Monroe was designed in 2010, but in 2013 the font’s designer stopped selling it. Eight years after its initial release, Monroe returns in a new and upgraded version—with improved drawing and spacing—which includes more weights as well as alternate glyphs. Each font style has 819 glyphs and the whole set contains 394 characters which support 207 Latin-based languages. Monroe also includes 5 stylistic sets that offer a wide range of signs, swashes and discretionary ligatures, all specially made to add aesthetic value to your designs. The family comes in 5 weights: Thin, Ultra Light, Light, Regular and Bold. Monroe was designed by Daniel Hernández with the collaboration of Alfonso García.

Supra Extended – designed by Gert Wiescher in 2013 – is the extended version to this new sans typeface family of eight weights. The extended version is designed for sheer elegance and has no italics because they didn't look nice to me. The light and normal weights and the dominant x-height with its high ascenders make for easy reading of long copy. The heavy and x-light weights are great for elegant headlines. Supra is an OpenType family for professional typography with an extended character set of over 700 glyphs. It supports more than 40 Central- and Eastern-European as well as many Western languages. Ligatures, different figures, fractions, currency symbols and smallcaps can be found in all cuts.

PT Serif Pro is an universal type family designed for use together with PT Sans Pro family released earlier. PT Serif Pro coordinates with PT Sans Pro on metrics, proportions, weights and design. It consists of 38 styles: 6 weights (from light to black) with corresponding italics of normal proportions; 6 weights (from light to black) with corresponding italics of narrow proportions; 6 weights (from light to black) with corresponding italics of extended proportions; and 2 caption styles (regular and italic) are for texts of small point sizes. The letterforms are distinguished by large x-height, modest stroke contrast, robust wedge-like serifs, and triangular terminals. Due to these features the face can be qualified as matched to modern trends of type design and of enhanced legibility. Mentioned characteristics beside conventional use in business applications and printed stuff made the fonts quite useable for advertising and display typography. Each font next to standard Latin and Cyrillic character sets contain alphabet glyphs of title languages of the national republics of Russian Federation and support the most of the languages of neighboring countries. The fonts were developed and released by ParaType in 2011 with financial support from Federal Agency of Print and Mass Communications of Russian Federation. PT Serif family together with PT Sans won the bronze in Original Typeface category of ED-Awards 2011. Design – Alexandra Korolkova with assistance of Olga Umpeleva and supervision of Vladimir Yefimov

Double Porter - an elegant font collection. Double Porter includes following: • 6 fonts - a clean and textured version of each. • Ornaments • Catchwords • Ending swash ornaments for the script Double Porter is a clean cut script font with five strong sans fonts. All the fonts are designed to work nice together. Here’s a short introduction to the fonts: • Double Porter 1 -Clean connected script with Swash Alternates for caps and lowercase letters with ascender or descender. The Script also has Contextual Alternates that add variation & make the flow smooth. Contextual Alternates are automatically on. • Double Porter 2 -Wide Sans Serif font. • Double Porter 3 -Bold version of Double Porter 2 • Double Porter 4 -Semi condensed Sans Serif • Double Porter 5 -Condensed Bold Sans Serif • Double Porter 6 -Serif version of Double Porter 5 • Double Porter 7 -Set of 60 icons and ornaments • Double Porter 8 -Set of 68 Catchwords • Double Porter 9 -Set of 62 Ending Swashes and Strokes designed to go with Double Porter 1 - the script. In addition there is a “Printed” version of every Double Porter font. Printed versions are named Double Porter P x. Printed versions are exactly the same but the shapes have rugged outlines and a worn-out texture. Double Porter has wide language support including West European, Central European, Baltic, Turkish and Romanian character sets.

