Gordita is a minimal sans serif typeface with a geometric foundation that has been built upon with modern details that result in an optically balanced, friendly typeface. When designing Gordita referring to features in Futura were influential as were the structural and harmonious strokes of Gotham. Forms have been optically compensated to appear natural and purely geometric. Joints are slightly tapered and ink traps feature in heavier weights with the purpose of achieving maximum legibility. Gordita has been tested in print and on screen in a wide range of point/pixel sizes. The family is equipped with OpenType features including alternate glyphs, fractions, case sensitive forms, small figures, arrows and symbols as well as old style and tabular figures. Now delivered in 7 weights with matching italics that slant at 15°. The italics are slightly lighter and narrower than the upright versions. The horizontal weighting in the italics have been reduced to compensate for the loss of vertical stroke thickness. With support for over two hundred languages with an extended Latin and Cyrillic character set, Gordita is ready to be put to work. Designed by Thomas Gillett, metrics and engineering by iKern (Igino Marini). The family has been recently updated to include two additional weights (Thin & Ultra + their matching italics) as well as slightly opened apertures for better legibility in the heavier weights, new glyphs and more opentype features.

Qualion Text™ is a modern geometric sans serif typeface with humanist and calligraphic inspirations. It is a text family designed for excellent legibility. Qualion Text™ is a sibling of Qualion™ & Qualion Round™, geometric family with lots of swashes and ornaments. Letter shapes and proportions has been adjusted to fit paragraph text and small sizes: - typeface is narrower now in order to fit more text in the design space - larger stroke contrast - pronounced ink traps and tapering - elegant true italics made even more calligraphic - adjusted spacing and kerning - adjusted font weights The main purpose of the family is clean and legible paragraph text, however it is very attractive choice for branding, headlines and display use, too. The italic styles as well as thin, bold and black upright styles have very strong character and look great in display sizes. Italics are very fluent, calligraphic, subtle and elegant, from the other side bold and black uprigths are very modern, powerful and unique thanks to the pronounced ink traps. Qualion Text™ family consists of 20 styles - 10 weights with corresponding true italics. Both have extended language support, as well as broad number of OpenType features, such as small caps, case sensitive forms, standard and discretionary ligatures, swashes, stylistic sets, contextual alternates, lining, oldstyle, tabular and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Le Amatcky is elegant sans serif typeface that look aesthetic. Perfect for Logo brand, advertisement, product packaging, social media post, clothing brand, magazine headers and many more complete with ligatures alternates regular italic icon kerning multilingual support

Ye Benjamin is a smooth italic typeface, that will spread style and good vibes everywhere you put him. The crystallization of the letters shape was through seeking an iconic look, that would be a useful branding tool.

Bodoni Classic Ultra is my really fat, high contrast extension to my ever expanding Bodoni Classic family. The Script cut is very decorative, the italic cut can be mixed with it to give it a calmer touch.

Refracta is the work of British designer Martin Wait, a simple, condensed italic sans serif capital alphabet. The letterforms were designed with a shadow effect for extra impact. Refracta is ideal for a wide variety of applications.

Amelaryas is beautiful serif font with elegant and premium shape that can be used for logos, branding, invitations, stationery, wedding designs, social media posts, and much more. Complete with ligatures alternates regular italic icon kerning multilingual support

Katigert – is a rather friendly italic with a touch of measured severity, combines very sharp angles and bold shapes. The font works best for display. The font includes extended Cyrillic and Latin alphabets, punctuation marks and currencies.

Here is a sans-serif built up on an old-style design framework especially perceptible in the italic. It is the conjunction of contradictories feelings: pointed / soft, classical / modern. The smaller the typesetting, the better it works.

Courier is the king of typewriter faces. But if you want an alternative, something with a look reminiscent of the older, manual typewriters, consider TiredOfCourier. The family includes true italics, something very unusual in a typewriter face.

The original Lawabo was started many years ago by Rainer Scheichelbauer. Its ­minimalistic and rounded shapes are reminiscent of bathroom ceramics, hence the name. Schriftlabor designer Miriam Surányi added bold and italic shapes, and produced the family.

Vivala Line is a real italic, and it was inspired by old Polish children's books with its charming hand drawn lettering titles. Fields of application are posters, magazines, packaging design, books, corporate design up to consolidating reading.

