Aderos is a refined and professional slab serif font family that offers a fresh take on the modern and bold aesthetic of its predecessor, Adero. This font family introduces a range of styles that provide versatility and visual impact. With its four width variations – Normal, Extended, Wide, and Stretch – Aderos delivers an exciting array of extreme wide letterforms that command attention. Designed with precision and attention to detail, Aderos is particularly well-suited for branding projects, where it can lend a distinctive and authoritative presence. Its strong and bold letterforms make it an excellent choice for titles and headings that demand impact and legibility. The spacious layout of Aderos further enhances its professional appeal, allowing for clear and organized content presentation. Whether used in print or digital applications, Aderos brings a sense of sophistication and professionalism to a variety of design projects. Its versatility and range of styles make it a valuable asset for designers seeking to create visually compelling and memorable visuals. With Aderos, you can elevate your designs with its refined slab serif style and confidently communicate your message to your audience.

The font is actually not a revival of ‘Avant Garde’—by Herb Lubalin—but it takes its spirit. Fibra is a geometric sans serif, yet without the typical structural strictness of these kind of fonts, that represents experimental type design. This can be seen in the contrast between curves and straight lines in some characters such as ’n’ and ‘h’ unlike rounded ones such as ‘a’ and ‘d’; details of some display characters (e.g. three upper terminals in ‘W’ and projection off the stem in ‘A’); and exaggerated terminal in ‘R’. All these features give Fibra a strong personality—a sans serif typeface that ‘gives you the chills’. Fibra was specially designed for display use. The font has a very generous x-height that allows for use in corporate text, thanks to its good readability. Fibra comes with 2 subfamilies—a more ’normal’ Basic family, with a smaller amount of stylistic features, for use in subheadings or any other type of text that requires formality, and an Alt family that shows off the true potential of the font, making it the perfect choice for magazine headlines, posters and logotypes.

Ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design. Optimized for web, tablet and smartphone applications. Also “Bosphorus” is a perfect screen display font. Technical information: “Bosphorus” 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 “Bosphorus 50 Normal 53 Regular” forms the central point. The first figure of the number describes the stroke thickness: 51 Thin to 56 Black. 5 Width / 6 Weights and italics also “Bosphorus” total 60 types. The family contains a set of 530 characters. Case-Sensitive Forms, Classes and Features, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. You can contact me at buyuksel@hotmail.com, pre-purchase and post-purchase with questions and for technical support. UPDATE: 1- Some glyph unicode error correction / 04-06-2018 - Euro Unicode - Idottacent Unicode - Oganec Unicode - Middot Unicode 2- New Version 2.0 / 25-06-2021 3- Variable / 18-02-2022 You can enjoy using it.

Axeo is a freeform serif typeface. With more than 500 glyphs for each cut, Axeo supporting wide Latin Base Languages. The font structures is sans-serif typeface. Then, the fonts is made into serif (serifed) using rhombus and adapted/modified rhombus (before remove overlaps) placed on its appropriate positions. This fonts is released first, while the sans-serif is being in process. There are 10 fonts; 5 weight in normal width: Light, Regular, Medium, Bold, and Black; and 4 in semi-condensed: Light, Regular, Medium, Bold and Black, too. The fonts has some minor character variations, all are sets in SS01.There are also standard and discretionary ligatures, arrow, some geometric shapes and ornaments. With its sansserif structure, the Medium, Bold and Black fonts is playful with text effect in various applications such MS Word, CorelDraw or others to enhance the appearance. Its serif form will make unique enhancements. Thus, the fonts is suitable for Branding, logos, cards, advertisements, banners, display and more; for the main texts or its companions. While the light, regular and medium fonts can also be used as description text, card text, note, caption and longer non-formal texts or other usages.

