Avenir Next Paneuropean 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 56-font collection offers condensed and semi 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. Complete your designs with these perfect pairings: Dante™, Joanna® Nova, Kairos™, Menhart™, Soho® and ITC New Veljovic®.

L-O-L-A Like the subject of the Kinks’ song, FS Lola is a little bit of both – a font with a rare combination of masculine and feminine. The font was inspired by the song, which itself was inspired by the night the Kinks’ manager spent dancing drunkenly in a Soho club with a beautiful woman... Or so he’d thought, until her stubble started to show halfway through the evening. Masculine/feminin Phil Garnham’s experience in designing FS Lola was similar to the one related by Ray Davies. Setting out to create a sans serif font, he realised along the way that he was actually dealing with a semi-serif. He went with it, though, and produced a font with the best masculine and feminine qualities: hard edges and corners tempered by shapes of softness and generosity, the outcome of what Phil calls an “organic” design process. “Initially, my designs were very graphic and hard but not very distinctive. By printing and redrawing the letters in pencil I achieved a softer and friendlier alphabet with a strong personality.” Broad Lola, as you’d expect, is very broad-minded. Available in five weights with italics – and fluent in central European languages – FS Lola offers a confident combination of feminine softness and male steeliness to any kind of design. As the song says, “It’s a mixed-up, muddled-up, shook-up world... except for Lola.

Sancoale Narrow is a carefully honed and meticulously crafted new family member for the Sancoale series. Sancoale Narrow has been specially designed to allow for even more versatility for the Sancoale Family. Sancoale Narrow continues with Sancoale's successful simple, geometric and legible structure. It is a contemporary design that is distinctive and unique. This new narrow addition can be used in conjunction with the original Sancoale, but it can also stand on its own. Narrow type comes in a handy in a myriad of situations, from poster design to book covers, web pages to editorial layouts. Sancoale Narrow's six weights make for a typeface family that is very useful for many applications, and also includes a set of true italics. The design is simplified without stems or spurs in the default character set. OpenType alternates do include alternates with stems, Small Caps, Fractions, Tabular Figures, and plenty of alts, including "normal" capitals and lowercase letters. Please see the informative .pdf brochure to see these features in action. Sancoale Narrow also includes a full array of Latin diacritics for multilingual support. OpenType capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. The Sancoale superfamily is suitable for a wide range of uses and is a very economical and versatile addition to any designer's font collection.

Macaroni Sans evolved from our search for an extended font family consisting of a range of weights in both uprights and obliques, with a contemporary appeal. The desired character was to be sympathetic with a range of high-tech consumer products so a friendly, soft approach was called for. The resulting mix of geometric shape, rounded terminals, subtle italic angle of just six degrees and a few quirky stroke endings met with an enthusiastic response. As its subject product line exhibits brilliant color and imagery, a style was called for that conveyed contemporary appeal and readability but would not compete with the savvy products. We arrived at a clean, modern, sociable look that would suit a broad subject field in either text, semi display or signage. Its simple lines and monoline strokes fit well with logo usage or screaming posters, enhancing letterheads or websites, for foodstuffs to autos, insurance to swimming pools, lawfirms to babyfood. Macaroni Sans is the perfect typeface for branding, logotypes, may even flatter challenging viewing conditions. Rounded types have been around (pardon the pun) for centuries; numerous examples can be seen on old wood type posters, which in a small way prompted the name: in fashion Macaroni was a term used in mid-eighteenth century Europe to describe a dandy, a chap who displayed flamboyance in dress and hairstyle and spoke outlandishly or in an effeminate manner. Hence the term macaronic verse.

