For everyone wishing for a modern serif that’s as clear and readable as a sans in restrictive digital environments, meet Portada by Veronika Burian and José Scaglione. Sans serifs are commonly used on small screens to save space and carry a modern tone. Serifs may appear fickle and unsteady, pixel grids change from one product to another, and space is at a premium. Portada now provides a serif option for these restrictive digital environments, putting that old trope to rest. The screen has met its serif match. Portada was created from and for the digital world — from e-ink or harsh grids to Retina capability — making it one of the few serifs of its kind. Portada’s text and titling styles were engineered for superlative performance, making great use of sturdy serifs, wide proportions, ample x-height, clear interior negative space, and its subservient personality. After all, words always take priority in text. It’s not all business, though. Portada’s italics contain an artefact of calligraphy in which the directionality of the instrokes and the returning curves of the outstrokes give the family a little unexpected brio. Yet even the terminals are stopped short of flourished self-absorption to retain their digital clarity. When printed these details are downright comforting. Portada’s titling styles enact slight changes while reducing the individual width of each character and keeping the internal space clear. Titling italics have increased expressiveness across a few characters rather than maxing out the personality in each individual glyph. Digital magazines, newspapers, your favourite novel, and all forms of continuous screen reading benefit from Portada’s features. This family can also cover many of the needs developers have: user interface, showing data intensive apps on screen, even one-word directives and dialogs. And, as a free download, an exhaustive set of dark and light icons is included to maintain Portada’s consistent presence, whether as a word or an image. The complete Portada family (eight text styles, ten titling styles, and one icon set) is designed for extensive, clear screen use — a rare serif on equal footing with a sans.

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon , a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

The font family Univers? is one of the greatest typographic achievements of the second half of the 20th century. The family has the advantage of having a variety of weights and styles, which, even when combined, give an impression of steadiness and homogeneity. The clear, objective forms of Univers make this a legible font suitable for almost any typographic need. In 1954 the French type foundry Deberny & Peignot wanted to add a linear sans serif type in several weights to the range of the Lumitype fonts. Adrian Frutiger, the foundry's art director, suggested refraining from adapting an existing alphabet. He wanted to instead make a new font that would, above all, be suitable for the typesetting of longer texts - quite an exciting challenge for a sans-serif font at that time. Starting with his old sketches from his student days at the School for the Applied Arts in Zurich, he created the Univers type family. In 1957, the family was released by Deberny & Piegnot, and afterwards, it was produced by Linotype. The Deberny & Peignot type library was acquired in 1972 by Haas, and the Haas'sche Schriftgiesserei (Haas Type Foundry) was folded into the D. Stempel AG/Linotype collection in 1985/1989. Adrian Frutiger continues to do design work with Linotype right up to the present day. In 1997, Frutiger and the design staff at Linotype completed a large joint project of completely re-designing and updating the Univers family. The result: Univers Next - available with 59 weights and 4 Linotype Univers Typewriter weights. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. Univers has the uncanny ability to combine well with fonts of many different styles and origins: Old style fonts such as: Janson Text, Meridien, Sabon, Wilke. Modern-stressed fonts such as: Linotype Centennial, Walbaum. Slab serif fonts such as Egyptienne F, Serifa. Script and brush fonts such as: Brush Script, Mistral, Ruling Script. Blackletter fonts such as: Duc De Berry, Grace, San Marco. Even fun fonts such as F2F OCRAlexczyk, Linotype Red Babe, Linotype Seven."

