Frescito is a modern sans-serif typeface that embodies a fresh, cool, and street-smart aesthetic. Designed to be both balanced and versatile, its clear and legible monoline style is designed for branding and advertising in editorial and digital design. The Frescito font family comes in the five classic weights: Thin, Light, Medium, Bold, and Black, along with a Variable font for ultimate flexibility and customization, as well as Italics. Inspired by the energetic spirit of the city and its vibration, Mans Greback set out to create a typeface that would stand out against vivid moment; a type that would work in a traditional café just as well as for contemporary merchandise. The result is a font that combines the best of both worlds: an air of freshness and modernity with an unpretentious, timeless and classy appeal. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

First Responder JNL is a back slanted version of Catalog JNL, and is intended to be used for graphics on police and fire vehicles to emulate "forward" movement, which is a popular theme on such vehicles. It is also useful in conveying the same image in print applications and web design.

In thinking about a way to express the character of this script, it occurred to me that the splitting of the main downstrokes in the caps is almost like when knife cuts into butter. Picture a butter knife that slices into butter, slowly wedging the cut wider so that when it is pulled back, the remaining shape would resemble the main downstroke of any capital letter. The lowercase characters have an almost roundhand-like character but with a slightly more formal presence. Available in Postscript, Truetype and Opentype for both Mac and Windows, Beurre is ideal for Menu's, Invitations and pretty much anywhere you need a reasonably strong, but friendly legible script. Enjoy!

This typeface was inspired by the rough surroundings of a modern city and reflects the contradicting nature of an emerging global youth culture. Ever since its first release—back in late 1999— it is constantly on our ‘most wanted’ list and has been part of numerous product campaigns. Music, mobile telephony, food and beverages, politics, you name it. Coca-Cola used it, José Cuervo used it for about 3 years. The new ‘Pro’ version goes one step ahead. You may now capture the essence of the younger generation in every major European language. PF Fuel has been extended with the full array of Cyrillic characters as well as matching frames for this extra stamped look. Furthermore there more alternate characters than ever. Create a custom look, when same characters sit close, or one next to the other. You may find these useful—alternate characters either in the lowercase positions, or access them through the ‘stylistic alternates’ OpenType Pro feature. If you need some extra fuel, this is where to get it!

In a world of cookie-cutter fonts and uninspired typefaces, Chrysotile stands out as a bold and unconventional choice. Comprised of rusty metal tiles and spartan block lettering, this typeface is not for the faint of heart. But for those who dare to be different, Chrysotile offers a chance to make a statement that will not be ignored. One of the key features of Chrysotile is its custom letter pairings, which are automatically swapped to achieve a more genuine look. The grainy tablets of Chrysotile give your message a rugged, industrial feel that is sure to make an impression. If you’re looking for a font that will help you stand out from the crowd, Chrysotile is the perfect choice. With its unique blend of rusty metal tiles and spartan block lettering, this typeface is unlike anything you’ve ever seen before. So why settle for the same boring old fonts when you can make a statement with Chrysotile? Try it out today and see the difference it can make in your designs. 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.

Juxta Sans Mono is an experimental monospace sans, an extension of the Juxta superfamily. During the creation of the Juxta script, I felt that the aesthetics and the main idea of the font had promising potential and I started thinking about a pair for it. So the idea of Juxta Sans Mono was formulated. Juxta has several style-forming elements: 45° beveled or cross out bowls, squared m and w arcs and other unobvious letter structures. Despite its unusual and sometimes odd (f, g, m) letterforms, Juxta Sans is fairly easy to read due to its monospace font nature and wide spacing. Juxta Sans Mono offers great customization potential. It has two sets of stylistic alternates — [salt] makes a letter underscored, but keep it in line, [ss01] replaces some of the glyphs with different letterforms. The [case] function automatically adjusts the height of the punctuation marks to the neighbor letter and [onum] is a set of old style numbers. Juxta Sans Mono also has subscript and superscript features, but they are utilized a bit unconventionally — if you want to customize your logo or headline, you can make a glyph superscript and the one next to it subscript and they automatically kern into one letter width. You can see examples of using these features in the presentation. Juxta Sans Mono is available in 8 weights, including Thin, Light, Regular, Medium, SemiBold, Bold, ExtraBold and Black. It extends multilingual support to Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Pan African Latin, Afrikaans, and Basic Cyrillic.

