I set out to design a contemporary font that is condensed with thick and thin strokes. The highly structured forms of this condensed font was made more interesting and softer by giving it a slightly calligraphic tone and by adding round corners. Atto's express purpose is to be both utilitarian, compact and technical but with a friendly face. The name "atto" was adopted since it refers to the measurement of "smallness" or detail. You will no doubt discover all the many pleasant nuances within Atto. Adopted in 1964, "atto" comes from the Danish "atten", meaning eighteen. Atto - (symbol a) a SI prefix to an unit and means that it is 10 to the power- 18 times this unit. Examples are one attosecond or one attometer/attometre. Atto is available in for Mac and Windows in Postscript, Truetype and Opentype.

ZILETTI POP is a font used by Girolamo Ziletti in Venice in mid/late 1500. A typographic caracter characterized by a Venetian style cage with slight geometrical imperfections but with a great perceptual level. This is a multilayered variant with a wide range of possibility in variations in terms of end results. With the use of the color your artworks will have news optical effects. Ideal for Covers, Posters, Logos…

The font package Helen Bg Family is in 5 weights and two widths, 18 styles: Thin, Thin Italic, Light, Light Italic, Regular, Italic, Bold, Bold Italic, Black, Black Italic, Light Condensed, Light Condensed Italic, Condensed, Condensed Italic, Bold Condensed, Bold Condensed Italic, Black Condensed and Black Condensed Italic. Helen Bg is made with Bulgarian Design of Cyrillic and is recommended for the publications for Bulgaria. Other version with standard Cyrillic is available from HermesSoft Limited. Typeface design: Vassil Nikolov. Release date: 1991 - 96, HermesSOFT Design notes and Technical data Helen belongs to the typefaces from the humanistic sanserif grotesk fonts. The font is for wide use – from the classical typesetting to the display typography. In the Bulgarian Code Page are included all vowels with accents that are really necessary for the typesetting in Bulgarian language, and are not included in the Cyrillic Code Page: Helen Is available in OpenType PostScript and WEB font formats.

Diabolus - Serif Font Family - Multilingual - 3 Style On the basis of Diabolus, it is a mix of the old-fashioned Gothic serif family. The old-style serif combination combines modern aesthetics with fantasy and Gothic serif fonts, making Diabolus a versatile family that can be used in many different design projects. This font offers a wide variety of styles to help you discover the best mood for your projects, from body text to big headlines, from classic to modern and bold styles. Well suited for books and magazines, magazine and album covers, editorial, headlines, websites, logos, invitations, branding, advertising, and more. CHARACTER RANGES : Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, General Punctuation, Currency Symbols, Letterlike symbols, Arrows, Mathematical Operators, Miscellaneous Technical, Geometric Shapes, Miscellaneous Symbols CJK Symbols And Punctuation, Private Use Area (plane 0), Alphabetic Presentation Forms With this font you can create your unique designs. If you have a question, please contact me. Have a good time.

Modica is a strong and agile Geometric Sans type family comprising 18 fonts. This typeface began life as “Meccanica” – a quirky, heavy, engineering typeface, that later evolved into the more conservative “Technica” type family. And now, the typeface has been distilled down to its simplest and most perfect form to become “Modica”. Modica is a nimble typeface that can handle a multitude of applications – everything from body copy to retail fashion to corporate identities... why not put Modica to task today? Key features: • 9 weights in Roman and Italic • Full European character set (Latin only) • 450+ glyphs per font.

Simpatico is a clean and fresh looking font, with a … nice character! (Simpatico in Italian language is a nice and funny behavior). Designed in two ways: standard and italic; each of which is divided into four weights: light, regular, semi-bold and bold. Simpatico is a versatile font! It has 595 glyphs including: letters that have been drawn with different accents for particular languages; ligatures between characters (eg fl, fi etc …); mathematical symbols and signs; differentiation between capital “i” and lowercase “l”; alternatives for characters like “a”; and much more. Simpatico is a multi-ethnic font! In addition to the glyphs commonly used, Simpatico is also in Greek and Cyrillic.

Takatsuki Style - Japanese Display Font. Takatsuki Style combine ethnic and cultural elements in each of the glyphs. Takatsuki Style font is suitable for those of you who like japanese culture, besides this font is also suitable for those of you who have a japanese restaurant, japanese clothing brand, japanese arts, and business purpose related with japanese culture The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. This font is also support multi language.

