Grotesk typeface with elastic punctuation & diacritical mark. in 4 weights: Light, regular, Medium and Bold by 4 styles: A (small diacritical), B (normal diacritical), C (hight diacritical) and D (very hight diacritical) language: all latin glyphs

Alpha is an intuitive, clean and modern sans serif typeface crafted to depict change, the new normal, and unbridled opportunities. It has excellent legibility and is ideal for usage in displays, headlines, labels, and website design.

Comic Mode is a warm, fun and comical sans serif family, "its an alternative for comic sans, with a more formal looks". Availavle of 9 weights from thin to black. with a curved character that is round on thin and increasingly elliptical on black. The unique look of comic Mode is the combination of a technical sans serif and casual handwriting . These 9 diffrent weights also come with oblique style, so there are 18 styles in this family and 1 variable font that are a relatively new font format that allow one font file to contain multiple stylistic variations. Fresh, unique and casual, make this font really worth having.

Ashbury derives its inspiration from 18th century transitional types such as Caslon and Baskerville. It is, however, not a revival but interprets formal aspects in a new and individual fashion. With a flowing outline, it remains warm and pleasant but assertive because of its solid stroke weights. It is very well equipped for a wide range of ambitious applications. Ashbury comes in ten styles, in OpenType format, and with extended language support for more than 40 languages. All weights contain small caps, swash capitals, standard and discretional ligatures, proportional lining figures, tabular lining figures, proportional old style figures, tabular old style figures, matching currency symbols, fractions, and scientific numerals.

Cynthia June is an elegant and formal copperplate style script font from Jukebox. Perfect for weddings, dinners, holidays or any design that needs classic elegance, flair and femininity, this typeface will fit the bill! It includes an alternate set of swash caps and several alternate lowercase letters to expand its use. The font is named for a dear friend of the designer. Jukebox fonts are available in OpenType format and downloadable packages contain both .otf and .ttf versions of the font. They are compatible on both Mac and Windows. All fonts contain basic OpenType features as well as support for Latin-based and most Eastern European languages.

This family was inspired from the set of font faces used in Amsterdam by Daniel Elzevir to print the famous “Tractatus de corde...” the study on earth anatomy by Richard Lower, in 1669. The punch cutter was the famous Dutch Kristoffel Van Dijk. In our two styles (Normal & Italic), font faces, kernings and spaces are scrupulously the same as in the original. This Pro font covers Western, Eastern and Central European languages (including Celtic), Baltic and Turkish, with standard and “long s” ligatures in each of the two styles. The Roman (Normal) style contains a U stylistic alternate, and the Italique style A.

Mollen is sans serif font family that designed to be functional. Each glyphs are shaped by geometrical form with specific visual structure: Simple and clean form with low contrast stroke, rounded 'o' in the normal width, mix diagonal and straight cuts on terminals and finials. Low capitals, with flat top and low descenders. With this personality, Mollen meant be fit for modern, contemporary and technological nuance. Mollen consist of 48 font with 8 weight: From Thin to ExtraBold and 3 width: Condensed, Narrow and Normal. With each matching Italics. It also contain 425 glyphs and several opentype features.

The "Strong Display Font" is a derivative of the Clinto slab serif font, originally designed by. Faldy Kudo. This font is specifically crafted to exude strength and impact, making it an ideal choice for display and headline usage. It incorporates the unique typographic feature of ink traps, enhancing its readability even at larger sizes. The font family comprises 6 distinct styles: "Normal, Normal Rounded, Medium, Medium Rounded, Condensed, and Condensed Rounded.” offering versatility in design choices. Additionally, the font provides multi-language support, ensuring that it can be effectively used for a wide range of global content and projects.

Plastic Toys is a basic display font for mom and kids crafter. It created to complete the normal type of font but need a playful and plasticy feel that crafter always needed. because of it feels, you can mix and match this style with various handbrush and normal strong font to get the feel of what your design needed Its perfectly suited for crafter and graphic artist to complete their design such as invitation, advertisement, poster, logo, birthday, product sign, and many more! Plastic Toys Font also Lightweight, even so contains All Standard glyphs and punctuations

Centrale Sans Condensed is not just a "squished" version of our Centrale Sans family, it's designed as a stand alone typeface with the family characteristics in mind. It bears all the qualities of the normal width being even friendlier because of the closer relation it has with the humanist model. The condensed width is with 15% narrower than its normal sibling, which makes it precious space-saving tool. Centrale Sans Condensed also have 9 weights from Hairline to Extra Bold plus their matching italics. It includes Some OpenType features like discretional ligatures, tabular figures and stylistic alternatives.