Broadside Text is a companion to Broadside, and is optimised for use at smaller sizes. More open counters, more generous letter-spacing and additional fractions increase legibility. The original Broadside family is suitable for headlines and larger sizes, and also comes with condensed and extended versions. Broadside is a versatile, authoritative and functional family inspired by the sans serifs seen on ’40s and ’50s patriotic posters and period advertising. It is available in seven weights across condensed, normal and extended widths, each with reweighed italics. The type from this period was very often hand-drawn, and so differs considerably from poster to poster. Many American examples of this period use a Photo-Lettering style called Murray Hill and its derivatives, although their UK counterparts, designed by such luminaries as Abram Games or Tom Eckersley, are more stylistically diverse. Even though no single model is available to base a digitisation on, there are certain recurring stylistic quirks that give the type its unique flavour, and so the most interesting examples from several sources were be combined for the final family. Alternate short descenders, allowing for tighter line spacing, can be toggled on or off in the Opentype panel of Indesign or Illustrator. Tabular and lining numerals and a single-story ‘a’ are also available in all weights and styles.

Letterpress Studio -Crafted Vintage Goods Letterpress Studio includes following • 7 fonts - a textured and clean version of each • Ornaments • Catchwords • 25 Logo Templates Letterpress Studios core is seven fonts - textured and clean version of each. Fonts are designed in same proportions and work great together. Here’s a short introduction to the fonts: • Letterpress Script -A connected script with lot’s of OpenType features • Letterpress Script Bold -Bold version of Letterpress Script • Letterpress Condensed -A condensed sans-serif typeface with swash uppercase characters on • Letterpress Gothic -A sans-serif typeface with swash uppercase characters • Letterpress Sans -An extended sans-serif typeface with swash uppercase characters • Letterpress Wood -A woodcut style serif typeface with swash uppercase characters • Letterpress Black -A black woodcut style serif typeface with swash uppercase characters • Letterpress Ornaments -A set of pictograms, ornaments, borders and badges (OTF, AI & PDF) • Letterpress Catchwords -A set of over 100 woodcut-style catchwords (OTF, AI & PDF) All fonts have West European, Central European, Baltic, Turkish and Romanian character sets. Fonts come in OTF format. TTF are also available but OpenType features won’t work with them. Letterpress Templates -25 templates (AI) Letterpress Templates is a set of 25 ready made compositions with font pairings, shapes, ornaments and ready made 2-4 color schemes for each. Templates can be used as such or as a starting point for your own project. Download Letterpress Templates here.

Our Audiowide Pro has vague inspirations from other styles like that of Handel Gothic and the Converse logo, yet it veers off in a direction of its own for a slightly more techno-futuristic and yet cleanly readable format. Great for both headlines and shorter body copy, its cleanly legible forms lend itself to a plethora of uses. The SmallCaps and extensive figure sets offer Audiowide an even wider breadth of design options. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