Martin, a condensed semi-serif with rounded edges and friendly serifs, shows its charme best in short, pointed sentences, in headlines set in about 20 to 36 p. The playing with serifs in a condensed, very characteristic type design is attractive and the technical skill is convincing. More styles are planned. The idea was to try to apply a given design criteria (also see Volker Schnebel's Marita and Manuel fonts) to every single character. In other words, start with a character and develop all of the others from it. This is quite easy for some characters but extremely difficult for others. This process generates creativity and the characters move away from the initial constructed sketch. Together in a typeface, the individual characters are now all of a piece and character.

Europa Grotesque is a condensed sans serif font family that was originally designed by Sam Ardell (TP) in the 1950’s for the Techni-Process Collection. Steve Jackaman (ITF) acquired the rights to the TP Collection in 1991 and produced Europa Grotesque in its digital form in 1994. Europa Grotesque has impressive impact at display and subhead sizes, and its geometric forms sustain that distinctiveness in both all-caps and lowercase. The family is flexible and freeform enough to support both a laid-back feel while still feeling tight and controlled.

Barge is the epitome of architectural precision in typography. This monolithic and technical headline typeface commands attention with its chamfered strokes that maximize space and provide consistent gaps. Its design embodies the very essence of strength, solidity, and confidence. When it comes to establishing an authoritative presence, Barge is unparalleled. Its bold and imposing structure captures the attention of the viewer and instills a sense of authority and power. It is the perfect font for institutions and organizations that wish to project an image of stability, security, and dependability. In short, Barge is a font that stands the test of time. Its architectural design and technical precision make it an ideal choice for anyone looking to make a bold statement. With Barge, you can create a visual language that speaks of power, strength, and authority, and conveys your message with unwavering confidence. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

OCR A and OCR B are standardized, monospaced fonts designed for Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display graphics. OCR B was designed in 1968 by Adrian Frutiger to meet the standards of the European Computer Manufacturer's Association. It was intended for use on products that were to be scanned by electronic devices as well as read by humans. OCR B was made a world standard in 1973, and is more legible to human eyes than most other OCR fonts. Though less appealingly geeky than OCR A, the OCR B version also has a distinctive technical appearance that makes it a hit with graphic designers.

Destra is a contemporary, narrow serif family, suitable to save space and legible at small sizes. Its shapes are the result of a mix of styles. "Destra" is the Portuguese word for "right hand". The font has several OT features - fractions, old style-, lining-, tabular numbers, superiors/inferiors, alternative glyphs, dozens of ligatures (standard + discretionary) and an exclusive feature to convert Arabic to Roman numerals up to 1000 (download the “OT Features Guide” pdf). Moreover, Destra has an impeccable technical finish, with a systematic review of nodes, curves, spacing and internal data, eliminating the possibility of errors when using it. The family consists of 8 styles, 4 weights - Regular, Medium, Bold and Black, plus their respective italic versions. The fonts are available in OpenType PS/TT and have extended character set to support CE, Baltic, Turkish as well as Western European languages. You can test Destra downloading the free trial font in Medium version (TT only). This trial file supports only Western languages.

Since the early 1980's, the automotive industry has been developing geometric/technical style logotypes for car chrome labels. The styles are ripe with inspiration for great font families, but surprisingly, many of these sleek logotypes are lacking an expansive family to enhance and express their brand in a richer sense, becoming true brand workhorses. The Lustra family finds its origin of inspiration in the HYUNDAI automotive company logo, and from there expands to an 8 font family of weights. Lustra celebrates the techno display styling of the inspiration logotype, transcending its brand inspired origin to give birth to a font family that pulls on modern and historical styles. It inherits a sturdy yet approachable style with its uniform stroke forms and curves, and goes on to include a lowercase, numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers.

OCR A and OCR B are standardized, monospaced fonts designed for Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display graphics. OCR B was designed in 1968 by Adrian Frutiger to meet the standards of the European Computer Manufacturer's Association. It was intended for use on products that were to be scanned by electronic devices as well as read by humans. OCR B was made a world standard in 1973, and is more legible to human eyes than most other OCR fonts. Though less appealingly geeky than OCR A, the OCR B version also has a distinctive technical appearance that makes it a hit with graphic designers.

