Meet Very Frank, a font that won’t feed you any lines or tell you any lies. Straight and tall and lacking in all but the subtlest softening details (look at the leg on that uppercase K, though…). Very Frank is a condensed sans serif display font (in regular and italic) with tall, straightforward lines and subtle curves to soften things up. It includes a ton of standard and discretionary ligatures and two stylistic sets to spice things up and add some fun. It's perfect for headlines, editorial design, monograms, branding, logos, poster design, and more. Very Frank includes approximately 540 glyphs and more than 75 standard and discretionary ligatures. Additional OpenType features include character variants, stylistic sets, and multilingual support (including multiple currency symbols). The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (To access these awesome features in Microsoft Word, you'll need to get comfortable with the advanced tab of Word's font menu.)

ITC Japanese Garden Ornaments is a symbol font designed by Akira Kobayashi (before Kobayashi became Linotype's Type Director in 2001, he worked as an independent typeface designer in Tokyo). The images in Japanese Garden are, as the name suggests, mostly floral or herbaceous, derived from designs used in Japanese indigo stencil dyeing. In Japanese Garden," Kobayashi says, "I tried to create a set of type fleurons that are very familiar to a Japanese eye, but not too exotic to people in other countries." Several of the designs fit together seamlessly in repeating patterns; others work either together or as isolated ornaments, a flexibility that also characterizes traditional Western type fleurons. "The original illustrations," notes Kobayashi, "were mostly cut from white paper squares, about two by two inches in size, and were simply scanned and traced. That is why there are few smooth curves and perfectly straight lines in the illustrations. I simply liked the ragged textures of them.""

Mezalia Sans is a logical continuation of the Mezalia family. Its shapes are based on medieval calligraphic style: the Bastarda. This time the evolution is taken a step further, as these classic shapes are merged with the straightforwardness of a modern sans-serif. This results in an original, strong yet very much usable typeface, that can hold its own in a wide range of applications. Mezalia Sans has two distinct styles: straight and cursive (true italic if you will, although the word is not really correct here), which come in ten weights, from thin to black. This wide range ensures that whether you are looking for delicate or bold strokes (or a combination of both) you will be satisfied. Every style also contains a set of small caps (with matching punctuation). Old-style, proportional and tabular numerals are included too, along with ligatures, symbols and language support in Adobe Latin 3 range.

Gently, newly released by ZooFont, is a sans serif typeface that harmoniously combines straight lines and curves in a clean form. The stable form, which has its origins in handwriting, and the look of analog sensibility are enough to inspire confidence. Gently has a total of 9 weights, so it can be used freely anywhere, from body text to headlines. In addition, the height of the letters is economically calculated to achieve a reasonable line spacing, ensuring comfortable readability in various digital media. A cool breeze blows, a soft smile spreads across your lips, When I'm with you, the love in my heart seems to awaken. Your sweet whispering voice makes my heart flutter. Gently has the following features: 9 weights (from Ultra light to Ultra Black) extended latin 450+ glyphs fixed width numbers The Latin extension offers more than 130 languages with extensive multilingual Latin support for Western, Central, and Southeastern Europe.

This typeface has the most important ingredient of all: love. So it’s not surprising that the font is called El Amor. It is a reversed oblique all-caps headline font that consists of two styles, “Regular” and “Fill”. Feel free to experiment with them, together or alone. Write something with “Regular”, copy paste it to another layer and switch to “Fill”. Give it a little offset if you like or place it straight on top, both works fine. You can also use the “Fill”. style for body text, but do so at your own risk, spacing and kerning is optimized for the use with the “Regular” style, so be generous if the result looks not as even as text-font. Maybe you’ll discover the charm of a more dynamic spacing that fit perfectly with the vivid and crispy outlines. Unlike other display fonts CA El Amor features a huge character set covering most languages that you can write with a Latin alphabet.

