Paulette is a script typeface, the capital letters are completely unpublished, some of them have a smile-similar ornament (A,F,O,H,Q,B,C,P,G), whereas minuscule letters are inspired to Edwardian font script. The font is very versatile and is very suitable for typographic compositions with large letters and for medium and small ones. It includes a complete series of internationals letters, 342 glyphs and 6 new ligatures. Paulette is an elegant letter and it's available in two versions, regular and eroded.

🏆 Selected for Tipos Latinos 7 with a Certificate of Excellence. With semi-rounded terminals, Graviola is soft and friendly. The family consists of 16 fonts, from Thin to Black and matching italics. While the intermediate ones are suited for body text, the extreme weights look specially beautiful at display sizes. Each font contains 530+ glyphs, supporting more than 90 languages. Stylistic sets provide alternates in two groupings (a, v, w, y and G, g, &).

There are a lot of narrow passages... like the Straits of Gibraltar, Hormuz, of Malacca, of Thermopylae, the Dardanelles, the Dervenakion, Magellan, Rentina of Naruto, Kerch etc. I tried to pass into mine closely with the name «Artios Pro". Walking on the same considerations as the previous series (Khamai/Aeolus/Corset) I tried to give some sense of diversity for narrow passages of the letters. These twelve style are the result. And here, the "Rail" engage with "Semi Bold" in the same way as the previous series. This series is composed and includes 12 fonts with 625 glyphs each, with true italics and supports Latin, Greek and Cyrillic.

FourJuly contains three patriotic fonts that might be fun to use in July. They are also very hard to read, but perhaps not as hard as the somewhat similar letters in the fonts of FlagDay. FourJuly A has square, blocky letters with star interiors. FourJuly G and FourJuly H add diagonal stripes. FourJuly G and FourJuly H can be layered on top of FourJuly A to create bicolored letters. See the example here.

Giraffe is a wide and bold rounded serif in two styles. Giraffe occupies a large space and is best used as display type to convey a confident look. Giraffe comes with a set of Stylistic Alternates for letters C,G,J,R,S, a, c, f, g, r, s and $.

Outrage is highly disfigured to the verge of illegibility. The base font is Fiendstar Bold Condensed and the distress pattern is derived from a series of semi-abstract paintings. The result screams.

The Core Sans GS Family is a rounded version of Core Sans G and a part of the Core Sans Series such as Core Sans N, M, A, E, D. Core Sans GS is constructed of straight, circular or square shapes. These geometric shapes are inspired by classic geometric sans (Futura, Avenir, Avant Garde etc.). Every stem is a rectangle or a straight line and every letter, lowercase or uppercase, seems to be in perfect geometric form and even weighted. The small x-height makes readability clean and clear. Core Sans G can be used equally well in headings or in body copy. The Core Sans GS Family consists of 9 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy, Black) with maching Italics. It also includes alternate characters (a,g,t) and a bunch of ligatures. The Core Sans GS provides a wide range of character sets to support (Cyrillic, Central and Eastern European characters) and advanced typographical support with features such as proportional Figures, tabular Figures, numerators, denominators, superscript, scientific Inferiors, subscript, fractions, standard ligatures, discretionary ligatures and stylistic alternates. Core Sans G is an ideal font family for use in magazines, web pages, screens, displays, and so on.

Daniel Berkeley Updike seems to have stimulated the architect Bertram G. Goodhue to design the prototype in 1896 for Ingalls Kimball at the Cheltenham Press. Six years later Morris Fuller Benton at ATF developed it into the design and then the series that we know today. “Owing to certain eccentricities of form,” writes Updike, “it cannot be read comfortably for any length of time.” But he concludes: “It is, however, an exceedingly handsome letter for ephemeral printing.” Mergenthaler bought composing machine rights to the original design c. 1896, but bought the Benton design in 1904.

Inspired by the hand lettering design for a friend’s yacht, this contemporary script style, TheNautiGal is sexy yet formal with beautiful connectors.

Plain Talk JNL is similar to Eckhardt Centerline JNL, but lacks the thin inline lettering and has a different A and G. The hand-lettered look of this font makes it perfect for titling applications.

Malino is a humanist sans serif that gives a slightly stiff and strong feel but still presents a harmonious blend. The main characteristic of Malino is the flat shape at the end of the letter (specific : inner side of the letter C, G, J, S, a, c, e, g and s) and still maintain the curvature of the outside (Overshoot) so that empty space ( Open Counter) looks wider and the level of readability produced is much higher.

