The island of Fuerteventura is more known for its white sand beaches and windsurf-friendly constant winds than for its typographic marvels. Still, it's on the walls of a ballroom next to its white-sand beaches that Debora Manetti found the hand-painted letterforms that she took as inspiration for her typeface Sala de Fiestas. The resulting font was a condensed sans serif full of curious details and a jumpy latino vibe that many years after still keeps its freshness and vernacular charme. Francesco Canovaro took the original typeface as a starting point for a grand tour into sign-painter aesthetics, developing a reboot of the original into a new type family: Salad. While being faithful to the original proportions and feeling, Salad provides extreme versatility through its five-weights range, its extended charset and its set of Open Type features including stylistic sets, alternates, positional numerals, small capitals and case sensitive forms. While the roman family with its italic counterpart provide a good workhorse tool for informal branding, packaging and editorial projects, the interlocking and the inline weights add additional possibilities for display purposes. This is enriched by the inclusion in the typeface of a set hand-drawn decorative dingbats that further complement the sign painting vibe of the family. All Zetafonts expertise in handmade lettering, typographic design and water sports has been put to test to assure Salad is the best typographical alternative to a a trip to Canary Islands!

Noctis was originally born as a single weight display typeface, designed by Luca Terzo who took inspiration by the unusual wedge serifs of Aldo Novarese's 1972 typeface for H. Berthold A.G., Primate. The design was developed by the Italian Type team into a full family of five weights from thin, each with its own true italic, and with a complementary set of decorative patterns. The strong Didonesque contrasts make this typeface both impressive at display sizes and easily readable in text size, while the sharp shapes of the triangular serifs and the distinctive letter shapes show their strength in logo design and impressive editorial use. Inspired by the elegant, self conscious and over-the-top aesthetics of Italian fashion scene of the eighties and nineties, Noctis finds its strength in its strong textural nature, that is explored in the Noctis Texturae subfamily, where each letter is used as a tile to produce seamless patterns that can be used to extend the branding capabilities of Noctis. Noctis features an extended latin character set of 481 glyphs covering over 190 languages, and includes advanced open type features like standard and discretionary ligatures, positional numerals, stylistic alternates and case sensitive brackets. Mixing versatility and personality, Noctis is ready to be like a top model on the design catwalk, making your projects looking classic but contemporary, finely tuned but assertive, and elegant as the best Italian luxury fashion.

Michiana Pro is my new, hand-crafted connecting script! I've been hand lettering cards and envelopes to my wife and family in this type style for years and decided it was time to make a font based on it. I typically start with a single thin stroke for each letter, then build up the weight of the heavy stroke, so there ends up being a lot of charming variations in terms of style and color. The overall finish is rough, yet friendly. Perfect for invitations, place cards, love notes, and with its large x-height, it sets nicely for text. I grew up running around the dunes and beaches along Lake Michigan in northwest Indiana, and I think the shoreline and dune grass has inspired my aesthetic. Michiana Pro takes the name from a small area along the lake between the Indiana and Michigan state lines. There are a lot of nice, modest homes nestled in the duneland forests. Thinking about what it's like back there, it's like having a bowl of steaming hot comfort food. So I hope Michiana Pro feels that way to you too. Michiana Pro features include: + extended character set for Western European language support + 1,205 glyphs + lowercase beginning and ending swashes + contextual initial and final letterforms + alternates for L, R, Z, f, g, p, t and y + 140+ ligatures + superior and inferior figures for unlimited fractions + ordinals (st, nd, rd, th) + 4 ornamental swashes + available in both OTF and TTF formats

Yafferbuddle comes in the category of 'a funky fun font' with a pleasing rounded shape, but it still has the extensive range of features you'd expect in a modern OpenType font. It's especially useful for posters, headlines and comics. There's 5 weights and a Shadow version in Regular and Italic, making 12 fonts in all. To let you know what's in the font that you might otherwise not suspect . . . With Discretionary Ligatures on, you get special characters if you type Mc St. Rd. Bd. Ave. c/o No. (p) (P) - include the full-stop/period where given. With Stylistic Alternates switched on, you get plenty of extra characters - including a WiFi symbol (type Wifi or WiFi) / bullet numbers instead of ordinary numbers / that different U-dieresis / special characters for c/o No. Mc / an upside down ~ / a huge bullet, and different forms for cent, dollar, percent, per-thousand. As you'd expect, there's all the accented characters for all Western European scripts using Latin letters, and standard ligatures, plus other Open Type features including Class Kerning, Slashed-Zero, Historical Forms, Sub- and Superscript numbers, fractions for halves, thirds and quarters, Ornamental forms giving bullet numbers, etc. There's even some of the more obscure stuff like the main mathematical operators, symbols like card-suits and male/female signs and so on, schwa, U-horn O-horn, and there's more if you can Access All Alternates. Much will depend on what features your software recognises.