Shout is a “Hey, Look at ME” font. It is an attention-getting font for posters, flyers and ads. Its lineage includes the Haas Type Foundry’s 19th century advertising font, Kompakte Grotesk, which Jan Tschichold (1902-1974) dryly described as “extended sans serif” and which graphic designer Roland Holst (1868-1938) would have disapprovingly referred to as a “shout,” as opposed to the quiet presentation of information that he believed was the proper function of advertising. In 1963 Letraset released what appears to be an updated variation in multiple weights designed by Frederick Lambert called Compacta. Shout draws heavily on Compacta, as well as other similar fonts of the 50s and 60s like Eurostile Bold Condensed and Permanent Headline. In weight, it falls about halfway between Compacta Bold and Compacta Black, but with a relatively heavier lower case that is not so easily pushed around by the upper case. After all, one can shout while sitting down. Shout is the first font released with our new encoding, as noted in the All_customer_readme.txt. The Euro symbol has been moved to position 128 and the Zcaron/zcaron have been added at positions 142/158 respectively. Otherwise, Shout has our usual idiosyncratic glyph selection, with the German ch/ck instead of braces, a long s instead of the Greek mu and our usual Hand-in-Hand symbol. There are also left and right glyphs of a big mouth ]ing (135/137) and left and right glyphs of an angry man shouting (172/177). Please use Shout with discretion. Folks get tired of being yelled out. After awhile, they stop listening. Shout ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Add glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 355 glyphs. 2. Added OpenType GSUB layout features: pnum, ornm, liga, hist & salt. 3. Added 266 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Revised hyphen, dashes & math operators. 6. Minor refinements to various glyph outlines. 7. Inclusion of both tabular & proportional numbers. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Introducing Stolen Love - Stylish serif typeface + Swashes and Ornaments Stolen Love is stylish and creative typeface loaded with 6 different fonts, alternate and ligature glyphs, 52 swashes in 3 different sizes, 26 ornaments to make you typography truly unique! Language Support : Belarusian, Bosnian, Bulgarian, Chechen, Macedonian, Russian, Serbian, Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estronian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwadna, Litvian, Lithuanian, Lower Sorbian, Luo, Luxembourish, Luyia, Machame, Makhuwa-Meetoo, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokm ål, Norwegian Nynorsk, Nyankole, Ormo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Ukrainian, Upper Sorbian, Uzbek (Latin), Volap ük, Vunjo, Walser, Welsh, Western Frisian, Zulu FEATURES Uppercase, lowercase, numeral, punctuation & Symbol Light, Regular, Bold, Extra Bold, Black and Rough Versions 52 swashes in three sizes ( small, medium, big ) 26 ornaments Character maps for swashes and ornaments BGR support - special fonts with Bulgarian alphabet ligature glyphs alternates Multilingual support - 95 languages No special software is required to type out the standard characters of the Typeface. How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Belgato is a vintage-inspired typeface with delicate details. It comes in six weights – plus italics! – for a total of 12 fonts, making it a highly versatile display face. The variable font version allows for ultimateweight and slant customization in print and web. Belgato has Latin, Greek, and Cyrillic alphabets, and supports dozens of languages, making it ideal for multilingual branding, publications, ads, social media, and more! I had so much fun designing this typeface, playing with classic serif letterforms to create an elegant, mid-century modern vibe. Belgato Light is fresh, airy, and delicate – perfect for feminine branding. By contrast, Belgato Black boasts fat curves with thin details, perfectly-suited to bold layouts and retro branding projects. Each Belgato font has 665 glyphs, encompassing: - the Latin alphabet (including hundreds of accented characters) - the Modern Greek alphabet - the Cyrillic alphabet (for Russian, Ukrainian, Bulgarian, and Serbo-Croatian) - discretionary ligatures - stylistic and alternate glyphs - numerals (lining and old style), small figures, and fractions - extensive punctuation, symbols, and diacritical markings Software: No special software is required to use Belgato fonts. You can even use these fonts with Canva! To access Belgato’s variable font features, ligatures, and stylistic alternates, it is best to use software that supports these functions (Adobe programs, Corel Draw, Sketch, etc). Languages: Belgato supports dozens of languages which use the Latin, Greek, and Cyrillic alphabets. Among the most common languages it supports are: English, Bulgarian, Catalan, Croatian, Czech, Danish, Dutch, Filipino, Finnish, Flemish, French, German, Modern Greek, Hungarian, Icelandic, Indonesian, Italian, Luxembourgish, Maltese, Norwegian, Polish, Portuguese, Russian, Serbo-Croatian, Spanish, Swedish, Swiss German, Turkish, and Ukrainian.

TT Octosquares useful links: Specimen | Graphic presentation | Customization options TT Octosquares is a fresh, revised, expanded, and significantly improved version of our first commercial typeface TT Squares and its narrow version TT Squares Condensed. With all our love for the original font family, it felt there was a lack of functionality, character composition, features, and design freshness, which prompted us to the idea of a complete restart. Now TT Octosquares can be safely called a superfamily consisting of 4 widths (Compressed, Condensed, Standard, Expanded), 72 faces (18 in each width), and 1 incredible variable font in which variability works jointly on three axes. In addition to working on the contours themselves and their design, we completely revised the composition of the typeface. First, we added two completely new widths: Compressed and Expanded. Secondly, we increased the number of weights in each of the subfamilies—while in the old versions there were 5 weights, now in each of the subfamilies there are 9 weights. At the stage of working with the contours of characters, we revised the roundings, changed the forms of shoulder and stem crossings, added noticeable shelves at the letters, removed the sharpness from the triangular characters and cut off all sharp endings. From the very beginning of work on TT Octosquares, we planned to make a variable 3-axis version of it sewn into 1 font file. This means that by installing just one variable font file, you get access to three axial adjustment of the font: by thickness, width and inclination. Thanks to this flexibility in settings, you can always choose a custom combination of thickness, width or inclination that best suits your tasks. Due to the increased language support and the appearance of a bunch of useful OpenType features, the number of glyphs in the typeface has increased from 480 to 825 in each style. Now you can use stylistic alternates, standard and discretionary ligatures, or use old-style figures, numbers in circles and even slashed zeros in your design. Full list of features: aalt, mark, mkmk, ccmp, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, case, zero, dlig, liga, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, calt, locl. To use the variable font with three variable axes on Mac you will need MacOS 10.14 or higher. For other software and browsers, you can check the support status here: v-fonts.com/support/.

