Éric de Berranger likes to multitask, and often works on two typeface families at once. Such was the case with Mosquito, a jaunty sans that was developed at the same time he was creating the more traditional Maxime. Mosquito represented a sort of recreation," says de Berranger. "When I grew tired of working on one design I could work on the other and then come back to the first, full of courage and desire!" Mosquito is built from simple, straightforward shapes, but its distinctive stroke terminals and slight oblique weight stress distinguish the design from more conventional sans serif faces. The relatively large x-height and open counters add to the legibility of the design. The capitals are straightforward (with just a hint of Peignot), while the lowercase has a softer, more inviting demeanor. "I drew Mosquito with the hope that it would be pleasant to look at and to read," says de Berranger. "I think the end result is almost feminine." Mosquito comes in three weights, with complementary italic designs and a suite of small caps, old style figures and alternate characters."

Mosquito Formal, by Éric de Berranger, takes the original jaunty design of Mosquito and dresses it in a tuxedo. The stressed character strokes, simple, straightforward shapes, relatively large x-height, open counters and hint of Peignot are still there, but the cursive strokes and lively terminals have been replaced with traditional designs. The result is a more serious-and more sophisticated typeface. The idea," says Éric de Berranger, "was to assuage the drawing of Mosquito. To 'calm' it; and eliminate its idiosyncrasies while preserving character structure and general appearance." Although still distinctive, as Éric de Berranger puts it, "Mosquito Formal is more to be read than seen, it is more invisible and thus, more readable than my earlier design." He does, however, use both typefaces in his graphic design projects: Mosquito for headlines and in applications where the lively design is appropriate, and Mosquito Formal for those instances that require a quieter more sophisticated look. Mosquito Formal is available in three weights with complementary italic designs in addition to a suite of small caps and old style figures. "

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.

Perfume - a luxurious display pack. Perfume is a display combo pack of three styles and eight fonts. Perfume fonts are soft and clean and they have a distinguishable character. Perfume Pen is a monoline script with three weights and large x-height. Perfume Pen is equipped with automatic Contextual Alternates that keep the connections smooth. In addition Perfume Pen has Swash, Stylistic and Titling Alternates, boasting over 500 glyphs in total. Perfume Brush is a bold brush script with two weights. Perfume Brush is also equipped with Contextual Alternates to keep connections smooth and Swasha lternates for more imposing character forms. Perfume Sans is a sturdy all caps Sans with three weights. For the best price purchase the whole pack!

Bloque is a heavy slab font family which contains six fonts. It has three layers for both roman and italic styles, including an inline and a shadow versions to make different color combinations

The Billy family contains three individually useful and fun fonts. When combined, the energy and strengths of the different weights play off each other creating an essential family.

WOLFSZN Anniversary! WOLFSZN is the tenth Font of André Toet. The inspiration for this capital alphabet came from the trails of an agricultural machine (think tractor) leaves in the soil after working the land. But it’s not meant to be ‘like a heavy workload’, in fact to us it seems like a very useful Font for headings, logotypes, advertising or films. We hope WOLFSZN will be happily and wisely used by my dear colleagues. Concept/Art Direction/Design: André Toet © 2017

STRANO Like the name indicates it’s a strange typeface. Just capitals (including punctuation marks and numbers), composed from early sketches for a corporate identity in 2005 by André Toet. The complete font was restyled and translated to a Monospaced version. It’s a quite versatile font: it can be used in a lot of different cases, not only in print but also in architecture and street furniture. Think about lettering on benches, bridges, buildings. Concept/Art Direction/Design: André Toet © 2017

Byte 205 is a modular font, resulting from experiments in creating a practical, legible font from a minimum set of geometric components on a uniform grid. It has full upper and lower case character sets and includes all accented characters for Western and Central European languages. It's available in three styles – 105, 205 and 305. Each style has different corners, 105 is square, 205 is bevelled and 305 is round. Each style is available in three weights, Light, Medium and Bold.