An inscriptional titling font for truly epic headlines. Allrounder Monument is an inscriptional, dignified member of the Allrounder superfamily. This all-caps typeface with delicate serifs was inspired by ancient inscriptions on columns, monuments, and buildings in Rome: letters as old as two millennia that radiate their own classic charm. Allrounder Monument picks up this atmosphere in order to create a typographic tool that lives up to contemporary demands. It infuses today’s designs with a hint of history and an air of exclusivity. Allrounder Monument is a timeless titling typeface. You might use it for posters, magazines, book covers, greeting cards, advertising or packaging work, and even signage. If you want an even more spectacular and exciting headline or title, additional Discretionary Ligatures and a Stylistic Set provide the necessary OpenType power to achieve this goal with ease. As Allrounder Monument is a part of the Allrounder superfamily, you can combine the three weights Book, Regular and Medium with the corresponding weights of Allrounder Grotesk. The Allrounder superfamily is a series of typefaces sharing the same color and horizontal metrics (cap height, small cap height and x-height): a typesetting system whose components match each other perfectly. Any other part of this design kit, e. g., Allrounder Grotesk or Allrounder Antiqua, may be easily combined with Allrounder Monument. Whenever you need a truly epic headline, Allrounder Monument is the best horse in your barn. Ad astra!

The late-19th-century Prussian-American printer and publisher Louis Prang, the “father of the American Christmas card”, was well-known for his efforts to improve art education in the United States. He published many instructional books and even founded a training school for art teachers. One of the books he published included a series of alphabets for sign painters, lithographers, illuminators, architects and civil engineers. There was nothing truly original there — in the book’s preface, Prang says that the alphabets were “based on foreign forms and adapted for American taste”. The one alphabet that caught my attention in that book was one simply called “Italic”. It’s a high- contrast modern, a Didone really, but with an interesting little twist: the lowercase is almost entirely connected, which makes for an interesting mix of modern typography and classic calligraphy. That stuff is right up my alley now. Whenever my eyes happen on a modern, it’s easy, even almost impulsive for me to envision swashes coming out of serifs and terminals. The caps melt and the minuscules dance with them. And so I brought my vision to life. Prangs is an italic set of three weights, each containing more than 1400 glyphs with plenty of OpenType features and Latin language support. This set celebrates the convergence of three centuries of fancy display alphabets. These fonts should work wherever moderns are used to elevate and scripts are used to appeal — namely today’s branding, packaging and glossy publications.

Assemblage Designed by Daniel Hernández, Alfonso García, Bruno Jara Ahumada and Luciano Vergara. Thanks to Pedro González for his contribution in the initial stage of the design process. Assemblage is a typeface-inspired by Roman square capitals-that comes in 6 different weights and ranging from Thin to Black. The background of the typeface makes it well-suited for branding, short text, titles and complex compositions, thanks to its italic version. Contrary to some conservative fonts, Assemblage includes an italic version with a look based on Elzeverian and Dutch Barroque typefaces, what gives the font an extra dash of elegance, resulting in a very enjoyable design. The family was specially created for labelling wine bottles and general packaging. Assemblage is a font collection consisting of a Sans Serif plus an Italic version of classic features. The family comes in 6 weights and includes ligatures, caps and small caps plus 3 sets of smaller small caps for different kinds of composition. The Italic version-with strong decorative features-comes with swashes. Assemblage also includes a set of dingbats, especially designed for packaging as well as for publishing or branding. The Sans contains 979 characters and the Italic version 620 characters. Assemblage supports 212 different languages and its OpenType features include ligatures, semi oldstyle figures, 3 sets of ornamental small caps (in the Sans version), swashes, ending forms and alternates in the Italic version.

The rounded forms found in Chennai have proven to be one of insigne's more popular designs for web-based company logotypes. Now, insigne's new superfamily Madurai takes its popular predecessor to a new level, offering a wide range of complementary fonts. Madurai removes Chennai's rounded stems and then adjusts the character width to account for its reduction in geometry, resulting in a balanced sans-serif face with humanist touches that works well for extended text. The Madurai family has a full range of six weights from thin to black and includes Condensed and extended options for a total of 36 fonts. All members of the Madurai series include a wide variety of OpenType alternates. Madurai is equipped for complex professional typography, including alternates, small caps and plenty of alts, including "normalized" capitals and lowercase letters that include stems. The face also has a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Madurai also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Madurai supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. For your next project, explore the fantastic potential of Madurai.