A font perfect for not just one, but many projects! Introducing Oceanwide Pro, a sans that loves to be used in just about any situation! Designed with ultra clean lines and versatility in mind, Oceanwide wants to be your new favorite sans! Oceanwide’s ultra clean letters work anywhere you want to communicate orderliness and competence, and designed to build trust and rapport with your audience. Its wide proportions make it ideal for display and logo use. Oceanwide especially shines for white/bright letters on black/dark backgrounds! That’s because the inside shapes are nearly perfect circles in many weights. Here's a quick video tour of Oceanwide Pro by Dave Lawrence, including all the great things Oceanwide can be used for! We've tested Oceanwide for these industries, with stunning results!: Tech Arts Fashion & Style Business & Branding Corporations Logistics Architecture Food and many more... Oceanwide can be used for: Headers Subheadlines Logos Even body text, if tracked. Print & Screen The styles it can take are also many. It's great for: Modern/minimalist design Flat design Cut out design User Interface (UI) Technical designs In combination with text effects, even for grunge and other situations. And many others... DESIGN FEATURES Simplicity Tall x-height Hand-sloped obliques (italics) Narrow spacing Semi-wide proportions Expert kerning Well proportioned, usable lights & extra lights Large caps Great ALL CAPS MODE Uppercase punctuation Uppercase spacing with California Type Foundry’s Smart Tracking™ Advanced fraction support Proportional lining figures Thick joins Smooth curves Sturdy—great for textures and effects Variable font available Latin Pro character set for Central European languages. That's the writing for over 782 languages and transliterations worldwide! DESIGN STORY—THE FORGOTTEN SANS by Dave Lawrence, Lead Designer, California Type Foundry Adrian Frutiger was the 20th century master of sans, but I didn't realize he had made—not one—but TWO geometric sans! It wasn't until I had purchased the book “Adrian Frutiger: Typefaces”. I had hoped to someday meet Adrian Frutiger, but he passed away that very same year. Here is the story of Frutiger's forgotten sans. Back in 1968, Frutiger was approached by Pentagram to make a design for British Petroleum. They wanted a "new version of Futura". However, they wanted him to make a couple adjustments. First, they felt that Futura was "too fiddly." By this, they meant that it narrowed too much at the joins. (Joins are for example where the round and straight parts of the 'd' meet.) This is something that is necessary for small print text (to prevent ink clogging), but is not necessary at large sizes. Second, they wanted it to be entirely geometric, using the circular shape with minimal optical corrections. Unfortunately this font was not even used very consistently in the BP brand. A haphazard mix of Futura and Frutiger's BP font ensued. It was then replaced by another font design very soon after. My design is different in several ways. First, the commas and quotes are a more modern style. I tried his original commas, but these just didn’t work to 21st century eyes. Second, in his drawings, Frutiger went for a more standard u with a downstroke on the right. However, Oceanwide has a simpler u. Third, I made more optical adjustments. At the direction of his employer, Frutiger reluctantly put no font optical corrections into the letters. So I think my optical adjustments are similar to what Frutiger would have wanted. Fourth, I extended the weight into the light and extra light ranges. Fifth, the rest of the font I created according to the principles of Adrian Frutiger, but with no sources for inspiration. Here is Frutiger’s design philosophy, in his own words: “If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page... When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.” The words about the spoon were the ones I kept in my mind as I tried to make the curves ultra smooth, and the shapes ultra simple. Hopefully this font is a worthy successor to the font that inspired it. Released on the 93rd birthday of Adrian Frutiger, to celebrate the life and achievements of this amazing designer. ——————— Simplicity. Versatility. Oceanwide.

"Step into a world where the 1920s meet the future with Soprani—a typeface that seamlessly blends vintage charm and modern sophistication. Drawing inspiration from a distinctive plaque unearthed in New Zealand, Soprani showcases serifs that flare and shimmer, capturing the essence of art nouveau and arts & crafts in a contemporary light. Dive into its rich OpenType features, granting designers unparalleled flexibility to bring their visions to life. Its condensed yet elegant letterforms are the perfect fit for everything from artful table books and stylish menus to dynamic media showcases in TV and film. Spanning from the graceful subtlety of its thin variant to the undeniable boldness of the black, Soprani is diverse and dynamic. Soprani isn't just a typeface—it's a revolution in design. Production assistance by Lucas Azevedo and ikern.

