As one of the most popular rock bands of the world, Foreigner has rocked the charts with 10 multi-platinum albums and sixteen top 30 hits in the last 40 years. But one might ask what a band this successful has been missing all these years? No head games here...a consistent typeface based on their logo is the answer. As fans of Foreigner, we've taken the essence of their iconic logotype and expanded it out into a full typeface in regular and bold weights to celebrate their 40th anniversary tour. The Jukebox Hero Family celebrates the typographic stylings of Foreigner, with the soft rounded terminals and an open geometric feel, including the unique stencil flavor of the original logo. It inherited the friendly stylings of the all Capitals logo that inspired it, and goes on to include a full standard character set with expansive international support of latin based languages, and two weights jumping from regular to a beefy bold. This family is ready to rock the charts for your designs towards that of a modern, comfortable appeal. Here's what's included with Jukebox Hero Family bundle: 413 glyphs - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 3rd graphic for a preview of the characters included) 2 weights: Regular & Bold. Fonts are provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why Jukebox Hero Family bundle is for you: You're a die-hard Foreigner fan, and have a case of "Double Vision" and need both font weights. You're looking for a stylish and sophisticated soft sans-serif stencil typeface family. You've been waiting for fonts like these. You're looking for a Sci-fi vibe typeface that has a look that feels familiar. You just like to collect quality fonts to add to your design arsenal

Bely is the first design by French newcomer Roxane Gataud. Too many typefaces are either governed by fear and never accomplish what they could, or are unrestrained which results in their frenetic dangling like a leaf caught in a spider’s web. Bely’s strength is that it has both restraint and freedom throughout the text weights and into the unique display weight. There is no fear in this type family, but only great respect for both the tradition of reading and the opportunity to make an impression. Bely is a high-class throwback containing four text weights which were built upon classical proportions to capitalise on reading familiarity. Bely Text features balanced capitals and a play between large, triangular serifs at the top and thick, bracketed, rectangular serifs at the bottom. The family is capped by a radical, expressive French-style display weight which pushes the rules of the text weights to their logical extreme. Bely Display, truly daring with its monstrous and angled contrast, exploits the features which make an impression at larger sizes. In the end, Bely Display is adventurous when used in packaging, identities, and headlines with attitude, while Bely Text’s calm baseline and piercing ascenders give paragraphs texture and familiarity. Bely covers the Latin A Extended glyph set and brings its sense of confidence to your projects with its two text weights, matching italics, and unique display style. Bely’s satisfying OpenType features allow for the implementation of typographic niceties such as small caps, both tabular and proportional lining and oldstyle figures, ligatures, alternate characters, case-sensitive variants, and fractions. The complete Bely family, along with our entire catalogue, has been optimised for today’s varied screen uses. Awards – Selected for TypeTogether’s Typeface Publishing Incentive Programme scholarship in 2014. – Selected by French magazine Étapes for the 2014 Diploma Issue. – Selected for the 2014 exhibition “TransFormations” at Centre Pompidou. — Received the SOTA catalyst Award 2016

The Brass Family has a lineage that extends into English history. About five hundred years ago a devout, but anonymous Englishman gave glory to the God he worshipped by designing the capital letters and decorations of these two fonts. Originally recorded in The History Of Mediaeval Alphabets And Devices by Henry Shaw (London 1853), they are described by Alexander Nesbitt in his Decorative Alphabets And Initials (Mineola, NY 1959) as “Initials and stop ornaments from brasses in Westminster Abbey.” I wish I could say I remember seeing them when I was there, but that was forty-two years ago and all I remember was seeing the tomb of Edward the Confessor. One definition of “stop” as a noun is a point of punctuation. I have heard people from the British Isles speak of a “full stop” when referring to a period. Some may remember a 19th century form of communication called a telegram being read aloud in an old movie, with the use of the word “stop” to indicate the end of a sentence or fragment. A full dozen of these stop ornaments are provided. They occupy positions 060, 062, 094, 123, 125, 126, 135, 137, 167, 172, 177 & 190. The Brass Family consists of two fonts: Brass and Brass Too. Both fonts have an identical upper case and ornaments, but paired with different lower cases. Although the typefaces from which the lower cases were drawn are both of modern design, both are interpretations of the textura style of blackletter in use in England when the upper case and ornaments were fashioned for the Abbey. Brass is paired with Morris Gothic, which matches the color of the upper case quite well. Brass Too is paired with Wedding Regular, which is distinctly lighter than the upper case. I find it very interesting how each connects differently. The resulting fonts are unusual and most useful for evoking an historic atmosphere.