Patrick Griffin's sister is a really annoying individual sometimes. Not only is she into theater, but she thinks everyone else in the universe is into it as well. So once in a while tickets to local or provincial Shakespearean plays get delivered to the mailbox or dropped off on the living room's table. And once in a while the tickets just cannot be "lost" or ignored. Three or four times a year, Patrick must be subjected to Olde Englishe Speake, umbrella dresses and squeezetops, featherhats and men in leggings, rhyme and treason, mortality and immorality, drama inflicted by some mama, and it never ends. Last June it was Hamlet. Again. Someone's (wink wink) idea of a good time. There he goes, the Prince of Denmark, holding that skull with the tips of his fingers like it's an alien egg. Alas, poor Yorick! Yadda yadda boop-bop-a-loo-bop. And so the idea of a font made of skulls was born. And what can we possibly be but conduits for such abhorring ideas? Where be our gibes, our songs, our flashes of merriment? Skullbats has more skulls than you'll ever see in your lifetime. At least we hope so. Scary skulls, funny skulls, evil skulls, strange skulls, pixel skulls, fiery skulls, surprised skulls, happy skulls, sad skulls, cow skulls, sketched skulls, profiled skulls, light bulb skulls, cartoon skulls, techno skulls, alien skulls, expressionist skulls, pirate skulls, horned skulls, and skulls with whacky headgear. You name it, it's there. There's even a disco skull there for you. We lost count at 90 skulls, but there's a few more in there. For a complete showing of the skulls in the font, consult the image in the MyFonts gallery. Patrick's sister didn't turn out to be so bad after all. After making this font, he couldn't help but notice that her skull was a bit small compared to his. So now he takes every opportunity to remind her that the size of the cranium is relative to what it houses. Her upcoming halloween present will be a shirt with guess-what on it. Shirts, now there's putting Skullbats to good use!

Delm font family is one of those large and useful families that you really can’t miss if you are looking for typeface combining originality and legibility. Delm is one of these – a sans serif with geometric modern look designed very smart with soft round look and very specific inktraps that complement its uniqueness. It is developed in 9 separate weights ranging from Hairline to Black, each coming with corresponding slanted version (called ‘Oblicua’). The light weights look more elegant, gentle and with more sensible feeling for geometry while the black versions are more soft, friendly even puffy and the geometric skeleton of the family is dominated by the overall roundness. The mid-weights are strong and prominent setting right the middle point in the contrast range of the family. Delm is a font with dedication – with so many options for different character contrast combined with slanted styles, it is perfect for editorial design where it could be easily used either for text or display font. Editorial is not of course the only application – you could successfully rely on this typeface if create brand or corporate identity, typographic posters, signboards, instruction plates, etc. Very diverse and original, this font will not leave you unsatisfied – moreover – it will surely make you try it in more and different designs be it printed or designed for screen. Web sites, banners, applications and e-books are places where Delm will show its best because of its originality, finely tuned contrast and its enhanced legibility. Fully equipped with OpenType features like ligatures and multilingual support, Fontmatters highly recommends to get the whole Delm font family for maximum results and satisfaction.

Aure Jane defines grace under fire. These clean, sans-serif forms engage the reader with a subtext of trust. Jane’s excellent legibility will stand up under almost any typographic challenge, bringing confidence to text and titles, and clarity to astrological expressions and chartwheels. Jane 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. In addition to Aure Jane’s versatility as a text font, Jane can enhance the message of other designs. Aure Jane pairs well as an innocuous foil to any decorative font; Aure Sable, for example, will shine all the more beside Jane’s sensible utility. The witty highlights of Aure Brash will sparkle against Jane’s practicality. Give Aure Jane a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

Octin Sports is a typeface that commands attention and exudes a sense of strength and resilience. The seven available weights—light, book, regular, semi-bold, heavy, and black—provide a range of options for designers looking to add a bold, dynamic element to their work. But make no mistake, this typeface is not just for the sports world. Octin Sports has a versatility that extends beyond the playing field and can lend a rugged, no-nonsense vibe to a variety of themes. Whether you’re designing for a school, construction site, or law enforcement agency, Octin Sports is up to the challenge. The sleek, angular lines of this typeface give it a distinct sporty feel, making it an ideal choice for designs that seek to convey energy and excitement. The bold weight options are particularly striking and provide a strong visual impact that demands attention. Overall, Octin Sports is a solid choice for designers who want to infuse their work with a sense of toughness and vitality. Its versatility and sporty design make it a font that can rise to any challenge, whether it’s on the field or in the boardroom. Check out the rest of the Octin families: Octin College, Octin Prison, Octin Stencil, Octin Vintage & Octin Spraypaint. 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.

Welcome to the future of typography with Hybrea, the neoteric sans-serif typeface inspired by the sleek and futuristic designs found in automotive and aerospace industries. This font is designed to elevate your brand, giving your phrases an air of sophistication and high-tech wonderment. Hybrea’s clean, crisp lines bend unexpectedly, creating a sense of originality that is sure to make your brand stand out from the rest. Whether you’re designing a website, creating marketing materials, or even just crafting a simple social media post, Hybrea is the typeface you need to take your brand to the next level. With seven distinct weights, ranging from light to bold, and italics for each, you can easily tailor words to suit your specific needs. Plus, if you’re looking to add an extra bit of edge to your design, Hybrea even comes with a greasy stencil font, perfect for creating that rough and rugged look. Designed with a clean future in mind, this typeface is perfect for brands looking to make a positive impact on the world. So why wait? Try Hybrea today and take the first step towards a brighter, more sustainable future. 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.