Several roads have been closed around my village, so I need to drive alongside narrow country roads ro get my groceries done. The roads are so narrow that two cars cannot pass, so you need to use the (muddy) kerbs. A lot of cars these days have Xenon lights and they shine really bright and blue. I am non xenon-phobic, but I can tell you that the ‘old’ yellowish headlight were softer on the eyes, especially when you’re trying to navigate narrow country roads! Yes, I know, a long story leading nowhere, but a little personal story (in my opinion) is better than a boring text full of technical bla bla. A font is a font after all and I don’t need to explain what it looks like, because you can see that for yourself! Headlight Blue is a handmade, all caps display font. It comes with all the trimmings, including two sets of alternates that cycle as you type.

HS Albadr is an Arabic display typeface. It is useful for book titles and graphic projects where a contemporary, geometrical and streamlined look is desired. The font is based on the simple lines of modern and simplified Kufi calligraphy that support Arabic, Persian and Urdu. It has one weight only which is similar to the bold weight. This typeface is created for being used in technical and engineering companies under strict geometric conditions . The company desires to follow the geometrical shape with uniform and equal dimensions in both vertical and horizontal storks; where some parts of the letters are to be cut at a slanting angle of 45 degree to give the impression of a coherent geometrical nature for this font. The typeface HS Albadr is considered as a chain of geometric fonts series designed for engineering companies. After HS Almohandis and HS Alhandasi were designed we are looking forward to giving some additions to the geometric typefaces field.

CONCEPT/CHARACTERISTICS This strikin­gly bold, black and exten­ded 3D font remi­nis­cent of sci-fi films and expe­ri­men­tal type­face design. The font acts as a chain of liga­tures and thus recei­ves a uni­que aes­the­tic. The uni­que let­ter forms are in sharp con­trast to other fonts and thus stand out as a uni­que sel­ling point. APPLICATION AREA Pos­ters, music cover, book cover, logos, as a head­line font for maga­zi­nes or websites … TECHNICAL SPECIFICATIONS Head­line Font | Dis­play Font | Sci-Fi Font »Mega Slant Line« Open­Type Font with 303 gly­phs – alter­na­tive let­ters and liga­tures (with accents & €) & 2 styles (regu­lar & 3d) KONZEPT/BESONDERHEITEN Diese auf­fäl­lig pla­ka­tive, fette und breit­lau­fende 3D Schrift erin­nert an Sci-Fi Filme und ist expe­ri­men­telle Schrift­ge­stal­tung. Die Schrift wirkt wie eine Kette aus Liga­tu­ren (Buch­sta­ben­ver­bin­dun­gen) und erhält somit eine ganz eigene Ästhe­tik. Die sehr eige­nen Buch­sta­ben­for­men wer­den sich deut­lich von ande­ren Schrif­ten abhe­ben und somit als Allein­stel­lungs­merk­mal her­aus­ste­chen. Der Fluss ergiebt sich aus den EINSATZGEBIETE Pla­kate aller Art, Musik Cover, Buch­co­ver, für Logos und Wort­mar­ken, als Dis­play­schrift für Zeit­schrif­ten oder Websites… TECHNISCHE INFORMATIONEN Head­line Font | Dis­play Font | Sci-Fi Font »Mega Slant Line« Open­Type Font with 303 gly­phs – alter­na­tive let­ters and liga­tures (with accents & €) & 2 styles (regu­lar & 3d)

Lytiga Pro is a modern sans-serif typeface with a pronounced techy feel. The family contains 48 fonts: 8 weights from thin to black, 3 widths, and italics. Each font includes a variety of OpenType features: four sets of digits, superior and inferior digits, slashed zero, and a full set of small caps. Rich language support includes all the main Latin-based languages as well as Cyrillic script. The rhythm and character of the typeface makes it suitable for both display and text use.

Shoika is a celebration of geometry. It’s a typographic quest for purity with a touch of hidden gems in the form of unique details and characters. Shoika is perfect for the modern designer who needs a solid, refined and versatile font family for branding, UX, web, packaging and editorial jobs. Shoika presents a wide range of weights (18 fonts), supports an extensive variety of Latin alphabet-based languages (over 200), and it has been manually kerned and auto-hinted for enhanced performance on screen. It includes several OpenType features like case diacritics, tabular figures, arrows, ordinals, inferior and superior figures, numerator and denominator figures, fractions, circled figures, black circled figures, outline dingbats and solid dingbats. All typefaces from Tropical Type Foundry include free updates and free technical support. For custom enquiries don’t hesitate to get in touch: tropicaltypefoundry@gmail.com Imagery credits: Unsplash (Photo), DrawKit and RawPixel (Illustrations).

