory is a modern contrasting and elegant sans serif font, which is presented in an upright and oblique style and also has 4 weights, this gives more opportunities for your design project. Contrasting lines and balanced forms of these fonts will provide recognition and will be easy to read. The regular style is perfect for text, while the heavier ones are perfect for logos, headings or will highlight exactly what you need. Mansory has stylistic alternates and ligatures that are harmoniously combined with the font, with them you can make your project more individual. This font is easy to use and has OpenType features.

Maulo is a modern serif font that's vintage in the 60s style, has a bold shape, with a pretty alternative and is multilingual, making it incredibly versatile. This font has a unique shape, especially if the alternative has a thick, threaded shape that makes this font unique. This font is suitable for branding needs, posters, wedding cards, logo identification cards, novels, books, labels, texts, magazines. so what are you waiting for! What's included? Uppercase Characters Lowercase Characters Support 75+ Language FEATURES Maulo (OTF) So what are you waiting for? immediately purchase this font, feel free to comment, or send me my PM or email at khoirtypework@gmail.com Thank you for seein.

Wavespired is a unique font that combines the playful and jazzy lettering of the 1950s cartoon modern style with a modern and sleek design. This font is perfect for creating eye-catching logos and headings that will stand out in any design project. The font is influenced by the retro vibes of the fifties, but with a fresh and modern twist that makes it ideal for today's design needs. The font is legible and easy to read, making it perfect for headlines, titles, and other design elements that need to be easily understood. The font is perfect for any project that requires a fun, retro-inspired design with a modern twist.

Magnum Sans is a strong neutral sans serif consisting of eleven weights with true Italic, Oblique and an alt upright set called Alfa. The definition of Magnum is a large wine bottle that's twice the capacity of one 750ml bottle, today the name is used in any product offering double the capacity, Magnum Sans achieves this by offering two slanted and two upright versions plus a standard and pro set. Designed to be highly readable Magnum Sans is ideal for text, signage, headlines and media broadcasting or anywhere else quick readable lettering is needed. This standard version supports characters sets for central and eastern European countries with code-pages of 1252 Latin1, 1250 Latin 2, 1257 Baltic and 1254 Turkish. Note: for additional language support, please see our Magnum Sans Pro family, which includes Vietnamese, PinYin and Greek.

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

GRUND is a new fontographic adaption of a remarkable 1920s epigraphical find in the city of Leipsic. This old well-known European trade fair hotspot struggled with a severe shortage of exhibition space around 1920. The solution was to dig deeper into the matter – literally – and 1924 the world’s first underground trade fair exhibition hall was opened right under the city’s central market square. After several changes of use during the past decades the sophisticated Art Deco entrance structure (architect: Otto Droge) was re-opened in December 2013 as a gateway to a new subway rail track. – The original brass lettering of the UNTERGRUNDMESSHALLE MARKT has been retrieved – and served as the inspiration for this new and unique font. If you’d like to see more exceptional Art Deco type, have a look at my Arthur series. __________________________________________________________________________________________

Remember when you first saw the credits of a Woody Allen movie and thought, "I love that typeface!" Well, maybe that was just us. That typeface—Windsor (specifically Windsor Light Condensed)—is a classic. But it has problems. The letterforms are sometimes REALLY wonky. And the ampersand is a tragedy. Plus, there's no italic, and the weights and widths available in digital form are a hodgepodge. That's where Mrs. Keppel comes in. Alice Keppel, one of the most famous illegitimate members of the Windsor household ever, lends her name to this typeface family with numerous weights and a true italic. It's a slim serif with Edwardian leanings. She's approachable, she's refined. She's equally charming and at home in mercantile settings, in elegant settings, in populist settings, and in Polite Society. She's a design response to a genuine need. She's Mrs Keppel!