Introducing Octin Vintage, the typeface that combines toughness and style in a delicately textured design. With its versatile 2 styles—sans and serif—and 3 weights—regular, bold, and black—Octin Vintage is the perfect choice for any project that requires a bold, eye-catching headline. Whether you’re creating designs for police, sports, prison, construction, school, or military themes, Octin Vintage delivers the rugged, vintage look that will help your designs stand out. Its timeless appeal is sure to capture the attention of your audience and leave a lasting impression. And it’s not just about looks—Octin Vintage is designed for versatility and ease of use, making it an ideal choice for both experienced designers and beginners. With its finely crafted letterforms and subtle textures, Octin Vintage adds a touch of sophistication and style to any design. So if you’re looking for a typeface that combines toughness, style, and versatility, look no further than Octin Vintage. Try it out today and discover the difference that this delicately textured design can make in your next project Check out the rest of the Octin families: Octin Sports, Octin College, Octin Prison, Octin Stencil & Octin Spraypaint. 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.

Oita might be a carefully crafted typeface family, created by a meat-bag human. Or, it might have been made by a supremely clever sentient robot. Found in the dark recesses of a top secret spy agency’s quantum computer, this font came with this somewhat unusual description, which is presented without comment. "To conquer, we cannot simply overcome. Success is found in supremacy--in the dominance of Oita. While looking for the right tool for this success, our research has led us to the finely executed forms found of military domination throughout history. In our labs, we've used our specialized machines to harness these forms' power and refined their impact through elements of contemporary and computer design. The structure proves to be robotic and squared on its edges. However, the chutzpah of this technical face still allows it to pass as if created by human hands. Our resulting payload, Oita, is modern and sturdy. While based on a practical, octagonal structure, make no mistake; this new instrument will drive forward the energy you want to push through your projects. Oita has 42 cuts certain to encompass your designs on world domination. Each font contains the glyphs to support over 52 languages. The font also includes tabular and lining figures, numerous ligatures, and selected advanced Opentype options, including stencil and experimental options to bring out the dynamic characteristics that have already been crafted into Oita. Early tests have found that the new instrument is easily scalable to smaller dimensions without reducing its impact. The font remains highly readable across a variety of applications. We speculate from our findings that it will be successful for sporting and technical applications. So for you who venture to use Oita, use it boldly. Don't just overcome. Dominate. Go and conquer mightily with Oita. We'll be watching." We may never know whether Oita hails from mind or mechanism. What we do know is that, should you choose to take on Oita, you'll be acquiring a dynamic poster and packaging face, a minigun-toting bad robot of a font that exudes pace and power.

Get ready to give your designs a blast from the past with the Kenyan Coffee typeface! Inspired by the bold, blocky fonts that graced headlines in the 1960s, Kenyan Coffee is a sleek, compact typeface that exudes industrial chic. The sharp lines and innovative design of Kenyan Coffee give your message a distinctive appeal that’s sure to make it stand out from the crowd. Whether you’re designing a sleek modern logo or a retro-inspired poster, Kenyan Coffee’s seven weights and italics give you the flexibility to create the perfect look for your project. And for an even bolder statement, be sure to check out Kenyan Coffee Stencil. With its rugged, industrial look, this typeface is perfect for creating eye-catching designs that demand attention. So why settle for boring, everyday fonts when you can make a statement with Kenyan Coffee? Try it today and see the difference it makes! Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Bringing together features from early European grotesques and American gothics, Kostas Bartokas’ Averta (Greek: ‘αβέρτα’ – to act or speak openly, bluntly or without moderation, without hiding) is a new geometric sans serif family with a simple, yet appealing, personality. The purely geometric rounds, open apertures, and its low contrast strokes manage to express an unmoderated, straightforward tone resulting in a modernist, neutral and friendly typeface. Averta is intended for use in a variety of media. The central styles (Light through Bold) are drawn to perform at text sizes, while the extremes are spaced tighter to form more coherent headlines. The dynamism of the true italics adds a complementary touch to the whole family and provides extra versatility, making Averta an EXCELLENT tool for a range of uses, from signage to branding and editorial design. Take advantage of Averta’s extended OpenType features including alternate glyphs, small caps, fractions, case sensitive forms, contextual alternates, oldstyle and lining (proportional and tabular) numerals, small cap numerals, numerators/denominators, superiors/inferiors, and a variety of symbols. Averta comes in eight weights with matching italics and supports over two hundred languages with an extended Latin, Cyrillic (Russian, Bulgarian, and Serbian/Macedonian alternates), Greek and Vietnamese character set. It ships in three different packages offering different script coverage according to your needs: Averta PE (Pan-European: Latin, Cyrillic, Greek), Averta CY (Latin and Cyrillic), and Averta (Latin and Greek). Averta's Cyrillic have received the 3rd Prize in the 2017 Granshan Awards in the Cyrillic Category.