Step into the chilling world of 70s Italian horror with Giallo Rossa, a giallo inspired typeface. This macabre creation captures the essence of classic Italian giallo films, evoking a sense of foreboding and terror in every letter. With its sharp edges and jagged lines, Giallo Rossa has an unsettling energy that will leave you mesmerized. Immerse yourself in a typographic nightmare as you unleash the power of Giallo Rossa. Its letters embody the twisted beauty of giallo cinema – every curve reminiscent of a shadowy figure lurking in the dark corners. No matter what you’re designing, Giallo Rossa is your perfect accomplice. This horrifying typeface will set your creations apart from the mundane. Beware though: once you delve into Giallo Rossa‘s sinister embrace, there’s no turning back!

Millwright is a display typeface family inspired by spunky DIY attitude and Industrial era hardware… an exercise in rendering glyphs with a rudimentary, hand-cut flavour. The type family’s built in Open Type features allow for easy substitution of glyphs… creating plenty of diversification for letter combinations, and multiple glyph variations. Millwright results in designs that are packed with bold character and Do-it-yourself pizzazz. Millwright’s quirky letterforms lend itself to a multitude of graphic applications; from serious branding applications, to light-hearted packaging, to children’s book publishing, to hand-crafted DIY projects. Millwright comprises a family of 4 styles; the utilitarian “Regular” weight, a brash “Black” weight, to the art-deco inspired "Inline" and the accompanying “Inside” for layering multiple colours.

In December 2013 two new weights - Thin & Ultra (with Italics) were added to the set, Small Caps included! The intention was to make a technical-looking sans with a warmer feel to it, balanced between hard geometric shapes and friendly curves with slightly narrower endings. It should be useful in a wide range of tasks, whether combining the eight weights with distinct italics for editorial design, setting multiple pages of text, making financial reports, or using the highly contrasted lights and blacks for display and packaging design. Argumentum has a character set to support Western and Central European languages, and an extended set for monetary symbols. Each weight includes small caps, ligatures, proportional lining and oldstyle numbers, tabular figures, fractions and scientific superior/inferior figures.

Created as a logo typeface in 2004 by Francesco Canovaro, Duepuntozero is one of Zetafonts classic typefaces. A monolinear sans serif typeface with rounded corners and condensed proportions, strictly based on modular geometric design, it was at first designed in five weights to be used as a condensed companion typeface to the rounded display family Arista. In 2019 the family was completely redesigned by the Zetafonts Team, expanding the original character set to include cyrillic and greek glyphs and adding four extra weights and italics to the original weight range. This restored and revamped version, named Duepuntozero Pro, also includes full Open Type features for positional figures, fractions and Small Caps. With his rounded, minimal aesthetic, Duepuntozero embodies the desire for simplicity and playfulness of contemporary mobile applications, making it a perfect choice for gaming and app interface design. Its compact design allow for maximum space saving on mobile screens when used as a text typeface, while the strictly geometric design and the extreme range of weights (including thin and black) make it excel in display, logo and editorial use. A complementary set of free icons in the same range of weights of the font is provided to help designers build consistent branding through pictograms in infographics, interfaces and editorial products.

Core Slab M is the serif companion to Core Sans M (Text family of the month. May, 2013). This font family has open and square letter shapes, and overall rounded finishes and serifs provide a soft and friendly appearance but also it is strong in headline. Simple and modern shapes with a tall x-height make the text legible and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Core Slab M Family consists of 2 widths (Condensed, Normal), 7 weights ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy), and Italics for each format. Combination fonts such as Core Slab M Ice, Berg and Iceberg are also available. Each font includes support for Superiors and Inferiors, Fractions, Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Tabular Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. We highly recommend it for use in books, web pages, screen displays, and so on.

You can download usiful link: Bodrum Sans PDF Type Specimen Bodrum Sans is a sans serif type family. Designed by Bülent Yüksel in 2018/19. The font, influenced by style serifs, popular in the 1920s and 30s, is based on optically corrected geometric forms for better readability. Bodrum Sans is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Bodrum Sans a harmonious and sensible appearance for both texts and headlines. Bodrum Sans provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Bodrum Sans 14 Regular” forms the central point. "Bodrum Sans" is available in 10 weights (Hair, Thin, Extra-Light, Light, Regular, Meduim, Bold, Extra-Bold, Heavy and Black) and 10 matching italics. The family contains a set of 650+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy in all graphic programs. Bodrum Sans is the perfect font for web use.

