As its name suggests, Multiple is a family with multiple font styles. The idea that sums up the concept behind the typeface is “workhorse”. The challenge was to develop a useful font fit for any scenario and suitable for any design needs: editorial design, packaging, branding, screen use, etc. Multiple features soft, rounded shapes and large counterforms which make it well-suited for both text and display usage. The proportions are based on classic typefaces yet its design was specially created to provide a high degree of versatility. Multiple contains different stylistic sets whose variety of glyphs provides a wide range of choices for any design project. Partly humanist and partly grotesque, Multiple comes with a number of font variants that will help you choose the style that will best meet your needs. The font also includes a serif version with the same number of variants as its sans counterpart. The sans version includes 4 stylistic sets while its slab companion comes with 3 sets, both available as separate alt family packages (ideal for those seeking ready-to-use alternate glyph sets). These alternate characters are also available as OpenType features in the regular versions. Multiple comes in 5 weights—ranging from Extra Light to Bold - with matching italics, and contains a 395-character set that supports 207 different languages. Multiple: one font, multiple faces.

Sherbrooke is a simple and sans serif font. I have chosen the name of this typeface after the "Sherbrooke" Street in Montreal, Canada, that I daily walked in for several months in the late 2005 while I was studying in Montreal, Quebec, Canada. I do adore this street and also I adore the whole city of Montreal. This font comes in two different weights. "Sherbrooke" can be used in wide fields of publications such as the titles of novels, literary texts, short stories, dictionaries, books, newspapers, websites, and magazines. It is suitable for T-shirts, mugs, advertisement light boards in malls, subtitles of movies, logos, cans of foods, and medicines' names. The font is more attractive when it is printed in calendars and for displaying the contents and paragraphs of electronic encyclopedias and different online websites. "Sherbrooke" is specifically designed for educational, journalistic, literary, and social purposes. The main characteristics of "Sherbrooke" Typeface are in its sans serif new designed letters and also in its lowercase special numerals. I think that these characteristics have made "Sherbrooke" exceptionally unique with its alphanumeric combinations. You can enjoy this typeface and use it anywhere at any product or service. It is simply gratuitous for all. The word "Sherbrooke" is a person's name. Sherbrooke Street - officially Rue Sherbrooke - is a major east-west artery at 31.3 kilometers in length and it is the second longest street on the Island of Montreal in Canada. The street is named for John Coape Sherbrooke, the Governor General of British North America from 1816 to 1818.

Introducing Hackensack—a rugged and reliable typeface that embodies the spirit of the past with its vintage charm and commanding presence. This Clarendon-inspired narrow slab serif design is perfect for anyone looking to make a bold statement with their typography. With Hackensack, your message will be delivered with a sure-footed confidence that demands attention. This compact display typeface has an old-fashioned feel that hearkens back to a bygone era, giving your design a touch of timeless elegance. But don’t let its vintage charm fool you—Hackensack is as rugged and durable as they come. Its strong, sturdy lines and slab serifs make it perfect for headlines, logos, and other display uses where you need your message to stand out. And if you’re looking for even more vintage flair, Hackensack includes old-style numerals which can be accessed in applications that support OpenType features. So whether you’re creating a vintage-inspired poster, a classic logo, or any other design that requires a touch of old-world charm, Hackensack is the font you need. Most Latin-based European, Vietnamese, and some Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Fulgora is a sort of ‘calligraphic typography’ or ‘typographic calligraphy’, depending on the point of view. Inspired by late-medieval Bâtarde and Civilité blackletter styles, the Kannada and Sinhala writing systems from Southern India, Celtic uncials, and diverse vernacular Mexican scripts, Fulgora was created straight from pen on paper as a personal calligraphic style where fantasy in the chief ingredient. The idea to take it to the digital realm came later, as an extension of the creative process. To this end, originals for each character were made, directly traced with the nib with no retouching, then vectorized to be digitally assembled. Work has been done on spacing and kerning with the aim to digitally reproduce an utterly calligraphic outcome keeping the natural, imperfect, manual finish of all signs. Fulgora has two variants: Blanca (white) and Negra (black), executed with different nib widths but the same style and proportions.