Bimbo is a monoline script font family created in 2018 by Francesco Canovaro for Zetafonts as an extension & redesign of the original Arsenale White typeface created with italian illustrator Jonathan Calugi. Bimbo expands the original design with six new weights and over 300 new characters to cover over 70 languages using the latin, greek and cyrillic alphabets, while keeping the handmade aesthetic that made successful the original font. Bimbo is essentially a display font, born for minimal lettering and logos, with a handwritten sensibility enhanced by the built-in letter swapping open type feature that makes sure double letters are always different one from another. Open counters and a monoline design allow for great readability at small sizes, making Bimbo the ideal font for creating fake handwritten notes and meta-textual jokes.

Montecatini takes its cues from the elegant Stile Liberty travel posters of Italy in the early 1900s. In its successful first release by Louise Fili Ltd in 2017, the typeface introduced distinctive ligatures typical of the time when Art Nouveau emerged as a worldwide phenomenon. Now Montecatini has been expanded into 24 alluring styles, spanning 6 weights and 4 widths. With the addition of these new styles, Montecatini has a dynamic capacity for comprehensive use and pairing. Everything looks better in Montecatini, from book jackets to monograms to packaging and logos—and the wide selection of ligatures, weights, and widths makes copyfitting a delight. Montecatini Pro’s ligatures are setup as contextual alternates. If you would like to try out Montecatini Pro’s ligatures or learn more about the font, please visit: https://www.louisefili.com/montecatini-pro

Introducing Unique - Decorative Serif Font Unique is decorative, elegant font with tons of alternate glyphs, ligatures and multilingual support. It's a very versatile font that works great in large and small sizes. Unique is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, lowercase, numeral,punctuation & Symbol Alternate glyphs Ligatures Multilingual support 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!

Years ago, by happenstance, designers Nancy Mazzei and Brian Kelly found an old decrepit typewriter in an abandoned lot with tall grass in Brooklyn. They kept it around their apartment for two years. Then one day they decided that it was time to move and they planned to throw the old typewriter away. But it was so beautiful they wanted to keep at least a part of it. So they decided on keeping the keys. They kept the keys in a brown bag until one fine day the keys were introduced to a camera. It was a match made in heaven that resulted in some beautiful quirky images of typewriter keys. These images were the inspiration for Backspacer. They were scanned, traced and turned into a working typeface by Zuzana Licko.

Carnival VP is a long, clean font with Latin and Cyrillic support, tons of alternate glyphs, and multilingual support. It's a very versatile font that works great in large and small sizes. Carnival VP is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, numeral, punctuation and symbols Cyrillic support - Russian, Ukrainian, Bulgarian and more Alternate glyphs Multilingual support 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! Thank you! Enjoy!

Introducing Papillon - Handcrafted Serif Font Papillon is luxury, vintage font loaded with alternate glyphs, ligatures and multilingual support. It's a very versatile font that works great in large and small sizes. Papillon is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, lowercase, numeral, punctuation & Symbol Alternate glyphs Ligatures Multilingual support 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!

Serofina is an adaptable and fluid connected script with plenty of alternate flourish options. From clean and flowing to cute and frilly, Serofina can do it. The Serofina family comes with four weights, including a unique hairline, which makes it a versatile investment for a wide range of design possibilities. All weights include the OpenType programming to automatically and seamlessly swap out the default characters for 45 alternate forms and 18 auto-replacing ligatures. These alternates can make the face appear to be more simplified, restrained or frilly. Serofina also includes seven ornaments and old-style numbers. Check out the sample images to see these features in action. Serofina is a highly versatile script family and its range of weights make it perfect for whenever you need an expressive and original typeface.

ntroducing Daylight Dreams Serif Font Daylight Dreams is elegant, creative font with multilingual support. It's a very versatile font that works great in large and small sizes. Daylight Dreams styled serif is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, numeral, punctuation & Symbol Alternates Ligatures Multilingual support 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!

Introducing Equinox - Logo Font Equinox is futuristic, logo font loaded with alternate glyphs, ligatures and multilingual support. It's a very versatile font that works great in large and small sizes. Equinox is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, numeral, punctuation & Symbol Alternate glyphs Ligatures Multilingual support 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!