"Bodrum Style" is a serif Style family designed by Bülent Yüksel in 20018/19. The font, influenced by serif styles that were popular in the 1920s and 30s, is based on optically corrected geometric forms for a better readability. "Bodrum Style" is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances help the legibility and give "Bodrum Style" an harmonious and sensible appearance for both texts and headlines. Bodrum Style provides advanced typographical support for Latin-based languages. An extended character set - supporting Central, Western and Eastern European language - rounds up the family. “Bodrum Style 14 Regular” forms the central point. "Bodrum Style" is available in 10 weights (Hair, Thin, Extra-Light, Light, Regular, Medium, Bold, Extra-Bold, Heavy and Black) and 10 matching italics. The family contains a set of 650+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Bodrum Style is the perfect font for web use. Enjoy using it.

“Bodrum Slab” is a slab serif type family. Designed by Bülent Yüksel in 20018/19. The font, influenced by style serifs, popular in the 1920s and 30s, is based on optically corrected geometric forms for better readability. “Bodrum Slab” is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give “Bodrum Slab” a harmonious and sensible appearance for both texts and headlines. Bodrum Slab provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Bodrum Slab 14 Regular” forms the central point. “Bodrum Slab” is available in 10 weights (Hair, Thin, Extra-Light, Light, Regular, Meduim, Bold, Extra-Bold, Heavy and Black) and 10 matching italics. The family contains a set of 650+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Bodrum Slab is the perfect font for web use.

Arable Font Is "Unique Display Font" refers to a specific type of typography that is characterized by its distinctive, one-of-a-kind design, and it is typically used for eye-catching and decorative purposes. Here's a detailed explanation of what a unique display font is: -Distinctive Design: Unique display fonts stand out because of their distinct and unconventional design. They often deviate from traditional letterforms and can take on a wide range of creative and artistic shapes. Unlike standard, legible fonts used for body text, display fonts prioritize aesthetics over readability. -Specialized Use: Display fonts are not intended for extended reading. Instead, they are used in small quantities for headlines, titles, logos, posters, banners, invitations, and other design elements where visual impact is essential. Their unique and attention-grabbing design makes them ideal for drawing attention to specific text. -Creative Freedom: Designers have creative freedom when creating unique display fonts. This allows for a wide array of styles, from whimsical and ornate to futuristic and abstract. Some display fonts may be inspired by art movements, cultures, historical periods, or nature, leading to highly original and thematic designs. -Limited Character Set: Display fonts often have a limited character set compared to standard fonts. They typically include uppercase letters, numbers, and basic punctuation marks, but may lack lowercase letters or extended characters. This limitation is due to their specialized use and focus on visual impact. -Customization: Some unique display fonts are custom-designed for specific projects or brands. Designers work closely with clients to create a font that aligns with the brand's identity or the project's theme, ensuring a truly unique and tailored result. -Combination with Other Fonts: In many design projects, unique display fonts are paired with more standard, legible fonts to achieve a balance between visual impact and readability. This combination allows for a harmonious and effective overall design.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Pickatoon is a fun display font that we made because we knew what people wanted. Pickatoon has the look of your favorite childhood markers. It's not just for comic books, it's for EVERYTHING. It's for your Instagram selfies, it's for school projects, it's for your business logo, it's for your coloring books—it even works great with watercolors! We put a lot of time into making Pickatoon perfect. We knew you'd need it to be thick and thin and fat and skinny, so we did our best to make sure all those variations were available in every letter. And when you're drawing, you don't just want to draw the same thing over and over again—you want to be able to change things up with some simple tools. So we made sure that Pickatoon had different ways you could vary the thickness and give your work some character. Start create with this font!! A Million Thanks www.colllabstudio.com

Dewi is a modern neo-grotesque multi-typeface family with closed forms. It includes 4 versions: condensed, normal, extended, expanded. In each version there are 16 font styles: 8 regulars and 8 italics (64 styles in total). The family contains weights from thin to black. Everything is ready to solve absolutely any graphic tasks. Dewi helps to create a unique and vibrant design consonant with the spirit of our days. Сontours remains neutral in a small size but when you work with large sizes Dewi shows his strong and confident character. Ideally suited for web design, logos and branding, navigation, printing, advertising and packaging, infographic, poster design, music covers and so many more. This typeface will be a real workhorse for you. Opentype features: old-style figures, tabular and tabular old-style, slashed zero, ligatures, fractions and automatic frations, circuled numbers, arrows and stylistic alternates for arrows, superscript and subscript. Multilingual support: Latin, latin extended, cyrillic and cyrillic extended (more than 70+ languages)