The Overleys is a handwritten font with quick dry strokes and a signature style. perfect for branding projects, homeware designs, product packaging or simply as a stylish text overlay to any background image or posters. The Overleys has an entire alternate glyph set. This is accessible simply by their own separate font file - just install this as normal and select 'The Overleys Swash' , ‘The Overleys Alt' or ‘The Overleys Brush’ in your text-tool. The Overleys includes 3 Font files: 1. The Overleys - A handwritten script font containing upper & lowercase characters, numerals and a large range of punctuation. 2. The Overleys Alt - The second version of The Overleys, with a completely new set of both lower and uppercase characters. 3. The Overleys Swash - A set of 26 hand-drawn swashes, with cool touch to underline you’re The Overleys text.

Un Jour Merveilleux means "a Wonderful Day" in French. This font is a Modern Calligraphy script with stylistic alternates for all the lowercase letters and numbers for a natural flow and rhythm. Smaller and larger alternates are set to switch between each other within the Contextual Alternates OpenType rule, so make sure to enable this feature while setting text with this font. Alternatively you may select and replace characters from the Glyphs window manually. There are PUA encoded ligatures for the double letters bb, ht, li, ll, lt, on, oo, rr, ss and tt. The font set covers Eastern, Central and Western European accented Latin Languages. Hope you like this font and it will add a beautiful fresh touch to your new project! Roland Image credits: Photo by Plush Design Studio on Unsplash Coffee on Table: Kelly Lockett @kellylock

Compact sans, ideal for setting long texts in small or very small type sizes: for packaging, instruction booklets, drug information leaflets and anything else that has to be legible at very small sizes. Lean and rhythmical, designed ideally to be used at less than 8 points (Brevier was the old typefounders’ name for 8-point type), Brevier holds up well even under adverse printing conditions. The apparently geometric letterforms hide Renaissance characteristics, the x-height and openings are very generous and the strokes slightly modulated. In order to offset ink spread – which is inevitable when printing very small sizes of type – Brevier has large white spaces between the letters. All internal angles have deep ink traps and many connections have been left open.

Introducing a new script font with a beautiful, uniquely elegant and very charming look, you can click it and can be used in your projects such as wedding invitations, quotes, creative posts, clothing product packaging, promotions, video preview images, logos and much more to explore. because it has many cool variations. As a picture you can see the preview above. Features: -Uppercase -Lowercase -Numeral -Punctuation -Multilingual -Alternate -Ligature -Swash Thanks.

Inspired by European brutalist design aesthetic, Kunst strives for form dominated by pure geometric precision, utilising 45° angles based on a strict grid. See the PDF specimen | Also available in Rounded and Imprint styles. Covers Western and Cyrillic character sets with a full range of Smallcaps. Includes Tabular Figures, Standard and Discretionary Ligatures, and Contextual Alternates such as arrows, Smart Quotes, and German Capital Eszett/scharfes (Sharp s).

Inspired by European brutalist design aesthetic, Kunst strives for form dominated by pure geometric precision, utilising 45° angles based on a strict grid. See the PDF specimen | Also available in Normal and Imprint styles. Covers Western and Cyrillic character sets with a full range of Smallcaps. Includes Tabular Figures, Standard and Discretionary Ligatures, and Contextual Alternates such as arrows, Smart Quotes, and German Capital Eszett/scharfes (Sharp s).

P22 Cigno is a new digitization of the 1950s Italian typeface by Aldo Novarese for the Nebiolo foundry. This semi-formal script has a definite mid-century European flavor suitable for menus, invitations and poster work. Along with the accurate rendition of the regular weight, designer Colin Kahn has added a lighter companion font for another variation on Cigno. Both fonts feature a full Western European character set.

Addington CF is a graceful and reliable serif, useful in any application. Beautiful and practical, Addington is designed for excellence at small point sizes, while doubling as a capable, bold display typeface. Includes roman and italic sets across seven weights. Addington CF pairs nicely with simple, bold headline typefaces, like Greycliff CF and Articulat CF. All typefaces from Connary Fagen include free updates, including new features, and free technical support.

ITC Minska is the work of Carl Crossgrove, who used a combination of upper and lower case shapes together to create new letter forms. Crossgrove created unconventional yet immediately recognizable variations in two different alphabets, which cannot quite be classifed as upper and lower case in themselves. With opulant curves and sharp angles, ITC Minska projects an unorthodox energy which is ideal for unusual effects and display settings.