Ardentia is a serif typeface, supporting a wide range of Latin based languages and Greek (see TechSpecs). Ardentia was created inspired by most serif text font used in book printing. Smooth curves help the flow for long text reading. Ardentia is designed with medium contrast in order to have all parts of the letter’s shape well printable in book size printing, for high or low resolution printers, high or low paper quality. Other than book printing, the medium contrast also gives good visibility in display thanks to its clearness. Thus, Ardentia will work well for both printing and display, webpage or electronic/digital display. Ardentia consist of 4 weights: Light, Regular, Semi-bold and Bold, plus matching italics. The thickness of the lowercases (vertical stem) of the regular font is drawn at about the middle of the thickness of similar kind (serif) and similar size fonts. So Ardentia is the right choice for both textbook and display altogether. Being a normal serif typeface, Ardentia is applicable to a wide range of usage. From book typing, news, magazines notes, cards, sticker texts, banners, to logos and the others design mean. Enjoy using Ardentia for your projects.

The Core Sans M Family is a part of the Core Sans Series, such as Core Sans N, Core Sans N Rounded, Core Sans N SC, and Core Sans G. This font family has open and square letter shapes, and overall rounded finishes provide a soft and friendly appearance. Simple and modern shapes with a tall x-height make the text legible and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans M Family consists of 2 widths (Condensed, Normal), 7 weights (ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy), and Italics for each format. Small Caps versions are also available. It supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans M Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

Nagham was designed using uniform glyph thickness throughout and exaggerated letter heights to offer a vertical look and feel. It supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. This font family includes two letter spacing flavors: isolated for small text and overlapped for large or display text. The two flavors come with two weights, regular and bold, each of which has normal and left-slanted Italic versions. The script design of this font family follows the Arabetics Mutamathil Taqlidi style utilizing varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Nagham includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph.

Vito is a strong and elegant sans serif family in 60 styles. A wide range of weights and widths offering tremendous typographic flexibility. Perfect to mix in magazines or packaging, corporate designs or movie titles. Masculine and sporty for adrenaline junkies, reliable and elegant for serious typographers, but with a touch of bling for high snobiety. Vito was selected as one of Typographica’s favorite typefaces of 2015. The Vito Family sets its goal to stay very functional but with a strong and unique look. Neutrality is good, but sometimes you need a bit more edge. The extreme weights and widths work great in title sizes, while the normal weights make longer texts deliciously readable. The classic and elegant outlook in all sizes make the family suitable for everything high quality. While the family looks great on the outside, it is even greater on the inside. Loads of OpenType-Features, a big amount of language support, and the flexibility of alternative letters, make working with Vito easy and exciting. And the big range of widths invite you to mix all together, and find new ways to express your designs. We would love to see, what you come up with!

Movida™ is a 101-font mega family - modern, spurless, with geometric flat-sided nature. Its versatile character and huge choice of styles let it serve as a charismatic display typeface as well as clean contemporary tool for setting paragraph text. Its dynamic personality fits perfectly to such industries as sports, gaming, technology, streetwear, automotive. Movida works great for logo design & branding, magazine editorial use, web design, user interfaces and mobile applications. Movida features a super-flexible 3-axis variable font allowing fluent adjustments to width, weight and italic angle. This single font contains all the styles and features of the whole mega family. Main features: 5 widths (Narrow, Condensed, Normal, Expanded, Wide) 10 weights for each width (from Hairline to Black) + 10 corresponding italic styles 1 variable font (3 axes: weight, width, italic angle) modern, slick & sharp spurless design large x-height improving legibility in small sizes flattened oval shapes, adding vertical rhythm and elegance to narrow styles extended latin language support OpenType features (case sensitive forms, standard and discretionary ligatures, stylistic sets, contextual alternates, lining, oldstyle and tabular figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols)

I had a totally different name assigned to this font at first. Then, while drifting off to sleep one night during the creation process, my sleepy brain said, "You know, BLORP would be a great name to go with these letter shapes." Normally when I have those half-asleep ideas and look at them in the morning, they make no sense. But I decided to make a sample image for BLORP, and it turns out I really like it! So ... BLORP it is! This font is extensively edited for super-smooth lines and curves, so it'll cut like butter in your Cricut or Silhouette machine. Though it's also super cute for print projects, logos, branding, or anything else you want to use it for! It has a funky mix of letter sizes and heights, and two sets of uppercase letters, so you can mix everything together JuSt LikE tHIs, and it'll still look great! BLORP includes over 300 extended Latin characters for language support, including, but not limited to: Catalan, Czech, Danish, Esperanto, Estonian, Finnish, French, Gaelic, German, Icelandic, Irish, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Romanian, Serbian (Latin), Slovak, Slovenian, Spanish, Swedish, Turkish, Welsh, and more!