New York vibes FS Irwin was born in New York while Senior Designer, Fernando Mello, was studying an intensive 5 week typeface design course at the Cooper Union. His brief was to design a perfectly clear typeface that could communicate well, without loud or overtly mannered design features. Fernando was influenced by the subway font in New York: ‘It is very in your face and clear, always in bold. It doesn’t shout much but at the same time is very present and unique. The design is completely different but it was this spirit I wanted to capture for FS Irwin.’ And the vibe of the city: ‘In a similar way to London, New York is so mixed and so cosmopolitan. I was amazed by the different styles and identities I saw there, and tried to encapsulate this essence to create something new, relevant and very now.’ Incisive quality Rather than focusing on quirks or distinctive characteristics, the key to FS Irwin is the quality of its design and spirit of simplicity. The design, proportions and details are usable and authentic and it is suitable for countless situations, without running the risk of being instantaneously noticeable. Families like this can be used on nearly anything, from more playful designs to serious corporate IDs. ‘Extensively tested and precisely drawn text-oriented typefaces are what I enjoy designing the most. There is a beauty and a different approach, a different way of making them interesting, sellable and usable rather than adding flicks or unexpected details.’ Inscriptions and calligraphy FS Irwin’s origin lies in Fernando’s studies in inscriptional lettering and writing-calligraphic exercises at the Cooper Union. Mello started the process by digitising his explorations and adapting them into a more workable sans serif structure. The traditional forms of writing which gave the basis to Latin type as we know it today were the perfect place to start. This influence can be seen in the proportion of the capitals and in slight writing-calligraphic details in the lowercase, such as the slightly angled, chiselled spurs and their open terminals.

Jazz Gothic is a digitization and expansion of an early 1970s film type from Franklin Photolettering called Pinto Flare. This type became an instant titling classic with jazz and soul album designers; then it caught on wildly with film and television designers. Blue Note and Motown would not have been the same without this face. Jazz Gothic is a simple geometric idea, quite likely originally inspired by the heavier display weights of Futura. The resulting product is a versatile message-driver that stands quite strong and cherishes the limelight, yet shows a playful and artistic side within its curvy thick swashes and rebellious unicase forms. In the hands of a good designer, Jazz Gothic eliminates any doubt about the delivery of the message or the attractive purposeful way it is delivered. It is the kind of typeface that loves a design program's bells and whistles. Knock it out of dark or light backgrounds, shade it, mask-alize it, roughen it, stretch it, squeeze it, and the message will still stand larger than life. Jazz Gothic comes in two fonts, a main one with a full character set to accommodate the majority of Latin-based languages, and a second one that contains about 50 alternates and swashed forms. The OpenType version is a single font that has all the alternates and swashes at the disposal of the buttons of OT-savvy program palettes.

Looking for a way to make your message pop? Usurp Typeface might just be the answer. This cut-out psychedelic display font boasts peculiar hallucinogenic letterforms and outrageous slab serifs that will give your design a surreal elegance and trippy vitality. Usurp Typeface was designed with modern psychedelic aesthetics in mind. It features unique letterforms that appear to be cut-out and arranged in an abstract, almost otherworldly fashion. The slab serifs add a touch of boldness and sophistication, creating a balance between the playful and the serious. One of the standout features of Usurp Typeface is its use of OpenType ligatures. When certain letter combinations appear together, bespoke pairs will replace them, creating a more genuine and natural feel. This attention to detail is what sets Usurp Typeface apart from other display fonts. Whether you’re designing a poster, album cover, or branding project, Usurp Typeface is a great choice. Its modern psychotropic style will add a unique and eye-catching element to your design, helping you stand out from the crowd. Give your message the trippy vitality it deserves with Usurp Typeface. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Sonrisa is a design that evolved from my sketches of the skeletal structure of Jakob Erbar’s Koloss, trying to discover its underlying essence without all the contrast and bulkiness of the original design. Sonrisa Thin was the resulting font, from which the other weights of the family were developed. Gentle curves, open counters, generous x-height, and sleekly tapered terminals give Sonrisa a very legible, modern, elegant appearance. When she saw the first draft of this typeface, the smile on my friend Jennifer’s face gave me the idea to call it “Sonrisa” (Spanish for “smile”). Jennifer, a clinical psychologist, described Sonrisa’s personality as: "happy, clean, clear, open, joyful, spacious, playful, calm. I can see it being used for body product lines such as oils and lotions. Can see it being used in home/travel magazines or even Architectural Digest. Yoga magazine, definitely." Sonrisa is what some foundries call a “Pro” typeface family with all the bells and whistles that provide typographic versatility: true small caps, oldstyle numerals, arbitrary fractions, discretionary ligatures, and other powerful OpenType features. All fonts in the family, except Sonrisa Titling, support most European languages, including modern Greek and languages that use the Cyrillic Alphabet. (Cyrillic glyphs designed in consultation with Ukrainian type designer, Sergiy S. Tkachenko.) Sonrisa is available in the original Thin, monoline version as well as six weights (Light, Regular, Medium, Bold, Extra Bold, Black), and a Titling font that is essentially a display font construction kit. If you enjoy using Sonrisa even half as much as I enjoyed creating it, then I know you will have a “sonrisa” (smile) on your face!