Acre is a geometric sans-serif type family of eight weights that's both inspired by and named after my great grandfather, Tex Acre. Tex was an artist and sign maker whose handcrafted signs illuminated the roadsides of the American Midwest and typified mid-century Americana. Acre is a tribute to him, his work, and many of my favorite early 20th century geometric typefaces. With eight weights ranging from Thin to Black, Acre is an extremely versatile family that can be used for display, text, or anything in between. Acre offers full European language support plus many OpenType features such as tabular and oldstyle figures.

«Quotes» is the second typeface calligraphed by Yani Arabena, designed along with Guille Vizzari and Ale Paul, for Sudtipos. Being thrilled by the use of the pointed brush, spontaneous messages, gesture and freshness to represent inspirational phrases and quotes written by hand, «Quotes» comes in two handwriting styles: Script and Caps. «Quotes Script» and «Quotes Caps» are thought together and complement each other filling with rhythm and infinite sensations to the spoken words. A more free and spontaneous version –Script–, joined by an uppercase system –Caps–, that offers a huge amount of alternate glyphs, ligatures and connectors, to enrich different messages brought to life with this type family. «Quotes Script» counts on a great variety of alternate signs in its lowercase as well as its uppercase letters. It hands a combination of ligatures and capital alternates that allows to shape the beginnings and endings of words and phrases intended to be inspiring and to inspire others that read them. «Quotes» also stands for the fashion universe, Gourmet, Natural, the D.I.Y. passionates, and for all those who seek for the Handcrafted spirit and agrees that it adds an added value to its products and in their communication possibilities. Nowadays, new trends in the calligraphic and drawn letters fields, have lead to the use of the brush pen as a daily practice, bringing to life phrases that motivates people to share their thoughts. «Quotes» is a typeface that invites to write, share and influence others to make their own. Sometimes a feeling can’t be explained, but «Quotes» is a font that can.

Marconi was created by Hermann Zapf in 1973. According to Gerard Unger, it was the world's first digital typeface. Zapf’s design was developed as a text face for books and magazines. The round forms of the Marconi follow the principle of the superellipse. The lowercase letters are enlarged as the result of reading tests, while the capital letters are slightly reduced. The 8-point size — normally used for newspapers — looks more like 9 1/2 points. Marconi is a legible typeface with its large and open lowercase letters. It is ideal for long text blocks in newspaper, book, and magazine production.

An Art Deco condensed display sans font with 8 styles, +800 glyphs, +100 ligatures, +30 languages and many opentype features. It is perfect for poster designs, magazines, book covers, logotypes, headlines, newspapers and press. It's bold, daring, modern, geometric and covers a good range of weights from light to block.

After several months discovering and developing the traits and personalities well balanced typefaces such like Frutiger and the other identical typefaces, Catesque was born as the new typefaces. The vocal flourish yet harmonious shapes not purely geometrically, it has imperfect rounded characters such as “O” “C” and “G”. Catesque can make some distinctness for large scale design as well as small text. The traits versatilities usable for many design applications, it’s comes with five weights from light to black plus mathcing italics. All characters included the Tabular figures, case-sensitive forms, fractions, and another most common numerals features such as super & subscript to accomplish the numeric design works such like menu, annual reports, etc. The alternate characters are included as well, all features can accessed with OpenType-savvy programs on Adobe Creative Suite via OpenType Panel.

One of the most remarkable characteristic of this humanistic sans serif is its versatility. Ronnia’s personality performs admirably in headlines, but is diffident enough for continuous text and small text alike. The heavier weights deliver very cohesive shapes, and they have been successfully used for branding and newspaper headlines. Its ten styles grant the designer a broad range of coherent color and texture variations in text blocks, necessary tools to solve complex information and editorial design problems. Ronnia has been mainly engineered for newspaper and magazine applications manifested in its properties: economic in use, highly legible, and approaching the reader with some friendliness and charm. Ronnia features about 800 characters per weight, including small caps, fractions, old style and lining numbers, scientific superior/inferior figures, and a set of symbols and arrows. It supports over 40 languages that use the Latin extended alphabet. Ronnia Basic is a reduced version of Ronnia. It is still an OT-font but without any particular features except of a set of ligatures, class-kerning and language support including CE and Baltic.