This is the mature version of our previous release Infantometric Pro - The same basic skeleton, but with a more normal x-height. One feature is that no letters (except some accented letters - with cedillas, ogoneks and comma accents) go below the baseline, so this is one condensed font that is perfect for headlines! :) ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Are you watching closely? We know what you're looking for -- the secret. Comicraft’s magic formula, our Legendary Legerdemain. But you won't find it because of course, you're not really looking. You don't really want to work it out. You want to believe in the magic. Every great Comicraft font consists of three parts. The first part is called “The Pledge”. Comicraft shows you an ordinary looking font: A through Z, nothing more than the letters of the alphabet, unaltered, normal. But of course... they aren't. The second part is called “The Turn”. Comicraft takes the ordinary letters of the alphabet and makes them look extraordinary. Now you are peering closely -- you convince yourself you're looking for the secret... even though you really don't want to know. You want to be fooled. And you are! But don't applaud yet. Because making something extraordinary isn't enough... That’s why every Comicraft font has a third part, the hardest part, what we call “The Prestige”. That''s when we have to SELL the font. And that’s the real trick. See the families related to Legendary Legerdemain: Legendary Legerdemain Leggy.

Debut Studio Presents The Retromax.... This Script is a special script or typeface in which the emphasis is reversed from the norm: instead of the vertical lines being wider or thicker than the horizontal lines, which is normal in Latin alphabet writing and especially printing, horizontal lines are the thickest. It's quirky and fun, you can use for any project. Retromax is also a Layered Fonts, Layered fonts have letters that appear raised, or stacked in multiple layers of different shades or colors. Some layered fonts actually include multiple files for each layer. With layered font families, we can create novel combinations of 3D with Shade. Features: Uppercase & Lowercase Number & Punctuation Multiple Language & Stylistic Alternate Files Included: Retromax Regular Retromax Offset Retromax 3D Retromax Shade I hope you like my latest product, This collection will be perfect for creating posters, art prints, apparel and t-shirt designs, Instagram and other social media posts, and many more. if you have questions and problems when using it, please leave a message in the comments or via direct message, I will be very happy to reply, Happy Designing!

Introducing Hoax – a pre-worn sans serif with spirit, personality and distinction. This bold and semi-condensed sans serif is inspired by old copy machines and vintage prints. It is lively and eye-catching, ideal for where and when you want to make a lasting impression. Hoax is a celebration of character, a tribute to curiosity. Use this typeface and let everyone know that you mean business. OPENTYPE FEATURES: This font includes over 40 discretionary ligatures of prepositions and common words in English. These OpenType features can be accessed using OpenType friendly applications that allow the use of discretionary ligatures and stylistic sets. MULTILINGUAL SUPPORT: With over 700 glyphs, it has support for more than 150 languages, including Cyrillic script. List of discretionary ligatures: AND, ARE, AT, BY, FOR, EST, FEAT., FROM, IN, IS, OF, ON, OR, OUR, THAN, THAT, THE, TO, WITH, YOUR, CO. Each word is available in both upright and slanted versions. How to use: Activate the discretionary ligatures as you normally do in your OpenType friendly application. When activated, the words are in upright versions. To access the slanted versions, activate the first stylistic set (“Slanted Ligatures”). Happy typing!