Byte 105 is a modular font, resulting from experiments in creating a practical, legible font from a minimum set of geometric components on a uniform grid. It has full upper and lower case character sets and includes all accented characters for Western and Central European languages. It's available in three styles – 105, 205 and 305. Each style has different corners, 105 is square, 205 is bevelled and 305 is round. Each style is available in three weights, Light, Medium and Bold.

Byte 305 is a modular font, resulting from experiments in creating a practical, legible font from a minimum set of geometric components on a uniform grid. It has full upper and lower case character sets and includes all accented characters for Western and Central European languages. It's available in three styles – 105, 205 and 305. Each style has different corners, 105 is square, 205 is bevelled and 305 is round. Each style is available in three weights, Light, Medium and Bold.

CONCEPT/CHARACTERISTICS This strikin­gly bold, black and exten­ded 3D font remi­nis­cent of sci-fi films and expe­ri­men­tal type­face design. The font acts as a chain of liga­tures and thus recei­ves a uni­que aes­the­tic. The uni­que let­ter forms are in sharp con­trast to other fonts and thus stand out as a uni­que sel­ling point. APPLICATION AREA Pos­ters, music cover, book cover, logos, as a head­line font for maga­zi­nes or websites … TECHNICAL SPECIFICATIONS Head­line Font | Dis­play Font | Sci-Fi Font »Mega Slant Line« Open­Type Font with 303 gly­phs – alter­na­tive let­ters and liga­tures (with accents & €) & 2 styles (regu­lar & 3d) KONZEPT/BESONDERHEITEN Diese auf­fäl­lig pla­ka­tive, fette und breit­lau­fende 3D Schrift erin­nert an Sci-Fi Filme und ist expe­ri­men­telle Schrift­ge­stal­tung. Die Schrift wirkt wie eine Kette aus Liga­tu­ren (Buch­sta­ben­ver­bin­dun­gen) und erhält somit eine ganz eigene Ästhe­tik. Die sehr eige­nen Buch­sta­ben­for­men wer­den sich deut­lich von ande­ren Schrif­ten abhe­ben und somit als Allein­stel­lungs­merk­mal her­aus­ste­chen. Der Fluss ergiebt sich aus den EINSATZGEBIETE Pla­kate aller Art, Musik Cover, Buch­co­ver, für Logos und Wort­mar­ken, als Dis­play­schrift für Zeit­schrif­ten oder Websites… TECHNISCHE INFORMATIONEN Head­line Font | Dis­play Font | Sci-Fi Font »Mega Slant Line« Open­Type Font with 303 gly­phs – alter­na­tive let­ters and liga­tures (with accents & €) & 2 styles (regu­lar & 3d)

Realite font is suitable for creating minimalistic logos, wordmarks, titles, taglines. Each letter of the font has two or three alternates. You can mix default characters and alternate characters to get the best combination.

Font with hexagonal dots for texts, names, logotypes, titles, headers, topics etc. Big sizes of this font can be used for posters, t-shirts and other surfaces. Also good for the three-dimensional inscriptions.

Inspired by the former hot-metal fonts of Imprimatur, Gmuender Antiqua Pro is a fresh designed versatile and multilingual serif font family. All five styles contain three different forms of numbers and small caps.

Font with hexagonal dots for texts, names, logotypes, titles, headers, topics etc. Big sizes of this font can be used for posters, t-shirts and other surfaces. Also good for the three-dimensional inscriptions.

Font with hexagonal dots for texts, names, logotypes, titles, headers, topics etc. Big sizes of this font can be used for posters, t-shirts and other surfaces. Also good for the three-dimensional inscriptions.