HU Hand Serif is a handwritten font with serif. Rather than having straight strokes like san serif fonts, the strokes of alphabets are a little bit waved, which make it look unique and emotional. We recommend you to use this font for cozy, warm design and decoration. HU Hand Serif - рукописный шрифт с засечками. Вместо того, чтобы иметь прямые штрихи, как у шрифтов с засечками, штрихи алфавитов немного волнистые, что делает его уникальным и эмоциональным. Рекомендуем использовать этот шрифт для уютного, теплого дизайна и украшения. HU Hand Serif Cyrillic включает латинские алфавиты HU Hand Serif Latin. Το HU Hand Serif είναι μια χειρόγραφη γραμματοσειρά με serif. Αντί να έχουν ευθείες πινελιές όπως γραμματοσειρές san serif, οι πινελιές των αλφαβήτων είναι λίγο κυματιστές, γεγονός που το καθιστά μοναδικό και συναισθηματικό. Σας προτείνουμε να χρησιμοποιήσετε αυτήν τη γραμματοσειρά για άνετο, ζεστό σχεδιασμό και διακόσμηση. Το HU Hand Serif Greek περιλαμβάνει λατινικά αλφάβητα του HU Hand Serif Latin. Contact : heummdesign@heumm.com

Silent Noise has two font types, namely serif and handwritten script with a thin size, adding to the impression of elegance and class, both of these fonts have a subtle touch Silent Noise is versatile enough to add an elegant element to almost any project that requires a special touch of class.,perfect for casual type on greeting cards, illustrations, quotes, old branding, cover books, social media posts, packaging and many others :) Features : Uppercase & lowercase Numbers and punctuation Alternates & Ligatures Multilingual PUA encoded WHAT'S INCLUDED Silent Noise Serif Silent Noise Script Once you download this romantic, handwritten font duo you will be able to start creating straight away. Enjoy! We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. This type of family has become the work of true love, making it as easy and fun as possible. I really hope you enjoy it! Thak you.

Fluted pillars… As for the name of "Cyceon", it is a "juice-drink" that they made in ancient Greece...! In this font the straight lines are not vertical but inclined like something from the Doric columns!!! There are two versions of letters. In the first version, it is of a normal character, while in the second version I have mixed some capitals with lower case letters. I have given them the acronym Msc "miscellaneous". I tried in this way to give another version of the small capitals and I think they show a different view from the purely small capitals… And in this family, the “Strap”/“Strap Msc”/“StrapIt”/ and “Strap MscIt” with “Solid”/“Solid Msc”/“SolidIt”/ and “Solid MscIt” engage in the same way like… “Layered font families” as the previous series. This series is composed and includes twenty-four fonts with 642-658 glyphs each, with true italics and supports Latin, Greek and Cyrillic.

Époque Seria is that kind of person who looks really cute when angry. This font was derived from the Époque family. She is the little sister to Époque - a little shorter with her smaller x-height and — how do you say it in the typographic circle — your eyes are also smaller (and you know you squint when things get serious, isn't it?). The genealogy of these font face is undeniable, but Époque Seria has a ‘personality’ very different from her older sister. The reduction of the x-height also shakes somewhat with the cap that had crossbar. To accompany the package of standardization, the letters that don't have their straight axes were changed, which brought to the set more Cs and Gs contemporaries. In addition, other measures were taken as a greater softness in the variation of the weights and the abandonment of the black weight, being considered too heavy for this version.

No frills. No fluff. Still friendly. Keep your look clean and simple with the utilitarian but gentle Ultine. This font with a slightly extended geometric architecture gets straight to the point without pushing your reader away with too firm an approach. Ultine covers a large set of multi-Latin languages. It includes a wide range of other OpenType features, too, including ligatures and contextual alternates. Moreover, small caps of Utline and titling alternates are available for deepening your design capabilities with this basic face. The Ultine family consists of 42 fonts with three different widths and italics counterparts for every style. The design is well suited for graphic design and any use of the screen. It can easily operate as a webfont, as text for banner ads and for branding as well as editorial design. And just to show you how simple and friendly the font can be, the regular weight is free, so you can use it to your heart's content.