Franca is a neo-grotesk family in nine weights plus matching italics. The inspiration for the design came through the constant interest in new interpretations of the classic grotesk model and a study of "neutral“ typefaces like Helvetica, Univers or Normal Grotesk. During the studies, additional attention was given to the American representatives of the genre, resulting in the initial impetus for a reinterpretation, combining both paths into one contemporary design. This is reflected in the name, blending together the names of the most popular typefaces of each genres, (Fran)klin and Helveti(ca). Due to its large x-height and plain design, the family is perfectly suited for all kinds of text. Its mid-weights are optimized for usage in long paragraphs, while the bolder weights, due to a short descender and ascender, create a compact and confident look in headlines or short copy. In order to create strong and dynamic italics, the oblique glyph shapes come with a faint calligraphic hint, defined by a higher stroke contrast and a steeper connection between stems and arcs in, for example, h n m and u. This is followed by different standard shapes for a and y, supporting the dynamic movement of the lowercase in general. A wide range of OpenType features such as ligatures, old style figures, fractions, case-sensitive shapes and many more, are available for professional and contemporary typesetting. This is completed with eleven alternative glyph sets, enabling a quick customization of the typeface. The family supports up to 92 languages and comes with 500+ glyphs per font.

Welcome Amica Pro, a workhorse sans designed to give your branding a friendly, approachable look. What is it that makes a typeface friendly? Eclectotype undertook extensive research* in this and the results are in! To cut a long story short, friendliness in sans serif fonts can be summed up in two words – short and fat. Basically, think Danny DeVito in letter form. The shortness in Amica Pro is achieved (somewhat counterintuitively) by pushing up the x-height. This, coupled with short ascenders and descenders, gives the text a squat appearance. For the fatness, that's easy in the bolder weights, but how to carry this through to the lights? Here, the fatness equates to roundness, so the letterforms, even if the stroke weight is light, have a rotund appearance from the wideness and roundness of the circular glyphs. When thinking about friendliness, we think about inclusiveness. To this end, Amica Pro supports a super wide range of latin-based languages, as it uses Underware's Latin Plus character set, as well as extra support for Vietnamese. Amica Pro is best used for branding, logos, infographics etc. It will give your UI a friendlier feel, but that doesn't mean it's not serious. There are many useful typographic features, including alternates, numerous figure styles, automatic fractions and case-sensitive forms. The italics are carefully optically corrected "sloped romans" and as such they are the same width as their upright equivalent, so changing your copy to italics will not mess around with the spacing. *I looked at a few fonts and drew some lazy conclusions.

The fundamental in creating this typeface is the implementation of our interest in typography over the past year. Inspired by the elegance, consistency, and hard work of Times New Roman pull up our minds to a daunting blank canvas and began to think about what we had to do to take this idea even further. Whatever comes to our mind and when it is poured out, it will certainly remain within the rules of the letterforms. This typeface is created by a careful approach, consisting of 28 fonts 13 weights with matching true italics forms. Feature an extended charset of over 1800 glyphs, covering 219 languages using Latin, Cyrillic (basic to extended), and Greek alphabets. Included advanced open type features like stylistic alternates, terminal form, swash, discretionary ligatures, ordinals, small caps, positional numbers, fractions, and case-sensitive forms. BD Megalona provides a range of choices that will give luxury vibes in symmetrical layouts with selective deviations, and work well in a stylish look for your typographic project. This is a complete package of problem solvers perfectly suited for body text and high-impact headlines. Advance open-type features definitely stunning on logos, branding, magazines, website, etc. BD Megalona is our ego in expression that aims to supply the necessity of design nowadays while still in the corridors of the glory of past traditions as a source of our inspiration. We would like to show you a SHORT FILM about the process of designing BD Megalona Font Family, Click Here!!!

Hamerslag is an ultra-condensed serif type family with uncomplicated, regular appearance, large x-height, relatively high contrast and modern glyphs shapes. Available in four styles, contain fraction- and scientific numerals, standard ligatures, currency symbols, proportional and tabular lining figures. Its wide character set support 200 Latin-script languages, 50 Cyrillic-script languages and 190+ romanizations/transliterations, e.g. The United Nations romanizations, Chinese official romanization (Hanyu Pinyin), BGN/PCGN (United States Board on Geographic Names and the Permanent Committee on Geographical Names for British Official Use), American Library Association / Library of Congress romanizations and others. The OpenType PostScript CFF (.otf) and OpenType TrueType TTF (.ttf) support encodings: Windows 1250 Latin 2 (Eastern European), Windows 1251 Cyrillic, Windows 1252 Latin 1 (ANSI), Windows 1254 Turkish, Windows 1257 Baltic, ISO 8859-1 Latin 1 (Western), ISO 8859-2 Latin 2 (Central Europe), ISO 8859-3 Latin 3 (Turkish, Maltese, Esperanto), ISO 8859-4 Latin 4 (Baltic), ISO 8859-5 Cyrillic, ISO 8859-9 Latin 5 (Turkish), ISO 8859-10 Latin 6 (Scandinavian), ISO 8859-13 Latin 7 (Baltic 2), ISO 8859-14 Latin 8 (Celtic), ISO 8859-15 Latin 9, ISO 8859-16 Latin 10, Macintosh Character Set (US Roman). Supported OpenType features: Acces All Alternates, Capital Spacing, Case-Sensitive Forms, Denominators, Fractions, Glyph Composition/Decomposition, Historical Forms, Kerning, Localized Forms, Numerators, Ordinals, Proportional Figures, Scientific Inferiors, Slashed Zero, Standard Ligatures, Stylistic Alternates, Subscript, Superscript, Tabular Figures. Kerning is prepared as single ('flat') table for maximum possible compatibility with older software.