The future is right here, today, and Areon Flux comes to point that out. It’s a font family consisting in three weights that makes it a notable choice for designers that have to do with techy, futuristic layouts or printing materials. The lettering design appeal as sharp, powerful, distinctive and kind of modular, remembering the upcoming space exploration opportunities that are ready to enlarge our horizons in the next years. Areon Flux family is designed and published in late ‘20/ early ’21 and has an established discount for more that 30% for all the weights buyed together that makes it a versatile fresh and modern display not to be missed by edgy designers.

Smart Sans is a personal tribute to Leslie (Sam) Smart, the first type director to be hired by a major typesetting house in Canada. Smart was a twentieth century design pioneer who raised the standards of Canadian typography. Together with three of his peers, he established the first Type Directors Club in Toronto. After Smart's death in 1998, type designer Rod McDonald decided that something should be done to commemorate Smart's life and achievements. I had first thought of establishing a scholarship in Sam's name, but a typeface design soon replaced this idea," says McDonald. "Once I decided to design a typeface, however, it became a foregone conclusion that it would be a sans serif - for no other reason than that I loved the name Smart Sans." Two typefaces served as inspiration for McDonald's work. "Like thousands of designers, I'm keen on Matthew Carter's Helvetica Compressed series. And, when I was younger, I also loved Fred Lambert's Compacta," says McDonald. "I thought there might be a place for a small range that could take over from these 'old workhorses' and, in the process, bring a fresher look to the genre." McDonald drew three weights for the Smart Sans family, all ideally suited for setting attention-getting headlines and powerful display copy. The two-storied 'g' contributes to the design's lively personality, and the short 'r' helps maintain tight, even spacing. Smart Sans is the perfect homage to a great typographer, because it raises the bar on what to expect from condensed sans serif typefaces. Sam Smart would be pleased."

The HWT American Chromatic set is a multilayered font set that will allow for thousands of possible color and pattern combinations. The original 19th Century Chromatic upon which this font set is based included two fonts. The HWT digital version includes eight. The alignment is configured to allow any combination of the eight fonts to all align when identical text is set and arranged, one on top of the other. Due to the highly decorative nature of this font set, the character set is limited to upper case only with basic punctuation. Five of the eight fonts in the set can be used individually as variations of the classic Tuscan style of wood type, which is defined by its concave stems and serifs. There are no accented characters due to the ornate nature of the design and because there were no accents originally intended for this design. This font is best used at sizes of 72 pt or larger and is ideal for a wide array of design uses. For webfont use, CSS with z-index and position will allow for easy online layering.

Designed by Nadine Chahine, the Amariya™ typeface family is intended for long form, on-screen textual content. It supports the Arabic, Persian and Urdu languages. The design is consistent with traditional text typeface models popular in the Middle East, but has a lower level of stroke contrast optimized for on-screen reading. The family is available in nine weights ranging from a light hairline to a very bold black. The middle weights are intended for setting text copy while the extreme hairline and black designs are best suited for headlines, sub heads and similar applications. The Amariya family can be used for numerous projects from branding to blogs, in a variety of interactive design environments on both large and small screens. The fonts include the ITC Charter design by Matthew Carter as a Latin companion.