Kangaroo FS Joey was the offspring of a project with Rudd Studio to develop a logotype for an online streaming TV service, in 2008. While under wraps, the secret project was code-named Kangaroo. The logotype led to a second project, to design a corporate typeface for the service. It was the first big project Fernando Mello had worked on with Jason Smith. “Like any designer who just joined a team, I was very excited about it, drawing and sketching lots of ideas. I remember Jason and I experimenting with lots of possibilities, for both the logo and the typeface.” Online As the font for a Spotify-style, internet-based service, FS Joey needed to be highly legible on-screen, including at very small sizes. There had to be a range of weights, and they’d have to work well in print, too. It was also important that it felt corporate, not too quirky, while still having a strong character of its own. Quirkiest “We designed three weights specifically for use on the Web,” says Jason Smith. “There was the usual fight between me and my team. I wanted at least one identifiable letter that was a quirk. As always I went straight for the lowercase ‘g’, and it was drawn numerous times with lots of variation. I got the quirkiest one accepted by the client.” But, later in 2009, the Competition Commission blocked Project Kangaroo, and Fontsmith were left with a couple of weights of an as yet unused font. From Kangaroo, Joey was born. A favourite “Straight away, people started to notice the typeface,” says Jason. “I can take the credit for pushing the art direction and standing up for the quirks. But it was Fernando who was the key to pulling it all together and adding his own distinct flavour. Now it’s one of my favourite designs in our library.” Fresh and friendly, geometric and energetic, Joey is available in five weights, all with italics, all finely-tuned for both screen and print.

Kangaroo FS Joey was the offspring of a project with Rudd Studio to develop a logotype for an online streaming TV service, in 2008. While under wraps, the secret project was code-named Kangaroo. The logotype led to a second project, to design a corporate typeface for the service. It was the first big project Fernando Mello had worked on with Jason Smith. “Like any designer who just joined a team, I was very excited about it, drawing and sketching lots of ideas. I remember Jason and I experimenting with lots of possibilities, for both the logo and the typeface.” Online As the font for a Spotify-style, internet-based service, FS Joey needed to be highly legible on-screen, including at very small sizes. There had to be a range of weights, and they’d have to work well in print, too. It was also important that it felt corporate, not too quirky, while still having a strong character of its own. Quirkiest “We designed three weights specifically for use on the Web,” says Jason Smith. “There was the usual fight between me and my team. I wanted at least one identifiable letter that was a quirk. As always I went straight for the lowercase ‘g’, and it was drawn numerous times with lots of variation. I got the quirkiest one accepted by the client.” But, later in 2009, the Competition Commission blocked Project Kangaroo, and Fontsmith were left with a couple of weights of an as yet unused font. From Kangaroo, Joey was born. A favourite “Straight away, people started to notice the typeface,” says Jason. “I can take the credit for pushing the art direction and standing up for the quirks. But it was Fernando who was the key to pulling it all together and adding his own distinct flavour. Now it’s one of my favourite designs in our library.” Fresh and friendly, geometric and energetic, Joey is available in five weights, all with italics, all finely-tuned for both screen and print.

"Berganza" is a typeface designed as a tribute to the spanish century called "Siglo de Oro". Embellished with several ornaments and swashes, it quickly reminds an age in which castilian arts & letters were flourished, as well as the fantasy knighty fables adventures of heroes, loved ladies and evil villains. Although the Siglo de Oro cannot be set in specific dates, it is generally considered to have lasted more than a century; between 1492, the year of the discovery of America and 1681, the year in which the writer Pedro Calderón dela Barca died. Lope de Vega, Francisco de Quevedo, or even William Shakespeare (in England) are also famous figures of this time. Berganza typeface takes its name from the main character of the picaresque novel "The Conversation of the Dogs" (Cervantes, 1613). Berganza is able to speak with the other dog Scipio on a big number of social & philosophical topics. Talking about technics, Berganza is a modern typeface but with a humanist flavour. Thanks to its various styles and flourishes, it immediately refers to the culteranism aesthetic of that time, whose aim was to elevate the noble over the vulgar. But also, Berganza takes advantage of the contemporary technology, highlighting in his drawing the contrasted forms and certain broken and unusual strokes in order to give it a brave and different style touch. Berganza includes four weights to be used for continuous reading with great visual richness. However, it is more recommended for large sizes, since its unusual and particular details appear when the letter grows. Finally, the hundreds of glyphs and Opentype features that it has incorporated, allow us to change the aesthetics of the type according to our needs. OPENTYPE FONT 518 CHARACTERS 1113 GLYPHS 4 INSTANCES (Regular, Bold, Italic & Bold Italic) 38 LANGUAGES 28 LAYOUT FEATURES (stylistic sets, ligatures, historical ligatures, swashes, contextual alternates, numerals, etc) DESIGNED BY CARLOS CAMPOS IN 2021 www.cuchiquetipo.com Dummy text from wikisource.org («Rinconete y Cortadillo», by Miguel de Cervantes).