Canilari is a post-modern type family inspired by Diaguita pottery and contemporary serif typefaces. The Diaguita culture—developed from 10th century A.D. until 16th century A.D.—settled in the area of the present-day north Chile and northwest Argentina. Surviving cultural expressions of the Diaguita people are reduced to just a few pieces of beautifully decorated pottery of high technical quality. Canilari itself is a scream of identity with an incomparable tone that borrows elements from native America and proudly show them to the world. The intense and consistent personality of Canilari makes it a functional font for a wide range of uses: from continuous text in the most challenging environments to pithy, high-impact headlines. Canilari is well-suited for publishing: newspapers, magazines, books, etc. Its flashy look and angular shapes also make it an excellent choice for posters, logotypes, and advertising. The family consists of 2 sets: one standard and one pro, each in 4 weights plus italics. Canilari also includes a set of ornaments and illuminated caps. Together, the Std set (369 characters) and Pro (710 characters) support 219 different languages. This typeface was selected at the Bienal Tipos Latinos 2014.

Centro Serif Pro is an award-winning typeface. It received a Gold Award from the European Design Awards 2008 and an Excellence Award from the International Type Design Competition 2009 as part of the Centro Pro type system. This large series of 40 fonts with 1519 glyphs each is composed of three superfamilies (serif, sans and slab), includes true italics and supports Latin, Greek and Cyrillic. According to the jury of the European Design Awards “...Centro Pro is an almost ‘invisible’ typeface with distinct personality, it has legibility as its main attribute and is ideal for a wide range of design works. It does not attract any unnecessary attention, but rather serves its purpose. A rare case of contemporary type family working across three alphabets. Centro Pro meets an ever-growing demand for such typefaces among pan-European companies and institutions”. Centro Pro has become very popular among printed media and is ideal choice for newspapers, magazines and corporate applications. Furthermore every font in this series has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life.

Inspired by the early days of video games where the graphics were made of squares (pixels), Wahyu Wibowo comes up with pixel based typeface design, Jogan, but instead of having medium width, he decided to make it narrow which is rarely exist in pixel style font. The style were expanding in the development process, so the family have 4 subfamilies: Jogan (regular, bold and monospace) Jogan Soft (regular, bold and monospace) Jogan Round (regular and monospace) Jogan Slab (regular and bold) Each Jogan font style contains 280+ glyphs which covers Western Europe languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Filipino, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, Vunjo, Zulu. Retro, retro-futuristic, futuristic, modern, techno theme projects fit perfectly with this typeface, any works from logo, poster, video, headlines, titles, and more!

The Alixa family is designed to provide you with the range of fonts that you need for your projects. The family consists of slim and elegant slab serif fonts, which are modern and retro at the same time. It includes several languages that allow Alixa to be used in all types of creative endeavours. It's perfect for use in any project from sports to posters and logos, branding, packaging design and so much more! Languages Support :Afrikaans, Albanian, Asturian, Asu, Azerbaijani, Basque, Bemba, Bena, Bosnian, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Igbo, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Turkmen, Upper Sorbian, Vietnamese, Vunjo, Walser, Welsh, Western Frisian, Yoruba, Zulu

Centro Sans Pro is an award-winning typeface. It received a Gold Award from the European Design Awards 2008 and an Excellence Award from the International Type Design Competition 2009 as part of the Centro Pro type system. This large series of 40 fonts with 1519 glyphs each is composed of three superfamilies (serif, sans and slab), includes true italics and supports Latin, Greek and Cyrillic. According to the jury of the European Design Awards “...Centro Pro is an almost ‘invisible’ typeface with distinct personality, it has legibility as its main attribute and is ideal for a wide range of design works. It does not attract any unnecessary attention, but rather serves its purpose. A rare case of contemporary type family working across three alphabets. Centro Pro meets an ever-growing demand for such typefaces among pan-European companies and institutions”. Centro Pro has become very popular among printed media and is ideal choice for newspapers, magazines and corporate applications. Furthermore every font in this series has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life.