Hello, introducing the new font Thursday Routine. Thursday Routine is a Bold Friendly font. The font is available on Italic too. Good reading, Readability 100%. Perfect for your graphic. What's Included ? Uppercase Lowercase Symbols Numerals Multilingual Support

The ITC Franklin™ typeface design marks the next phase in the evolution of one of the most important American gothic typefaces. Morris Fuller Benton drew the original design in 1902 for American Type Founders (ATF); it was the first significant modernization of a nineteenth-century grotesque. Named in honor of Benjamin Franklin, the design not only became a best seller, it also served as a model for several other sans serif typefaces that followed it. Originally issued in just one weight, the ATF Franklin Gothic family was expanded over several years to include an italic, a condensed, a condensed shaded, an extra condensed and, finally, a wide. No light or intermediate weights were ever created for the metal type family. In 1980, under license from American Type Founders, ITC commissioned Victor Caruso to create four new weights in roman and italic - book, medium, demi and heavy - while preserving the characteristics of the original ATF design. This series was followed in 1991 by a suite of twelve condensed and compressed designs drawn by David Berlow. ITC Franklin Gothic was originally released as two designs: one for display type and one for text. However, in early digital interpretations, a combined text and display solution meant the same fonts were used to set type in any size, from tiny six-point text to billboard-size letters. The problem was that the typeface design was almost always compromised and this hampered its performance at any size. David Berlow, president of Font Bureau, approached ITC with a proposal to solve this problem that would be mutually beneficial. Font Bureau would rework the ITC Franklin Gothic family, enlarge and separate it into distinct text and display designs, then offer it as part of its library as well. ITC saw the obvious value in the collaboration, and work began in early 2004. The project was supposed to end with the release of new text and display designs the following year. But, like so many design projects, the ITC Franklin venture became more extensive, more complicated and more time consuming than originally intended. The 22-font ITC Franklin Gothic family has now grown to 48 designs and is called simply ITC Franklin. The new designs range from the very willowy Thin to the robust Ultra -- with Light, Medium, Bold and Black weights in between. Each weight is also available in Narrow, Condensed and Compressed variants, and each design has a complementary Italic. In addition to a suite of new biform characters (lowercase characters drawn with the height and weight of capitals), the new ITC Franklin Pro fonts also offer an extended character set that supports most Central European and many Eastern European languages. ITC Franklin Text is currently under development.

Get in touch with Tipogra Fio and get inspired by Guaruja Neue specimens. Guaruja Neue is a neo-grotesque typeface with additional industrial traits to it, such as open corners in diagonal glyphs and short curves. The semi-cursive italics shapes, more than an orthographic matter, give sea waves for the headlines and copies that Guaruja Neue will compose, since it is named after a city on the coast of São Paulo, Brazil. Stylistic alternates, ligatures, ordinals, arrows and emojis give extra personality for texts that cross millennial and modernist concepts, going from a comprehensive Latin script, including Vietnamese support, until a basic Cyrillic set. Brazilian music tells the graphic story of Guaruja Neue specimens, songs that speak about beaches and the city of Guarujá, as well as the inspiration of 50’s and 60’s modernist design and the music movement of Bossa Nova. This family is also an evolution of Guaruja Grotesk (2021), a typeface with four fonts —Regular, Italic, Bold and Bold Italic— developed as part of a design school project, that now in Neue gains professionalism, refinement and knowledge. Guaruja Grotesk took 18 months to make, and Neue took additional 12 months of redrawing and rethinking, as design as processes. Part of the project got feedback from the typeface designer Ulrike Raush, under the Alphabettes mentorship program. Overview and features: 8 weights and 8 italics; 2 free fonts: Guaruja Neue Regular and Guaruja Neue Italic; Extended Latin and basic Cyrillic; 800+ glyphs; Numbers: proportional, tabular, superscripts, subscripts, denominators, numerators and fractions; Greek for math; Case-Sensitive forms; Arrows; Standard and discretionary ligatures; SS01: one story a and SS02: two story g; Emojis and SS03: negative alternate emojis; Ligatures for English ordinals;

Part of the wave of modern explorations expanding on the 50+ year-old traditions of groovy psychedelic typography, Mysterylab brings you Phaserwave. With an intriguing fusion of pillowy shapes and sharp stroke ends, this font cooks up a heady mélange of whimsical flow and high precision. We've applied our usual meticulous attention to great kerning, extensive character set, and seamless functionality, so this font's ready to rock your designs any way you might want to do it.