»Supra Mezzo« – designed by Gert Wiescher in 2012/13 – is an unusual addition to the Supra family, a weight in between the normal and the condensed width. This cut comes in very handy if you need to put lots of text into a relatively small space without loosing readability. The compactness with great legibility makes Supra Mezzo absolutely unique. The light and normal weights and the dominant x-height with its high ascenders make for easy reading of long copy. The heavy and x-light weights are great for elegant headlines. Supra is an OpenType family.

Chimphand is an organic, natural and contemporary handwritten typeface with their tall x-height. Weights of light, regular and bold for both normal width and condensed allow you to play with the typeface more. In addition, you will have an access to their style sets ( Gap ) to add stencil-ish character to every weights. This gap style is much more subtle than normal stencils, but unique and nicely fit to the typeface. Gaps are more visible on larger fonts and bolder weights. Chimphand is good for any purpose, but works more on shorter text. Thanks and enjoy!

Maferic is a combination font consisting of luxury three fonts. Which has uniqueness in each letter and helps you to make your design work look more special. This font is perfect for your designs such as logos, branding, fashion, business cards, social media, and of course many more. Maferic font ready with: Any options to get creative variations (combination of Regular, Italic, and Signature) 3 files format already: .otf .ttf . woff Preview as an inspiration that you can do with Maferic Signature font Ready with Lowercase and Uppercase characters Language Support; All three fonts support English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Turkish, Icelandic, Slovenian. That's it! I hope you enjoy it, and please don't hesitate to drop me a message if you have any issues or queries. Oh, and come and say hello over on Instagram! www.instagram.com/sealoungfonts

STF Eclectic Medley is the budget-concious answer to your dingbat blues! This "best of" collection from the Eclectic One, Two and Three fonts is the ultimate grab-bag dingbat resource. Every slot in the font is filled (over 200 characters!), and includes the form-making glyphs from Eclectic Three. The Eclectic family is legendary, with a cult-like following among the inititated. You'll find yourself using Eclectic Medley almost daily to add spice to your otherwise san-serif typographic existence. This font is essentially a soap opera of typographic image elements, created for projects when I couldn't find the "thingbat" I needed. Almost more of a collection of illustrations, there are many characters which connect to form patterns, and of course it's like a "small neutral European country" army knife for the creative community. Available in Mac and PC formats. License it today!

Cornelius is a playful hand-drawn font family designed by Daniel Bak (Artcity). It is available in three handy weights: regular, bold and screaming. It contains international language accent marks and diacriticals, including Greek and Cyrillic in both OTF and TTF formats. Font family name is inspired by the main male ape character from the 1968 science fiction film Planet of the Apes and Pierre Boulle novel of the same name. Boulle published his La Planète des singes in 1963, which was originally translated in 1964 as Monkey Planet by Xan Fielding, and later re-issued as Planet of the Apes . Dr. Cornelius is a chimpanzee archaeologist and historian who appears in the original novel, and also the first three installments of the classic movie series, from the 1960s and 1970s. He was portrayed mainly by actor Roddy McDowall, but also by David Watson.

This typeface takes most of its design cues from Isonorm, developed by the International Standards Organisation in Switzerland in 1980. In this version, the overall design has been homogenized to eliminate some of the anomalous forms in the original. Suitable for both text and headlines with a cutting edge vibe. All versions contain the complete Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 character sets, with several language-specific localizations.

With a hand-inked look, Panhandler flows like decorative but unfussy cursive writing. The font has automatically substituting glyphs and ligatures to avoid some of the problems other connnecting scripts encounter. It also includes a set of swash capital letters and a decorative swash ending lowercase set. Panhandler is available in the OpenType format (both flavours) and will work with on all standard platforms and software. Advanced features will require OpenType compatible software.