This typeface incorporates round smooth corners and distinct design elements in several characters like 'a, g, k, m', without compromising legibility. In order to retain its sharpness, inner corners as well as junction points were left steep. This is a balanced typeface which works very well in long texts at small point sizes. Since its first release it has been used in numerous magazines, advertising campaigns and corporate applications. Handbook Pro comes loaded with a number of special features. The family consists of 14 fonts -from black to extra thin- including true italics. It supports 21 special OpenType features like small caps, fractions, ordinals, etc. and offers multilingual support for all European languages including Greek and Cyrillic. There is also a set of very interesting stylistic alternates which can be used to add a refreshing flair to your designs. Finally, every font in this family has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life.

Here’s what happens when your trusty felt tip marker takes a trip to cartoonland. Each of Valentina’s plump characters has a rough and splotchy texture. Some letters even bounce up and down like a 3-year old. As cartoon faces go, Valentina is a bit on the imperfect side. But that’s normal for a funny face. Use it in a variety of comical situations. Make convincing captions under your own artwork or design greeting cards with it. You can even blow it up to huge sizes to create a wild and crazy look. Valentina Medium is now available in the OpenType Std format. Some new characters have been added to this OpenType version as stylistic alternates. This advanced feature works in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Introducing, The Marysville. A retro bold script which will bring you back to 60s feel.This font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual ligatures alternates swashes PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

The Novera family is a sharp geometric sans in ten weights plus matching italics, available in two versions – Modern and Classic. It has a contemporary, approachable and multifunctional yet characteristic design, that comes with an extensive glyphs set of 1000+ glyphs per font, meeting all typographic demands. The Design Vertical terminals, circular shapes and angular apexes – Novera truely breathes geometry! But the concept goes beyond the application of rational geometry. The intension was to create a highly legible family suitable for every day usage inspired by the work of Paul Renner, Eric Gill or Jakob Erbar, combining the geometric with the human and the functional with the unconventional. Although Novera is inspired by the past, its appearance is unmistakingly modern. Modern vs Classic Novera is available in two versions - Modern and Classic - born from the same source file but with different characters set as default. This creates subtle but effective distinctions such as the double-storey a (Novera Modern) which is optimized for legibility in longer text paragraphs, as opposed to the single-storey a (Novera Classic) which allows a purely geometric appearance. Another distinguishing feature are the ascenders on Novera Mondern, which extend above the cap height for an elegant presence, compared to the ascenders on Novera Classic, ending at the cap height, for a compact and helvetica-flavored look. Novera Modern was intended for usage in body copy, whereas Novera Classic was planned for headlines, short paragraphs or logos, but both versions can be used vice versa too, of course. Alternate Characters To maintain neutrality and a modern appearance, the standard character set largely dispenses with idiosyncratic forms. This is in contrast to the alternative forms with the gill-like lowercase letters g and t as well as a traditional shape of S and the German ligature t/z, which traces back to old German spellings. Also inspired by German poster designs from the early 20th century are the elongated i-dots and dieresis-dots that can create eye-catchers in headlines or logos. By the way, both versions, Novera Modern and Classic, can be created via stylistic set 1, 17 and 18. Opentype Features and Symbols The family comes with many opentype features to support modern typesetting. This includes ligatures, different number sets or alternative shapes for texts set in all caps. If you like arrows and other shapes, you will love Novera! The family has a built-in extensive symbols-set including 48 different arrows and various geometric shapes or icons. Weights With its 40 styles and 1000+ glyphs per font, the Novera family covers all thinkable design scenarios from branding to web, app or editorial usage. It blends in perfectly in text heavy paragraphs with its mid-weights like Light, Regular, Medium or Bold or stands out like a monument in headlines and posters with its extreme weights like Thin, ExtraLight, Black or Ultra. Testfonts If you like to test the fonts before buying the full version, please follow the link below. Please note, all test fonts are available for evaluation purposes only and contain a limited character set! A commercial license for the full version must be purchased separately. Please send a mail to contact@renebieder.com for more information. Download the test fonts here: https://www.renebieder.com/test-fonts

