Brinca is an intrepid ‘full spectrum’ typeface with emotional range and a dynamic heart. Morphing sharp tight pleats that relax into office ready neutral sans, then plump into joyful bouncy letters with mesmerizing fluency, Brinca is ready to adapt to a wide variety of expressive needs. Named after its jumping extremes of the type’s styles; from coiled spring to stuffed and bouncy, Brinca is also a leap into new possibilities for display type design. Because of its chameleon-like range of styles, Brinca is a versatile workhorse. It’s a great choice for brand identities ready to embrace expressive range, and it’s perfect for fine-tuned packaging, events promotions, merch, product lines, and much more. WIth its very wide spectrum of options, It’s a single typeface that can be used to design a library’s worth of book covers. (We put it to the test!) About Brinca was designed by Alexander Wright and Rodrigo Fuenzalida with Michu Benaim Steiner for In-House Int’l foundry, the type foundry of brand consultancy In-House International. It was developed by Rodrigo Fuenzalida at FragType, and available through YouWorkForThem. In-House foundry offers bold, fearless, and expressive, display typefaces that tell a story. Its previous releases have been featured on Design Milk, DesignBoom, Slanted, PAGE. They’ve also been used to create standout work by designers around the world, and even won some awards.

Thomas Oldfield’s typeface, Reaper, is reminiscent of inscribed Greek letterforms but he claims that its origin is much simpler than that. “I recall”, Tom says, “that I just began the design by making the uppercase ‘I’ and continued using it to make up the other characters.” The cap only typeface has alternate cap forms in the lowercase positions, including a vastly scaled downed O and Q that make for some unusual text settings. Contrary to what the name might have you believe, there’s a lot of life in this quirky typeface.

Above the Beyond is a font family that contains a high contrast Contemporary Garamond Serif and a Casual Signature Brush script. The serif comes in two styles - Regular and Italic - the italic angle is similar to the one used in the Script font. The main difference between traditional Garamond and Above the Beyond Garamond is that the ascenders are significantly shorter which makes the serif fonts more suitable for branding design and helps to reduce the distance between lines without scarifying the legibility. The Italic style has many stardard ligatures as well as calligraphic ones. Above the Beyond Script is full of OpenType enhancements such as ligatures and alternates - everything that is needed to create an organic handwritten look. It is fully unicode mapped and can be used in any software - either using OpenType panel of the application in use or your OS default Font management software - Character Map or FontBook - by copy-pasting the glyphs you need. The font family is perfect for all kind of designs: quotes, t-shirt, branding, social media, magazines, cards, packaging etc.

The early Twentieth Century was a golden age for cinema, and for the artists who lettered the iconic title sequences. Cinema Script is inspired by this lettering style, but has departed substantially from the source material in an effort to be less retro and more in tune with today’s designers' needs. The font will work admirably ‘out of the box’ but to really shine use the advanced OpenType features. Contextual alternates and ligatures should be on by default for the best results. Discretionary ligatures are a little more out there, so use them, ahem, at your discretion. Cinema Script also boasts swash characters, optional oldstyle numerals, plenty of stylistic sets and a nice ordinal feature for 1st, 2nd, 3rd etc. For greater detail, check out the user guide in the gallery section. This is a versatile brush script style font. It seems familiar, with a similar vibe to other brush fonts but without the staid ubiquity. Cinema Script will look great on the big screen, or on your screen, on food packaging, t-shirts, blogs, photobooks, wedding stationery... You get the idea!

DIN 2014 Stencil is a stencil version of DIN 2014 typeface inspired by signage, data plates and stencilled building inscriptions. The typeface has a pronounced industrial spirit and can be used in the most rigorous conditions. DIN 2014 Stencil family consists of 18 styles which include six weights (corresponding to DIN 2014) with three grades of 'stencilness' for each weight. The typeface was designed by Vasily Biryukov and released by Paratype in 2017.