Munchies is a reverse contrast slab-serif font family. Inspired by the volume and size of 19th century wood letterpress blocks and the Italian Caslon language. Munchies has 12 variants, from Heavy to Thin, with opentype options in a set consisting of uppercase, lowercase, small caps, ligatures, and alternate letters (A, M, N, V, W, &, Arrows, *). Munchies is divided into two subfamilies: Normal and Display. The Normal style has an appearance reminiscent of Western posters with a “measured” contrast. While the Display style takes the contrast to the extreme. Both styles are also available in Variable version. The inverted contrast makes it an interesting and striking looking typeface that stands out in any context. Perfect for headlines, bold branding, or animation like kinetic typeface.

Gernsheim is a semi condensed display sans serif font family. This font family has been created for use in headlines and logo display fitted on showcase screen. 9 weights and 18 font styles make up the initial release. To increase the adoption of a wide range of display fonts, the individual glyphs' handle fluctuations were subtly applied. The compromise of disproportion between straight lines and curves improves glyphs autonomy and relieves tension. And by applying rounded corner effects to each style, it presents the reader with softness and comfort. It is designed so that the rebellious disproportion created by heavy styles transition to flat and classy tenderness as the thin style approaches. Try the uniqueness and excitement of individual styles for yourself

Mondo News is a typeface designed to fulfill digital and paper publication editorial needs, its cared equilibrium between slightly condensed proportions and generous «x» height, offers optimum performance without compromising legibility. The modulation of thick and thin strokes in the middle weights is balanced for extensive text reading, while on the heavy weights becomes more dramatic making them ideal for strong headlines. Equipped with 760+ glyphs, support for more than 200 languages, smallcaps, alternates, ligatures, dingbats and plenty of OpenType features, Mondo News modern interpretation of tradition performs excellent both on screen and on paper, satisfy the most demanding editorial needs and will nourish your pages with a convincing and reliable atmosphere. Mondo News is part of the Untype Mondo family typographic system.

Herokid is a grotesque style font, inspired by classic fonts like Helvetica, Impact and Univers, with a dynamic, versatile and flexible personality. It ranges from Thin to Heavy, and from UltraCompressed to UltraExpanded. It’s a huge family, with 96 variants adaptable to kinds of design projects providing flexibility for their creation. Consider Herokid your new workhorse, you will be able to generate high-impact headlines, subtitles and/or text; all with the same font family. The mixture of wide and condensed sets allows for versatile combinations and can give great movement to a design, while the regular weights can be used for text bodies. The heavier weights also stand out, with its very full shapes with small counterforms, ideal for big headlines.

Atlan—a Latin ‘spin-off’ of classic geometric sans typefaces. Remembering typefaces like ‘Kabel’ by Rudolf Koch, while paying attention to current design needs, was the starting point for ‘Atlan’—a simple, elegant and appealing font. This typeface is based on highly expressive sans-serif geometric fonts of the 1920s. We challenged ourselves to reinterpret these characteristics, without losing expressiveness, in order to create a functional and versatile design. This process resulted in a font with display features, well-suited for light, uniform-coloured texts. The family offers a variety of styles from the elegant Thin weight—ideal for publishing and corporate websites—to the Heavy variant (perfect for logotypes and packaging), which reveals the stylistic elements of the typeface.

My latest book production group is quite conservative. I discovered my need for a pair of headline fonts with the same vertical metrics which are looser and more lively. Since the serif family is Biblia Serif, and the Sans family is Draetha [which is Welch for preach], Araldo [which is Italian for herald] makes sense to me. Narrow has my normal set of Opentype features with small caps, small cap figures, and the rest of the figure sets. Bold is too heavy for small caps, without messing with the metrics. So, it has the normal figure sets, plus a decent set of discretionary ligatures. They both work well, and are meeting my need for a headline family to add to the book production group.