The polls are in. Now here by customer request--Haboro Serif, the newest edition of the Haboro Hyperfamily. The Haboro fonts are an outstanding upstart success from the first part of 2016. Following the release of the popular Haboro, Haboro Sans and Haboro Slab have both been welcomed additions to the family, too. Now, Haboro Serif continues to build on the base of these related designs. Serif maintains the unique, script-like terminals of the original. These terminals, along with the optimized stroke weight of this face, make it useful for text settings. Prefer standard serifs? These are also available as OpenType alternates within the font, giving you a wider variety of options without compromising its effectiveness in the same text settings.. Haboro Serif works with many other members of the Haboro family as well. Try the original Haboro for your headlines, and pair your Serif text with Haboro Sans for a balanced design that appeals to the reader. Add Serif to your box today, and try this all-around “Renaissance man” of a typeface for a touch of practical elegance on your next job.

Aure Nox inspires the chill whimsy of a haunted forest. The roughhewn forms of this decorative, sans-serif font engage the reader with a subtext of rakish charm. Surprisingly legible, Nox adds a bit of rebelious sass to text and titles, and a daring stance to astrological expressions and chartwheels. Nox is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets in regular, italic, bold, and bold-italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Though Nox stands well on its own as a text font, the more traditional sans-serif forms of Aure Jane pair well as an innocuous foil to Nox's brazen presence. Give Aure Nox a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

Squalo, the genesis The idea of this project called Squalo popped into my mind while I was working with excitement on some sketches. I was chasing after a strong typographical character, something that for me has to be crystallized in form which is always legible and functional. The concept The concept of Squalo arises from the observation of an athlete’s body: you notice that even if most are lean, they are also strong, cut and chiselled. The sport they play molds and modify their bodies.  Just think, for instance, on a professional swimmer: during the competition every single muscle, tendon, tissue, cell is working to swim faster. Every single part is there to give strength and speed like in a “squalo” (shark in italian). Not as an eel, nor as a mermaid, nor as a hake. Just like a shark. If you take a quick look, you will notice that the width of the typeface is slightly more condensed than that of a standard sans serif. We designed Squalo this way specifically to assist and strengthen your concepts through stylized typography. We designed the joins and terminals (tip ends) of the characters A, V, W, Z, v, w, z, to create a feeling of “tension”, reinforcing the concept of shark, danger, caution, as well explicit, intentional movement. Pure strength. We wanted to recall the exact moment of the start of the 100 meters race: when the sprinter initially spreads all of his powerful energy. The italic version, starting with the former two typographical concepts of width and tension, emphasizes them. First of all, we compressed the characters 10 percent more, and slanted it 10 degrees to the right. With this movement I intended to convey the gorgeous feeling of tension in power and rapidity. The typeface has 9 weights, from “hair” to “black”, and two versions, “regular” and “italic”.  All 18 fonts include small caps, unicase, tabular and oldstyle numbers, numerators and denominators, and much more. Squalo is an ideal typeface that I recommend for use in marketing campaigns, design of packaging, magazines, branding for tv programs, films, book texts, editorial, publications, logos, corporate projects, web texts, and graphic design in motion. Squalo supports the following languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

Please note: Sindelar webfonts are exclusively available at willerstorfer.com Sindelar is a capable, contemporary text face addressing today’s news design requirements. Its large x-height, low contrast and robust serifs grant a high legibility in small sizes. The balanced, well chosen proportions make the typeface economic (i.e. space saving) without giving it a too narrow appearance. These characteristics make it the ideal choice for extensive text setting in newspapers and magazines – on paper and on screen. Named after famous Austrian football (soccer) player Matthias Sindelar (1903–1939), one of the best players of his time, the typeface shares two major qualities with its namesake: their technical brilliance and their way of performing aesthetically to the last detail. The football player’s nickname »Der Papierene« (the Paper-man) elegantly refers to the media too. Although optimised for small sizes, Sindelar’s low contrast and robust serifs give the typeface a strong impact and an unmistakable personality in larger sizes. Sindelar’s calligraphic influences can be noticed in the Italics best. The italic letters are inclined by slightly different angles, respecting the letters’ shapes and proportions and resulting in a balanced, yet vivid appearance. Sindelar comes in 18 styles – nine weights in Roman and Italic each. Each font is equipped with a huge character set of about 980 glyphs and various OpenType features.