Mr Chips is a love letter to modern text serif families like Century Schoolbook and Scotch Romans of all kinds. There's nothing precious about Mr Chips. He's built sturdily, but with a less upright stance than his forebears, with a lower, more relaxed x-height. Mr Chips is dependable and true, with recognizable shapes that make him a pleasure to read. He's a Clarendon, but without the bulkiness that makes Clarendons difficult in text. Mr Chips has character sets for Western Europe, Cyrillic, and monotonic Greek. He has a full set of true small caps for versatility and hierarchy, and some fun and functional ligatures. His alternate characters include a one-story a and g in the upright versions, straight and curly Ka's and Zhe's in Cyrillic, and two styles of ampersand. He's an all around usable, agreeable guy! Mr Chips is a companion typeface to Miss McGee, also from The Ampersand Forest!

M Lady is a design inspired by Agfa Waddy’s rather elegant design comes with narrow proportion. M Lady is a rare condensed design in world of Chinese typefaces. Entry and finial points of strokes are squarish, with a sharp but small symmetric serif. It has a medium contrast to improve character recognition. Its thin stems (豎) make it suitable for fine print with minimal conglutination. Dots (點) are straight, reversely curved or round. Downstrokes (撇、捺), ticks (剔) and hooks (勾) are highly regular and consistent. Dots (點), downstrokes (撇、捺) and ticks (剔) are long, smooth, monolinear and curved with small symmetric serif and sometimes angled entry and finial points of strokes to create subtle sharpness in the midst of its softness and elegance, which is better for larger text print. Its features and construction create subtle sharpness in the midst of softness and slim elegance. It is best suited for casual subheading or display, set upright (non-slanted), non-condensed (naturally condensed).

Retro style is hip, so are early 20th century poster fonts. Size is based on these extra condensed letter forms. In the 19th century the need to communicate commercial messages on limited poster space brought up extremely condensed fonts creating a new typographical look. Since not really legible in small sizes these fonts nearly disappeared with the change in the commercial communication in the 20th century. For a couple of years now, these extra condensed fonts have a revival copying the exact historical appearance of its predecessors. Size, though also seeking the inspiration in the historical draft, furthermore aims to interpret this compressed look in a more vivid way by not closing in on the open counters of the round letters, but having its stroke endings slightly curved. Since other characters are defined by straight strokes, Size displays a look more vital and candid, but still distinct, compared to its historical predecessors.

Hadron is a fusion of gothic black letter and foundational letter forms. It has a heavy flat pen influence but is combined with more modern letter forms for increased legibility over that offered by black letter fonts. Unlike most black letter fonts, Hadron can be set all caps using the first level of caps. A basic design kernel based on the caps “O” and “H” was created first. These letter forms consist of an interplay between curves and straight lines with abrupt transitions and also possess some of the geometric crispness of a modern sans serif. The rest of the Hadron font was developed around this “O” and “H” kernel. This font could be used for any application requiring a formal black letter or foundational lettering look. Hadron could also be used for invitations, brochures and posters. The first level of caps and lower case is basic enough to set a large body of text. It could also be set all caps at that level.

Josef Týfa first published the Academia typeface in 1967-68. It was the winning design from competition aimed at new typeface for scientific texts, announced by Grafotechna. It was cut and cast in metal in 1968 in 8 and 10 point sizes of plain, italic and semi-bold designs. In 2003 Josef Týfa with František Štorm began to work on its digital version. During 2004 Týfa approved certain differences from the original drawings in order to bring more original and timeless feeling to this successful typeface. Vertical stem outlines are no more straight, but softly slendered in the middle, italics were quietened, uppercase proportions brought closer to antique principle. Light and Black designs served (as usual) as starting points for interpolation of remainig weights. The new name Academica distinguishes the present digital transcription from the original idea. It comprises Týfa’s rational concept for scientific application with versatility to other genres of literature.