It was the original work of fifteenth century designer Nicolas Jenson that formed the basis for this roman serif style developed by Ernst Detterer in 1923. Similar in spirit to other early twentieth century revivals such as Centaur, Cloister Old Style, and Italian Old Style, Nicolas Jenson is distinguished by its pristine and delicate nature. A gifted young apprentice to Detterer, Robert Hunter Middleton, greatly expanded the family. And by 1929, bold, italic, and open were part of the Ludlow Foundry’s beautiful Nicolas Jenson Series. It was reintroduced under a new name, Eusebius, in 1941. This digital version includes a new medium and extrabold weight with intermediate small caps and swash alternates throughout the family. There is also a regular expert version with a variety of currency symbols plus a regular petite caps (regular x-height small caps) and old style figures version. Nicolas Jenson is now available in the OpenType Std format. Small caps, old style figures, and swash alternates have all been combined into one style for ease of use. You will also find an additional regular petite caps version included with the regular style. Some new characters have been added as stylistic alternates and historical forms. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

The font series Andron MC introduces a new feature to the repertoire of the Andron family: middlecase glyphs (intermediate between upper- and lowercase) – and uncial letters. Middlecase glyphs reach a medium height compared to full caps height and lowercase x-height. However, ‘uncial’ means the historic transitional lettershapes of the medieval ages which have gained no status in the bicameral typographic system of modern times. In all three of the Andron MC fonts middlecase (“MC”) glyphs dwell on the lowercase positions. These are coined in uncial fashion in the MC Uncial and MC Medieval fonts but appear as capital glyphs in MC Capital. The same variation occurs with the uppercase positions: whereas standard Roman/capital glyphs are there in MC Uncial and MC Capital, MC Medieval features uncial majuscules here instead. At the end that makes three different combinations of uncial and capital sorts. These fonts can be used for a great variety of purposes. The uncial sets are particularly well-suited for any typographic matter related to the middle ages. MC Capital is a worthwhile alternative choice when titling is to be possibly set in CAPITALS or Small caps. Andron MC adds a fascinating new aspect to the classical Andron fonts family. It enhances again the unique scope of typographical possibilities Andron is praised for since quite some time now. All three Andron MC fonts support full Latin, Greek (monotonic), Coptic and Gothic character ranges. Each font contains about 1000 glyphs.

Condell Bio is part of the bigger Condell family: a project that involves series of typographies and whose early conception and development began in 2006. Unlike its Poster version , with its excessive and eccentric forms, Condell Bio tries to adapt itself to a monolinear shape, but conserving at the same time the organic character of its forms and endings. In this way Condell Bio is able to expanse its typographical use fields to a vaster scale. Condell’s endings and organic strokes haven’t been conceived in a structural way but stylistically. This means that Condell’s high readability doesn’t change and its original personality and idiosyncrasy as well. Condell can be said the ideal typography for connoting the corporation and brand identity, because of its high readability; especially its “eatable” forms, who collects images of food, are easily adaptable to food industry. Condell is highly recommended for the following products groups: cleansers, dish soaps, toothpastes, all sorts of personal hygiene products (shampoos, soaps,..), industrial cleanser products and also for products which refer to its softness, volatility and smoothness. Condell’s soft forms and nice endings, inspired through spontaneous brush strokes, give to the typography a very peculiar pleasant connotation. Its Italic (10 degrees inclination) has been produced singularly and not automatically calculated by the software. Condell Bio is composed of 16 fonts: from thin to black, whose weights are in regular and italic. Each singular weight has 600 characters and is composed of 206 languages.

A characteristic of the Minea font family is the achievement of the calligraphic handwriting effect. In addition to basic, simple letter forms, it contains a large number of additional stylistic alternatives and ligatures that, by combining and changing without repetition, give the effect of calligraphic writing. Some of these characters can be changed by automatically turning on a particular OpenType function, when ligatures replace the combination of letters that are part of them, the letter is replaced by a certain alternative when found in a given context, and capital letters are replaced with decorative initials. Letter swap functions can be used in all programs that support OpenType programming. Minea is an attractive font that is sleek, clean, feminine, sensual, glamorous, simple and very easy to read. The Minea font family, based on original calligraphic sketches, contains a total of six weights. Thin, regular and medium weights have ligatures and alternate letter shapes, which help make the syllable look like an authentic calligraphic print. Semi-bold, bold, and black weights contain only basic letter shapes. The font family contains Latin and Cyrillic. Includes Russian and Serbian alternative letter forms. The family of calligraphic fonts Minea can be used on various occasions, and is intended for use in print and online. Can be used in the realization of certain tasks, unusual advertisements, packaging and invitations, diplomas ... as well as for all purposes where this type of letter is needed.