Antique monumental incriptional majuscule, originally carved in stone, and sometimes called “Roman Capital”, is the origin of the upper-case part of our latin alphabet. Its narrowed form, derived from handwritten originals used between the first to third century A. D., served as the inspiration for the Mramor typeface, which I drew with ink on paper in 1988 under Jan Solpera’s leadership. After composing negative letters on a strip of film it was possible to use Mramor with the early phototypesetting devices. In 1994 with the help of Macintosh IIvi I added the lowercase letters and bolds, and issued this typeface as 14-font family. After some years of using Mramor for various purposes, I realized a need of modernization and humanizing its very fragile appearance, as well as removing numerous decorative and useless parts. Besides that, type design made a huge technical progress in past few years, so I was able to finish the remaining approximately 9600 glyphs contained in the present font system named Amor. It is already usual to combine sans and serif fonts within one family in order to distinguish (e. g. in a book) historical part from contemporary, a plain chapter from a special one, or, in quotations, to divide speaking persons. Sans-serif typefaces don't arise by simple removal of serifs; they have to be drawn completely separately, when occasionally many declined forms may be made, considered to the serifed original. Nevertheless, both parts of this type system appear consistent as for proportional, aesthetic and emotional atmosphere. Usage of type is often closely linked to its original inspiration, in this particular case with architecture and figurative sculpture. An inner “order” was also text setting in smaller sizes. A smooth scale of weights enriches the possibilities in designing of magazines, brochures, exposition catalogues and corporate identity. Economizing, but opened shape of characters is well legible and antique hint comes into play after longer reading.

Anface is a bold, square font with a playful, creative letters. This font is unique because of its bold and strong letterforms that evoke a feeling of confidence and strength. The square shapes add a modern, geometric element that gives it a cool and contemporary look. In terms of functionality, Anface offers a range of styles, including regular and bold, as well as a full character set that supports multiple languages. Its special features include a full range of punctuation and symbols, making it a versatile choice for a variety of design projects. The design concept behind Anface was to create a font that was both bold and playful, making it perfect for a variety of creative projects: headlines, logos, and other design elements that required a strong and confident visual impact. Its unique square shape and bold letterforms make it a fresh and exciting addition to any designer's toolkit. Here are a few ideas for where Anface could be used: Tech companies: The geometric design of Anface could be a good fit for technology or software companies, as it has a modern and futuristic feel. Sports teams: The bold, strong letterforms of Anface could be used for sports team logos, jerseys, and other branding materials. Its square shape gives it a sporty and athletic look. Architecture firms: The clean, modern lines of Anface make it a great choice for architecture firms or any businesses related to construction or design. Art and design studios: Anface's playful, creative design would be well-suited for art and design studios, or any business related to the creative industries. Music industry: Anface's bold, attention-grabbing design could be used for music album covers, posters, or other promotional materials. Cafes and restaurants: Anface's square shape and bold design could be a good fit for cafes or restaurants that want to create a modern and unique brand identity. Its playful and creative look could help businesses stand out and create a unique visual identity.

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. Caslon Antique was designed by Berne Nadall and brought out by the American type foundry Barnhart Bros & Spindler in 1896 to 1898. It doesn't bear any resemblance to Caslon, but has the quaint crudeness of what people imagine type looked like in the eighteenth century. Use Caslon Antique for that old-timey" effect in graphic designs. It looks best in large sizes for titles or initials. Caslon Black was designed by David Farey in the 1990s, and consists of one relatively narrow and very black weight. It is intended exclusively for titles or headlines. Caslon Black has a hint of the original Caslon lurking in the shadows of its shapes, but has taken on its own robust expression. Caslon Graphique was designed by Leslie Usherwood in the 1980s. The basic forms are close to the original Caslon, but this version has wide heavy forms with very high contrast between the hairline thin strokes and the fat main strokes. This precisely drawn and stylized Caslon has verve; it's ideal for headlines or initials in large sizes."

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond" types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. Linotype has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. Garamond Pemiere Pro was designed by Robert Slimbach, and released in 2005."

Southern Belle, a cute little handdrawn font with a ton of character and a slow, southern drawl, was inspired by sweet tea and southern blossoms. Its uppercase letterforms would be a great fit for logos, envelope addresses, and more! This Southern Belle font features repeating borders, and a ton of cute little doodles. (try using + + +, = = = , and _ _ _ to see borders repeat). To access all of the characters in this font, we recommend using the glyphs panel in Adobe Illustrator. This font works best in open type aware software. Comes as an .otf font file. NOTE: To access all of the cute extras in this font that are not accessible from your keyboard, you will need software with open type glyph capabilities such as ADOBE ILLUSTRATOR or ADOBE INDESIGN.