The retail storage box for a vintage metal numbering stamp manufactured by the American Numbering Machine Company had its brand name hand lettered in an Art Nouveau style that most likely went back to the 1920s, as the company was in existence from 1908 to around 1971. Numbering machines were used in offices, schools, libraries, and anywhere a series of numbers needed to be marked onto printed items. Similar to what was called a ‘crash numberer’ used in letterpress shops, the machines could be set to do a run of digits [for example: 4000, 4001, 4002] or repeat numbers for forms used as carbon copies. As computers took over most forms of printing, the use of numbering machines dwindled, but they are still available. The American Numbering Machine Company was one of several Brooklyn, New York companies that specialized in the manufacture of these machines. Retail Packaging JNL replicates the lettering from their packaging, and is available in both regular and oblique versions.

The main source of inspiration for this project was Herb Lubalin's Serif Gothic font. This and other fonts of similar style provided the basis for developing a unique display typeface with a strong personality yet neutral enough to be used in a variety of applications. In order to make the font more versatile, we included a number of layered fonts, like inline and shadow styles, which, along with the core styles, provide users with a wide range of choices for any design project. The Lumiere Family comes in 14 styles and includes 2 different variants: multi-layered fonts that make Lumiere easier to use and single layer fonts which allow experimented designers to create their own combinations. Lumiere is highly influenced by retro designs but it features a modern and simplified style that brings great value to your design work. The font is well suited for album covers, movie posters and book cover designs, among other uses.

SemikolonPlus: Optimal readability by reduced, distinct letter forms. Appropriate for 
early readers of any age in schools and other educational institutions. SemikolonPlus minimizes the risk of confusing similar characters and therefore is predestinated for the use in text blocks, work sheets, educational games et cetera. Furthermore, with its accented characters, currency signs, true fractions and other special characters, SemikolonPlus is suited for numerous typographic tasks and – thanks to its distinct letter forms - offers great readability, even in lower point sizes. SemikolonPlus is recommended by the German association of alphabetization and basic education, which uses it for adult education, reading magazines, teaching material and the own YouTube-channel. SemikolonClassic: Is the familiar font with alternative character forms. E.g. it contains the lower case double level a and g, as well as glyphs harmonically formed to the typeface. The SemikolonClassic is suitable for diverse uses in various sectors. Together or in combination SemikolonPlus and SemikolonClassic offer extensive possibilities for the layout of text material with their heavy font weights.

Nemocon is a display font family designed by Carlos Fabian Camargo G. Nemocon It is ideal for making attractive messages. Nemocon has over 2200 glyphs distributed in 6 files OT designed from handmade lettering and usability testing. • Nemocon Script (1382 glyphs): based on the rotation of a flat tip brush. Its letters correspond to the uninterrupted calligraphic logic, as well as similar ingredients as the ones used in font Brush Script by Robert E. Smith, created for the American Type Founders in 1942. • Nemocon Tuscan (375 glyphs): Inspired by representative types of wood from the 19th century, specifically speedball brawny Tuscan capitals with serifs fishtail shaped. • Nemocon Catchwords (115 glyphs) + Nemocon Catchwords Shadow (115 glyphs): categorically inflated words with and without shadows, to accompany, highlight and prioritize. • Nemocon Dingbats (114 glyphs) + Nemocon Containers(150 glyphs): unconventional pictograms consisting warm and comforting thoughts designed to highlight words or phrases which needed multicolored illustrations or drawings in black and white.

The Adamant family is a serif typeface that comes in six weights, from Light to ExtraBold, each with italic and small caps versions. It has received an original typeface award from Granshan Awards 2010. Every font in this family includes ligatures, lining and oldstyle figures in proportional and tabular widths, fractions, alternate characters, and other typographic features. The weights are finely balanced so that they can be easily combined, depending on type of paper and print conditions. Its proportions, sturdy serifs, high x-height and wide apertures make it very readable at small sizes. It is suitable for setting books, magazines and newspapers, but is also appropriate for use in large sizes like in poster design.