3 robbers is not a typeface family, only a collective name for three typefaces with the looks of handtexted characters: Kasper, Jesper and Jonatan. There are some common traits between them, but they are three individuals. As the three terrible" robbers in the Swedish writer Lennart Hellsing's Kamomillastad - the ones who borrowed their names to the typefaces - are three individuals. They always appear in the same order: first Kasper, then Jesper and last Jonatan. Swedish children love to sing about them and are not at all scared of them. All three robbers were released in 1995.

3 robbers is not a typeface family, only a collective name for three typefaces with the looks of handtexted characters: Kasper, Jesper and Jonatan. There are some common traits between them, but they are three individuals. As the three terrible" robbers in the Swedish writer Lennart Hellsing's Kamomillastad - the ones who borrowed their names to the typefaces - are three individuals. They always appear in the same order: first Kasper, then Jesper and last Jonatan. Swedish children love to sing about them and are not at all scared of them. All three robbers were released in 1995.

A very sophisticated formal design; great for packaging fine adds and many other applications.

This font is more formal. It is stylish and perfect for your wedding journaling.

Core Mellow is a condensed geometric sans-serif typeface family that can be used in various applications especially for short texts. The letterforms in roman style are mild, minimal, simple, and clean in appearance. The Core Mellow Family consists of 3 widths (Compressed, Condensed, Normal), 7 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold) and Italic for each format. The Core Mellow 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 Mellow looks smooth in any layout with its sleek rounded lines, use it for your magazines, brochures, web pages, screens, and so on.

The name suggests it: the Chiq is based on a well-known system font from Apple's classic Mac OS operating system. By revamping and expanding good old “Chicago“, I want to make that 90s tech charm available for the future. The model consisted of just a single style and inspired me to create “Chiq Bold,” which later became the starting point for the entire font family. The shapes of the Chiq are constructed according to a very simple principle. The contrast of stems and hairlines becomes more pronounced towards the bolder cuts. A few basic shapes form the framework for all characters. The shapes are very regular and sometimes form somewhat unusual figures, which has a negative effect on readability and makes the font rather unsuitable for long passages of text, but results in a very even typeface. This is particularly true for the extra-wide “UltraExpanded,” which is so wide that you can no longer recognize word images but literally have to spell them out. In this way, words are turned into letter bands with a great decorative effect. With variants from “Light” to “Black”, from “Normal” to “Ultra Expanded” and the italics, Chiq reaches beyond its archetype. This opens up a wide range of uses. It is even clearer, even more sober, and to a certain extent speaks an even more modern formal language. Chiq is also a variable font!

ITC Werkstatt is a result of the combined talents of Alphabet Soup's Paul Crome and Satwinder Sehmi, along with Ilene Strizver and Colin Brignall. It is inspired by the work of Rudolph Koch, the renowned German calligrapher, punchcutter, and type designer of the first third of this century, without being based directly on any of Koch's typefaces. Werkstatt has obvious affinities with the heavy, woodcut look of Koch's popular Neuland, but also with display faces like Wallau and even the light, delicate Koch Antiqua. Brignall began by drawing formal letters with a 55mm cap height, which Sehmi reinterpreted using a pen with a broad-edge nib. “Not an easy process,” says Brignall, “since one of the features of Koch's style is that while it was calligraphic in spirit, most of the time his counter shapes did not bear any resemblance to the external shapes, as they would in normal calligraphy. This meant that Sehmi could not complete a whole character in one go, but had to create the outside and inside shapes separately and then ink in the center of the letters.” The process was repeated, only without entirely filling in the outlines, for the Engraved version. Crome handled the scanning and digitization, maintaining the hand-made feel while creating usable digital outlines. “The collaboration of artisans with particular skills,” says Brignall, “in a modern-day, computer-aided studio environment, seems very much in step with the 'workshop' ethos that Rudolph Koch encouraged and promoted so much.”

Caridade is a bold and powerful script face. It draws some inspiration from heavy brush drawn vintage hand lettering but its heavy weight is much thicker with plenty of impact and more contemporary letterforms. The face offers a wide array of weights, from the powerful Heavy weight to the graceful Thin. Caridade can get the job done for many unique design tasks. Caridade includes many useful OpenType features, including a set of non-connecting alternates, 40 ligatures, and two types of end letterforms. OpenType features include ornaments, swash endings, ending contextual alternates, discretionary ligatures, ligatures and three different stylistic sets filled with alternates. In total, there are over 60 alternate letterforms. Please see the sample .pdf to see these features in action. 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.