Palm Sunday - Quirky Easter Day Theme Font is a unique typeface designed to capture the playful spirit of Easter and Palm Sunday. This font is characterized by its quirky, chaotic, and variable thick-thin letterforms, which add an element of fun and intrigue to your designs. It can be used effectively either on its own or in combination with its ten charming variations. With ten distinctive variations inspired by Easter day, including eggs, bunnies, carrots, bunny ears, and flowers, Palm Sunday is the ideal choice for projects related to Easter, Pascha, and the joyous celebrations associated with the holiday. It perfectly suits children's themes, crafting projects, and any design that seeks to evoke a sense of fun, playfulness, and a vibrant, colorful aesthetic.

It shouldn't be a surprise to anyone that these letter shapes are familiar. They have the unmistakable color and weight of Cooper Black, Oswald Cooper's most famous typeface from 1921. What should be a surprise is that these letters are actually from George Auriol's Robur Noir (or Robur Black), published in France circa 1909 by the Peignot foundry as a bolder, solid counterpart to its popular Auriol typeface (1901). This face precedes Cooper Black by a dozen of years and a whole Great War. Cooper Black has always been a bit of a strange typographical apparition to anyone who tried to explain its original purpose, instant popularity in the 1920s, and major revival in the late 1960s. BB&S and Oswald Cooper PR aside, it is quite evident that the majority of Cooper Black's forms did not evolve from Cooper Old Style, as its originators claimed. And the claim that it collected various Art Nouveau elements is of course too ambiguous to be questioned. But when compared with Robur Noir, the "elements" in question can hardly be debated. The chronology of this "machine age" ad face in metal is amusing and stands as somewhat of a general index of post-Great War global industrial competition: - 1901: Peignot releases Auriol, based on the handwriting of George Auriol (the "quintessential Art Nouveau designer," according to Steven Heller and Louise Fili), and it becomes very popular. - 1909-1912: Peignot releases the Robur family of faces. The eight styles released are Robur Noir and its italic, a condensed version called Robur Noir Allongée (Elongated) and its italic, an outline version called Clair De Lune and its condensed/elongated, a lined/striped version called Robur Tigre, and its condensed/elongated counterpart. - 1914 to 1918: World War One uses up economies on both sides of the Atlantic, claims Georges Peignot with a bullet to the forehead, and non-war industry stalls for 4 years. - 1921: BB&S releases Cooper Black with a lot of hype to hungry publishing, manufacturing and advertising industries. - 1924: Robert Middleton releases Ludlow Black. - 1924: The Stevens Shanks foundry, the British successor to the Figgins legacy, releases its own exact copies of Robur Noir and Robur Noir Allongée, alongside a lined version called Royal Lining. - 1925: Oswald Cooper releases his Cooper Black Condensed, with similar math to Robur Noir Allongée (20% reduction in width and vectical stroke). - 1925: Monotype releases Frederick Goudy's Goudy Heavy, an "answer to Cooper Black". Type historians gravely note it as the "teacher steals from his student" scandal. Goudy Heavy Condensed follows a few years later. - 1928: Linotype releases Chauncey Griffith's Pabst Extra Bold. The condensed counterpart is released in 1931. When type production technologies changed and it was time to retool the old faces for the Typositor age, Cooper Black was a frontrunning candidate, while Robur Noir was all but erased from history. This was mostly due to its commercial revival by flourishing and media-driven music and advertising industries. By the late 1960s variations and spinoffs of Cooper Black were in every typesetting catalog. In the early- to mid-1970s, VGC, wanting to capitalize on the Art Nouveau onslaught, published an uncredited exact copy of Robur Black under the name Skylark. But that also went with the dust of history and PR when digital tech came around, and Cooper Black was once again a prime retooling candidate. The "old fellows stole all of our best ideas" indeed. So almost a hundred years after its initial fizz, Robur is here in digital form, to reclaim its rightful position as the inspiration for, and the best alternative to, Cooper Black. Given that its forms date back to the turn of the century, a time when foundry output had a closer relationship to calligraphic and humanist craft, its shapes are truer to brush strokes and much more idiosyncratic than Cooper Black in their totality's construct. Robur and Robur Italic come in all popular font formats. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages. A range of complementary f-ligatures and a few alternates letters are included within the fonts.

Alf R. Becker was a noted sign painter, designer and the creator of hundreds of unique alphabets which were published in the trade magazine Signs of the Times during the 1930s through the 1950s. Thanks to Tod Swormstedt of ST Media [and who is also the curator of the American Sign Museum in Cincinnati], Jeff Levine received some reference material on Becker's work. Becker displayed many of his type styles within decorative panels—a popular trend in the days when signs were hand-lettered. Using the reference material as a guide, Jeff has re-drawn twenty-six sign panels for adaptation to digital print work. While the designs in themselves are not thoroughly unique to Alf Becker, he has left behind some tangible examples of how sign painters embellished their lettering work. With the use of complementary colors and tones, these panels—joined with vintage lettering - classically recreate the warm and attractive advertising of years ago.