Jengotan is a rapid script, hand-painted with a brush to give a great contrast between thick and thin curves. It is drawn, scanned and vectorized from paper to screen, with the intent of being an authentic brush typeface, leaving the texture and imperfections the way they are, resulting in a vivid style for projects that requires dynamic handwriting. Use [ ] { } < > anywhere in a word to create a swash. Example: Jeng{otan In addition to the Jengotan font, also included is the Upright variation. The lettering is suitable for quotes, logos, watermarks on photography, signatures, branding, advertisement, album covers, business cards, clothing, magazines, posters, and more! It is a font of very extensive lingual support, covering all European Latin scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

It's the Summer of Love all over again with this groovy psychedelic font. Designed in 2019, this typeface harks back to the carefree days of the late 1960s. Whimsical and offbeat with its swaying verticals, it nonetheless remains one of the more legible reimaginings of the genre, sporting all of the handlettered vibe of posters and album covers from the original hippie era, but with polished color and weight that evens out the legibility even at relatively small point sizes. Predominantly a unicase font, with a couple of alternate glyphs from upper to lowercase, Summer of Love works best as a large headline face, and benefits greatly from twisting and morphing the type blocks as was common during the original psych era. It's a real groove machine, baby.

Benedictus Brush is a stylish, fresh new layered brush script font family. With lots of alternate characters (415+) and more than 340 realistically created standard ligatures. The letters are made with brush pen and scanned thereafter carefully drawn into vector format. Benedict Brush is a versatile multilungual font family and comes with several of OpenType features: - 340+ Standard Ligatures - Stylistic Set - Character Variant - Terminal Forms - Proportional Figures - Tabular Figures - More than 1140 Glyphs - Multilingual To make you more better eye-catching and colorful designs, Benedictus Brush is a layered font! There are 7 variants of Benedictus Brush, to add even more flexibility to your designs: Solid Base, Shine Solo, Shadow Solo, Combo One, Combo Two, Combo Three and Complex. These are features that offers virtually endless variation. Enjoy!

An offbeat alternate caps typestyle inspired by the title screen of a 1968 Walt Disney film titled, The Horse in the Gray Flannel Suit. This playful and childish font comes with an extensive language set, a stylistic alternates feature that auto-alternates between capitals & lowercase (alt caps), as well as a contextual alternates feature that auto-alternates between sets only where double characters are typed like SS, TT, etc. The contextual alternate feature also enables a few titling word options like " the " " in " and " in the ". As noted in the quotes, when these word sets are typed with a space before and after them, it will trigger the swap when contextual alternates is on. Switching on Contextual Alternates enables automatic alternations between caps and alt caps like AlTeRnAtIoNs to create a more randomized look.

The dearJoe series of fonts came to life around the year 1999, when I created dearJoe 1, which was a first (and half-assed) attempt to convert my own handwriting into a working font. Being able to type in my own hand had always been a childhood fantasy, and even though I only partly understood the software, a working font was generated and I decided to put it on the internet for people to use in their own personal projects. Which they did: at this moment the dearJoe 1 font has been downloaded millions of times and can be found on Vietnamese riksjas, Tasmanian gyms and chocolate stores on 5th Avenue for instance. The font is not something I am particularly proud of, but it started me of in building what's now the JOEBOB graphics foundry. Inbetween creating other fonts, the dearJoe series has become a theme I revisit every once in a while, trying to create an update on how my handwriting has evolved, along with my abilities in creating fonts that mimic actual handwriting. In the last decade or so I started implementing ligatures and alternate characters, which helped a lot in coming to a result that can almost pass for actual handwriting. The 2019 dearJoe 7 font is the latest addition to this font family. All characters were scanned from handwritten notes, cherrypicking the characters and letter-combinations I liked best. They were written with a Lamy M66 B pen and only minor adjustments were made to the original scans, leaving most little flaws and rough edges as they were for a convincing ball-point on paper result. The font comes with over 150 ligatures, making sure the font has a variated and credible overall look and feel.