AT Allowe comes with a geometric sans serif style and a modern and elegant sans serif tagline. This font comes in eight thickness levels, from thin to black to suit your needs. AT Allowe is also equipped with the latest professional characteristics that can present an elegant and attractive identity for your company or project for business purposes. It goes well with modern serifs and scripts depicted or stands firm as a title and brand representative for an elegant look. AT Allowe also comes with multiple languages, making it easy to use for any country and language use. It also comes with alternative Ligatures and styles to make your designs more attractive. AT Allowe is suitable for branding projects and various design purposes such as business cards, name tags, advertisements, posters, invitations, branding, logos, magazines, merchandise, presentations, etc. Supports languages: Afrikaans, Albanian, Asturian, Asu, Azerbaijani, Basque, Bemba, Bena, Bosnian, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Igbo, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Turkmen, Upper Sorbian, Vietnamese, Vunjo, Walser, Welsh, Western Frisian, Yoruba, Zulu

Introducing Future Flow typeface - 8 fonts Looking for a font that combines classic elegance, romance, and a futuristic vibe? Look no further than Future Flow! This unique typeface offers eight distinct font styles, each with its own personality and flair. Plus, it's designed to support a whopping 87 different languages, making it a versatile choice for designers and creatives around the world. So whether you're creating a logo, designing a website, or crafting a marketing campaign, Future Flow has got you covered. Try it out today and see where its flowing curves and sleek lines can take you! Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu FEATURES Uppercase, lowercase, numeral, punctuation & Symbol Regular and italic Cut, display, futuristic, line, stencil, two line styles 8 fonts No special software is required to type out the standard characters of the Typeface. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

The ideal typeface for cartography The Swiss designer/typographer Felix Arnold designed Cisalpin during the late 1990s, after he had challenged himself to create a contemporary typeface that could be used for cartographic uses. Arnold came to the subject of cartographic typefaces after analyzing many maps and atlases, and discovering that there was no standard typeface for these types of documents. Like any good cartographic type, Cisalpin is very legible at small sizes. While he was drawing this typeface on his computer, Arnold used a reduction glass to refine his design, making it work in these situations. Cisalpin is a linear sans serif face, with slight resemblance to renaissance serif types. The various weights are all clearly differentiated from one another. And because space is often a premium on maps, Cisalpin runs narrow. Words close in around themselves to help them become more identifiable. The letterforms in Cisalpin are durable, and can maintain their readability when placed over complex backgrounds. They have open interior forms, flattened curves, tall x-heights, and a capital height that almost reaches the tops of the ascenders. Cisalpin also has pronounced Italics, with a very clear angle of inclination. Each letterform in the family has been optimized so that they cannot be easily mistaken for another. This again helps minimize the misunderstandings that often occur because of illegibility. Although Cisalpin was developed for use in cartography, it may be used for countless other purposes; any font that can work well in small sizes on a map could be used almost anywhere else!

Baumfuss and BaumfussTwo are unpolished, crude typefaces with small flared serifs and very few straight lines. They are a bit heavy to be easily readable at smaller point sizes. Baumfuss has a high x-height, while BaumfussTwo has a more conventional x-height.

Beautiful, richly ornamented shadowed letters in the Empire fashion, similar to the fonts of the Parisian type founder J. Gille', cut around 1810. Includes one set of A-Z ornamental initials conveniently assigned to both the upper and lower case alphabet characters.

Chedros is a display typeface with playful taste. It comes in two different weight, regular and bold so you can use them to your heart's content. Chedros very suitable to use for headlines, wordmark, prints, logotype, young and playful design or anything else.

Introducing Choco Candy Font Choco Candy is sweety font. It can be used for branding, invitations, watermarks, advertisements, product designs, labels, product packaging, book content, quotes and more. It came with number & punctuation, multilingual support, and PUA encode Hope you like this product.

Iron Heart is a unique hand brush font that suits very well for your modern grunge vintage design. its texture was very interesting. use it for your special design and brilliant project such as Apparel, Web project, youtube content, logo, and many more.

A modern text design with a medium x-height and short ascenders. The axis of the curves is inclined to the left in the Old Style tradition. New Prairie was kerned for text point sizes but requires subjective display kerning and compensation.