In 1948, Mergenthaler Linotype released the first weights of Trade Gothic, designed by Jackson Burke. Over the next 12 years Burke, who was the company’s Director of Typographic Development from 1948 through 1963, continued to expand the family. Trade Gothic Next is the 2008 revision of Jackson Burke’s design. Developed over a prolonged period of time, the original Trade Gothic showed many inconsistencies. Under the direction of Linotype’s Type Director Akira Kobayashi, American type designer Tom Grace, a graduate of the MA Typeface Design in Reading, redesigned, revised and expand the Trade Gothic family. Many details were improved, such as the terminals and stroke endings, symbols, and the spacing and kerning. Moreover, there are newly added compressed widths and heavy weights perfect for setting even more powerful headlines. Trade Gothic Next brings more features and better quality for today’s demanding typographers. Trade Gothic Next® font field guide including best practices, font pairings and alternatives.

Nexus (2004) consists of three matching variants – a serif, a sans and a slab – which makes it a highly versatile typeface. Nexus started as an alternative to Seria, a typeface Majoor had designed some 5 years earlier. But soon the design developed into a new typeface, with numerous changes in proportions and in details and with a redrawn italic. Besides the three connected versions (Nexus Serif, Nexus Sans, Nexus Mix) Majoor designed a monospaced version called Nexus Typewriter. The Nexus family is a workhorse typeface system like Scala, with features such as small caps in all weights, four different sorts of numbers and an extensive set of ligatures. All fonts in the Nexus family come in regular, italic, bold and bold italic. Free bonus: there are more than 100 elegant Swash italics and dozens of arrows and other icons. The Nexus family was awarded the First Prize at the Creative Review Type Design Awards 2006.

Blossomy is a pictographic font consisting of 72 plant and flower illustrations, designed by kapitza. The font explores the beauty of shapes and structures in nature. The illustrations are based on photographs which have been traced by hand and are the result of a long term interest in the organic and erratic lines of naturally growing plants. The idea for Blossomy originated several years ago via a series of paintings exploring forms and structures in nature. The outlines for those paintings were traced in Illustrator and then transferred onto canvas. The outcome was so simple and beautiful that the designers decided to keep working on new illustrations and combine them in a font. Blossomy can be used as individual illustrations or to create patterns. The font covers a wide variety of flora and fauna, including pot flowers, a bonsai trees, leaves, blooms and grasses, and gives creatives a wide variety of shapes to get inspired by and use in their work.

Love Script came about as a way to finally answer the requests by individuals to take my brush pen/marker lettering styles and turn them into a typeface. Literally, everything lined up perfectly and there was a renewed impetus to push this genre, this style of lettering I have adapted over the years into what will become a series of brush pen/marker typefaces. The first I chose to complete was a high-contrast variant… I seem to be attracted to high contrast, high energy letters (think Lust, Lust Slim and Lust Script). As I was finalizing everything, I kept saying ‘I love this script’, which ultimately led the christening of the typeface as Love Script. For more fun, visit the Love Script Minisite Designer’s note: for this font to truly sing, be sure you have Contextual Alternates on in your OpenType settings. Hope you love it as much as I do.

Corporative Sans Rounded Condensed is the narrowed version of Corporative Sans Rounded that offers high performance when using for text, what makes it the perfect match for Andes Rounded. The font works well at both display and small sizes. Corporative Sans Rounded Condensed is the perfect choice for logotypes, posters, signs, branding, packaging and so on! Corporative Sans Rounded Condensed comes with Latinotype’s standard set of 350 characters, making it possible to use the font in 128 different languages. Corporative Sans Rounded Condensed provides users with a wide range of characters and weights for every project. By combining different variants, designers can achieve the best results. The family consists of 32 fonts: a basic family that includes 8 weights plus italics and an alternative family of 8 weights with matching italics as well. Corporative Sans Rounded Condensed was created by Latinotype Team and developed by Elizabeth Hernández and Rodrigo Fuenzalida, under the supervision of Luciano Vergara and Daniel Hernández.

Best Choice is a family of next-generation monospaced fonts for developing, programming, coding, and table layout. Some desirable features in monospaced fonts are listed below. 1.Easy to distinguish 2.Easy to identify 3.Easy to read Best Choice has very distinguishing letterforms for confusable letters such as Zero&Oh, One&I, and Two&Z. A lot of ingenuity makes this family very distinguishable. Italics have a very large inclination angle to be distinguished from their Roman. For the same reason, Italics are slightly lighter than Romans. Italic is not cursive Italic. It is near the slanted Roman. This is an intentional design to identify Italic letters. Cursive is not suitable for programming font. Very clean and natural letterform is good for reading. Common curvature for tails and hooks makes harmony and a sense of unity. Best Choice supports almost all Latin including Vietnamese and Cyrillic. Try this all-new experiment.