Softrobo Pro is the further development of Softrobo font provided by Koval Type Foundry in 2008. Provided in 3 most popular formats: OpenType PS, TrueType and Type1. Fine-built, straight but not official, with soft corners is suitable for short texts, placards and advertising. It was inspired by the 1970s when people were mad about robots, space and so on. I decided to create a font as if it were a progressive font of the 1970s. This font supports the Latin-based languages: Albanian, Basque, Bielorussian (Latin), Breton, Catalonian, Chamorro, Croatian, Czech, Danish, Dutch (with Flemish), English, Estonian & Setu, Faroese, Finnish, French, Frisian, Gaelic (Irish), Galician, German (incl. eszett), Hungarian, Icelandic, Indonesian, Italian, Latvian, Lithuanian, Maori, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Romanian, Saami (Lule & South), Slovak, Slovene, Sorbian Lower, Sorbian Upper, Spanish, Swedish, Tswana, and Turkish. It also supports the Cyrillic-based languages: Belorussian, Bulgarian, Crimian Tatar (Cyrillic), Karachay-Balkar, Kumyk, Macedonian, Russian, Serbian, and Ukrainian, Also included: ligatures, superior & inferior numbers set.

M Lady is a design inspired by Agfa Waddy’s rather elegant design comes with narrow proportion. M Lady is a rare condensed design in world of Chinese typefaces. Entry and finial points of strokes are squarish, with a sharp but small symmetric serif. It has a medium contrast to improve character recognition. Its thin stems (豎) make it suitable for fine print with minimal conglutination. Dots (點) are straight, reversely curved or round. Downstrokes (撇、捺), ticks (剔) and hooks (勾) are highly regular and consistent. Dots (點), downstrokes (撇、捺) and ticks (剔) are long, smooth, monolinear and curved with small symmetric serif and sometimes angled entry and finial points of strokes to create subtle sharpness in the midst of its softness and elegance, which is better for larger text print. Its features and construction create subtle sharpness in the midst of softness and slim elegance. It is best suited for casual subheading or display, set upright (non-slanted), non-condensed (naturally condensed).

Perm your hair, squeeze into your lycra, and retro-fy your text with Bayshore! A totally tubular mono-line script font straight out of the 80's. This hand-drawn font is perfect for creating slick & stylish lettering. Whether it’s for logos, product packaging or merchandise, Bayshore is guaranteed to give your text an unmistakeable retro quality. Bayshore comes as a single font file with added features allowing you to customise your text; End Swashes • Each lower-case character has a separate ‘end-swash’ version, use this for the last letter in a word to give it a custom-feel styling. These end-swashes are accessible via any software with Opentype capabilities, simply by turning on ‘Stylistic Alternates’. Underline Swashes • Four swashes of varying lengths are also available, simply by typing any of the square brackets [ ] { }. These can be used to underline your text and give it a real eye-catching quality.

Houschka Alt Pro is a carbon copy of the Houschka Pro family with one key difference: the rounded signature glyphs A & W on the default positions swap places with their straight alternates. Houschka was named after Georg Houschka, a sadly defunct confectioner’s shop in Salzburg, Austria, which had a wonderful 1930s frontage and distinctively rounded letterforms in the sign above the door. Houschka Pro is the follow up to the original Houschka type family which first appeared back in 1999. Character shapes have been improved, kerning and spacing refined, and OpenType features include CE, Baltic, Turkish & Cyrillic language support plus small caps, 3 stylistic sets, contextual alternates, ligatures and 4 sets of numerals. Houschka is a clean and legible modern sans serif typeface which shares the humanist qualities of Gill Sans and Johnston but retains a uniquely charming character of its own (particularly in signature glyphs A, G, Q, W, u & w). The monolinear structure, rounded corners and rolling curves give Houschka a soft and friendly appearance.