Rolphie can be your go-to sans-serif, with 16 easy-to-read weights and 10 versions for each weight, and the subtlety of choice that represents. The versions contained in each weight are: Regular; Condensed; Half-Condensed; Expanded; Small Capitals: and their italic counterparts. (At heavier weights particularly it seemed to be justified to have two Condensed versions). Plus there's 20 funky versions with the letters all shook up (that would make a good title for a song), or jumbled around, plus some Shadow, Doubled-Up, College, and other FX versions. In total there's 180 variations, giving a comprehensive selection of both standard and funky fonts, and that subtle degree of choice of weight. To make things easier, the weights are put in ascending numerical order from 01 to 16, and the FX versions have been stuck in the 80s and 90s, (like two musicians I know). There are grouped packages available for certain weights (which have 10 fonts in them) and the complete family package (180 fonts) which represent better value than the individual fonts, and there's a basic package containing the Normal and Italic versions of all 16 weights (32 fonts). A limit of 5 sub-family packages has been imposed, unfortunately, which precludes a more comprehensive selection. To let you know what's in the font that you might otherwise never know about . . . 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. 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 also the main mathematical operators, symbols like card-suits and male/female signs and so on, and some more obscure stuff like schwa and O-horn, U-horn - and there's lots more if you can Access All Alternates. Much will depend on what your software recognises. The Small Caps versions have (intentionally) lost the ligatures for lower case ff, fi, fj, fl, fr, fu, ffi, ffj, ffl, ffr, ffu. The names for the weights are not absolute - we had to make up some names to make them stretch out to sixteen - so rather - see them as relative to each other, being in ascending numerical order by weight.

Introducing the third reincarnation of TT Chocolates! The popular typeface was updated to stay up-to-date with the latest requirements and trends in design! TT Chocolates is an elegant Humanist sans serif with a dense typesetting and well-balanced proportions similar to the classical tradition. This font's nice and friendly nature makes it seem like something close and familiar. It has earned a reputation among designers as the perfect font for confectionery, but the application range of the TypeType's "sweetest" typeface goes well beyond that! In 2023, we decided to do a full-scale font update referring to extensive sans-serif market research. We figured out where the trends are headed and what users want—this information helped us enhance TT Chocolates. Specifically, we introduced a new Condensed font version, a narrow font style with the authentic proportions of the standard version. At the same time, TT Chocolates Condensed boasts a more expressive personality than the base subfamily, which allows designers to solve even more creative tasks using only one typeface. The third version of TT Chocolates has become even more modern and advanced. A large number of characters, various OpenType features, and stylistic sets make the font suitable for multiple purposes and tasks. TT Chocolates is a perfect match for both branding and layouts. The font's dynamic shapes make it easy to read in small point sizes, allowing the eye to move effortlessly across the line. This typeface can also be used in web design due to the TrueType manual hinting option. TT Chocolates 3.000 includes: 29 font styles: 14 roman, 14 italic, and one variable font; Condensed version consisting of 14 new font styles; Carefully crafted contours; Optimized font rhythm and completely new kerning; Enhanced italics in basic subfamily; Variable font with three axes of variation: width, weight, and slant; 32 OpenType features, counting in 13 new ones; 901 characters in each font style—the character set has grown compared to the previous version, which had 629 characters in each font style; 230+ languages support, including the new ones: 35 Cyrillic-based and 16 Latin-based. Elevate your design's appeal with TT Chocolates!

Linotype Sallwey Script was designed by Friedrich K. Sallwey in 1980. This typeface has a handwritten character due in part to its slight lean to the right. Sallwey Script is both lively and harmonious and lends texts a private, personal touch. Sallwey Script is best suited to middle length texts and headlines.