P22 Barabajagal is a unique take on the display fat face by way of doodling fun. Somewhat informed by the shapes of an early 1970s film type called Kap Antiqua Bold, this font’s aesthetic is the stuff of boundless energy and light humour, where an uncommon “peak” angle drawing perspective results in sturdy trunks, fat bottom curls, and active ascenders eager for mobility in space. This is the kind of font that makes you wonder whether it was drawn with rulers, protractors and compasses, or just by a mad doodler’s crazy-good free hand. Regardless, Barabajagal easily turns the geometry of modern forms into an exercise in sugar-loaded fun. It’s a very good tool to use in design geared at kids and young adults, such as food and toy packaging, books, animation, cartoons and games. Barabajagal comes with over 550 glyphs, lots of alternates, and a few ligatures and swash caps. It also contains extended support for Latin languages.

Optimisti is Finnish for optimist – and it’s an optimistic, light-hearted feeling that this trio of handwriting fonts transfuses into all kinds messages and identities. Casual, playful and character-strong as they are, the three of them make a perfect team for headlines, slogans, teaser texts and brand naming. Besides the two original fonts – “Optimisti Smooth” and “Optimisti Sparkling” differing in outline structure and texture – “Optimisti Decor” now joined the game. Optimisti Decor is loaded with a multitude of artful elements that can convey a very festive atmosphere – or, on the contrary, ironically make fun of it. Its features are is especially striking when used in all-caps setting. Use the Optimists separately or together to make a humorous – or serious but always cordial impression in print, on the web, on packaging or even on your shopping bag … All Optimisti fonts have a Western European, a Central European and an Extended Cyrillic character set. They support approximately 100 languages.

Virginia Neo is more than an update to the original Virginia family, designed in 1970 and strongly influenced by the popularity of Futura and Kabel in that era. Virginia Neo is a completely redrawn version based on the original design which won its designer first place ahead of 5,000 other submissions to the Lettergraphics International Typeface Design Competition in the same year. The original typeface family comprised 5 weights, the lightest of which was omitted from the initial 2008 digital offering but has now been included in the Neo version, along with a new Heavy weight rounding out a family of 6. Each typeface includes more than 450 glyphs, enough to satisfy more than 80 languages plus a smattering of ligatures, useful geometric ornaments and arrows. Virginia Neo fits the compact, comfortable-tightness of seventies-retro typography currently re-emerging in today’s advertising. Its high readability, femininity and elegance makes it suitable for subheads, headlines, posters, branding and the web.

Trapped home during the Coronavirus outburst of March 2020 the Zetafonts team found some solace from the world-wide anxiety by designing letters for the #36daysoftype challenge. To fight dark thoughts and spread some good karma we decided to add a free font twist, selecting the best glyphs drawn to develop a collection of ten free typefaces for download. We did our best to make this little gift to the community valuable, though developed in record time: although playful and excessive, these typefaces all stem from our current research in contemporary trends and historical design solutions, bridging calligraphy and design. The typefaces have been published daily starting Monday, March 30. You can download and use the typefaces in any way you desire, as they are totally free for commercial and non-commercial use. We are not asking anything back, but feel free to share the good karma and, if you want, please consider a donation for hospitals.

Introducing Marcel Merlina - A Lovely Chic Script Font Marcel and Marlina is now released as beautiful as romance is. This font-type gives you the vibe of an elegant and the classic-yet-so fresh kind of feeling. The curves and the flexibility of the fonts provide you the warm and familiar sense—as if you are reading letters from your beloved ones. Marcel and Marlina is meant to be endearing—portray the warmth of love. This font is designed to be used in such occasions which require high involvement of delightful emotion. This font would be best to be used in wedding invitations, love letters, and sincere greeting cards for someone so dear to you. FEATURES - Stylistic Alternates - Ligatures - PUA Encoded - Uppercase and Lowercase letters - Numbering and Punctuations - Multilingual Support - Works on PC or Mac - Simple Installation - Support Adobe Illustrator, Adobe Photoshop, Adobe InDesign, also works on Microsoft Word Hope you Like it. Thanks.

A NEW HOPE! You begged with us..! You pleaded with us..! But we decided to release the official Richard Starkings font anyway! Huh? WHAT? You heard that line before? Where? Hmm... on this very site...? Well, yes, the Hedge Backwards font is all fine and dandy and does resemble the lettering legerdemain of comic book lettering robot, Richard Starkings... but has it been tweaked over the years to better suit the writing stylings of ELEPHANTMEN creator and writer, Richard Starkings? Has it been refurbished and digitally remastered by ELEPHANTMEN designer and Comicraft Secret Weapon, John JG Roshell? Hmm? No? Well then... here it is, retooled, reimagined and reStarkingsed...ah, what the hell, we started from scratch! This ain't no Greedo Shoots First -- you won't have to keep your pasty '70s VHS recordings of previous Richard Starkings Fonts inside a concrete bunker. Because any other font that claimed to be the official Richard Starkings font would have been called The Official Richard Starkings Font, would it not?