Proudly present Janeiro - Vintage Bold Font, created by ikiiko. Janeiro a bold font that personifies masculinity and retro vibes! This font dances in a contemporary setting with a fluidity that evokes the energy of the past. In a world where conformity sometimes takes center stage, Janeiro boldly challenges convention and invites everyone to join in a colorful and energetic parade. It's more than just a font; it's a typographic carnival that welcomes you to experience the joy of expression and the flow of creativity. This font is very suitable for making a poster, vintage or retro stuff, fashion brand, magazine layout, food & beverages packaging, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Multilingual Support Works on PC & Mac

Before 1959, in pre-Castro Havana, Cuba, the preeminent nightclub was the Tropicana. During the regime of Fulgencio Batista, Cuba was resplendent with nightclubs and gambling casinos catering to [mostly] the North American tourists; which brought it the title of the Monte Carlo of the Americas. Although Cuba (and the world as a whole) has changed vastly over the decades, the hand-lettered logo of the Tropicana Night Club has survived, and has been reproduced as a complete digital font called Tropicano JNL (a slight twist to the club's name). At first the font seems to be awkward, crude and amateurish, but in taking a second look, there's a playful charm to it. Additionally, this font can double as a "spooky" font for the Halloween season, monster parties and in other similar themes.

Bold, rounded and super cool. Those are the attributes of my latest font “Vinyle”, french for vinyl. In this epoque where all fields of Design are giving a lot of importance and attention to Typography and Lettering, I felt it was my duty to contribute with something that could really stand alone and ‘say something else’ that just words to be read. I've found that lately in the world, regarding a finished piece of design, the role of Typography (and of letters in general) went from being secondary, (like a minor player or a supporting actor) to the most important one. People are starting to understand the beauty of a well-done letter: they want their storefronts with unique scripts, they want to drink coffee surrounded by lettered blackboards, they want to buy books with astonishing covers with swashes ‘por doquier’. I'm more than happy to be alive in a present where even the most unimaginable friends of mine, (who couldn't spot differences between comic sans and helvetica before) are now conscious of the importance of a letter, or let’s say: Of the ‘voice’ of Typography. With Vinyle I tried to make a font with power. Following the nowadays trend of, let me say, “the vintage sans renaissance”. This time I put my brushes and nibs aside and experimented with something new. It wasn't easy, if you will pardon, for me to see swashes all over the place withouth the classic calligraphic ‘thick and thins’, but with after some weeks of work I started to love them. Like I already showed you in other creations (1) let me finish with the phrase: GEOMETRY IS SEXY! TIPS Vinyle has a lot of attitude, it shouts “here I am!” it really can ‘design an entire piece’ for you with just a word or two: It was designed with a 10 degree slant on purpose so the user may rotate it (like on the posters) that amount of degrees in order to see better results. Use Vinyle with the ‘fi’ standard ligatures activates for better kerning and ligatures! NOTES (1) See my font Selfie , the ‘little sister’ of Vinyle.

Introducing, Yolien Font. A retro, cute, and modern inspired by the flowy freeform lettering of the '60s and '70s. This font has a unique shape where every corner is smoother and more rounded. Every curve is designed based on an authentic and natural style. Yolien is perfectly suitable for a layout design for quotes or body copy, best used as a display for headings, logos, branding, magazines, product packaging, invitations: logotypes, and much more.

In spite of its angular appearance, Origami is composed almost exclusively of curves. Designer Carl Crossgrove derived the typeface from experiments in designing a low resolution type. The resulting face is reminiscent of Eastern European expressionist designers such as Oldrich Menhart and Vojtech Preissig. It is paired with an equally angular chancery italic. Origami works effectively for short blocks of text or at display sizes, while the capitals are especially suitable for titles.

Geometra is a new font family from Swedish type designer Bo Berndal and the T4 font foundry. Somewhere between a slab serif and a sans it has a crisp, geometric feel and is both 20’s retro and modern. Its soft curves and openness makes it very readable in smaller print. The powerful serifs give the font lots of character in larger sizes. Geometra comes in three weights, regular, semibold and bold.