ALERT: Comicraft's Mad Font Scientist John Roshell and Lead Lab Assistant Drewes McFarling have applied an Unstoppable Force to our Immovable Font ULTIMATUM, successfully splitting it into a family of three fonts! Here’s the secret formula: ULTIMATUM MASS retains the dynamic details of the original with flat, angled corners; ULTIMATUM FORCE cooperates with your demands for a vertical slice of the action; and ULTIMATUM VELOCITY got tired of waiting for a compromise and cut across its horizontals. The complete family features three styles of eight weights for a total of 24 fonts, each with support for 221 languages including Western & Central Europe, Vietnamese & Cyrillic. Three Variable Fonts provide precise control of Weight & Italic slant. ULTIMATUM MASS FORCE VELOCITY is ideal for high performance car & truck branding, sports uniforms, video game graphics, college & university apparel, and any time you want to convey industrial strength and technological innovation.

Cozy up with a warm cup of Latte! This friendly typeface uses the highest quality hand-roasted glyphs blended with some wonderful rounded serifs and ball terminals to create a bold, earthy flavor that can't be beat. Available in 14 robust styles, including true italics, Latte is a great way to give your next project a warm, friendly, and natural feel. You’ll pick up on subtle notes of OpenType features like stylistic alternates (on 41/52 Latin characters+diacritics), fractions, ligatures, oldstyle and lining figures, and more. Latte is the perfect ingredient to bring a kind, peaceful feeling to your next project.

P22 Stanyan Autumn is a set of three fonts based upon a casual hand lettering text created for the deluxe 1969 edition of "...and autumn came" by Rod McKuen.

MOTHEM font family with three modes, Black, ItalicBlack, and ThinOutline and supported by multiligual features. The shape has a sporty, strong, and futuristic impression, very perfect for classy designs.

Digital Sans Now combines and completes the many diverse requests and requirements by users of the past years. By now, 36 versions for over 70 Latin and Cyrillic languages have become available, including Small Caps. Digital Sans Now is also available as a webfont and reflects, with its simplified and geometric construction and its consciously maintained poster-like forms as well as with its ornamental character, the spirit of the decorative serif-less headline typefaces of the 1970s. The basic severity of other grotesque typefaces is here repressed by means of targeted rounds. Exactly these formal breaks allow the impression that it could be used in a variety of visual applications. Short texts, headlines and logos of all descriptions are its domain. It is because of this versatility that the typeface has become a desirable stylistic element, especially in such design provinces as technology, games and sports, and that, for many years now, it appears to be timeless. Additional weights designed on the basis of the original, from Thin to Ultra, the Italics, Small Caps and alternative characters allow for differentiated “looks and feels”, and, with deliberate usage, give the “Digital Sans Now” expanded possibilities for expression. The basis for the design of Digital Sans Now is a headline typeface created in 1973 by Marty Goldstein and the Digital Sans family which has been available from Elsner+Flake since the mid-1990s under a license agreement. The four weights designed by Marty Goldstein, Thin, Plain, Heavy and Fat, were originally sold by the American company Visual Graphics Corporation (VGC) under the name of “Sol”. Similarly, the company Fotostar International offered film fonts for 2” phototypesetting machines, these however under the name “Sun”. The first digital adaptation had already been ordered in the mid 1970s in Germany by Walter Brendel for the phototypesetting system Unitype used by the TypeShop Group, in three widths and under the name “Digital Part of the Serial Collection.” Based on the versions by VGC, Thin, Plain, Heavy and Fat, new versions were then created with appropriate stroke and width adaptations for data sets for the fonts Light, Medium and Bold as well as for the corresponding italics

A script typeface inspired by the signature bold, we created to provide ease in completing the work as typography, logotype, poster, title, T-shirts and other creative projects. Created in 2017 with more than 300 glyphs, it's rich of alternative characters, ligature and other cool features, so it is very easy to use for it.