UTOPIAN is a color font family based on primary colors and pure geometric shapes, influenced by Bauhaus, DeStijl and Art Deco. Its pure shapes and basic colors are inspired by the beauty of simplicity of modular order and grid, creating a perfect environment where all these elements live in a perfect color harmony. In the other hand, DYSTOPIAN, the black and white family, represents a close sibling in appearance and structure, that carries an opposite meaning, with a darker look and feel. Both typefaces are, somehow, a reflection of the divided views and posible outcomes that the future times ahead yield before us. Package: Utopian/Dystopian comes in file with a pre-defined color palette. You can always change the colors converting the text to outlines. Technical info to use: The package contains a normal TTF/OTF set of fonts in Black and White and a colorfont in SVG-TTF format. To be able to use the color file you need to have installed Adobe Photoshop CC2017 or Adobe Illustrator CC2018. Not all the browsers support color fonts so please be sure to use them as graphics.

For best results, use of OpenType features is strongly recommend. This font is inspired by Johannes Janssonius, well know as Jan Janszoon o Jan Janssonius (Arnhem, 1588 – Amsterdam, 1664), was a Dutch cartographer, publisher and engraver. Married to Hondius's daughter. He was the author of many masterpieces of cartography of the 1700s like Willem Blaeu and Hondius, famous maps with heavy use of decorations in the letterig to fill the spaces of oceans, seas, lakes and scrolls. Now you can easily recreate not just ancient maps without effort, but you can use this font creatively, to make unique, modern logos, product names, fresh packaging, hip fashion outfits, refined labels, signs, coordinated images ... Hundreds of alternatives to choose from and maybe to combine with other fonts in an original way. One extra font with 27 castles in Janszoon style are also usefull for map, of course, but also for many different creative artworks. Warning: Jannson Map having oversized swashes compared to the normal standards cannot be used with Windows Word because Word does not give the possibility to manage the line spacing professionally. Jannson Map works great with applications like Illustrator, In Design, quark Xpress, mac Text etc ...

My first font for 2009 was Aerle. It is a new dark sans serif font in my continuing objective of designing book fonts that I can really use. It made a little ripple in the industry, but more than that I found that I loved it with Aramus and Artimas — my latest book font family with the same proportions. In many ways, Aerle is a very different direction for me built on what I have learned on Aramus and other recent developments in my style. The concept came to me while using Bitstream's Mister Earl on a site online—though there is no direct reference. I wanted a more playful heavy sans with a much smaller x-height than I have been using lately, plus taller ascenders. As I was using Aerle, I constantly needed a light and bold version. The new direction I am taking is a result of a decision that my fonts, though I loved the character shapes, produced an even type color that is too dark or a little dense. Aerle was an attempt to get away from that look even though the letterspacing is quite tight. For Aerle Thin I pushed a little further in that direction and increased the letterspacing. The hand-drawn shapes vary a lot, many pushing the boundaries of the normal character. This gives a little looseness and helps the lightness in feel I am looking for. It will be interesting to see where this all goes. Most new type around the world is far too perfect for my taste. While the shapes are exquisite, the feel is not human but digital mechanical. I find myself wanting to draw fonts that feel human — as if a person crafted them. In most ways this is a normal font for me in that it has caps, lowercase, small caps with the appropriate figures for each case. These small caps were very small (x-height as is proper). So Aerle's small caps are a little oversize because they plugged up too bad at x-height size. The bold is halfway between. These size variations seem important and work well in the text. This font has all the OpenType features in the set for 2009. There are several ligatures for your fun and enjoyment: bb gg sh sp st ch ck ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, & small caps; proportional lining figures, proportional oldstyle figures, & small cap figures; plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

Akira Rosty is a very unique handwriting, the shape is modern but pleasing to the eye and the style is very natural. This modern calligraphy font includes a modern Love font which can be varied with the Normal font, This font is designed to have the potential to take your every creative idea to the highest level! These designs are used for branding, web and editorial design, print, crafts, quotes, It's great for logos, wedding invitations, romantic cards, labels, packaging, name spelling and more. Akira Rosty includes OpenType style alternatives, ligatures, and International support for most Western Languages. To enable the OpenType Stylistic alternative,you need a program that supports Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Akira Rosty is coded with PUA Unicode, which allows full access to all additional characters without having to design any special software. Mac users can use Font Book, and Windows users can use Character Map to view and copy any additional characters for pasting into your favorite text editor / application. How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw

Linotype Ergo was designed by American Gary Munch, and was a winner in Linotype's Second International Digital Design Contest in 1997. Conceived as a blend of traditional and modern type concepts, it works as a legible text family as well as a lively display or headline font. The word ergo means consequently," but it also comes from the Greek word "ergon" for "work." Consequently, Munch sees this family as full of energy -- an ideal font for working hard to make a point, and able to get it across with friendly vigor. The strokes of the characters are carefully designed to accommodate the tendency of the eye to enlarge horizontals and perceive verticals as lighter. The lowercase forms have open, friendly counters and are enhanced by small quirks, such as the slightly leaning s and the wide t. The deep branching of curves from main strokes helps this humanist sans to be very readable at smaller sizes. Linotype Ergo has four normal-width weights, five condensed weights, and two compressed weights - all with companion Italics! The family also includes a clever "Sketch" font for use in headlines, bringing the total number of font styles to 23. Ergo is available with Greek and Cyrillic and as W2G fonts with Hebrew."

Grand Atlantic is a powerful display package by Fenotype. It’s a genuine Brush script packed with features and Swoosh extras and it’s a striking condensed flared serif in two weights, designed with the same sharp edges on the flares as the Brush. Together they make stunning logotypes, posters or headlines. On top of that there’s a “Printed” version of each. Printed versions are the same but with rugged outlines and a print texture. Grand Atlantic is great for creating powerful identities for artisanal coffee brands, craft beer, organic juice or a sports teams. Grand Atlantic Brush is equipped with Standard Ligatures and Contextual alternates that help keeping the connections between letters smooth. They’re automatically on as you should normally keep them. On top of that Grand Atlantic Brush has Stylistic, Titling and Swash Alternates for standard characters if you need more ornamental letters and if you want to break up the rectangular word shapes. There’s even more alternates in the glyph palette, making it total more than 600 glyphs. Grand Atlantic Swoosh contains 52 shapes designed to go with the Brush. There’s many “terminal swashes” that you can put in the end of a word and it will connect to the last letter, and swirl under the word from there.

Freundschafts-Antiqua AR is based on a 20th-century German type design. Freundschafts-Antiqua (which was also called Chinesische Antiqua) was designed by the Chinese calligrapher Yü Bing-nan when he was a student at the Hochschule für Grafik und Buchkunst at Leipzig in 1960. It was cast in 1964 by VEB Typoart, Dresden, in 9-pt and 28-pt (Didot). The design combines the best German traditions with the Chinese bamboo pen. It is a unique, wholly modern, yet quiet and dignified typeface which is well suited for text-setting in many sizes. The original design was carefully crafted with all non-kerning letters (none of the letters overhangs its side-bearings); the lower-case f was designed so that no ligatures were needed. The AR fonts include the type's ch and ck logotypes, monetary signs and all the standard accents. The letterfit of the original design is retained and, as can be seen in the attached printable .pdf, text composed at normal sizes is very agreeable indeed. Freundschafts-Kursiv AR A features old-style (non-lining) figures and 'kerning' letters; Freundschafts-Kursiv AR B contains lining (cap-height) figures and all non-kerning letters following the original design of the face.

Linotype Ergo was designed by American Gary Munch, and was a winner in Linotype's Second International Digital Design Contest in 1997. Conceived as a blend of traditional and modern type concepts, it works as a legible text family as well as a lively display or headline font. The word ergo means consequently," but it also comes from the Greek word "ergon" for "work." Consequently, Munch sees this family as full of energy -- an ideal font for working hard to make a point, and able to get it across with friendly vigor. The strokes of the characters are carefully designed to accommodate the tendency of the eye to enlarge horizontals and perceive verticals as lighter. The lowercase forms have open, friendly counters and are enhanced by small quirks, such as the slightly leaning s and the wide t. The deep branching of curves from main strokes helps this humanist sans to be very readable at smaller sizes. Linotype Ergo has four normal-width weights, five condensed weights, and two compressed weights - all with companion Italics! The family also includes a clever "Sketch" font for use in headlines, bringing the total number of font styles to 23. Ergo is available with Greek and Cyrillic and as W2G fonts with Hebrew."