Condell Bio Poster is part of the bigger Condell family: a project that involves series of typographies that started to be conceived and developed since 2006. It also includes a bigger legibility version and a sans serif. Condell Bio is very versatile and can be used in the agroindustrial production. Thanks to its strongness and its charm, it can be used in different projects where a short and powerful message is required. For instance in a brand marketing campaign. The Condell project follows in terms of time the design of Comalle (a font also designed by Juan Pablo de Gregorio in 2006), but if we compare them, Condell seems to look for a major range of uses rather than a mere stylistic inspiration. And even if it keeps in its shape some organic forms, Condell seems to be much more similar to a sans serif traditional typography. Condell's fat and soft forms and its nice endings, inspired through spontaneous brush strokes, give it a very peculiar pleasant connotation. Its Italic (10 degrees inclination) have been produced singularly, not automatically calculated by the software. Condell Bio Poster is composed of 2 styles: the regular and the italic. Each one of them have 599 characters and is composed of 206 languages.

Dan Hardie, a Miami-based graphic artist and creative consultant at Mutiny, Inc. shared an image he’d spotted online of some interesting signage formerly on the front of the Miami Medical Building. Comprised of hand-cut metal characters (with a thoroughly avant-garde “Art Deco meets Modernist” approach), this instantly became a font design idea unusual and quirky enough to develop as a digital typeface. The end result is Office Visit JNL, which is available in both regular and oblique versions.

Developed over several years by the late Otl Aicher and first released in the late 1980s, the Rotis® typeface has become a timeless classic. ROTIS II SANS HISTORY Aicher was a renowned German designer and corporate image consultant. He created the four basic designs of Rotis – sans serif, semi sans, semi seif and serif – within an extended typeface family concept, wherein all designs share a common cap height, lowercase x-height, basic stem weight and general proportions. While each version is part of the large, integrated family, each was also designed to function on its own as a distinctive typestyle. The result is that all members of the Rotis family combine smoothly with each other. Aicher, however, did not design the Rotis family with the weights and proportions normal for more contemporary releases. Rotis Sans Serif, for example, was drawn with just six weights and only two italics. Starting in 2010, Robin Nicholas, senior designer for Monotype Imaging in the UK, and freelance designer Alice Savoie collaborated to bring Rotis Sans Serif up to current standards. The result is Rotis II Sans, a completely new addition to the Rotis family. “We devised our approach together,” recalls Savoie, “deciding which weights to start with, what kind of alterations to make to the original Rotis, etc. I went to work on the typefaces, regularly submitting proofs to Robin. We would then decide in tandem on the next steps to take.” Nicholas elaborates, “We revisited the range of weights and added matching italics so that the new additions to the family offer increased versatility. We optimized the outlines, corrected the weight of several letters and re-examined overall spacing and kerning. In addition to a new set of numerals, with a height similar to the capitals, we also drew case-sensitive punctuation.” ROTIS II SANS USAGE The new Rotis II Sans suite comprises 14 typefaces: seven weights, ranging from extra light to black, each with a companion italic. The designs are available as OpenType® Pro fonts, allowing for automatic insertion of ligatures and fractions. Pro fonts also offer an extended character set supporting most Central European and many Eastern European languages. Aicher’s original Rotis designs were widely used for branding and advertising. With the addition of Rotis II Sans, the family is again poised to become a powerful communicator.

Balcony Seats JNL is a different take on Jeff Levine's Aisle Seats JNL. The original font was modeled from Redikut die-cut cardboard letters - used in the 1940's and 1950's for display and show card work). Although the basic letter shapes are similar, the horizontal stroke weights have been narrowed, providing a type variation with a classic Art Deco "thick and thin" look.

A new family has sprung from the world of insigne. Mandrel Didone is his name. The face is well-liked by those with whom it seeks an audience because of its courtly demeanor and exquisite look. Mandrel Didone conducts itself beautifully in front of each set of eyes with a confident attitude, never wavering or tripping in its polished step. But, despite it’s gentility, this exquisite family is not weak in the face of adversity. Mandrel Didone is a powerful and conspicuous typeface that has towering x-heights, great contrast, confident bends, and sharp serifs. It is well-crafted for high-impact resistance. It uses its sharp serif ends deftly, cutting through opponents' clumsy clutter in the battle for the reader's attention. This noble family consists of nine weights and their matching italics, ranging from Thin to Black. Mandrel Didone also comes with a plethora of OpenType options to let you embellish your text. The family's 500 glyphs and support for more than 70 languages are accompanied with ligatures, old-style figures, and stylistic sets. Raise your glass in honor of the new Mandrel Didone! This champion, with its powerful serifs and great contrast, is ready to take on your challenge in many tests to come.