TT Phobos useful links: Specimen | Graphic presentation | Customization options TT Phobos is a pliable display serif with a soft and gentle character. The features of the typeface are the moderate contrast between bold and thin strokes, pliable visual compensators, and the counter-clockwise bend of internal ovals. In addition to 6 weights and 6 italic, TT Phobos also includes two original decorative fonts, inline and stencil. Despite its pliability and display character, TT Phobos is dynamic enough and is well suited for text arrays even in large text blocks. The serifs of letters are completely asymmetrical and bring in dynamics when reading the text from left to right. Thanks to the harmonious contrast of black and white forms and internal negative spaces of the letters, as well as its broad letter spacing, the typeface is well read in small sizes. In this case, the character of the letters is completely preserved, partially thanks to the exaggerated elegant visual compensators. The ornamental pattern used in TT Phobos Inline varies for capital and lowercase letters. Capital letters implement a more complex double inline with a rhombic element in the middle, and in the lower case features a simplified form of the inline, made in a single movement. Thanks to the original cutting, TT Phobos Stencil stands out for its expression, and the rounded cuts add even more visual style to the font. TT Phobos consists of 14 faces: 6 weights (Light, Regular, DemiBold, Bold, ExtraBold, Black), 6 Italics, inline and stencil. There are 17 ligatures in TT Phobos, including several Cyrillic ones. The typeface has stylistic alternates, which adds an italic effect to the upright fonts, and a little solemnity of the upright version to the italics. In addition, we have not forgotten about the old-style figures and other useful OpenType features, such as ordn, sups, sinf, dnom, numr, onum, tnum, pnum, liga, dlig, salt (ss01), frac, case.

Chennai’s market-tested type styles have taken new form once again. The geometric forms of Chennai and its derivant Madurai, both successful in web-based applications and logotypes, have now been adapted for the superfamily Madurai Slab, a potent, square slab serif ideal for headlines and posters. Under the surface of Madurai Slab’s straightforward geometric structure, the font’s exaggerated vertical serifs provide the face with an extra chunk that commands the reader’s attention and gives the font more impact in its heavier styles. The extra-fortified forms are anything but monotonous, though. The bolder structure of the slab is instead rational, diligently thought-out, with minimally contrasting strokes, making the sturdier look particularly legible in shorter textual content blocks. This child of Madurai contains a comprehensive range of nine weights--slender to black--and features condensed and extender selections for a complete set of fifty-four fonts. All users of the Madurai Slab collection can access numerous OpenType alternates. Madurai Slab is furnished for experienced typographers, together with alternates, compact caps and many alts like “normalized” capitals and lowercase letters that come with stems. The typeface also contains a range of numeral sets, together with fractions, old-style and lining figures with superiors and inferiors. OpenType-capable programs including Quark or the Adobe suite allow quick changes to ligatures and alternates. Previews of these options can be found in the .pdf brochure. Madurai Slab also features the glyphs to enable all Central, Eastern and Western European languages. In all, Madurai Slab supports around forty languages that utilize the prolonged Latin script, making it an excellent option for multi-lingual publications and packaging. This richness of options makes this the best slab serif family for websites as well as for print, motion graphics, logos, t-shirts and the like. Madurai Slab is a great choice when looking for a Neo-Grotesque slab serif font. In the hands of a learned designer, this new slab offers the potential for beautiful and well-blended layouts. With its widths adjusting to compact and extended content blocks, this typeface is perfect for the headings, captions and other brief, immediate messages that you need to drive your message home.

"Disco Pang Pang" is the Korean name for Tagada rides. It is a characteristic typeface that is good to use when you want to make use of a unique and bouncy feeling. Light and Extrabold are made with the thickness of normal typefaces, but Left and Right have strange shapes with stroke thicknesses that are biased to one side. Its unique shape can make a strong impression on people. This font contains Korean.

Gala72 font consist of 72 calligraphic greetings letterings for different event. These letterings are original and handwritten. This font makes it possible to use high quality calligraphy in your projects - greeting cards, certificates, invitation cards, letters of commendation etc.

Meleo is a semiserif consisting of 10 fonts with a few original quirks but still very legible at both text and display sizes. Since its conception, the aim was a balance of uniqueness and functionality. The typeface owes its energy to the slight suggestion of calligraphic crafting and humanist structure. But it also breaks the rules: a small x-height and a whimsical uppercase with resemblance to the lowercase may render Meleo more friendly than a conventional (semi-)serif. Titles and texts of moderate length, like those found on websites, flyers and packaging, are the natural habitat of Meleo, but it may as well thrive under different settings. Meleo supports most of western-european latin languages which are included in the ISO-Adobe character set.

Opake™ is an experimental typeface design that steps away from regular design conventions. Instead of basing the design on a calligraphic tool or geometric shapes, Opake™ is the result of the exercise of creating letters with a single continuous loop line. This unseen technique makes the overall design very unique. Though unconventional, the design resonates with some familiarity because of its calligraphic stroke terminations and some shape decisions that might resemble Cooper Black. In the end Opake™ is a cutting edge non-connecting script font, with a warm and happy feeling. Ideal for large headlines and general display use, but also branding, posters and apparel. If you like unconventional solutions and edgy design, Opake is the font to go for.