Here's a big shout out to all our Loud and Proud font homies -- If you've got a good set of lungs on you -- fill 'em up and get ready to Shout, SHOUT! Yes, let it all out because this is a font you can't do without -- It will make you wanna SHOUT! Throw your hands up, SHOUT! Kick your heels back, SHOUT! Throw your head back, SHOUT! Come on now, SHOUT! And don't forget to say you will... Don't forget to SHOUT! Yeah yeah yeah yeah, SHOUT! A little bit softer now, (Shout) A little bit softer now, (Shout) A little bit softer now, (Shout) A little bit louder now, SHOUT! A little bit louder now, SHOUT! A LITTLE BIT LOUDER NOW! SHOUT! SHOUT! SHOUT! SHOUT! PHEW -- Who says Comicraft doesn't know how to Pump it Up AND Get Down?!

Numpty is a word of Scottish origin and means ‘someone who, by speech or action, demonstrates a lack of knowledge’. I use this word quite often (as this world, unfortunately, seems to be full of numpties). And guess what? Now you know what it means, you can use it too! Hooray! Numpty is a fat, rounded display font. A little uneven, a little weird, but with enough panache to make your designs stand out.

When Sputnik launched in 1957, the world was launched into the Space Age, baby! It was rockets and soda shops, souped-up jalopies and Fairlane convertibles with radios blaring. Rock and Roll. American Bandstand and the Race to Space. Astro aims to call back those exciting days with a look that might have graced the sign of your local drive-in or donut shop. The uppercase characters look like they could fly, suggesting spacecraft, UFOs. Use it for Retro future events or business branding. It also seems to work exceptionally well, strangely, with French, Icelandic, Japanese and African names and anything to do with fish.

Ornes is inspired by the runic alphabet with ornamentation based on the woodcarvings of the Urnes Stave Church (Norway), an old wooden church from approximately 1150 CE. The woodcarvings and their symbolism reach back to the pre-Christian era. The Ornes Pro styles each contain the runic alphabet, ornamented caps, small caps, ornamented small caps and other pro OpenType features (as shown on the "Pro" tab). Ornes Ornamented Rustic Pro features a subtle uneven lowercase, but does not include a set of regular uppercase characters.