Jürgen Weltin's Mantika Informal is pretty difficult to categorize, but very easy to like. This particularly reader-friendly typeface in regular and bold weights, brings to the table the informal fluidity of a script, the consistency of an inclined italic, and the open and airy forms and contrast of a humanist sans. The result is a warm, approachable, and very legible typeface that is never static and staid, but rather invites an attentive, reading eye. The original idea behind Mantika Informal lay in the challenge to create a typeface for setting children's books. German designer Jürgen Weltin aimed to create a reading typeface for those just starting to learn how to read. On the one hand, it should help create clear word-images; on the other, its letterforms should remain uncomplicated but resist mechanical and industrial sterility. Mantika?s subtle cursive lines stress the printed word's connection with handwriting, in addition to making the transition from school writing exercises to printed texts seamless and effortless. The resulting slightly organic and cursive forms that developed during the design process are so captivating that Mantika Informal may be used for a multitude of unintended applications - anywhere a friendly and informal yet sophisticated character could lend a helping hand, Mantika is there, giving a fresh accent to anything from packaging design to food products. With a broad character set encompassing support for Cyrillic and Green, Mantika Informal's two fonts make for a versatile and dynamic typeface that surely will find its place in a broad range of applications.

An open-hearted humanist sans-serif. Playful and friendly. Faible is everybody’s darling. You cannot not like this good-natured humanist typeface. Sure, it’s a typeface for serious work—but all serious work is better when you put a smile on your face and a whistle on your lips. The typeface itself isn’t rooted in calligraphy, but there are quite some details in Faible that reference handwriting and add a friendly, humanist facet to its appearance. Take the bowls of B, P, and R: they are merrily bulged, like balloons about to take off. The curved leg of the R adds to this joyful mood. Faible’s italics are rendered playfully, too: they’re not merely sloped Roman styles. Rather, they were designed independently with an internal dynamic that sets them apart on the page. With its trademark glyphs, the swooshin’ K and k, and its friendly details, Faible will radiate optimism in display sizes, titles, and headlines. That makes it a great choice for book covers, posters, editorial design, branding, corporate design, advertising, and packaging. Nontheless, it’s carefully spaced and equipped with plenty OpenType features—a reliable tool for short texts and body copy, too. The font family consists of six weights (ranging from Thin to Black), each with its corresponding italic style. Faible’s glyph set contains more than 600 characters, allowing you to enhance your layouts with ligatures, different sets of figures, case sensitive forms, arrows, and other necessities for the ambitious typographer. Faible is the typeface that puts “fun” back into “functional”.

Thrace (/θreɪs/; Greek: Θράκη, Thráki; Bulgarian: Тракия, Trakiya; Turkish: Trakya) is a geographical and historical region in Southeast Europe, now split among Bulgaria, Greece, and Turkey, which is bounded by the Balkan Mountains to the north, the Aegean Sea to the south, and the Black Sea to the east. It comprises southeastern Bulgaria (Northern Thrace), northeastern Greece (Western Thrace), and the European part of Turkey (East Thrace). Trakya Sans is a modern sans serif with a geometric touch. Futura, Avant Garde and the like. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Ideally suited for advertising and packaging, editorial and publishing, logos, branding and creative industries, posters and billboards, small text, way-finding and signage as well as web and screen design. Trakya Sans provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Trakya Sans 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Trakya Sans" comes in 5 weights with matching italics plus "Trakya Sans Alt", also 5 weights and italics so a total of 20 styles. The family contains a set of 630+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just with one easy touch in all graphic programs. Trakya Sans is the perfect font for web use. You can enjoy using it.

Jürgen Weltin's Mantika Informal is pretty difficult to categorize, but very easy to like. This particularly reader-friendly typeface in regular and bold weights, brings to the table the informal fluidity of a script, the consistency of an inclined italic, and the open and airy forms and contrast of a humanist sans. The result is a warm, approachable, and very legible typeface that is never static and staid, but rather invites an attentive, reading eye. The original idea behind Mantika Informal lay in the challenge to create a typeface for setting children's books. German designer Jürgen Weltin aimed to create a reading typeface for those just starting to learn how to read. On the one hand, it should help create clear word-images; on the other, its letterforms should remain uncomplicated but resist mechanical and industrial sterility. Mantika?s subtle cursive lines stress the printed word's connection with handwriting, in addition to making the transition from school writing exercises to printed texts seamless and effortless. The resulting slightly organic and cursive forms that developed during the design process are so captivating that Mantika Informal may be used for a multitude of unintended applications - anywhere a friendly and informal yet sophisticated character could lend a helping hand, Mantika is there, giving a fresh accent to anything from packaging design to food products. With a broad character set encompassing support for Cyrillic and Green, Mantika Informal's two fonts make for a versatile and dynamic typeface that surely will find its place in a broad range of applications.