Chalice is a new original Canada Type family inspired by two different engraving eras and locations: Medieval England and 19th century Russia. Chalice's construct is geometric at heart, though the wedge serifs and their contribution to the overall idiosyncrasies of the counterspace give it a spirit entirely different from usual geometric types. Chalice's personality is that of a knowledgeable advisor, clinical yet old-fashioned, aware yet unsurprised, secular yet serene, clear yet artistic, hungry yet redeemable. Chalice comes in 4 weights, light to black, that range in expression from a sobering wise whisper of confidence all the way to the bells and whistles of Judgment Day. Such flexibility in expression among the different weights of the same typeface of this kind is quite rare, and will be appreciated by discriminating graphic artists who require more than just another tombstone type. Chalice's character set comes fully loaded across all 4 weights. Two dozen alternates are built into the map, including unicase variations on the a and e, double-barred alternatives for A, E, F, H and S, and connecting versions of b, d, f, h and t. Such variety gives the user to subtly define the set type without overpowering it. Chalice comes in all popular font formats, and is available in single weights, as well as one complete affordable package.

The Obla font family is a modern serif typeface accompanied by appropriate italic in seven weights. Sketches of letters were drawn manually, using thick marker for creating shape and pencil for finishing details. Calligraphic origin of shapes is revealed beneath strained curves drawn on computer. All of the weights were carefully adjusted to each other. Obla is equipped with some basic OpenType features and supports Cyrillic and Latin script. Using Obla in small sizes is very convenient, because of its large x-height, and Obla is a very readable typeface. It seduces the reader with its vivacious character. The typeface is also suitable for usage in large sizes. The best choice for headlines is using the heaviest (Black) and the lightest (Thin) weight. There are two smaller family packages in offer: Obla Basic Set contains Regular, Italic, Bold and Bold Italic, while Obla Light Set contains Light, Light Italic, SemiBold and SemiBold Italic. These two sets are the most appropriate for working with small text. Other weights can be bought separately, or within the whole family. Obla is an awarded typeface. It got Special Mention in Cyrillic Typefaces category in Granshan 2016 competition and it was chosen as a Merit Winner in Print’s Typography and Lettering Awards competition. At that time, before publishing, the typeface was named Petra.

Albiona Inked is a vintage distressed version of Albiona that evokes the urgency of teletext printers, typewriter ribbons and authentic hot-metal type on rougher paper. A contemporary slab-serif, it revisits aspects of Robert Besley’s classic Clarendon, designed around 1842 for Thorowgood and Co. and named after the Clarendon Press in Oxford. Subsequently extended by Stephenson Blake in the 1950s, Albiona adds the inwardly-curved stroke terminals of the same foundry ’s Grotesque series, and includes italics and old-style and tabular numerals. The original Clarendon’s ball serifs and calligraphic eccentricities have been rationalised and streamlined for functional contemporary uses. The family consists of five weights plus italics and a stencil, and its clean readable style is perfect for both extended text as well as headline setting. A rounded “soft” version is also available.

The DIN Neue Roman adds something new to the established concept of the DIN 1451 type’s technical origin. As a serif counterpart it leaves its static appeal to bring some friendliness into this industrial idea. With more contrast than a slab serif and the dynamic stroke of transitional type DIN Neue Roman defies all conventions, but keeps its legibility. To have enough resources for diverse and complex typography this type family offers 7 weights with italics, small caps and all kind of opentype features. Type designer Philip Lammert likes to play with the great potential of contradictions. That brought him to this design combining two essentially different classics. DIN Neue Roman is part of his 2015’s master thesis at the HAW Hamburg which was supervised by Prof. Jovica Veljovic.

Ciutadella was originally commissioned by Mario Eskenazi’s studio. It is a versatile geometric sans serif, a simple, clean and direct family. Its power resides in an overhaul simplicity that reflects an “open” personality, easily suitable to be used across a wide range of applications, from identity systems to publications. Although it has been conceived to be used as a display typeface, it performs well in intermediate length texts mostly because of some specific characteristics such as the alternate two-story ‘a’. It is available in Open Type format and includes Alternate Characters, Ligatures, Tabular Figures, Fractions, Numerators, Denominators, Superiors and Inferiors. It supports Central and Eastern European languages. The type family consists of 10 styles, 5 weights (Light, Regular, Medium, SemiBold and Bold) plus italics. See also Ciutadella Rounded and Ciutadella Slab. Ciutadella PDF.