Alio™ Text is the workhorse of the Alio family . It works beautifully as display type, body copy and anything in between. We redesigned Alio Text with taller x-height, more pronounced accents, and wider letter spacing than its siblings, Alio Pro. We also cut down from 6 weights/12 styles to 4 weights/8 styles. All of these is to ensure the legibility and readability and to maximize the weight contrast at small sizes. Whether your designs call for all caps, title case, sentence case or all lowercase, Alio Text has got you covered with the case-sensitive punctuations. No more baseline shift all your punctuations. Alio Text supports most Latin-based languages and even the Chinese Pin-Yin. This typeface also packs with Open-Type features similar to Alio Pro. For examples, both recognize fractions vs. dates; Both features several alternate positions for the legal symbols (3 in Alio Text; 5 in Alio Pro). If you’re looking for a go-to, versatile typeface for most occasions, Alio Text is for you. (4 weights/8 font styles, 500+ glyphs each).

Modern Brush Style is a font duo combinations of serif and script font to express modern, elegant impressions in your designs. The serif font is characterized by scratches or hooks connecting the letters. On the other hand, script font is designed in brush styles of which letters are interconnected looking similar to a curve writing. You can use this font mixture as a beautiful set or separately as their own lovely characters. Additionally, this font duo has some unique features to enable you to maximize your designs. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Modern Brush Style fits for various design projects, such as posters, banners, logos, magazine covers, quotes, name cards, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Hopefully, you have a great experience using our font. Feel free to contact us if you require more information when you are dealing with a problem. Thank you. Happy designing.

Rational TW is the typewriter addition to the Rational family. It is a monospaced font building on the same principles as its proportional, neogrotesque brother, such as maximum legibility and flexibility while combining Swiss and American gothic elements with a modern aesthetic. Due to the monospaced environment, some of its letter shapes like “r”, “m”,“f”, “i” and “w” have been slightly adapted but kept the same in appearance. Rational TW comes in two version: Rational TW Display and Rational TW Text. As indicated by its name, Rational TW Text is not limited to, but works best in small font sizes because it features distinctive letter shapes like a double storey “a” or “g” in order to help differentiate similar glyphs in small sizes. Rational TW Display, on the other hand, creates a geometric uniformity by implementing round shapes in “a” and “g”, giving it a subtle friendly and open character. Unlike many other monospaced fonts, Rational TW has a large amount of opentype features like small caps, alternative glyphs, case sensitive shapes, and many more making it the perfect choice for countless scenarios. With more than 700 glpyhs per font, it performs excellently in any project from print to digital.

Would you like to have a unique, firm, energetic design? Global Bickers ensures you to deliver the clearest messages to anyone. Global Bickers a racing-themed script font made in thick displays. Unlike other useful cursive fonts looking similar to hand writings, this font really fits into bigger-sized texts. The available features in this font are: Stylistic Sets Ligatures Swashes Multilingual Supports PUA Encoded Numerals and Punctuations Global Bickers is greatly appropriate for various designs, such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, and more. Find out more ways to use this font by taking a look at the font preview. Enjoy your experience with this font and feel free to contact us for further product information or trouble complaints. Thank you and wish you good luck with your designs.

The symbol family Tips, (which stands for “Type-Image-Piktogramm-Schrift” in German, or type-image-pictogram-font in English) contains six different fonts of pictograms and stylized icons. Tips Active is full of sports pictograms, which are similar to those that were designed for the 1972 Olympic Games in Munich. Tips Astro contains astrological signs. Tips BCom depicts icons for use in business communication or web design. Tips Count is a font featuring numbers inside of various circles. Tips This Way and Tips Travel are both collections of pictograms for use in navigation and other signage systems.