CONCEPT/CHARACTERISTICS
 The curly, pixelated, edgy and futuristic cha­rac­ter, gives the type­face a high reco­gni­tion value and uniqueness. APPLICATION AREA 
The fancy, videogame like, vintage and sci-fi font „india snake pixel labyrinth game“ would look good at logos, dis­play size for poster, flyer, comics and gra­phic novel let­te­ring, head­lines in maga­zi­nes or web­sites, packa­ging, music covers or webbanner etc. TECHNICAL SPECIFICATIONS 
Head­line Font | Dis­play Font | Sci-Fi Font „india snake pixel labyrinth game“ OpenType Font with & 275 gly­phs & 4 styles (regu­lar, bold, light & 3d). Alter­na­tive let­ters, symbols and liga­tures (with accents & €) KONZEPT/BESONDERHEITEN
 Der ausgefallene, videospielartige, retro und futuristische Cha­rak­ter, geben der Schrift eine hohe Wiedererkennung und eine gewisse Einzigartigkeit.

Karacho is a ‘fat style’ geometric display typeface with two counter-styles, a stylistic set of lowercase letters, and multilayer options: the font design is separated in three layers for building individually colored font variants.

TG Hagia is contemporary serif font inspired by Modern Culture. This font is highly recommended for use as display and body text. Tg Hagia is available in three widths namely regular, semi-bold and bold.

Sunny Sam is a fun handwritten typeface. It was drawn and created by Måns Grebäck during 2019 and 2020. The movements of this happy script font represents optimism and vivacity. Sunny Sam comes in three high-quality styles: Thin, Medium and Bold. The three weights works great as complements to one another. It has an extensive lingual support, covering European Latin scripts. Sunny Sam contains all characters you'll ever need, including all punctuation and numbers.

GR Milesons | Artdeco Typeface Milesons is a very interesting font, which has been inspired by Art Deco art. It is formed from very careful lines with stylistic set and ligature features. Milesons has 300+ glyphs consisting of three styles: Milesons One, Milesons Two and Milesons Three. Suitable for any graphic design projects, prints, logos, posters, t-shirts, packaging and applicable for some types of graphic design. Milesons is compatible with any software without any pain.

Introducing Outlast - A competitive sports font with three distinct and unique styles. Outlast was designed for creating powerful logotypes, sports branding, posters, apparel design, magazines headlines, labels and much more.

Mazzard is a superfamily of three geometric grotesques with three different x-heights (H, M, and L). It features rich language support including Cyrillic, and offers a wide variety of alternate forms to choose from. Also check Mazzard Soft - the soft version of Mazzard.

Corsica is an all-purpose geometric sans-serif typeface of visually uniform stroke thickness. The design seeks to be reminiscent of classic 20th Century grotesques with a crisp modern appearance and opentype features that are now expected. Coverage includes most Roman languages, Greek and basic Cyrillic. Each font contains a standard set of features including fractions, small capitals etc. The family contains six weights, two widths and three lowercase size options, together with an italic variant for each. The are three standard 4-font families for each size variant and a further three corresponding families for Condensed versions. The versatility provided by this extensive family has many useful applications. In particular, the choice of small, medium and large lowercase letter sizes (SX, MX, LX) allows designers to select an appropriate style for suitable impact and legibility in different situations such as headlines, captions, signage, web menus etc. Although each of the three size options will work equally well in most situations, the middle size (Corsica MX) would generally be the preferred choice for lengthy texts.

Ares is a crisp all-caps display typeface suitable for sci-fi logos and titles. It owes its peculiar futuristic vibe to angular, top-heavy letters that hang from the cap-height instead of sitting on the baseline. The typeface consists of six subfamilies available in 10 weights, as well as as two variable fonts of three axes: Weight [wght], ranging from 1 to 1000, Mid-height [MHGT], ranginf from 0 to 1000, Tracking [TRAK], ranging from 0 to -40. The mid-height axis affects the typeface's waistline, including crossbars, and divides the fonts into three subfamilies: Ares Lo, Ares, and Ares Hi. These three families are solid-stroked, and the other three families are their stencil-stylized counterparts: Ares Broken Hi, Ares Broken, and Ares Broken Lo. The tracking axis is only available in the variable versions, and proportionally affects the kerning, thus helping set the type more tightly without effort. Ares supports a wide range of Latin-based orthographies, including not only European, but also Vietnamese as well as major African languages like Hausa, Fula or Ewe.