Bommer Sans is a warm and friendly type with a distinguishable look. It has been designed to add our twist to the flavour of English humanistic sans serif typefaces. Bommer Sans works like a charm for editorial, headlining, exhibition, signage and wayfinding projects. The big x-height and ascenders close to cap height favor tighter interlinear spacing. The ‘Q’ tail, resting on the baseline, is an invitation to play vertical, stacking lines of caps. Curved strokes on the ‘i’, ‘k’, ‘l’, ‘K’ and ‘R’ bring a friendly touch without compromising the sturdy structure, a marked characteristic of the design of the figure set. With seven weights in the upright and its matching italics, Bommer Sans has 14 styles and is part of the Bommer family. Check Bommer Slab for a great companion!

In 2011, while tutoring an exercise on Slab Serifs, Josema discovered Robert Thorne’s work for Thorowgood. Specifically, he was fascinated by the extraordinary density of the 6-line Egyptian Pica from 1820-21. As a simple exercise, he wanted to test the limits of readability within the context of a contemporary alphabet. Rothwood Ultra is the result of this experiment. As a way of developing the series, he found it interesting to go to the opposite end of the spectrum and discover how to evolve the extra-black Ultra’s DNA into a super lightweight model. The Hairline and Thin styles are her slim sisters. The third challenge has been the creation of the text version. Light, Book, DemiBold and Bold, including italics and Small Caps close the Rothwood cycle for editorial use.

This delicate condensed typeface evokes a distant 1930s style with its pointed and sloping capital letters. The splayed capital M gives the design a very a definite retro flavor. But deco quickly becomes modern day with the use of slab serifs. The thick body of Kingsbury Condensed is neatly anchored to long thin serifs giving the face an unusual and at the same time contemporary appearance. Great for book covers and large capital letter assignments where a modern revivalist look is appropriate. Kingsbury Condensed Book is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Telemark is a monolinear slab serif influenced by the wide serif typefaces of the 19th century. The name refers to the vintage form of skiing which was introduced in Norway at the same period of time and allowed more fluid turns. After the Telemark style was replaced by newer techniques in the Alpine countries it has experienced a rise in popularity in recent years. The Telemark type family features the three weights in an additional label style which allows an uncomplicated creation of editable pointers, banners and cartouches. Different combinations of end pieces result in a great variety of designs. Telemark is suitable for headlines and logotypes and complements script typefaces as well as any neutral grotesque. Details include 207 characters in three weights, a total of six styles and manually edited kerning.

Kaytek™ Sans is a fresh take on the correspondence typefaces of the 90s - which were originally designed for the demands of office environments. Just like its predecessors, this text typeface is robust and hard-working - meaning it works well in challenging design or printing environments - but it’s not without personality. Look closer at the lowercase g and a, especially in the italic, and you can see some unexpected elements of subversiveness within the design. This blend of sturdiness and quirkiness means it’s just as relevant for information-heavy projects, such as annual reports, as it is in more expressive environments. Although first and foremost designed for text, Kaytek Sans’ details shine through in its heavier weights and larger sizes, meaning it also has display potential. Every style of the typeface takes up exactly the same amount of space, thanks to the way Radek Łukasiewicz created the design. He based the entire typeface on a single, master set of proportions. This means designers can switch between styles without the text being reflowed, making it particularly useful in magazines, where space might be limited, and also on the internet, where hover links appear in a different style. As well as its roots in the office, Kaytek Sans draws on a little bit more 90s nostalgia. It’s named for the first and only Polish walkman, and embodies the same solid, no-nonsense shapes that made the analogue technology of the era so charming. Just like these early personal music devices, Kaytek Sans is practical, but not clinical, able to work hard while still exuding warmth and personality. It pairs effortlessly with Kaytek Slab, which is a sturdier and more expressive take on the design. Kaytek Sans comes in 12 weights, from Thin to Black Italic, and offers multi-language support. Kaytek Slab, Kaytek Headline and Kaytek Rounded are also available.