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many line screen fonts, I wanted to take it to the extreme and use as few lines as possible, while keeping the grid of the fonts metrics. The result is a typeface that lives up to its name. Each individual line makes no sense on its own; individual letters are only recognisable in the context of all associated lines, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 100-unit or 25-percent increments increments to keep the grid. The »H« in the font name stands for horizontal (lines). The numbers in the font name refer to the brightness of the background and letters themselves, with the first number describing the background and the second the letters. Starting with »00« (white) to »200« (dark) See also my Family Kontext Dot

Originally published by OurType, Dan Milne’s Tasman has found a new home at Retype. Milne first conceived Tasman as a typeface for newspapers. This influenced the proportions and look of the face considerably: the goal was to keep the personality as warm and playful as possible without losing the credible tone required to deliver all kinds of news. A sturdy, warm type family that is neither mechanical nor fragile. It borrows its name from Abel Janszoon Tasman (1603–1659), a Dutch seafarer, explorer, and merchant who mapped parts of Australia in 1642, including Van Diemen’s Land (now known as Tasmania). Tasman’s primary purpose is an unbiased presentation of information; it strives for neutrality over elegance. Its characters are sturdy and unambiguous, sporting strong serifs, punctuation, and diacritics, as well as generously sized small caps and hybrid figures. Rationalized letterforms give the face enough robustness to withstand the stress of screen applications and laser printing. The figures’ three-quarter x-height makes them considerably larger than traditional oldstyle numerals, yet they still integrate with the lowercase much better than lining figures do. Although initially intended for newspapers, Tasman’s somewhat corporate, objective appearance also makes it an excellent candidate for digital and print magazines, websites, annual reports, and corporate identities. Tasman is a suite of feature-rich OpenType fonts fully equipped to tackle complex, professional typography. The character set includes small caps, fractions, case-sensitive forms, bullets, arrows, special quotes, and nine sets of numerals. Besides standard Latin, its extensive character set supports Central European, Baltic, and Turkish languages.

Good, faithful Achates… Named after the trusty Trojan that followed Aeneas throughout his adventures, Achates is a humanist sans workhorse well suitable for broad range of design projects. Its soft, delicate and almost cursive shapes define warm and friendly typeface that is legible and easy on the reader's eye. Following into the footsteps of its namesake, it is humble, informal yet stable and trustworthy. Ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text and signage as well as web and screen design. Achates provides a broad range of advanced typographical features such as language localization, alternates, stylistic alternates, extended ligatures, fractions and case-sensitive forms. It comes with a complete figure range set of old-style, lining and tabular figures. The family has extensive multilingual support, covering more than 70 Latin-based languages and specially designed Cyrillic with Bulgarian and Russian localization. As Achates was a humble hero, a devoted friend and faithful companion to Aeneas on his journey to greatness, so this font can be your trusty sidekick on your creative path. The marvelous Agate is also named after the Trojan hero. It is considered as the stone to call on for support when you need stability and grounding in your life. Along with its supportive energy, the Agate stone has been long admired for its incredible beauty. So… a Trojan hero or a thing of beauty – it is up for you to decide… or just maybe both!

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many line screen fonts, I wanted to take it to the extreme and use as few lines as possible, while keeping the grid of the fonts metrics. The result is a typeface that lives up to its name. Each individual line makes no sense on its own; individual letters are only recognisable in the context of all associated lines, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 50-unit or 25-percent increments to keep the grid. The »V« in the font name stands for vertical (lines). The numbers in the font name refer to the brightness of the background and letters themselves, with the first number describing the background and the second the letters. Starting with »00« (white) to »200« (dark) See also my family Kontext Dot

Thrace (/θreɪs/; Greek: Θράκη, Thráki; Bulgarian: Тракия, Trakiya; Turkish: Trakya) is a geographical and historical region in Southeast Europe, now split among Bulgaria, Greece, and Turkey, which is bounded by the Balkan Mountains to the north, the Aegean Sea to the south, and the Black Sea to the east. It comprises southeastern Bulgaria (Northern Thrace), northeastern Greece (Western Thrace), and the European part of Turkey (East Thrace). Trakya Slab is a modern slab serif with a geometric touch. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Ideally suited for advertising and packaging, editorial and publishing, logos, branding and creative industries, posters and billboards, small text, way-finding and signage as well as web and screen design. Trakya Slab provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Trakya Slab 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Trakya Slab" comes with 5 weights and italics; "Trakya Slab Alt" also comes with 5 weights and matching italics, giving a total of 20 styles. The family contains a set of 630+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just with one touch, easy to access in all graphic programs. Trakya Slab is the perfect font for web use. Enjoy using it.