My wife name is Yasemin. After building this typeface, I wanted to honor with my wife’s name. I think I fully reflects the character I created in my mind. I created ornaments and connected glyphs. Yasemin is an OpenType font that contains 1045 glyphs. Ligatures, alternates, starting, endings, a wide range of latin languages and a set of ornaments. And words specially designed to use in advertising slogan, stationery for weddings, birthdays, etc. TIPS: Try using Yasemin at a 20º angle so that the slanted strokes, ornament become perfectly vertical. Having the decorative ligatures feature (dlig) activated is a good option to see letters dance. TECHNICAL: It is absolutely recommended to use this font with the standard ligatures feature (liga) activated. It makes letters ligate perfectly and also improves the space between words. UPDATES: - 3 December 2015 Opentype Feature (fractions) update. - 20 March 2019 Opentype Feature (fractions) update. Some bug fixes.

No word describes this font better than STYLE... TypeSetIt has taken things just a step further. It takes the look and simplicity of 1950s and 60s advertising and combines it with up to date design characteristics. With three main styles, Plain, Script and Formal, StylePro transforms the Retro look into a versatile, and powerful font that can be used for nostalgic work, or 21st Century design. Style Script is a beautiful upright script with looks that vary from Casual to Formal in appearance. If you're a professional graphic designer, use Adobe Illustrator®, or InDesign®, to access Style Script Pro’s Opentype features. With over 1275 Glyphs, the OTF programming gives a powerful solution to the needs of design professionals. Special thanks to Maximiliano Sproviero (my good friend) for his keen eye and design suggestions, and a note of appreciation to Mark Simonson for helping with technical issues. :)

CONCEPT/ CHARACTERISTICS The lava/soap/pudding character of the font reminds us of a modern bitmap pixel font. »Curly lava bubble« goes even further. The rectangular hard edges expands to soft and almost organic forms. APPLICATION AREA The fancy, modern & decorative font »curly lava bubble« would look good at dis­play size for party flyer & movie pos­ter, music covers or head­lines in maga­zi­nes or websites… TECHNICAL SPECIFICATIONS Head­line Font | Dis­play Font | Decorative Font »curly lava bubble« with 3 stlyes (light, regu­lar, bold) & 305 gly­phs inkl. accents & € KONZEPT/BESONDERHEITEN Der Lava/Seifenblasen/Pudding Charakter der Schrift lässt an eine moderne Bitmap Pixel Schrift erinnern. Wobei »curly lava bubble« noch weiter geht und die harten rechteckigen Kanten zu weichen und fast schon organischen Formen ausbaut. EINSATZGEBIETE Der Font würde sich über fol­gende Gebiete sehr freuen und sich dort wohl füh­len: Logos/Wortmarken aller Art, Flyer für fast jede Party, Plat­ten­Co­ver, CD-Cover, Pla­kat­De­sign, Game- und Video­spiel-Design aller Gen­res, als Head­line­schrift für print und digi­tale Maga­zine, Bücher, Web­sei­ten… TECHNISCHE INFORMATIONEN Head­line Font | Dis­play Font | Deko Font »curly lava bubble« Open­Type Font mit 3 Schrift­schnit­ten (light, regu­lar, bold) & 305 Gly­phen inkl. dia­kri­ti­sches Zei­chen & €

Kurenai is a japanese brush font that we made with excellent taste. We combine ethnic and cultural elements in each of the glyphs. This Osake font is suitable for those of you who like japanese culture, besides this font is also suitable for those of you who have a japanese restaurant, japanese clothing brand, japanese arts, and business purpose related with japanese culture. What’s Included : Standard & Multilingual glyphs Works on PC & Mac Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support for; Afrikaans, Danish, Dutch, French, German, Indonesian, Irish, Italian, Norwegian, Portuguese, Scottish, Spanish, Swedish, Swiss. Hope you enjoy with our font!

In a Jar is a display typeface based in hand lettering. Inspired by the grandmother's kitchen, its colors, forms, smells and the new way for rescue this old things. Designed for use in short text and big sizes is perfect for brand design, headlines, labels, greetings cards and all kind of things related to kitchen and foods. In a Jar is a sweet little family that include alternates, compounds words, ligatures plus a serie of dingbats and ornaments very cute to compliment and accentuate the handmade design. Try and enjoy all fun in a jar! Designed by Coto Mendoza with technical support of Luciano Vergara.