TT Tricks useful links: Specimen | Graphic presentation | Customization options TT Tricks is a modern serif font family whose design refers us to the style of transitional serifs. The distinctive features of TT Tricks are the relatively low contrast of strokes, the slightly squarish shapes of round characters and the emphasized businesslike nature. The original idea of TT Tricks is based on the graduation project of student Sofia Yasenkova, who chose to create a daily planner font as her final project. This led to many stylistic decisions, for example, the large and asymmetrical serifs, low contrast strokes, and the presence of interesting details. In the process of working on TT Tricks, we have significantly revised the initial idea and expanded the areas of possible font application, while maintaining the original spirit of the project. Despite the large number of display details, the typeface looks great in a small point size, and also when it is used in large text arrays. TT Tricks features an original stylistic set which, when turned on, adds features of typical pointed-pen serifs to some of the lowercase characters. In addition, TT Tricks has small capitals for Latin and Cyrillic alphabets, as well as several interesting ligatures. The TT Tricks font family consists of two font subfamilies, these are the main version and the version with the original stencil cutting. Each subfamily consists of 12 fonts: Light, Regular, DemiBold, Bold, ExtraBold, Black + True Italics. Following a good tradition, TT Tricks supports a large number of OpenType features: ordn, case, c2sc, smcp, frac, sinf, sups, numr, dnom, onum, tnum, pnum, dlig, liga, calt, salt (ss01).

This modern display typeface expands the Absentia collection with an impactful option for headlines, titles and logos. Graced with the geometric DNA of its distinctive lineage, the new addition emerges as a refreshing alternative for large size typesetting. Absentia Display borrows design attributes from the Sans and Slab families, in the form of slanted finials (‘a’, ‘e’, ‘C’) and one-sided serifs (‘b’, ‘F’, ‘H’). But in contrast to its relatives' measured restraint, it distinguishes itself with uninhibited boldness. Featuring stencil face breaks, basic glyph components are either abridged or completely omitted, as the shoulder of lowercase ‘m’ or the diagonal stroke of capital ‘W’. Modular letterforms set this typeface apart with a stylish appearance; round diacritic dots (‘i’, ‘Ü’) and curved transitions (‘E’, ‘L’) breathe a lighthearted attitude. Designers can scale up and go loud with Absentia Display, available in ten weights with matching italics and two variable fonts. From the refined Hairline to the robust Black, this versatile family serves a wide range of needs and styles.

Working on The Lab late one night, evil comic book genius Scott Christian Sava realized there was something missing from his graphic experiment! No, not slugs and snails or puppydogs' tails, nor sugar, spice, everything nice and formula 'X'....No, what his nefarious scheme was missing were the actual numbers and letters with which he could complete his equation! BRILLIANT! What he needed was something antiseptically clean and readable, even at small sizes for megalomanical rambling as well as the 5 point type under the Bio-Hazard logo that nobody really reads, and yet also bouncy and energetic enough for the inevitable sound effects that might follow exclamations such as: "IT'S ALIVE!" or "IT JUST-MIGHT-WORK!" Thanks to those awfully nice chaps at Comicraft, MadScientist is now available to evil geniuses everywhere, and guaranteed Laboratory tested.* *On reanimated human beings reconstituted from bones and organic body parts and organs from local charnal houses. No animals or small children were hurt during the creation and use of this font. Well, not yet, anyway. Artwork by Lew Stringer

This design is one of the true gems to come out of the 1930s typeface era. Even though the face was originally designed to counter the invasion of European sans-serifs, it remains faithful to the principles found in its creator's poster work. Lucian Bernhard's lettering creation for American Type Founders is to this day a favorite among font connoisseurs worldwide. It has a unique personality. This deluxe version is packed with extras including the original oldstyle figures, alternates, and ligatures. A number of styles and alternate characters have been added to the family such as heavy italics, extra heavy italics, and capital figures. And an easier-to-identify "flagged" figure one and the new euro symbol are now located in each individual style. Bernhard Gothic is also available in the OpenType Std format. Lining and oldstyle figures, stylistic alternates, and additional discretionary ligatures are now combined in each style. These advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Just as most buildings are based on a structure of vertical columns, horizontal floors, square angles and the occasional arch, most Latin typefaces are designed within a largely uniform, static, alphabetic structure that provides a framework for playing with the style of the terminals —serif, sans-serif, slab-serif, flared, Tuscan— without significantly modifying the deep anatomy of the letters. Orgánica Pro, by contrast, proposes a different structure: curvilinear, subtle and sophisticated, beyond the typical «sticks and balls» model. Organic anatomy, in one word; deliberately dynamic and asymmetrical. Over this radically distinct structure, terminals play a characteristic, expressive role that challenges easy classifications: Is this a serif or a sans font? A semi-serif? A semi-sans? For text or display? Modern or ultra-modern? Joke or serious? All answers are valid. Anyway, its six stylistic variants allow for multiple, diverse uses in text setting, headings and logotypes. In spite of —or perhaps thanks to— its innovative, uncommon structure, Orgánica’s personality is sweet to the eyes, wittily elegant and surprisingly legible.