The Handasi type family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Handasi employs variable x-height values. Its design uses straight lines only but with variable distributed weight. Handasi fonts include all required Lam-Alif ligatures and use ligature substitutions and selected marks positioning but they do not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. It employs our "natural Arabic input" method where first glyph is displayed in its non-isolated form. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Handasi family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

The Mehdi type family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Mehdi employs variable x-height values. Its design uses full curves with variable distributed weights. Mehdi family includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. The family employs our "natural Arabic input" method where first glyph is displayed in its non-isolated form. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Mehdi family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

Seriguela is an ultra condensed sans serif typeface with a unique personality. It comes in normal and display versions, each with 9 weights, as well as italics and reverse italics totaling 54 fonts. Seriguela is flavor in motion and each part of its system works together to captivate you, combining emotion and usability, allowing you to create attractive and unique designs. Seriguela followed a very distinctive recipe to design its alphabet: it started with a grotesque base and applied movement and joy in a very original way. The blacker and more contrasted, the tastier. The contrast in its display version is one of the most important features of Seriguela: the unconventional relationship between thick and thin lines, as it does not strictly follow any historical model of contrast construction and makes it noticeable. Its high contrast is not present in every single character and it is often in the “wrong” places. The original charm of Seriguela is maintained throughout all its styles. With peculiar details: the verticality and its proportions, as well as terminals that resemble hooks in some curves, a characteristic that breaks with the vertical modular rhythm. Seriguela is a versatile font system, designed primarily for display uses with a need of visual impact.

Aukim is an exceptional, unique and ligature-rich font that gives a new look to your texts. It is a more text-oriented font and thanks to its OpenType features, it becomes versatile. It is available in 3 sub-families (condensed, normal and extended) for a total of 54 fonts. There are 9 weights with their real italics. It has 886 glyphs, 107 uppercase and 65 lowercase ligatures per font. It also offers a wide range of languages, from Latin to Cyrillic, as well as powerful OpenType features such as meticulously and professionally maintained kerning, stylistic variations, swashes, highly distinctive ligatures, old-fashioned tabular figures, fractions, denominators, superscripts, unlimited subscripts, arrows and much more to satisfy the most demanding professionals. On the one hand, it has rounded curves with very open endings that make this font family noble, friendly and contemporary and on the other hand very useful for writing titles on any medium. Perfectly suitable for graphic design and any display use. It could easily work for web, signage, corporate design as well as editorial design. Aukim is a cool, wonderful, elegant, bold and fun display font. It can easily be paired with an incredibly wide range of projects, so add it to your creative ideas and notice how it makes them stand out!

Quayside is a deliciously thick and bulbous baseball script, with a wealth of OpenType features. Features include: Contextual alternates - I would suggest having these on by default; they make letters connect more smoothly (uppercase letters like M and H, which are normally non-connecting for all-caps purposes, connect to lowercase letters. The swash variant of J, and all o and b characters connect to any e character at a lower junction for a smoother join). Contextual alternates also make sure special end-forms of lowercase letters are used at the ends of words. Ligatures - A nice collection of useful ligatures which make the text flow smoother. Swash - Gives you more exuberant capitals. Not recommended for all-caps usage! The swash function also gives a variation of the ampersand and turns # into a nice numero symbol. Oldstyle Figures - lining figures are default but with the flick of a switch in OpenType savvy applications, you get expressive oldstyle figures. Quayside is a versatile typeface. Depending on the mood you're after, it can easily be retro or modern, fun or (fairly) serious. I'm often pleasantly surprised by the wide variety of uses my fonts get put to, and I can't wait to see what you do with this one!