The Art Nouveau styles of the the turn of the 20th century (1890 - 1905) exhibited a bold approach to organic lines and lavish decoration. This new style was spread throughout the world and helped usher in a new era that led to modern art and design. Art Nouveau SCF is strongly influenced by the style of decoration and typography created by Rennie Mackintosh as well as the Art Nouveau movement in general (with particular reference to Gustave Klimt and Alphonse Mucha). However, it differs from much of the art nouveau typography in that it largely avoids the use of straight lines in its letter forms. It is a decorative, romantic font and its subtly curved bolder lines contrast with delicate tracery to create an intricate pattern of organic flowing shapes. Use Art Nouveau SCF for: -- posters -- wedding invitations -- advertising material for clothing and beauty products -- Music CD covers and advertising media -- Film advertising media

Esm is a font that tries to convey the reinterpreted aesthetics of German and Swiss typography along with a new trend of unusual shapes. The font has a different approach to the internal elements of letters-ovals that have a straight line on one side, drawing the glyph "a" example. I wanted to diversify the font with different styles to avoid the effect of triviality of machine text. The font has a large language support and contains 626 characters. And a large number of special characters. The font family is universal. It is suitable for large text, magazines, posters, logos, and headlines. Thanks to 6 different font styles and customized kerning, the font will look just fine. The thin print is incredibly elegant. The regular is great for a large amount of text. And bold for posters and headlines. Named by the French feminine name Esm. The name itself has a meaning: dear and beloved. I hope my font will convey these feelings.

The name Captiva is derived from the word captivate, meaning 'enchanting' or 'capturing the heart'. Captiva is a geometric sans serif font with a harmonious blend of clean shapes and straight lines, diagonal lines, and curves. The simple yet sophisticated design shows a soft yet hard, hard yet beautiful appearance. It has a total of 9 thickness levels, and the edges and strokes are rounded to give the user a peaceful impression. The non-decorated form gives the user a comfortable reading of the text, and the high height value and wide inner space make it stand out from other fonts. In addition, it provides comfortable readability in various digital media as well as in general printing environments. Captiva has the following features: 9 thickness levels (from thin to heavy) extended latin 450+ glyphs fixed width numbers The Latin extension offers more than 130 languages with extensive multilingual Latin support for Western, Central, and Southeastern Europe.

Fun. Fun isn't it? But sometimes you can have too much fun, and things can get out of hand. Revla Sans is, in certain situations, too much fun. So, without further ado, let me introduce the straight man to Revla Sans's buffoon - Revla Sans Text. It represents a complete overhaul of Revla Sans. The bounciness has been removed and details reined in, all for the purpose of optimizing the fonts for use in longer runs of text. 'Text' is perhaps a strong word here; you're not going to be setting novels in this typeface. It still retains the charm of the original, and could well be used in display settings. Think of it like this - Revla Sans would be a great choice for the logo and branding of a board game, no? Revla Sans Text, then, would be good for setting the instructions, or body copy on the website. Revla Sans Text is not as feature-rich as Revla Sans, and is priced accordingly. Enjoy!

ITC Chino is a type family (Display & Text) designed by Hannes von Döhren and Livius Dietzel. ITC Chino Pro brings legibility and distinction to text copy. It is also a friendly design that will invite readers into content at large or small sizes. It is a melding of soft brush stokes and crisp edges. This is readily apparent in the bolder italic weights where the straight stems provide a counterpoint to the cursive terminals. The Typefamily is highly legible in a wide range of sizes. The text side of the family contains five weights of roman, each with an italic companion. Ranging from Light to Black, ITC Chino Pro provides a rich typographic palette. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages. Each font includes small caps, fractions, old style-, lining-, tabular numbers, scientific superior/inferior figures and a set of arrows.