Manhattan was designed in 1970 for ITC by Tom Carnase, who also created Avant Garde Gothic. The distinguishing characteristic of this designer's work is found in the emphasis on the thick-thin constrast. In this case, Carnase approached the border of the impossible. The heavy vertical strokes stand opposite the finest of lines and the thick columns dominate the overall look. The basic forms are strictly constructed, as are those of Morris F. Benton's Broadway of 1925, to which many parallels can be found. Manhattan is best used for applications which will not be placed too far from the viewer, as at too great a distance the fine lines can no longer be seen. It should be used exclusively for headlines in medium point sizes.

After inventing a new metal typecasting procedure that allowed for the production of more detailed typefaces, the famous German typefoundry D. Stempel AG developed Kuenstler Script in 1902 - 1903. Originally called Kunstlerschreibschrift (artistic handwriting), this design was based on English copperplate script styles from the late 1800s. In 1957, Hans Bohn added the heavy Kuenstler Script Black weight to the family. Like intricate handwriting put to paper with a feather and an inkwell, Kuenstler Script makes almost any text look distinguished and elegant. Kuenstler Script is a joining script; and because of its fine hairlines and small x-height, it is best used at sizes above 12 pt. The typeface works well in advertising work and on invitations, greetings cards, business cards, and certificates.

Crewekerne is a typeface family which speaks of the villages that are at the heart of English life. It is inspired by the arts and crafts movement of the early twentieth century, and is complimented by two other families, Crewekerne Magna and Crewekerne Magister. Three widths - condensed, regular and expanded and three weights - regular bold and heavy are offered. Crewekerne is especially good when combined with its two complimentary families and when used in poster and design work that needs a rustic hand crafted flair but still needs to be easily legible. Crewekene is a fun family and a serious set of faces all in one. Crewekerne, Crewekerne Magna and Crewekerne Magister can also be purchased together in the Crewekerne Value Pack.

Vine Spinach is a beautifully designed display font. The round and shadow style applied to the characters gives this font cute feel. While it's easy to read, the dramatic bold and heavy style is very suitable to be used to create titles and logos. You also get illustrations as special extra that you can use as you wish. Features: Stylistic Sets Swashes Multilingual Supports Uppercase and lowercase PUA Encoded Numerals and Punctuation This font would looks great on your branding, logos, social media quotes, stickers, posters, wall art, merchandise, social media, and many more. Get more inspiration about how to use it by seeing the font preview. Thank you for purchasing our fonts. If you have any further questions, don't hesitate to contact us. Happy Designing.

Narcissus Open is a heavy typeface designed by Walter Tiemann in 1921 for the Klingspor Foundry in Germany. It is a shaded wide roman using a very modest amount of white highlighting. Serifs are extremely delicate, almost ornamental. This elegant old typeface gives a feeling of importance and authority and is highly effective when used in large display sizes. Narcissus Solid lacks all highlighting and becomes more useful in smaller sizes. Narcissus Open and Solid are 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.

Ready to get an awesome font? Cozy nap is a cute display font. The dramatic bold and heavy styles works well in header or title text. While it’s easy to read, there are also a little bit curvy characters to add cute vibes. This font becomes more special with illustrations as the extras. Features: Stylistic Sets Swashes Multilingual Supports Uppercase and lowercase PUA Encoded Numerals and Punctuation This font would looks great on your branding, logos, social media quotes, stickers, posters, wall art, merchandise, social media, and many more. Get more inspiration about how to use it by seeing the font preview. Thank you for purchasing our fonts. If you have any further questions, don't hesitate to contact us. Happy Designing.

Latvian designer and educator Gustav Grinbergs created Stencil Moonlight as an attempt to slightly lighten up the stencil type scene. Intended as a lively, semi-formal face, its shapes are smooth and compact. It leaves a very heavy feeling on the page, as its letters display a very fat bold design. Stencil Moonlight is available is two separate font styles, Regular and Small Caps. When used together, the Stencil Moonlight family can create the perfect combination for your next display need. Stencil Moonlight works best in larger sizes, where it is clear that its forms stem from an experiment with stencil design. Grinbergs recommends the face for application in package design, advertising, poster design, and perhaps even for the subtitling of foreign films!