Graphic designers of any nationality and background know very well that the art of composing titles correctly is not easy, Especially when it comes to periodical publications where there is need for both flexibility and graphic coherence. Tablet Gothic was originally engineered as a titling type family, meant to help designers working on publications that require output as hard copies and a variety of digital platforms at the same time. As such, it is a grotesque sans serif that looks to the future of publishing with a clear understanding of its history, and reminiscences that go back to nineteenth century Britain and Germany. Tablet Gothic delivers the sturdy, straightforward and clean appearance expected from a grotesque, but it allows itself a good measure of personality to make it stand out on the page. Its 84 styles –six series of condensation and seven weights in each series plus obliques– guarantee that, whatever the publication format is, there's a Tablet Gothic font that will do the job and perform well both technically and aesthetically. Furthermore, the rounder styles, Tablet Gothic Wide, Normal and Narrow achieved amazing results at very small sizes, producing  a beautiful texture and highly readable text blocks. Tablet Gothic fonts can be purchased individually, by series or as a complete bundle (best value!)

In parts of Africa, in the poorer, rural and peri-urban areas there are many small shops or convenience stores which are called "Spaza" shops. The owners of these shops often don't have access to commercial signwriting and write their signs themselves. The font "Spaza" is based on these hand-lettered signs. This lettering has a refreshing simplicity and spontaneity, yet retains great legibility. In the font "Spaza", there are three styles: - Spaza Regular - with normal upper and lower case; - Spaza Small Caps - in which the lower case is a true "small caps" and not a shrunken version of the upper case (generated by the operating system); - Spaza Double Caps - in which the lower case characters have been replaced by an alternate set of capital letters. The font thus contains two sets of differing upper case characters. You can use characters from both these sets to give a true feeling of randomness because if the same character occurs twice in a word, different versions of the character can be used. Spaza can be used with great effect in a great variety of applications such as advertisements, flyers, posters and in magazine pages. Spaza contains a full character set and has been carefully spaced and kerned.

Why Baka Expert? There’s actually a simple answer. The original Baka was done as an experiment of sorts. I wanted to quickly capture a rough, frenetic handwriting style that broke normal conventions. Commercially, it was successful, received some accolades ... but I wasn’t completely satisfied, so I went back to the master art and the lettering explorations and produced Baka Too. This addressed some of the line items I wanted to refine in Baka. I liked it. Each font has been out for a few years now, and I have seen them in use. I’m very critical of my work, and I could still see things—modulations of strokes, angle of the nib, ink swell, and so on—that I wanted to change, refine, and reorder. For me, it is typographic indulgence, but I wanted to take this handwriting ‘font’ and turn it into a robust ‘typeface.’ So I did just that and a bit more by adding back more of my initial flourish concepts; attaining tighter, consistent control of the modulation; optimizing points; adding titling options; and expanding the character language set. Baka and Baka Too had to exist to produce this entirely new re-envisioning of an old friend ... and they all play well together :)

Camille was designed with exaggerated emphasis on letter vertical characteristic, by virtually eliminating the typical Arabic horizontal line look. This font glyph weights and look and feel are heavily influenced by early Kufic Quranic calligraphy style. Camille supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. This font family includes two letter spacing flavors: isolated for small text and overlapped for large or display text. The two spacing flavors have one weight each with a normal and a left-slanted Italic version. The script design of this font family follows the Arabetics Mutamathil Taqlidi style utilizing varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Camille includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph.

In 2007-8, Carolyn Puzzovio developed this OpenType typeface: Lagoon which is based on an Armenian model from the Mechitarist monastery, Venice, 1810. This project was supported by a grant from the AHRC (Arts & Humanities Research Council, UK) and won a first prize in the Granshan 08 type design competition. Oſten, Armenian digital types are designed to match the forms of Latin type characters and ‘Latinized’, by uprighting the forms; truncating ascenders and descenders and raising the x-height – but in this case the Latin characters in the OpenType font have been designed to blend in with the traditional Armenian proportions which are based on cursive forms – also incorporating some of the quirky shapes from the original model. Faithfully following the original created difficulties of ‘clashing’ characters, particularly those with long descenders, so the font contains over 100 alternative characters in the Armenian part, which will normally substitute automatically where necessary. The sloping lower case characters and upright capitals are traditional in Armenian – capitals are used less in the Armenian language. Three new characters for the Armenian unicode range are included: the Armenian dram (currency) symbol; the eternity symbol; and the index number symbol. This font which will be one of the first OpenType fonts to incorporate these newly unicoded characters.