A smooth contemplative Antiqua with aspiring to the sky ascenders, inspired by the Quietism philosophy. Clarity of the mind is achieved by bringing the body into a state of calm and contemplation, and this is reflected in the design – the quiet horizontal serifs (body) are opposed to the peaky soaring ascenders (mind). The design also features four optical size subfamilies with different x-height and contrast, oldstyle diagonal stress, oldstyle figures by default, smooth details and slightly dark texture. Variable axes: Weight, Contrast, X-Height. Scripts: Latin, Greek, Cyrillic. Languages: 480+. The complete list of supported languages: michaelrafailyk.com/quietism Kerning: 4553 class-to-class pairs. Hinting: Not applied. Format: TTF – OpenType with TrueType outlines. Variable Font: Quietism Variable provides more options than static versions, and has three axes: Weight (Thin–Black), Contrast (Low-High), and X-Height (Low-High). Variable fonts includes thousands of styles that you can access using a sliders on graphic editor or via CSS on web browser. Mixing different axes gives you extra styles not represented by static fonts. Optical Size: The typeface is represented by four subfamilies: Text (low contrast, high x-height – for paragraph 10-20 pt), Deck (medium contrast, medium x-height – for subheading 20+ pt), Display (high contrast, medium x-height – for heading 72+ pt), Poster (high contrast, low x-height – for big size 120+ pt). Small Caps: Lowercase letters and Oldstyle Figures are replaced with Small Capitals forms. Capitals to Small Caps: Uppercase letters, all figures, and some punctuation are replaced with Small Capitals forms. Case Sensitive Forms: ()[]{}‹›«»-–—•·#%‰@ and Arrows are centered on capitals. Oldstyle figures are replaced with Lining figures. Oldstyle Figures: 0123456789 #%‰. Designed to work with lowercase letters. Used by default. Lining Figures: 0123456789 #%‰. Figures are the same height as uppercase letters (cap height). Proportional Figures: Lining, Oldstyle, Small Caps, Capitals to Small Caps. Tabular Figures: Lining, Oldstyle, Small Caps, Capitals to Small Caps. Ordinals: adehnorst. Superscript, Subscript, Numerator, Denominator: 0123456789. Fractions: ¼½¾⅐⅑⅒⅓⅔⅕⅖⅗⅘⅙⅚⅛⅜⅝⅞⅟ (precomposed). Any other fractions (even those typed through a slash) will also be displayed correctly, with the automatic replacement to Numerator + fraction + Denominator. Slashed Zero: All 0 figures. Contextual Alternates: Number sign character (#) before uppercase letters is replaced by its version centered on capitals. Hyphen character (-) between two uppercase letters is replaced by its version centered on capitals. First of two TT letters is replaced by its alternate form. Letters vwy before the letters fijmnprtuvwxy are replaced with an alternate shorter versions that fits better in the context. Contextual Alternates (Greek): ΆΈΉΊΌΎΏ. Greek uppercase accented characters lose their tonos accent and retain only dieresis in All Caps and Small Caps modes. Turned on by default. If you need tonos accents in All Caps then turn off Contextual Alternates (calt) feature. Stylistic Alternates: FTГТИЦЩцщ and their versions with diacritical marks. Stylistic Set 01 “Arrows”: Left <- Right -> Up Left Right <-> Up Down North West South East \> South West Stylistic Set 02 “Round-Square Cyrillic”: ДИЙЍЛФвгджзийѝклнптцчшщьъю characters are replaced with its Bulgarian or Russian forms. Stylistic Set 03 “Cyrillic Tse Shcha short tails”: ЦЩцщ characters are replaced with its alternate form with short tail. Stylistic Set 04 “Cyrillic I full serifs”: ИЙЍӢ characters are replaced with its alternate form with inner serifs. Stylistic Set 05 “FT bent inward serif”: FTГ characters and their versions with diacritical marks are replaced with its alternate form with right head serif that bent inside. Stylistic Set 06 “Small Caps centered on Capitals”: Small Caps are vertically centered on uppercase letters. Standard Ligatures: fi fl fb ff fh fj fk ffb ffh ffi ffj ffk ffl. Discretionary Ligatures: Th ct st. Localized Forms: 52 character substitutions for Azeri, Bulgarian, Catalan, Dutch, German, Kazakh, Macedonian, Moldavian, Polish, Romanian, Serbian, Tatar, Turkish. Glyph Composition/Decomposition (Diacritics): Full Latin and based Vietnamese set of diacritics (571 characters). Precomposed.

Pietro Aretino (1492 – 1556) Was an Italian author, playwright, poet, satirist and blackmailer, who wielded influence on contemporary art and politics. The most vigorous and versatile vernacular writer of the 16th century He was a very versatile writer, famous for his Lascivious Sonnets – which caused great scandal at the time – but also for his satirical verses, addressed to all the powerful people in Italy, without forgetting the many plays that he wrote for the theatre. Part of the charm of his letters is that through them you may know the whole of Venetian society from the top to the bottom. The little-known church of San Luca in Venice (in St Mark's district) has been a place of pilgrimage for centuries for people who are decidedly not devout: journalists, writers, free thinkers. In 1556 Pietro Aretino, a unique character of the Italian and Venetian Renaissance period was buried there. Such strong of personality, has contributed to generate the powerful wind of change that emerged from the italian renaissance. We have inspired on that talent searching for a new sight the famous Venetian typefaces. Probably looking for more vigour and contemporary digital style. This typeface is slightly condensed, lighter and has more contrast between the thick and thin letter-strokes, it has concave bracketed serif. Their ascender and descenders strokes are very shorts. Aretino family is completed by four weigh: Regular, SemiBold, Bold and ExtraBold, while Italics has three weighs. These fonts came with a full OpenType features and CE languages.