Zombie Apocalypse is way more versatile as its name would suggest. It might be used as a horror font (red color tones in horror games, movie covers) or in ads for an Offroad Experience Tour (or wherever it comes to dirt, mud and spatters in combination with brown tones). When used with light blue/red/yellow/orange colors, the font can express creativity and freedom (on fashion, inspirational art and advertising) because it is not bound to classic straight-lined fonts. In various shades of gray or in black, it can be used to support a "worn out" look. Zombie Apocalypse - with its "worn out" look and many details - is espacially designed for use with large font sizes, for example in high resolution print media or in large images on digital media. The font is designed to be used in many different languages. It has a large set of accented characters and diacritical marks.

Introducing New Neosande Neosande is a contemporary typeface family that belongs to the neo-grotesque sans serif category. It was designed by Faldykudo and released in 2023. The typeface family includes a range of weights, from Thin to Black. The design of Neosande is characterized by a clean with straight lines. It has a modern, sleek look that makes it suitable for a wide range of applications, including branding, advertising, editorial design, and web design. The typeface has a high degree of legibility, making it ideal for use in body text, headings, and titles. In terms of language support, Neosande covers a wide range of Latin-based languages, including Western, Central, and Eastern European languages, as well as Turkish, Baltic, and Celtic languages. Overall, Neosande is a versatile and modern typeface family that offers designers a range of weights and styles, as well as OpenType alternates, making it a popular choice for a wide range of design applications.

Worthington Arcade is a classically-proportioned capitals-only type incorporating a selection of ligatures and alternates. It loosely resembles the hand-painted architectural lettering of the 30s to the 50s, exemplified by the likes of Percy Smith’s interior signage for the BBC or George Mansell’s lettering for the University of London and the signs found on London’s bridges. However, rather than a slavish copy of any historical model, it is more an examination and evocation of certain idiosyncratic quirks of civic lettering of the period, and an attempt to create a peculiarly English titling typeface. The round letters, for example the O, Q and C, are wider than the perfect circle usually found in such designs, while the straight-sided characters, usually drawn on a square, are narrower. This lends the whole a subtle elegance that is also emphasized by the raised crossbars on the H, E and F and extended lower leg of the E. Includes old-style numerals.

Cumbre is a slanted display type with unorthodox anatomy, a dynamic rhythmic structure, movement expression, and intense visual language. An eccentric rebel with ribbon-like moves, a balanced extrovert that makes meticulous use of ink traps. Both the name and design got inspiration from mountain peaks. "Cumbre" in Spanish means summit, and that's the motive for the spiked design and the angular serrated structure. Cumbre is built by balancing sharp angles and venturous curves. The stems are spiky, and they vary in width. Cumbre is slanted and unicase. It has condensed proportions, moderate weight contrast, spacious counters, pointy terminals, and square ink traps. Cumbre is meant for large display settings to make the most out of the precise outlines and the clean intersections. The font styles: 'Sharp' has straight paths and precise intersections. 'Round' has the same outlines but with round corners. 'Stamp' has irregular wavy contours and heavy swelling at intersections.

Front Desk is designed to be easily readable, its increased legibility coming from the slightly enlarged lower case letters (a greater x-height) which make it easy on the eye. Also it is slightly slanted (but a lot less than a normal italic angle) to give it a more informal and modern look than a perfectly upright font would be, which is also intended to contribute extra dynamism while reading. Five available weights give adequate variation, and there are some Condensed and Expanded varieties in the complete set. A primary feature of this font is that the serif bases and tops are not indented or concave, which gives clear straight edges to the serifs, and the removal of this complexity adds to the clean lines and crispness of the font. The package contains both OTF and TTF versions - install either OTF or TTF, not both versions of a font on the same machine.