Filou is a genuine bastard inspired by three different typefaces. It consists of three weights: "Regular", "Medium" and "Extra" which can be easily mixed together.

Grand Atlantic is a powerful display package by Fenotype. It’s a genuine Brush script packed with features and Swoosh extras and it’s a striking condensed flared serif in two weights, designed with the same sharp edges on the flares as the Brush. Together they make stunning logotypes, posters or headlines. On top of that there’s a “Printed” version of each. Printed versions are the same but with rugged outlines and a print texture. Grand Atlantic is great for creating powerful identities for artisanal coffee brands, craft beer, organic juice or a sports teams. Grand Atlantic Brush is equipped with Standard Ligatures and Contextual alternates that help keeping the connections between letters smooth. They’re automatically on as you should normally keep them. On top of that Grand Atlantic Brush has Stylistic, Titling and Swash Alternates for standard characters if you need more ornamental letters and if you want to break up the rectangular word shapes. There’s even more alternates in the glyph palette, making it total more than 600 glyphs. Grand Atlantic Swoosh contains 52 shapes designed to go with the Brush. There’s many “terminal swashes” that you can put in the end of a word and it will connect to the last letter, and swirl under the word from there.

Part of the Zoot Suite of offbeat handwriting fonts, Herringbone is based on a fast and sloppy formal script the designer has been using since he was a child. For use when handwriting fonts are too informal and script fonts too formal. Herringbone is a happy medium. For a bolder look, try Houndstooth.

Flaunters is a sans serif neo-grotesque font with neat and beautiful letters. This font family comes with 14 fonts, consisting of 7 upright weights and matching italics, with 390+ characters. Flaunters is very suitable and looks amazing in designs such as posters, advertisements, banners, or your formal and non-formal design needs.

Part of the Zoot Suite of offbeat handwriting fonts, Herringbone is based on a fast and sloppy formal script the designer has been using since he was a child. For use when handwriting fonts are too informal and script fonts too formal. Herringbone is a happy medium. For a lighter look, try Herringbone.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

MN Grissee - a Sans Serif Super Family Font. This typeface has many alternatives with swashes that can make your lettering/logotype more attractive. This font is suitable for logos and various other formal forms, such as invitations, labels, logos, magazines, books, greeting/wedding cards, packaging, fashion, makeup, stationery, novels, labels, or advertising. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease! 436 Glyphs 9 Opentype features 10 Ligatures, Stylistic Set and Swash 3 Widths (Condensed, Normal, Expanded) 8 Weights (Thin, Extra Light, Light, Regular, Medium, Semibold, Bold, Extrabold) 2 Styles (Regular & Italic) Support Multilingual for 89 languages We highly recommend using a program that supports the OpenType feature and the Glyphs pane like many Adobe and Corel Draw applications, so that you can view and access all variations of Glyphs. Thanks for your support of our product and using it in your project.

“Röijer” was born from a branding exercise done with “high care”, graphically developed thanks to the valuable help of designers Marcela Aguilera & Pedro Gonzalez, each letterform and every type design process was worked as a typographic jewel, as a strong bond between classical and fresh concepts (with a Lombardic and Art Nouveau touch). Röijer puts a dual capital model in your hands; a classic Roman and a fresh contemporary alternative, on each letter: the first located in a lowercase box looks formal and sober, while the uppercase box shows a glamorous and more daring look, ideal to being use at specific moments only. Röijer combine elegance and audacity in a very magistral way. It has 2 variants with 541 glyphs each one; a normal and a volumetric one, all with an ornaments set and a decorative objects set. Ideas that be useful not only for branding design but also for titling, headline composition, label design, fashion and luxury stuff.

Introducing, Wimp Stars - A nostalgic display typeface. The sharp edges make this font looks great and standout for tittle, headline, logo, etc especially for old and retro style theme. Perfectly to be applied to the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual alternates & ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

A formal text font designed for legibility, suitable for documents, books and intense text requirements.

A beautiful very bold serfi face, formal legible design, with matching Italic, Powerful yet elegant.