Monofontis is a contemporary, monospaced display typeface full of ligatures and glyphs to keep your designs stylish, modern, and standing out in a crowd. Monofontis typeface has a contrasting character that combines laconic technical forms, extraordinary details, and calligraphic grace, most noticeable in Italic. As a monospaced typeface, Monofontis will be indispensable for magazine titles, headlines, and short text fragments, logos and branding, web and interface design, posters, and advertising due to its unique nature. Furthermore, Monofontis is an excellent match for a tabular design, columns, clear and rigid layouts, and programming code.Monofontis consists of 18 styles: 9 styles in the Basic family, 9 styles in Italics.

As a graphic designer, sometimes it’s impossible not to be inspired by the Swiss Style, specifically the work of Armin Hofmann, who is one of its best exponents. Grids and grotesk and neo-grotesk typefaces are a fundamental part of the tools that make this aesthetic possible. A visual language that has caused full admiration since we were students. Therefore, we decided to design Armin as an homage to Hofmann’s work. Technically, we added stylistic sets applied to the letters –G, R, a, g, h, l, m, n, r, t, u, y– to make Armin more eclectic and suitable for the creation of any visual language.

Greycliff Arabic CF adapts Greycliff’s popular soft, geometric design to the Arabic script. Both Latin and Arabic glyphs are included, allowing for visually cohesive multiple-script applications. Greycliff’s original nine weights are covered, alongside Arabic script diacritics and wide language support, including Modern Standard Arabic, Persian, Pashto, and more. Greycliff Arabic CF works as a complete, self-contained type system, with both Arabic and Latin scripts included and designed to compliment one another. It also pairs well with contrasting typefaces, such as serifs, in both Arabic and Latin scripts. All typefaces from Connary Fagen include free updates, including new features, and free technical support.

Alna is an All Caps Display typeface born with a daily calligraphic sketch exploration focused on recurrent diagonal stroke and reverse contrast inspired by Bastarda and 16th century French Caractères de Civilités forebears St Augustine Civilité. The customised retail typeface offers a stable but full of life feeling. Equiped with a bag full of ligatures for reading optimisation, Alna owns whimsical personality and rhythmic shines at large sizes. Technical use: For optimised readibility, Alna uses ligatures features (liga) to replace (by default) sequences of characters with a single ligature glyph. The longest ligature sequence is three letters. Some combinations can induce problems, especially with long words.

Neogram is a modern neo-grotesque type family inspired by the early roots of Swiss design. The concept was to create a neutral typeface that would demonstrate great clarity while understated in its intended use and application. Stroke contrast is slightly increased, with a more geometric letter shape giving a warmer and more robust personality. Neogram is now available as version 2.0 (2021); the remastered letterforms meet a higher level of technical standards demanded by modern-day users. Details include nine weights with matching italics, three variable widths, 540 characters, five variations of numerals, Opentype features inferiors, superiors, fractions, case-sensitive punctuation, and language support covering Western, South and Central Europe.

I digitized and revitalize Hostetler Fette Ultfraktur Ornamental from the classical type specimen book from Rudolf Hostetler. He was a Swiss type designer, author of “The Printer’s Terms” designed by Jan Tschichold, of “Technical Terms of the Printing Industry” (5th edition was printed in 1995), and of "Type: eine Auswahl guter Drucktypen; 80 Alphabete klassischer und moderner Schriften" (Teufen, Ausser-Rhoden: Niggli, 1958). He also wrote "Type: A Selection of Types" (1949, fgm books, R. Hostettler, E. Kopley, H. Strehler Publ., St. Gallen and London) in which he highlights type made by European houses such as Haas, Enschedé, Deberny and Nebiolo. Jost Hochuli wrote his biography.

The type family consists of six well-distinguished weights, from hair-thin all the way to the one black as the deepest night. In line with the current trend, it touches all boundaries, it stretches beyond technical possibilities and in extremes, it is almost illegible – the counters are reduced to a hairline. All italics have the same proportions as their corresponding regular styles, which emphasises the block-like appearance of the set text. Monopol was designed to thrive on posters, exhibit stands, book covers, magazines, and in complex visual styles. Its twelve styles make it an ideal tool for creating a dynamic composition using solely typographic means.