Created in 1983 by British artist Alan Birch, this dramatic design conveys all the immediacy, impact, and effect of a stencil or rubber-stamp on paper. With a corroded, rough-around-the-edges feeling, Rubber Stamp gives an impression similar to the old, beat-up looking typewriter fonts that were popular among designers during the 1990s. Rubber Stamp is an all caps font, and is primarily suited for many headline and display applications that use larger point sizes. Try out Rubber Stamp in magazines, newsletters, and any other work that would be enhanced by a stencil, branding, or rubber stamp effect.

Hogar Slab, based on the Hogar typeface, is the result of combining a script and a slab serif into a single type system. The system has a monolinear style composed of a slab serif and a script slab serif version that share similar proportions, weight interpolations and details. Hogar Slab is basically a slab serif with script gestures and a script with slab serif shapes. In order to make the system more complete, I included an italic version, which represents a transition between both main styles. Additionally, I developed a set of patterns including some furniture designs by well-known architects.

Prelo Slab is the serif companion to Prelo, a neutral, highly readable typeface, for identity, editorial and information design. With nine weights and nine italics, from Hairline to Black, Prelo Slab is a workhorse typeface, full of OpenType features such as Small Caps, Tabular Figures, Central Europe characters and Historical Figures, among others. Like other DSType fonts, most of the diacritics were designed to fit the gap between the x-height and the caps height, avoiding some common problems with the accented characters. The curves are soft and smooth, while the serifs are sharp and strong, providing legibility, even in very poor conditions.

The Core Sans BR Family is a part of the Core Sans Series, such as N, NR, N SC, M, E, A, D, G, R and B. The Core Sans BR Family is designed with rounded stroke endings for visual comfort. This family has very small x-heights and large ascenders(descenders) which give an elegant feeling in body text. It is a sans-serif family but it’s structure is similar to serif fonts, so you can make paragraph beautiful with this font family. It is very legible and readable even in small size because of its open counters and distinctive shapes. This font family consists of 7 weights (Thin, Light, Regular, Medium, Bold, Heavy, Black) and Italics for each format. Core Sans BR 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. We highly recommend it for use in books, web pages, screen displays, and so on.

In 1972, VGC released two typefaces by designer friends Dick Jensen and Harry Villhardt. Jensen’s was called Serpentine, and Villhardt’s was called Venture. Even though both faces had the same elements and a somewhat similar construct, one of them became very popular and chased the other away from the spotlight. Serpentine went on to become the James Bond font, the Pepsi and every other soda pop font, the everything font, all the way through the glories of digital lala-land where it was hacked, imitated and overused by hundreds of designers. But the only advantage it really had over Venture was being a 4-style family, including the bold italic that made it all the rage, as opposed to Venture’s lone upright style. One must wonder how differently things would have played if a Venture Italic was around back then. Chopper is Canada Type’s revival of Venture, that underdog of 1972. This time around it comes with a roman, an italic, and corresponding biform styles to make it a much more attractive and refreshing alternative to Serpentine. Chopper comes in all popular formats, boasts extended language support, and contains a ton of alternate characters sprinkled throughout the character map.

English Engravers Roman is inspired by the beauty and eccentric detailing of British stone carved lettering. After observing many beautiful inscriptions around London and southern England, Robbie Smith decided to create a font family in homage to this rich heritage. English Engravers Roman features a set of beautifully balanced uppercase Roman, and a characterful lowercase alphabet with some endearing quirks. Included in the each font are two forms of lowercase 'q', one very similar to an uppercase 'Q' with a tail, and a traditional 'q'. Each font in the family features a comprehensive character set with many ligatures, added to enhance letter spacing. The fonts all feature an additional set of old style numerals. Many extra characters and ligatures can be accessed via the 'insert glyph' functions in graphic design software.