Sharplion is a typeface family designed by Zeki Michael and Leyla Melis Aslan. It’s a simple, but sharp display typeface with a clear yet powerful personality, created to not only optimize space, but also build contrast on the printed page and on the screen. Sharplion, coming in two weights and a matching slanted version, is designed to give that neo-vintage industrial feel in 'titles and hierarchic subheadings, logotypes and cases of short and simple copywriting for the artisan, hand-made and small batch look.’ The first 4 letters for what is now Sharplion, were designed in 2018 by Zeki Michael to be used as a logotype for Depo Coffee Roasting’s branding project. In early 2019 after Zeki designed all the letters, numbers and glyphs, he teamed up with talented designer, Leyla Melis Aslan to add strength to the project. The full Sharplion type system includes Regular, Black and Slanted styles – providing a simple but sharp contrast type solution for digital and print design work.

The Superior Marking Equipment Company was originally located in Chicago, Illinois and over the years produced a line of both commercial and toy rubber stamp printing sets which were used for making signs, posters, tickets and other printed items. Rough Print JNL reproduces the scanned images printed from one of the toy rubber stamp sets. The sample characters were smaller than one half inch in height and were further reduced during scanning. This gives the end result of a typeface which looks like rubber stamp imprints at small sizes, and very angular, distorted, somewhat grunge type when printed at larger sizes. There is a limited character set consisting of alphabet, numerals, some punctuation and currency symbols. No kerning was added to keep the hand-made appeal. Rough Print JNL is an all caps font with the letters and numbers jogged randomly on both the caps and lower case keystrokes. For a similar design with lower case, Amateur Printer JNL is recommended.

Nexus (2004) consists of three matching variants – a serif, a sans and a slab – which makes it a highly versatile typeface. Nexus started as an alternative to Seria, a typeface Majoor had designed some 5 years earlier. But soon the design developed into a new typeface, with numerous changes in proportions and in details and with a redrawn italic. Besides the three connected versions (Nexus Serif, Nexus Sans, Nexus Mix) Majoor designed a monospaced version called Nexus Typewriter. The Nexus family is a workhorse typeface system like Scala, with features such as small caps in all weights, four different sorts of numbers and an extensive set of ligatures. All fonts in the Nexus family come in regular, italic, bold and bold italic. Free bonus: there are more than 100 elegant Swash italics and dozens of arrows and other icons. The Nexus family was awarded the First Prize at the Creative Review Type Design Awards 2006.

RoyalBavarian was comissioned by King Ludwig the First of Bavaria about 1834. He was probably the greatest king Bavaria ever had, but he fell in disgrace for a short affair with the infamous Lola Montez and subsequently had to resign. He died in 1868, peaceful and happy in Nice on the French Riviera. I happened on an original etching of his type-guidelines for official writers of those days about 20 years ago. I always thought it was a very nice Fraktur (Blackletter), not a sturdy militaristic one as most of them are. Being me, I started with first tests immediately and then just forgot the font on my computer. When I was sorting out old stuff a couple of months ago I happened on the etchings once again and kept on working intermittently on the letters. The Plain cut is pretty much like the king wanted it. The Fancy cut is more to my liking and very decorative. Yours in a royal mood, Gert Wiescher.

Hold on to your hats, there’s a new orchestra in town - the Banda Nova! Banda Nova is a crowd pleaser, feeling equally at home on the retail shelf as well as on the cover of your favorite magazine. The 7 weights included in the package offer a wide variety of styles, with delicate and elegantly thin weights morphing into cute, bulbous giants sure to bring a smile to anyone’s face. This versatility makes Banda suitable for virtually any design project, including logos, headlines, covers, packaging and more. We took the time to reimagine Banda, removing traces of our youthful naivety and expanding on everything that made it so good in the first place. Our team is proud to welcome back one of our earliest typefaces in a refreshed and much-improved rendition/adaptation, now featuring full Cyrillic support and almost twice the number of original characters. Are you ready to take center stage again? Download: PDF Specimen | Trial Fonts

“My Dearest Friend” is how she began nearly all her letters to her husband, John. I refer, of course, to Abigail Smith Adams, first Second Lady and second First Lady of the United States. Her famous correspondence with John Adams produced nearly 1,200 letters over a span of some 40 years, leaving us with a priceless record of early American life — from household routines to war and politics to expressions of personal worry and devotion. Although Abigail’s was not the loveliest hand, I found it sure and expressive, as befitting her extraordinary sway and intelligence; it also carries a genuine flavor of the period. In making the font I focused chiefly on her handwriting from the 1780s and ’90s, when she’d taken to using a disconnected cursive, which struck me as distinctive and alluring. The OpenType release of Abigail Adams has scores of ligatures, standard and contextual alternates, lining and old-style figures, cross-outs, ink blots, and full Latin language support.