Bex Script is a riff on traditional French script forms: the Bâtarde, the Ronde, and the Coulée. It has two versions: First, there’s La Belle, a straightforward, lovely interpretation of the script form, suitable for things like invitations, poetry and branding. La Belle’s evil twin is La Bête, a more whimsical (and considerably more hairy) version, great for anything that requires an elegant-but-beastly feel. Bex is surprisingly versatile! With three optional capital forms (Swash, Caps, and Small Caps) all taller than the x-height, Bex has a variety of voices. A full small cap set and a full set of Swash Caps, plus a large complement of alternates, initial forms, terminal forms, and ligatures makes it customizable and… well, FANCY! Additionally, both versions of Bex Script have a set of ten ornament glyphs. La Belle has a combination of fleurons on a culinary theme and symbols of France. La Bête has ten pseudoheraldic beasts that would feel at home at the top center of any whimsical letterhead. NOTE: A few years ago in Paris, I was lucky enough to stop at the Librairie Paul Jammes in St Germain-des-Prés, where I bought a turn-of-the-19th-century signature from a Type Specimen of the printer Joseph Gaspard Gillé. The irregularity of his script types — particularly the ones at smaller sizes, like the Cicéro — was very intriguing. They seemed to blend the Ronde with some elements of the Bâtarde and Coulée. And they, along with the work of French master penman Louis Rossignol, gave Bex Script its initial form.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

Discover here the Eastman Roman Family See the Eastman Grotesque Family Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use. The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. All share a solid monolinear design and a tall x-height that makes body text set in Eastman extremely readable on paper and on the screen. Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, Cyrillic and greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms). The most impressive feature of all Eastman fonts remains the huge choice of alternate characters and stylistic sets that allows you to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. Don’t want to lose too much time with the glyphs palette? Use the Eastman Alternate weights, thought for display use and presenting a selection of some of the more eye catching & unusual letter shapes available for the family.

Grenale #2 shapes the new standard of elegance within the Grenale family. Not your typical sans, this pure, geometric structure with its glamorous sensitivity draws much inspiration still from Grenale's didone sans and the haute couture influence. Independently attractive, though, the form abandons the original's high contrast for its own minimal stroke variation, achieving proper balance through its graceful strokes. Grenale's thin weights are simple but vibrant--elegant forms that naturally lend themselves to designer journals and high-end branding along with upscale applications. With added energy and power, the thicker weights give your work a firmer, statlier look. Grenale #2's upright versions are also matched by optically adjusted italics. While unique in appearance, any of #2's weight also provide a well-matched companion to its original counterpart. The fashionable typeface includes a multitude of alternates that may be accessed in any OpenType-enabled application. The stylish features include a large group of alternates, swashes, and meticulously refined details with ball terminals and alternate titling caps to accessorize the font. Also included are capital swash alternates, old style figures, and small caps. Peruse the PDF brochure to see these features in action. OpenType enabled applications such as the Adobe suite or Quark can take full advantage of the automatic replacing ligatures and alternates. This family also offers the glyphs to support a wide range of languages. It's time to think high-class. Graceful and assured, the carefully crafted forms of Grenale #2 step pleasantly onto each page with elegant charm. Include its range of alternate glyphs, and this chic font is a superb choice for bringing a far more refined look to your projects.

A charming confidant. Italic, but without the slant. Campuni is a sans-serif typeface that can be described as an “upright italic”: its letters are modeled on the handwritten forms of italics—but without the slant. This gives Campuni a contemporary, charming, and trustworthy character. As with most modern sans-serif typefaces, Campuni’s design is based on low-contrast, almost monolinear strokes with a neat and clear appearance. This is where Campuni’s steep and tapered joints come in: with a bit of contrast, they provide the perfect foundation for a steady rhythm between characters—just like you’d find in meticulous handwriting. Careful spacing ensures that this rhythmic character is preserved on the page and on screen, making for a pleasant reading experience. It’s not just the letterforms that gain from Campuni’s calligraphic heritage, though. This typeface is packed with calligraphy-style swash capitals and end swashes on lowercase letters, as well as discretionary ligatures. These are available via OpenType, allowing you to spice up your logo or headline with a hint of calligraphy in a breeze. Despite its flawless legibility in body text, Campuni is definitely eye-catching in display sizes. (Decrease letterspacing for some additional punch.) Besides logo design, Campuni is a great choice for branding, advertising, packaging, corporate design, or even signage and wayfinding. The range of topics that Campuni excels in varies from food, leisure, retail, e-commerce, music, and travel to games, toys, childcare, and family-themed events. Campuni has got an Extended Latin character set, seven sets of figures, case-sensitive forms, arrows, and a few other advanced typographic features—622 glyphs in total. Its eight weights span from Thin to Black.

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many rasterised fonts, I wanted to take it to the extreme and use as few dots as possible. The result is a typeface that lives up to its name. Each individual circle makes no sense on its own; individual letters are only recognisable in the context of all associated circles, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from a higher building, an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 100-unit increments to keep the grid. The numbers in the family- and style-names refer to the (ca.) grey value of the respective background and the font itself. Kontext Dot 00-33 has e.g. a white background (0%) and 33% grey value. Kontext Dot 66-33 has a 66% background and 33% grey value. »Positive« styles (first number smaller than the second number) have kerning, »negative« styles (first number bigger than the second number) can have none.