Composed of compositional groups, with optical adjustments in the curves, Disco Display has been designed with special attention to kerning and tracking, allowing its use in both large and medium sizes, starring in large titles or filling entire covers with color. Inspired by the hippie movement, Disco Display provides sensuality, visual richness and compositional splendor, giving rise to the use of multiple colors or patterns in its forms, or rediscovering its counterforms.

Thank you for opening this Velove font. The elegant font script is a lot of fun. You can finish your handwriting fast and interesting. With fun curves and twists. Velove is for creating greeting text, invitations, logos, cards, product packaging, headers, t-shirts, certificates, What's really amazing is that Velove comes with a complete set of uppercase alternatives, and several lowercase alternative options, as well as ligatures that let you create original custom.

Celdum, a modern geometric type family, constructed from a rectangular grid. Smooth, precise curves meet horizontal and vertical lines to create a monoline design with no apparent contrast. Each letter shape has unique subtleties creating a purposeful type family suited to text and branding scenarios within mobile applications, video games and other interactive software. Details include six weights with italics, 460 characters, five variations of numerals, manually edited kerning and Opentype features.

Thanks for checking out Audy Script Font, a fabulously fun yet elegant script font with tons of energy, allowing you to create beautiful typography in an instant. With extra bouncy curves & loops, Audy Script is guaranteed to make your text stand out - perfect for logos, printed quotes, invitations, cards, product packaging, headers and whatever your imagination holds. Audy Script is also suitable for branding, wedding invitations, magazine. Audy Script looks modern and stylish.

Ashley Southine is a handwritten script font that offers an elegant and personal touch to every character. Inspired by handcrafted strokes, this font presents a natural handwritten feel that is both warm and inviting. Each letter showcases uniqueness in every curve and stroke, creating a relaxed yet refined atmosphere. Ideal for design projects seeking a personal touch, such as wedding invitations, greeting cards, brand logos, and other design elements requiring a warm and elegant ambiance.

Kailey Force contains 3 powerful effects for her kissing cousin: Kailey. The Bold (Drop Shadow), the Brave (Distressed), and the Beautiful (Combined). Kailey is a hand lettered, voluptuous typeface that is very special to the Great Lakes Lettering team. This oblique font is inspired by Molly Jacques’ “signature” lettering style, using bold brush strokes, fluid flourishes, and distinctive characters. Kailey has a distinct feminine feel that takes on a bold attitude to match her curves.

Espect Retro beckons to the discerning eye with its harmonious blend of the modern and the classic. Its wide, yet hairline-thin structure gracefully extends into elongated serifs, giving it a poised and elegant stance. The extended x-height isn't just noticeable; it's a celebration of design that evokes charm and cuteness in every curve and counter. Espect Retro's lightness radiates a fashion-style sophistication, making it a go-to for classy projects.

Histeagin – A New Serif Font with Fancy Curves, More Alternative Character, and Multilingual Support. Histeagin – this style works well for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, or whatever project you’re working on. WHAT’S INCLUDED? Uppercase & lowercase letters Numbers, punctuation Ligature & Huge Stylistic alternate Multilingual support. Still got a question? Send me a message and I’ll be happy to answer! qura.yahya@gmail.com

Giaza is a luxurious Didone typeface, most suitable as a Display font, the main focus was to include as many indulgent aspects as possible, and really make use of its high-contrast aesthetic. With smooth curves and subtle indentations, it's a very Fashion-conscious typeface. The OpenType features include 190 decadent swashes and elegant Inverted/ Everted Alternates. Along with Stylistic Alternates, Standard Ligatures, Discretionary Ligatures, Regular and OldStyle Numerals, Fractions and Ordinals.

Vulnerable is an elegant script typeface inspired by a vintage type specimen I found some time ago at an art fair. Thin to thick contrasting lines and elegant curves make Beginta the perfect font for this type of logo and display purposes. Hope you enjoy it Feel free to contact me if you have any questions or concerns you may have and I will get back to you as soon as I can.