Designed in 1950s Japan by Okanao & Kushiro, the perfect partnership until artistic temperaments drove them apart. The duo spent years crafting the font with the working title “Messenjā”, Okanao bringing technical expertise to craft letterforms, while Kushiro made it his life, obsessively working late into the night to check pages for errors. For him the project was never about making money, it was an artistic endeavor to reprint the great Western works of literature. When he found out Okanao had secretly sold the rights to the font for use as a logo for a major Japanese manufacturer, Kushiro burned all evidence of the designs in a fit of passionate fury. The two reportedly never spoke again. “Messenjā” was thought lost forever until a type specimen was discovered in a vintage typewriter box bought on eBay. Now redrawn and available as 57-nao, a faithful and beautifully crafted monospace characterized by what is considered Okanao’s defining moment, the angular loop on the lowercase ‘a’.

ITC Berkeley Old Style is based on a typeface designed by Frederic W. Goudy in 1938 called University of California Old Style. It was a private press type for the publishing house of that school. In 1958, about ten years after Goudy's death, Monotype re-issued the type under the name Californian, and it became a very successful face for book typography. Goudy himself said he designed this face to have the greatest legibility possible, and it is indeed free from the exuberances in some of his other faces. Tony Stan redrew the family for ITC for 1983, and it was named ITC Berkeley Old Style, Berkeley being the city where the University of California Press is located. Stan did a careful drawing of eight styles including italics. ITC Berkeley Old Style is a crisply beautiful tribute to a distinguished typeface, and it works well for books, magazines, and advertising display. Featured in: Best Fonts for Tattoos

This is the companion sans family to make the Librum serif families work as well as they do. By companion, I do mean stylistically compatible. But mainly, they have the same vertical metrics. So they work very well for run-in heads, inline character styles, and all the rest of the needs in large books with complex formatting. They are designed for use in InDesign, and they work very well in that environment. The fonts use the same OpenType feature files as the rest of the Librum families. The feature files for the italic and bold are more limited—as I have rarely used things like that [over the past 20+ years]. The character shapes are a bit whimsical. The original ancestor of this book design sans was a very playful font I released as Aerle. It’s been calmed down a lot but is still loose and friendly. For a great deal, see Librum Book Design Group , for a package containing all fifteen fonts!

The Greatest Caps Of The Greatest Font Designer Bodoni's Most Beautiful Display Caps, Finally Available in Digital This font is the largest display caps that Bodoni ever made, painstakingly handcarved and now digitized to wow in any situation. It is one of the most beautiful fonts for whenever you need a stunning all caps display. The obvious and easy choice over tired standards like Trajan, Palazzo will be a highlight in your font collection. Bodoni Palazzo was updated in 2021 to include Small Caps and other new features. Previously only included the "old style" figures (top); Now with lining figures to better match all caps, and small caps numbers to match the small caps. CAL Bodoni Palazzo is a member of our Origin Series. Origin Fonts are designed to be true to the original designer's intentions and fonts. Our Bodoni origin fonts ARE Bodoni fonts, not imitations or interpretations. They were drawn by Bodoni, our team just expanded it for modern use.

Airates, this is my first font, as the name suggests and because this is my first font that I introduced to the world. Inspired by a film where someone who loses all and returns to struggle to find meaning in life that actually clings to the edge of the world and that's where the beginning of a story seems to be reborn. Airates Script Fonts is a typeface thick and easy to read so comfortable to wear .You can use it as a logo, badge, insignia, packaging, headline, poster, t-shirt/apparel, greeting card, business card, and wedding invitation and more. The flowing characters are ideal to make an attractive messages to your taste. mix and match with a bunch of alternative characters to fit your project.It will be more interesting if you add swash / alternative swash. The alternative characters in this font were divided into several OpenType features such as Stylistic Alternates, Ligature and Ligature Alternates. Mail support : maculinc@gmail.com Thank you! Maculinc

Helvetica is one of the most famous and popular typefaces in the world. It lends an air of lucid efficiency to any typographic message with its clean, no-nonsense shapes. The original typeface was called Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas’sche Schriftgiesserei (Haas Type Foundry) in Switzerland. In 1960 the name was changed to Helvetica (an adaptation of Helvetia, the Latin name for Switzerland). Over the years, the original Helvetica™ family was expanded to include many different weights, but these were not as well coordinated with each other as they might have been. At the beginning of the 21st Century, Linotype released an updated design of Helvetica, the Helvetica World typeface family. This family is much smaller in terms of its number of fonts, but each font makes up for this in terms of language support. Helvetica World supports a number of languages and writing systems from all over the globe.