Yekuana is a typeface whose design is based primarily on the study of certain geometric ethnic ancestral Venezuelan signs, visually rich and originally used in the enrichment of various utilitarian objects with high symbolic and cultural content. Yekuana is a family of two weights, stylistic alternates, fractions, ordinals and ligatures. Its use is recommended for titles or short phrases and elements of oversized visual communication.

San Marco is a part of the 1990 program Type before Gutenberg, which included the work of twelve contemporary font designers and represented styles from across the ages. Linotype offers a package including all these fonts on its web page, www.fonts.de. San Marco was designed by Karlgeorg Hoefer and brings to mind the style of the Italian Gothic found on the cathedrals of Milan and Florence as well as on the facade of St. Mark’s Cathedral in Venice. Its highly stylized characters make San Marco a good choice for extravagant typography.

Legible, technical, clear—with a hint of retro: Compiler is a no-frills font family straight from the heart of a microprocessor. Inspired by console typefaces, the humanist sans serif typeface combines a large x-height with striking serifs on certain letters such as i and l. Those serifs evoke the aesthetics of monospace typefaces for programming. Even though Compiler is a proportional typeface, this detail improves glyph recognition and helps differentiate between individual letters. Combined with vertical stroke ends, which allow for particularly even spacing, the serifs make for an extremely legible typeface. (Even in small sizes.) Brand recognition guaranteed: Compiler is ideal for applications that require a mechanical flavor without appearing offish. You can use it for websites, apps, branding, corporate design, annual reports, signage, and many other areas with perfect results. Compiler consists of two font families; the second one is Compiler Plain. In Compiler Plain, the signature letters lose their serifs and the forms of "a" and "g" are simplified. This way, the shapes are neutralized. The technical impression recedes into the background. Both families can be combined smoothly: you might use the standard Compiler fonts for display sizes and Compiler Plain styles for body copy. For total design control, you can toggle each of the defining design elements individually from Compiler to Compiler Plain and vice versa. Just use Stylistic Sets to fine-tune your Compiler fonts. Compiler provides you with 8 weights in 4 variations: Upright, Italics, Plain Upright and Plain Italics. That's a total of 32 fonts. Each style contains more than 860 glyphs, including advanced typographic tools such as proportional and tabular figures (both lining and old-style) or small caps—something you'll rarely find in this genre. Other glyphs are optimized for display sizes, such as circled figures and various arrows. There's also a set of glyphs designed for web use: with symbols for shopping carts, hamburger menus or checkboxes, you can implement your web projects elegantly and consistently without relying on third-party tools (like an external icon font). Powered by highly productive OpenType functions, Compiler is an intermedia workhorse straight from cyberspace.

Gold is all new for 2021, the complete family has been rebuilt using the multiple masters technique. In this new version we've removed any alternatives that could not be shared across all weights in the family and we've trimmed a few others that just were not practical in keeping a consistent look to the whole font. All the alternates now have matching accented glyphs across all weights. Case sensitive forms have also been added to all weights. With 14 weights the difference between weights are closer together which may give you the effect of a variable font where variable fonts are not supported. For technical reasons the original Gold family has now been split into two families with Gold having ten weights and the four heavier weights under the Gold Magnum family. The Gold and Gold Magnum font families support accented characters for western, central and eastern European countries. Gold comes with OpenType features to access the alternate glyphs however you will need an application such as Adobe Creative Suite to take advantage of alternate glyphs.

Moviemania - Sans Serif font Family - Multilingual - 12 STYLE Moviemania font family is a modern sans serif typeface with its sharp lines and soft turns that form its characteristic structure. It offers you two alternative concepts in your preferences with its sharp lines in upper cases and soft lines in lower cases. It has an ideal modern structure in your preferences for branding and identity creation in today's modern world. Absolutely perfect for movie titles, magazines, branding, branding identity, posters, logo designs, packaging designs, websites - all digital platforms and more! This font can meet your needs in all modern and classic creative projects. CHARACTER RANGES : Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, General Punctuation, Currency Symbols, Letter like Symbols,Arrows, Mathematical Operators, Miscellaneous Technical, Geometric Shapes, Miscellaneous Symbols, CJK Symbols And Punctuation, Private Use Area (plane 0), Alphabetic Presentation Forms GLYPH COUNT : (543) Uppercase typeface Lowercase typeface Numbers Symbols Multilingual With this font you can create your unique designs. If you have a question, please contact me. Have a good time.