Steradian is an exploration of the geometric genre and although it has a geometric base, the widths between letters are not much different across the weights. That is due to the process, in which the proportions of the heavier weights paved the way for the lighter ones. It also has a series of details that make Steradian stand out and gives it a special touch. Some of its main features are the double-story ‘a’, its closed apertures and some of the capitals have a distinct personality (such as the G and Q). Read more about the design process at the Emtype’s Blog.

Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto subfamilies have two text weights and two bold styles (Regular --> Bold, Medium --> Black). Every weight has a companion Italic style as well. Preto Sans OT Std The Sans version of Preto forms the basic skeleton of the family, it is decidedly simpler than the other styles (Semi and Serif). Although you can find many distinctive and unique elements in the details. The most visible elements are the tapered upper part of the letters. The capital letters have uniform widths achieving very different texture than traditional roman proportions. There are two different options for ligatures and alternative characters (J, Q, g, &) gives more variability for different languages.

Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto subfamilies have two text weights and two bold styles (Regular --> Bold, Medium --> Black). Every weight has a companion Italic style as well. Preto Sans The Sans version of Preto forms the basic skeleton of the family, it is decidedly simpler than the other styles (Semi and Serif). Although you can find many distinctive and unique elements in the details. The most visible elements are the tapered upper part of the letters. The capital letters have uniform widths achieving very different texture than traditional roman proportions. There are two different options for ligatures and alternative characters (J, Q, g, &) gives more variability for different languages.

Skammefy holds a detailed set of letters, that are intended to be both readable when small - and charismatic when large. Strong details of letters like e, a, g, f, y draws attention to headlines, signs or wherever it might be used.

Tenby is a series of modular geometric display sans serif fonts with a hint of Art Deco combined with a 1980s finish. The fonts' underlying grid is ten squares high. Their widths correspond to condensed (Tenby Four), normal (Tenby Five) semi-extended (Tenby Six), extended (Tenby Seven), and extra-extended (Tenby Eight). Each contains two weights, light and regular. Although smaller text sizes are still quite legible, the fonts work better at large sizes.

The hand lettered title on the 1940 sheet music for "Pledge to the Flag" is a stencil design with wider rounded letters (such as the C, G and O). It is now available as Stencil Product JNL in both regular and oblique versions.

The Core Sans R Family is a part of the Core Sans Series, such as N, NR, N SC, M, E, A, D. and G. This font family has closed and square letter shapes, and overall rounded finishes provide a soft and friendly appearance. Simple shapes with a tall x-height make the text legible and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans R Family consists of 7 weights (Thin, Light, Regular, Medium, Bold, Heavy, Black) and Italics for each format. Core Sans R supports complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, oldstyle figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features.

Sans-serif with ornate, swashy capitals, AcornSwash is an elegant decorative face. The differences between the two versions of the font are in letters I, Z, a, e, f g, j, k, and o.

This expressive, upright script was inspired by 1940s penmanship. Its OpenType programming will enhance your typography via features such as automatic ligatures and contextual alternates. Also included is a Stylistic Alternate for lowercase letter “g”.

Sablon is back! This time on the edge in Thick & Thin version, keeping its significant features especially in letters B, G, M and N. With new expressive figures best suitable in headlines and packaging graphics.

Papagayo in 6 versions Light & Regular with Italics and Small-Caps. Designed with short ascenders and descenders for tighter line spacing. Effective for short headlines and texts. By invoking the Stylistic Alternates feature to an entire line or paragraph the M W g m w y will result in their respective alternates. You can also invoke each single glyph with the Alternate feature. The Alternates g & y contain a more characteristic letter-form for improving legibility in smaller texts.

Andron 2 ABC is a product developed especially for children’s literature. It is an ideal choice for primers and other books for the age when children are learning to read. The typeface has the same peak typographic quality as any other font of the praised Andron series—the very best is just good enough for our kids, is it not? As a difference from the normal glyph set (as in Andron 1 Latin or Andron Mega), the letters a, g and y have those simpler single-story shapes that resemble the forms usually taught in writing, which are sometimes called infant letterforms. Now, Andron 2 ABC is available in a full four-font family set.