Hello Monday is a bold and wide vintage style serif font with a friendly charm and a reminiscence of a warm nostalgic feeling. Hello Monday is a great typeface for contemporary graphic design with that certain feeling of familiarity. It works well on logos, packaging, restaurant graphics, or any display use, as well as in headlines or shorter texts. Try Hello Monday with reduced tracking for tighter word images, or if you want to use it in really small sizes add some tracking. Hello Monday is equipped with Contextual, Swash, Stylistic and Titling alternates as well as Discretionary Ligatures and even more extra alternates. All these features can be accessed by OpenType controls or straight from Character or Glyphs window. Swash Alternates are the most exaggerating ones while Stylistic Alternates do smaller changes. In addition Hello Monday has 15 ornaments that can be accessed from 0-9 and punctuation by clicking on Titling Alternates.

VLNL Berlagebrug Designer Donald DBXL Beekman daily crosses the Berlage bridge spanning the Amstel river in Amsterdam. The Berlagebrug was built as part of the city planning project ‘Plan Zuid’ by H.P.Berlage and opened in May 1932. Its name, carved out of two granite headstones, sparked the design of this font family. The original lettering is attributed to Anton Kurvers in the early 19th century, and can be seen on many Amsterdam buildings and bridges. It’s typical lettering of the Amsterdamse School, the Dutch equivalent of the expressionist art deco architectural style, and mostly known for its extravagant brick work. VLNL Berlagebrug is a rounded display font that comes in three outline styles matching the building materials used in the bridge. Gietijzer (cast iron) is smooth, Zandsteen (sandstone) has a softly distressed outline, and Graniet (granite) is outspoken rough and crumbled. The capital letters in VLNL Berlagebrug are in the Amsterdamse school style, the lowercases are more straight alternate capitals, giving you more design options.

Semi-serif? Semi-sans? Emerging from the hazy border that divides Sans from Serif, Integra aims to integrate both styles in a cool, elegant, contemporary fashion. With its sleek anatomy, flared terminals and almost non-existent straight lines, Integra was inspired by the stressed, modulated, unserifed letterforms incised in the early 15th-century ledger tombs at Santa Croce church in Florence, and the neoclassical grotto inscriptions at Stourhead in England that dates from the mid 18th-century. Integra, however, gives a contemporary, even futuristic twist to these references by featuring original, audacious shapes on key letters like L, E and X; as well as with the modern, generous proportions of its lowercase; infusing it all with a flowing, luminous, Latin American feel. Integra comes in several weights and italic styles, for text composition and display usage. Its rounded counterforms and arch-like shapes lend texts a spacious, neat, architectural quality, perfect for sophisticated content.

Adecion is designed for maximum visual and emotional impact. Its four weights excel in posters, social media, headlines, large format print - and anywhere else you want to get noticed. Hidden between straight lines and firm confidence is a hint of charm and mischievous character; Adecion gives your words a powerful sound as well as fun to use. Perfect for graphic design and any screen use of your projects such as branding, magazines, editorials, wedding invitations, logo design, posters, social media, and more! FEATURES: • 4 Font weight • Uppercase & Lowercase • Alternative Uppercase • Numbers & Punctuation • Characters with accents • Supports Multiple Languages WHAT'S INCLUDED: • Adecion - Light. • Adecion - Regular. • Adecion - Bold. • Adecion - Extra Bold. This type of family has been the work of real love, making it as easy and enjoyable as possible. I really hope you enjoy it! I can't wait to see what you do with Adecion! Feel free to use the #Dora Typefoundry tag and the # Adecion Display font to show what you've been up to!

ITC Abaton, by Argentinian designer Luis Siquot, is an exercise in geometry and simplification. “It is done,” says Siquot, “with few elements, with modules of only straight lines (horizontals, verticals and diagonals of almost 45 degrees). Drawing the I and the O, I got the basic elements, and so started the fight between strict geometry and optical impression, until I obtained the rest of the characters.” The basic rectangular form is characterized by wedge-shaped serifs, almost like caps on the heads and feet of the letters. “Abaton has the 'spirit' of 19th-century faces used on money bills or postage stamps, but the realization is totally different,” Siquot explains. Abaton is a “shaded” typeface of caps and slightly smaller caps, upright and slightly condensed in form. Although the letterforms are legible at small sizes, the shading tends to clog up if it gets too small, so Abaton is happiest as a distinctive display face.