Lupulus is a typeface inspired by the works of german expressionist artist and type designer Rudolf Koch. Drawing inspiration from types such as Neuland and Kabel for some of its features, it possesses a gothic and contemporary essence. Its constant rhythm; strict, solemn, yet boldly exuberant keeps it clean and functional. Its expressiveness allows for a wide range of uses: short texts, headlines, posters and branding, for which it is exceptionally well-suited. Lupulus consists of 17 fonts: 8 weights, 8 italic variables and one free ornamental variable. Featuring alternate characters, it is a comprehensive and versatile set built to suit your design needs. It comes fully equipped with Opentype for any and all technical requirements. Learn about upcoming releases, work in progress and get to know us better! On Instagram W Type Foundry On facebook W Type Foundry wtypefoundry.com

Bessemer is an all-caps sans-serif display font inspired by industrial lettering from the 20th century. On its own, it has a predominantly factory-made feel, but is versatile enough to work well in a variety of settings. In other words, it feels just at home on a series of technical guides as it does on a range of hair styling products. Bessemer comes in 5 weights ranging from Light to Bold and has been designed with chamfered edges. This makes it really easy to customize and create your own custom type. It also includes the following OpenType features: • Proportional Lining Figures • Tabular Lining Figures • Superior & Inferior Figures • Numerators & Denominators • Ordinals • Fractions Perfect for logos, posters, t-shirts, packaging and use in video. Delivered in TTF and OTF format. Supports all Western, Central and South Eastern European languages.

A handwritten ”font for technicians“ from ca. 1900. Very geometrical, rigid forms borrowed from the typical characteristics of Jugendstil / Art Nouveau. This script is found in an old magazine which was issued sometime in the years shortly before WWI. The original copy, produced by means of a galvanized plate, is just 7 centimeters wide. It served as the model for technical professions in which, at that time, the captions of drawings were still done by hand. ingoFonts has not only digitized this beautiful typeface, we have also extended it to a whole family. In »Maier’s Alte Nr. 8« special attention was given to ensure the ”uneven“ edges, typical of handwritten script, remained effectively noticeable even in the digitized form. As a result, this ”technical“ font retains a handmade touch, while »Maier’s Neue Nr. 8« is the clean version with exact contours. The Art Nouveau forms, which are characteristic for the period of origin around the turn of the century around 1900, look especially pretty. The high degree of abstraction also seems strange in Maier's No. 8, especially when the age of the original is known. It is generally assumed that it was not until the Bauhaus in the late 1920s that such "modern" typefaces were created. Maier's No. 8 is a generation older! So many of today's supposedly "ultramodern" typefaces look quite old in comparison. In addition to the original two weights, Light and Bold, the Maiers Neue Nr. 8 got a regular and a extra-bold weight. Furthermore, the Neue is also available in italics. Although this is only a slanted version, unlike common practice, it is inclined to the left. Maier’s Nr. 8 Pro is suitable for all European languages. It includes ”Latin Extended-A,“ for Central and Eastern Europe incl. Turkish, and even Cyrillic and Greek, too. The font includes several stylistic alternates as well as a number of ligatures.

The kiddy and rough cha­rac­ter and the huge capital height with the tiny x-height (plus the cute giraffe character dingbats), gives the type­face a high reco­gni­tion value and uniqueness. Application Area The warm, child-like, bold and striking handmade font “Giraf­fen­hals” would look good at logos, dis­play size for poster, flyer, comics and gra­phic novel let­te­ring, head­lines in maga­zi­nes or web­sites, packa­ging, music covers or webbanner etc. Technical Specifications ■ Font Name: Giraffenhals ■ Font Weights: Regu­lar-Condensed + Bold-Condensed + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 443 gly­phs ■ Lan­guage Sup­port: Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portugese, Romanian, Slovak, Slovenian, Spanisch, Swedish, Turkish, Zulu ■ Spe­cials: Alter­na­tive let­ters, sty­listic sets, auto­ma­tic con­text­ual alter­nates via Open­Type Fea­ture. Euro, kerning pairs, stan­dard & deco­ra­tive liga­tures, Ver­sal Eszett (Ger­man Capi­tal Sharp S), extras like Ding­bats & Sym­bols, arrows, hearts, emojis/smileys, stars, fur­ther num­bers, lines & shapes ■ Design Date: 2011–2017 ■ Type Desi­gner: Manuel Vier­gutz ■ License: Desk­top license, Web license, App license, eBook license, Ser­ver license