A calligraphic roman sans-serif, with large x-height, the Vershen font is available in four weights, plus a series with small capitals and old-style figures, also in four weights, and finally, a four-weight set of universal fraction generators. The fonts are thoroughly pair-kerned, including all accented characters and letter pairs not commonly found in English, but frequent in other western European languages. Each font package includes both TrueType and PostScript versions, and is avialable in either PC/Win or Macintosh format. Numerals and currency symbols in the standard font set are monospaced for orderly columns; but a narrower numeral '1' is also provided, along with an alternate lowercase 'g' and ampersand.

Matahari (English : Sun) is the power source of life. The symbol of power and energy that synergies with other part of daily lives. It is one of the most fundamental thing us humans need, just like communication. And like Matahari itself, words are powerful enough to make a living. Referring to Grotesque Font and influenced by the works of Eric Gill, Matahari Typeface is available in 3 widths and 7 weights, also in Oblique version in each font. The font uses oldstyle and transitional letters (double-story ‘a’ and ‘g’). It has a humanist gesture, the thickness of the font is semi-monolinear where the horizontal and vertical size is almost equal, making the font reach its maximum optical readability even in small sizes. The font anatomy refers to the basic geometric square-sized of the letter ‘M’, while the letters of S/C/G/c/e have uneven curve shape which give the sense of humanist and flexibility. This typeface is ideal for various design needs, from Printing to On-Screen/Digital Reading, from Brand Identity, Posters, Caption, Headline, to Body Text. With the numbers of widths available, the font can be used for all kinds of purposes (Label, Signage, Packaging, Website, etc). Supported well over 75+ languages, including Greek & Cyrillic, Matahari Typeface will give you an excellent way in aesthetic communication and message-delivering.

Yngreena is a serifed typeface with calligraphic origins. In updating it in 2011, I began to add alternative letters and reached the point where it made sense to create an alternative family of faces rather than include all the alternatives as part of an OpenType font. The letters K, R, V, W, Y, f, g, k, t, v, and w are tamer in Yngreena Alt. As a result, though it is still a decorative text face, Yngreena Alt is better suited for lengthier blocks of text than is the original Yngreena face.

Radiac is a semi-monospaced unicase design inspired by lettering constructed from pieces of tile.

In Sidewalker we can see pieces of OCR-A, letters and of other fonts; letters pressed over metallic supports with too much ink and then redesigned on a computer. Reminiscent of how different materials in Burri or Rauchenberg's paintings are used. Some numbers have the same shape of some letters (J=2, 6=G=9, I=1=l ...) and many pieces of letters are copied into others. Very experimental...

Wall Sign JNL is a sign painter's chamfered sanserif found in an instructional manual from 1905. A popular lettering style of the day, it features an abridged vertical on the G, a flattened right side on the Q and a truncated horizontal on the 3.

G. G. Lange’s expressive italic ‘Derby’ with its calligraphic touch has come to life again. Carefully redrawn and extended for multilingual usage, ‘Turnier’ is an ideal font for ads, posters, book titles and much more.

Tola is a modern, reversed-weight, experimental display font with a spirit of the 70s. Looks better in large sizes but in smaller thanks to the thick bottom makes also interesting effect. It’s based on my letter shape experiment. I was drawing one single letter in the hope to find interesting results. I started Tola font with the letter “G” and based on that shape I created the rest of the alphabet. Tola looks good in modern graphics. It contains uppercase, numbers, and some punctuation signs, and is multilingual. Perfect for logos, posters, and social media graphics that need a super superhero with a sentimental touch.

Geometric sans serif is one of my favorite fonts because it's so, simple, clean and modern, and a long time I've been dreaming of making this type, inspired by many media and especially "Futura, 1927" ( by Early Bauer) I created "Magnify" Geometric sans. The structure and element shape of Magnify is not really perfectly circle, but slightly oval it can be seen in the uppercase letters O, G, C, Q and in the lowercase letters o, a, c, e. Magnify has 8 weights, - from Hairline to Bold and Matching Oblique. Magnify also has special alternate characters in letters a, g, y and o. it is to give a different look to a paragraph, headline or your display design. thanks, hope you would like and accept "Magnify" as part of your family. thank you in advance

Core Sans A Family from S-Core is a modern sans-serif typeface that is clean, simple and highly readable. It is a part of the Core Sans Series (Core Sans N SC, Core Sans N, Core Sans NR, Core Sans M and Core Sans G). Letters in this type family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Core Sans A family consists of 8 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy) with their corresponding italics. Core Sans A contains complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.