Hi, I’m the Lace line font! I’m drawn by hand. Each of my letters is a curved lace! I will perfectly fit sports design either it is a print, a sports team logo, or even the score of the match. I include Latin uppercase, lowercase, numbers and special symbols. So that I’m even more attractive my designer Kaer created a lot of great ligatures. I’m young and cool! Let's go, go, go!

Occula on Behance. Occula: Specimen Manual PDF. Occula is an exploration into high-legibility type although it’s not an effort to design the ultimate typeface in terms of economy and legibility. Instead, the goal has been to strike a balance between modern curves and lively old-style rhythm – using a rational design approach without becoming monotone. Or from another point of view: being humanistic and lively without looking old-fashioned and quirky.

Introducing, Laurens! a bold font with a touch of soft curves. Laurens brings vintage look as well as modern designs. With a variety of alternative letters and ligatures, it will make your text more unique and interesting. Laurens is a very versatile font, perfect for editorial projects, Logo design, Wedding, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image. I hope you enjoy! Letteralle Studios

The New Elegance is a new editorial serif with all clean and soft lines, tight curves, and a trendy elegant look! The New Elegance has two versions of the font, namely serif & Sans Serif which are equipped with an italic version style, very suitable for your design needs such as very suitable for creating nostalgic designs but still clean and elegant such as headlines, magazines, logos, packaging, editorial, and much more. Thank you, Great Studio

Sorren is a definitive bold condensed sans influenced by neo-grotesque designs. A relatively low stroke contrast complimented with sharp, horizontal stroke ends lend an unyielding appearance, while it’s rounded forms and refined curves juxtapose its inherent strength with grace. Stylistically, Sorren has a classic, timeless feel with a contemporary finish and attention to detail. It is characteristically more elegant and considerably sturdier than the typical condensed sans, lending to its singular disposition.

Boleo is a typeface designed to work in short texts such as headlines, banners, logos, signs, packaging and posters. It is a display font but has a good legibility thanks to well-proportioned shapes which let it works fine both on paper and screen. Boleo’s shapes remind to ribbons in motion, so that its lines, all curved, can be traced all at once. Boleo displays in three weights: regular, bold and black.

Gerova is a serif display font that is aesthetically pleasing and has beautiful curves. Gerova font also gives the impression of luxury with a sleek and sharp serif. This font provides a unique collection of glyphs that are perfect for completing a variety of projects, such as logo designs, identities, product labels, fashion, magazines and more. Gerova font features Open Type Format (OTF), alternative styles, ligatures, kerning, uppercase & lowercase letters, numeral, punctuation and multilingual support.

Notulen is an Serif Display Typeface, Extra Bold style and nicely balanced curves. Notulen is inspired by Classic typography and now come with modern serif nuance. Short serifs with slightly rounded corners make this font legible at small points. Having several alternative letter variations makes it easy to work on all design projects and works perfectly for Logos, Headlines, Posters, Packaging, T-shirts, Postcards, Invitation, Wedding Sign, Sign Painting, Signboard, and much more. Thank you,

Kinsey is inspired by traditional typewriter font styles. Although now largely consigned to history, the bulbous slab serifs and soft curves of typewriter fonts have left a lasting legacy; they’re paradoxically easy on the eye, yet utilitarian and business-like. Kinsey offers a modern take on this classic style and is available in a full family of five weights and includes a ‘proper’ italic with modified characters for an easy, flowing style.

Brattons, a newly crafted font, embodies an essence of elegance and sophistication. Its graceful curves and delicate strokes exude a distinctly feminine allure, capturing the essence of luxury and style. This serif font boasts stylistic alternates and ligatures that elevate its visual appeal, offering a unique and refined touch to any design project. Brattons is a testament to its meticulous craftsmanship, designed to resonate with those seeking a blend of timeless charm and contemporary finesse.

Morris Fuller Benton’s drawings at the Smithsonian show a creative concern for effects of scale on typeface design. Tobias Frere-Jones began with 4pt ATF Franklin Gothic drawings, modifying proportions to mix with Poynter Oldstyle and Benton Gothic, and adjusting ends of the curved strokes of C G S a c e r s to suit news printing conditions. Poynter Gothic Text excels as subheads used with Poynter Oldstyle Text; FB 1997–99