Full Tolls is the younger brother of original Full Sans, Full Neue and Full Slab. Full Tools started with Social Media Icons. In the following days coming new icons. For example "Full Tools - Communication" and "Full Tools - Emojis" and mode. To take up less space and simplifying icons on the web and phone apps. All icons bigger 110% from another Full Brothers. Full Tools is the perfect font for web use. You can enjoy using it. EMOJI ICONS - Amazed - Angry - Beard - Crying - Dead - Dissapointed - Embarrassed - Evil - Friendly - Happyness - Happy - Hilarious - In-love - Indifferent - Kiss - Laughing - Lovely - Muted - Nerd - Quiet - Sad - Scaret - Smile - Stress - Sunglasses - Suprised - Suspect - Thief - Tongue - Wink SOCIAL MEDIA ICONS - Amazon, - Android, - Apple, - Bechance, - Bing, - Box, - Buffer, - Creative Market, - Crome, - Delicious, - Deviantart, - Dribbble, - Dropbox, - Etsy, - Facebook, - Facebook Like, - Facebook Unlike, - Flckr, - Firefox, - Foursquare, - Google+, - Grafiport, - Hi5, - Howcast, - Html5, - Instagram, - Klikstarter, - Linkedin, - Messenger, - Myspace, - Myfonts, - Opera, - Path, - Paypal, - Periscope, - Pinterest, - Plaxo, - Quora, - Reddit, - Rss, - Shutterstock, - Skype, - Snapchat, - Spotify, - Stumbleupon, - Twitter, - Trello, - Tumblr, - Vimeo, - Vine, - WhatsApp, - Wikipedia, - Wordpress, - Yelp, - Youtube You can enjoy using it.

Rabento is an original serif family, with articulate and big letterforms. The typeface was drawn and created by Mans Greback between the years 2018-2021, and is designed to assure a unique and confident character to any headline, logotype or title. A display typeface made for large text displays, it is still clear and legible. With great contrast, this lettering has precise hairline thin horizontal parts, a bold and expressive outline and fat slab serifs. It has traditional traits, but a new and modern design, which together makes for an impactful and notable type setting. Rabento is provided in six high-quality styles: Regular, Italic, Bold, Bold Italic, Black & Black Italic. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Many decades back, churches, schools and other buildings with a need to display an outdoor message often chose a sign making system utilizing characters silk screened onto metal pieces in a block chamfer style. Each piece had a crimp in the top of the metal which formed a hook to fit over the existing rails of a message panel. This allowed for a finished sign to be displayed within minutes, and a quick change of information was not very time-consuming. A popular version of these signs provided white letters and numbers on black backgrounds. This was the model for Announcement Board JNL, which is available in both regular and oblique versions. There are two different width blank panels on the broken and solid bars for those who wish to kern the letters tight to form a ribbon, however they were designed to have slight spacing in order to emulate the hand assembly of those vintage sign panels.

Melina Plain and Melina Fancy are characterized by graceful lines, strong contrast and nostalgic overtones. These typefaces are patterned after two members of a type family named Greco, released by Fundición Tipográfica Richard Gans of Madrid, Spain, in the 1920s. Melina Plain is a refined version of Greco Bold, and Melina Fancy is based on Greco Adornado, with the notable addition of a lowercase, which was not a part of the original design. Melina is based on two typefaces (ca. 1920) from the Fundición Tipográfica Richard Gans in Madrid, Spain. Nick Curtis first found Greco Adornado in a type specimen at the Library of Congress. It was a cap only design. He made a cut of the original (Melina Fancy) and created his own lowercase, and many other characters to support contemporary character sets. Later he came across Greco Bold, which had a lowercase, but he chose not to use it and instead, adapted his Melina Fancy to create Melina Plain.