Introducing, HIGHSHADE our stunning and unique Organic Blackletter font, hand-drawn with care and precision to capture the essence of strength and power. Every line and curve has been crafted by hand, giving this font an authentic and organic feel that sets it apart from other Blackletter fonts.Suitable for any graphic designs such as branding materials, t-shirt, print, logo, poster, t-shirt, quotes .etc NOTE : Please Check the Help File first and for all the characters are also available, accessible in the Adobe Illustrator Glyphs Panel, or in Adobe Photoshop Character Open Type Panel. We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Thanks for purchasing and have fun! Regards, Ironbird Creative

Bisco Condensed is a small capital design inspired by hand lettered memorial wall art from the Harlem section of New York City. As a memorial, this design is dedicated to a type design colleague who lost his long battle with cancer. This font is a tribute to his strength and his liveliness. The original idea for Bisco Condensed was to capture the energy of those unique "streetforms" in a text/display design and encapsulate them into a lively & fluid type design with a high level of readability at all point sizes. Bisco Condensed is an excellent type for expressive display layouts. It works well as an independent design or a long with contemporary sans serifs that complement Bisco's irregular contours, weighting and bounce.

An industrial strength slab-serif inspired by Detroit itself, Motor City is a heavyweight titan of type that breathes diesel and exudes brawn. Defined by its trapezoidal serifs that were characteristic of many Detroit-centric sign-painters during the dawn of the 20th century, this typeface is a modern adaption of a classic aesthetic. This typeface can be layered with the outline version to add levels of detail quickly and easily making an already strong statement even more powerful and prominent. This uppercase only typeface comes with a set of true small capitals that is certain to add an extra level of style to your next project. Features Include: Over 330 glyphs Uppercase Only Small CapsSupports 75+ Latin Languages OTF files Designed and Developed by Jason Carne

Giambattista Bodoni (1740–1813) was called the King of Printers and the Bodoni font owes its creation in 1767 to his masterful cutting techniques. Predecessors in a similar style were the typefaces of Pierre Simon Fournier (1712–1768) and the Didot family (1689–1836). The Bodoni font distinguishes itself through the strength of its characters and embodies the rational thinking of the Enlightenment. The new typefaces displaced the Old Face and Transitional styles and was the most popular typeface until the mid-19th century. Bodoni’s influence on typography was dominant until the end of the 19th century and, even today, inspires new creations. The Bodoni Classico of Franco Luin displays less stroke contrast than the original and is therefore also appropriate for smaller point sizes.

Rustle Fighter - A Handbrush Gaming Typeface. Rustle Fighter is a dynamic and gaming handbrush typeface that packs a punch with its bold and commanding presence. Inspired by the untamed brushstrokes of a skilled artist, Rustle Fighter captures the raw energy and strength of handwritten text. Each letter carries an impressive weight, with its rough edges and uneven lines creating a sense of intensity and ruggedness. Whether used for headlines, logos, or bold designs, Rustle Fighter makes a powerful statement, demanding attention and leaving a lasting impression. With its versatile nature, this typeface effortlessly adds a touch of rebellion and authenticity to any project, making it a go-to choice for designers looking to inject a fierce and artistic flair into their creations.

Linda - a typeface not only for girls! Linda, a graphic design trainee, started this font as an experiment. It should become a professional typographic project. Linda is like Linda: youthful, feminine, and easygoing. Dear Linda,we are quite happy now you are finished. We enjoyed an exciting period of time with you, and we learned a lot of new things through you. With every new step, we became more convinced of you. Your aesthetics, your easiness, and your wonderful Teenie-charakter are so beautiful and charming. Copy text or headlines: your flow is absolutely fantastic and versatility is your strength. We really look forward to seeing more of you, maybe on posters or book titles, for example. Just carry on.