Chianti was designed at Bitstream by senior designer Dennis Pasternak in 1991 and initially released in 1995. The intent behind the design was to provide a humanist sanserif of high readability at a wide range of sizes and weights. Humanist sanserifs (others that fall into this category are Linotype’s Frutiger and Optima, and Monotype’s Gill Sans) are an attempt to improve the readability of sanserifs by applying classical roman structure to the letterforms. To enhance its versatility, Mr. Pasternak designed a wide variety of alternate characters, rare ligatures, ornaments and swashes. Chianti is a friendly sanserif useful for a broad range of typographic needs.

The idea for Gilman started simple enough, a serif typeface that works well for large amounts of text. However, after many struggles creating a quality typeface digitally, I decided to first draw the complete alphabet by hand on paper, and then trace that digitally. The result is a unique workhorse typeface with a subtle “human touch” that is very rare in this modern technological age. Gilman has extensive language support and comes with many opentype features like true small caps, tabular lining figures, stylistic alternates, ligatures and more. Gilman Sans (derived from the serif) is an excellent compliment and works together harmoniously with Gilman on the page.

Prototype is a typeface with a very contemporary identity crisis—is it old or new? uppercase or lowercase? serif or sans-serif? Prototype tries to be all things to all people. There have been many attempts at creating a universal typeface, one that rationalises the alphabet and removes the inconsistencies of upper and lower case, applying an unreasonable logic to something that has grown organically ...and is already perfectly usable! Prototype was the same experiment carried out at a time when design was experiencing an identity crisis of its own—letterforms that try to be all things to all people but end up being something else entirely.

Power Grotesk is a sans serif typeface with details that give typography that has its own characteristics from the thinnest to the thickest that is slightly widened. The goal is to create a typeface with legibility and good contrast between black and white so that it is suitable for different sizes. The typeface has a special feature that aids in reading and reproducing, trapping the right-sized ink for the text to work. The geometric shapes and structures reflect the inspiration and influence of medieval typography. Power Grotesk moves between the vast historical material that makes up modern typography, combining contemporary details with classic styles.

French type designer Xavier Dupré created this serif FontFont in 2009. The family contains 4 weights: Regular, Italic, Bold, and Bold Italic and is ideally suited for advertising and packaging, book text, festive occasions, editorial and publishing, logo, branding and creative industries as well as web and screen design. FF Yoga provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Yoga super family, which also includes FF Yoga Sans.

Malsheta font is designed by combining an elegant script font with a simple and charming serif font style that makes this font look different and unique. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with sans or serif. Featured: Standard Uppercase & Lowercase Numeral & Punctuation Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ Alternate & Ligature PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

Proudly present Hypebuzz - Hipster Type, created by ikiiko. Hypebuzz is an urban sans serif font with a distinctive wide shape. This type has a character of streetwear vibes, hip-hop, youth, urban culture, etc. Hypebuzz had a 2 types of letters allows us to explore the text with creativity. This type is very suitable for making a poster, magazine layout, brand logo, sleeve cover, party flyer, quotes, or simply as a stylish text overlay to any background image. What's Included? 2 Weights : Regular & Outline Uppercase & Lowercase Numbers & Punctuation Multilingual Support Works on PC & Mac Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Feloxi is a crafted neon-inspired font giving us the creativity to replicate traditionally hand-made lettering from the imagination of their computer. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with sans or serif. **Featured:** * Standard Uppercase & Lowercase * Numeral & Punctuation * Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ * Alternate & Ligature * PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

Fabrikat Kompakt (formally known as Fabrikat) is a type family designed by Christoph Koeberlin with creative input of Hannes von Döhren. The Sans Serif family is published by HVD Fonts and consists of seven weights plus matching italics. Its geometric design is based on German 20th century engineers’ typefaces and has a plain and precise appearance. The shapes are optically corrected, yet retain an uncut charm. They work best in display as well as text sizes. The type family is equipped for complex, professional typography with OpenType Features like alternate letters, arrows, fractions and an extended character set to support Central and Eastern European as well as Western European Languages.