Have you been looking for a graffiti font? Do you dream of creating headings that stand out and inspire creativity, imagination, modernity, and endless fun? Then we’ve got just the font for you! Introducing Urban Blocker-A Graffiti Font This bubble graffiti font can be used for a host of different content needs and projects. An excellent choice to add the right amount of street vibe and playfulness. Create gorgeous printed quotes, standout packaging, or beautiful t-shirts! You can even use it to create amazing headings, logos, menus, and social media graphics. Chalkboard includes multilingual options to make your branding reach a global audience. Features: Standart Ligatures Multilingual Support PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studio

In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design of a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for books. A number of parameters needed to be considered, including the pressure of the printing presses and the quality of the thin newspaper ink that would have smothered any delicate strokes. Rough drafts of type designs for the competition were submitted by Vratislav Hejzl, Stanislav Marso, Frantisek Novak, Frantisek Panek, Jiri Petr, Jindrich Posekany, and the team of Stanislav Duda, Karel Misek and Josef Tyfa. The committee published its comments and corrections of the designs, and asked the designers to draw the final drafts. The winner was unambiguous — the members of the committee unanimously agreed to award Stanislav Marso’s design the first prize. His typeface was cast by Grafotechna (a state-owned enterprise) for setting with line-composing machines and also in larger sizes for hand-setting. Regular, bold, and bold condensed cuts were produced, and the face was named Public. In 2003 we decided to digitise the typeface. Drawings of the regular and italic cuts at the size of approximatively 3,5 cicero (43 pt) were used as templates for scanning. Those originals covered the complete set of caps except for the U, the lowercase, numerals, and sloped ampersand. The bold and condensed bold cuts were found in an original specimen book of the Rude Pravo newspaper printing press. These specimens included a dot, acute, colon, semicolon, hyphens, exclamation and question marks, asterisk, parentheses, square brackets, cross, section sign, and ampersand. After the regular cut was drafted, we began to modify it. All the uppercase letters were fine-tuned, the crossbar of the A was raised, E, F, and H were narrowed, L and R were significantly broadened, and the angle of the leg and arm of the K were adjusted. The vertex of the M now rests on the baseline, making the glyph broader. The apex of the N is narrower, resulting in a more regular glyph. The tail of Q was made more decorative; the uppercase S lost its implied serifs. The lowercase ascenders and descenders were slightly extended. Corrections on the lower case a were more significant, its waist being lowered in order to improve its colour and light. The top of the f was redrawn, the loop of lowercase g now has a squarer character. The diagonals of the lowercase k were harmonised with the uppercase K. The t has a more open and longer terminal, and the tail of the y matches its overall construction. Numerals are generally better proportioned. Italics have been thoroughly redrawn, and in general their slope is lessened by approximatively 2–3 degrees. The italic upper case is more consistent with the regular cut. Unlike the original, the tail of the K is not curved, and the Z is not calligraphic. The italic lower case is even further removed from the original. This concerns specifically the bottom finials of the c and e, the top of the f, the descender of the j, the serif of the k, a heavier ear on the r, a more open t, a broader v and w, a different x, and, again, a non-calligraphic z. Originally the bold cut conformed even more to the superellipse shape than the regular one, since all the glyphs had to be fitted to the same width. We have redrawn the bold cut to provide a better match with the regular. This means its shapes have become generally broader, also noticeably darker. Medium and Semibold weights were also interpolated, with a colour similar to the original bold cut. The condensed variants’ width is 85 percent of the original. The design of the Bold Condensed weights was optimised for the setting of headlines, while the lighter ones are suited for normal condensed settings. All the OpenType fonts include small caps, numerals, fractions, ligatures, and expert glyphs, conforming to the Suitcase Standard set. Over half a century of consistent quality ensures perfect legibility even in adverse printing conditions and on poor quality paper. RePublic is an exquisite newspaper and magazine type, which is equally well suited as a contemporary book face.