This family is a compilation created from a Garamond set in use in Paris circa 1651, but similar to those, eroded and tired, that were in use during centuries to print cheap publications, as well as in Europe than in America, and from a large choice of printed symbols—all specially redrawn—used for alchemical, pharmaceutical and astrological books, covering 1550 to late 1800s period. Each alphabet is doubled by a slightly different one, and a special OTF encoding allows to give an irregular effect with never the same twin letters in a single word. The Normal style is enriched by small caps, and the Italic style by Swashes. A lot of symbols, too, are given twice with differences. This font may be used with our calendar specialized 1689 Almanach.

Camber is the last in a personal series of squarish sans. It is a noiseless typeface with a geometric base, it has a synthetic and clean design, but with a human sensitivity where the geometry fails. It tries to be more versatile and simpler than its predecessors, with a pragmatic approach, having less visual noise and virtually removing the disturbing elements. The family is generous in width meeting a certain shortage of wider fonts. Camber works well in both display and text, it is a multipurpose font suited for magazine, branding and web. The type family consists of 14 styles, 7 weights (Thin, UltraLight, Light, Regular, Medium, SemiBold and Bold) plus italics and it’s available in Open Type format. For more details please see the Camber PDF.

“Due Giorni”, two days in italian language, express a measurement of time, it can be little or a lot, depending on who or what it is used for. “Due Giorni” is a script font very expressive, fresh, agile and dynamic, hand-drawn with connected forms on slanted angle of 23º This font contain 542 glyphs with plenty OpenType features: Standard and discretionary ligatures, stylistic alternates, swashes, Old style figures, small caps, case sensitives and ornaments. It come also, with three kind of capitals: Roman Capitals, Small Caps (different proportions) and Swashes. Roman Capitals are inspired on the beautiful inscription found in the Augustorium’s house in Ercolano, Naples.those letters have been carefully drawn and sculpted. Swashed Cursive Capitals are similar to 18th century penmanship. “Due Giorni” is a versatile font that may give you the chance to create original logos and headlines, specially by many stylistic sets, ligatures and alternates that can be combined with them.

Opal Pro is a text family designed by Hannes von Döhren in 2008. It gives every text a noble character. The typeface has long ascenders that clearly rise above the capital letters and a low x-height. Opal’s letters sport inktraps at stroke junctions, which on one hand create a cutout feeling and on the other hand strengthens the image in larger point sizes. In total, the letterforms have clear emphasis on their verticals and horizontals; they do not fear the weight on their curves. In addition to the Italic and Bold, the Opal type family includes a Script face, whose letterforms include connections, similar to handwriting. On top of that, the typeface possesses swash letters for italic and script, small caps, many ligatures and borders & ornaments. With a little bit of care, designers will be able to create the finest of traditional, elegant work with this family.

Matthew Carter designed the Shelley family 1972 for Mergenthaler Linotype to be used as a new script face for the photo typesetting machines. The basic idea was to create one script face that would offer dfferent elegant letterforms. Matthew designed Shelley in three different versions, Allegro which is in the style of Kuenstler Schreibschrift, Andante where the caps are less flowrish and wide and Volante where the letters have its most expressive and wide forms and the lowercase z in this font is in the french anglian double stacked form. All three versions can be easily mixed to give the text a more individual calligraphic look Besides Shelley Linotype Zapfino from Hermann Zapf shows similar basics, but in a totally different letterform. In Linotype Zapfino the individual lowercase letters from the four different versions have different letterforms which gives the text an even more individual touch.

A high lower-case x-height geometric sans with open counters, Regulator Nova is extremely legible at text sizes and in extended settings while the range of weights also make it suitable for headlines. The stoke terminals are all cut at close to 90 degrees, lending a sharp precision to the characters. Alternate versions of the g, j, r, w, K, R, W, # and ampersand are available in both upright and italic, and can be toggled on and off in the Opentype panel or the Glyphs palette. Clean, elegant and legible, Regulator Nova has a classical proportions based on a circumscribed circle and square, and shares structural similarities to early sans serifs such as Rudolf Koch’s Kabel, while adopting more British forms for the M and R. Regulator Nova is an extension and reworking of Regulator, now with extra weights, reweighed italics, Opentype-savvy alternates and a full European character set.