Hey! See Reina Neue in action here! INTRODUCTION When I designed the first Reina¹ circa 2010, I was at the dawn of my career as a type designer. The S{o}TA, short for the Society of Typographic Aficionados, described it as complex display typeface incorporating hairline flourishes to a nicely heavy romantic letterform². And it was like that; that’s what I was pursuing at that time since I was very passionate about ornaments and accolades of Calligraphy. Why? I felt that Typography, in general, needed more of them. These subtle flourishes could breathe life into letters. Maybe, I thought it was the only way I could propose something new into the field of type. However, after some years, I came across a very interesting quote: –Beautiful things don’t ask for attention– Wow! What did this mean? How could something be attractive if it’s not actually showing it. Could this be applied to my work? Sure. I think every type-designer goes through this process (aka crisis) regarding his or her career. At the beginning we love everything. We are kind of blind, we only see the big picture of a project. And that’s not because we are lazy. We actually can’t see the small mistakes nor the subtleties that make something simpler beautiful. We are not able. But, the small subtleties… They are actually everything: With experience, one puts more attention into the details and learns that every single decision in type has to be first meticulously planned. Here I am now, introducing a new Reina, because I felt there was a lot of it that could be improved, also the novelty of Variable Fonts caught my attention and I had to take that to my type library. THE FONT A thing of beauty is a joy forever Now, a decade later, I’m presenting Reina Neue. This font is not just an update of its predecessor: –A thing of beauty is a joy forever– is the first line of the poem ‘Endymion’ by John Keats, and despite the meaning of “beauty” may vary from person to person, and even from time to time (as read in the last paragraph), with Reina I always wanted to bring joy to the eye. In 2010, and now, in 2020. I believe the font is today much better in every aspect. It was entirely re-designed: Its shapes and morphology in general are much more clean and pure. The range of uses for it is now wider: While the old Reina consisted in just one weight, Reina Neue was converted into a big family of many weights, even with italics, smallcaps and layered styles. The idea behind the font, this kind of enveloping atmosphere made out of flourishes, is still here in the new Reina. This time easier to get amazing results due to the big amount of available alternates per glyph and also more loyal from a systemic point of view. However, and as read in the introduction -Beautiful things don’t ask for attention-, if none of the flourishes are activated the font will look very attractive anyway. Reina Neue is ready to be used in book covers, magazines, wedding cards, dazzling posters, storefronts, clothing, perfumes, wine labels and logos of all kind. Like it happened with the previous Reina, I hope this new font satisfies every design project around the world if used, and can be a joy forever. SOME INSTRUCTIONS Before choosing the right style for your project, hear my advice: -Reina Neue Display was meant to be used at big sizes. If you plan to print the font smaller than 72pt, I suggest using Reina Neue, not Display. Otherwise, if the font will be BIG or used on a digital platform, Reina Neue Display should be your choice. For even smaller sizes, use Reina Neue Small. This style was tested and printed in 12pt with nice results. (Note for variable fonts: Print them in outlines) -Reina Italic is not a slanted version of the roman, and this means some flourishes are different between each other. The Italic version has other kind of swirls. More conservative, in general. -All the styles of Reina Capitals have Small Capitals inside. -Reina Capitals Shine should be used/paired ONLY with Reina Capitals Black. The engraved feeling can be achieved if Reina Capitals Black and Reina Capitals Shine are used as layers, with the same word. Variable fonts instructions: -For more playful versions, choose Reina Neue VF, Reina Neue Italic VF or Reina Neue Capitals VF: With them you can adjust between 3 axes: Weight (will change the weight of the font) – Optic Size (will thicken/lighten the thin strokes and open/close the tracking) – Accolades (will modify the weight of the active flourishes). SOME VIDEOS OF REINA NEUE VF https://youtu.be/8cImmT5bpQM https://youtu.be/1icWfPmKAkg https://youtu.be/YC9GkJDL1a8 NOTES 1. The original Reina, from a decade ago: https://www.myfonts.com/fonts/argentina-lian-types/reina/ 2. In 2011, Reina received an honourable mention by S{o}TA. “Great skill is shown in the detailing, and an excellent feel for the correct flow of curves and displacement of stroke weight.” https://www.typesociety.org/catalyst/2011/ Reina was featured in the “Most Popular Fonts of the year” in MyFonts in 2011 https://www.myfonts.com/newsletters/sp/201201.html In 2012, the font was also selected in Tipos Latinos, the most prestigious competition of type in Latinoamerica. https://www.tiposlatinos.com/bienales/quinta-bienal-tl2012/resultados Also, chose as a “Favorite font of the year” in Typographica. https://typographica.org/typeface-reviews/reina/

Eldridge is reminiscent of the sort of clear functional slab serif that was often to be seen in the 19th century. It is the plainer cousin of our Bamberforth family and the two partner together very well—Bamberforth for the eye-catching headines and Eldridge for the essential support. It is another new face, which harks straight back to Victorian times and, as such, is ideal for giving anything a 19th century feel-especially posters, book headings, dust jackets and invitations.

Best Love is a modern handwriting font with sophisticated grooves. It's full of hearts and glyphs :). This is perfect for branding, wedding invitations and cards. The font has smooth texture, so would be perfect for all types of printing techniques. You can do embroidery, laser cut, gold foil and more. Best Love includes a full set of upper and lower case letters, multi-lingual symbols, numbers, punctuation, swashes and ligatures. To use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. Photoshop has a glyph panel where you can find alternatives and ties Select the font and go to Window Glyphs and double click on the glyph you want to use. To open from Illustrator, please, follow: Window - Types - Glyphs. Thank you for looking at my product hope you like it, if you have any further question please feel free to contact me back via email.

Albertina was a typeface ahead of its time. It was in the early 1960s when designer Chris Brand, an accomplished calligrapher, aspired to draw a typeface based on the principles of calligraphy. Unfortunately, typesetting machines of that era put many restrictions on designers. Characters had to be drawn within a very coarse grid, which also defined their spacing. Technological limitations meant that italic designs often had to share the same character widths as the romans. Designers were forced to draw italic faces much wider and with more open spacing than what would be typical in calligraphic lettering or hand-set type. Not surprisingly, production of the first Albertina fonts went very slowly. Brand would submit his character drawings, and the Monotype Drawing Office would modify them to be compatible with the company's typesetting equipment. The new drawings would then be sent back to Brand for approval or rework. Most were reworked. The process took so long, in fact, that by the time the face was completed it was once again out of phase with the times: instead of being released as metal type for the Monotype composing machines it had been tailored for, Albertina debuted as phototype fonts for the Monophoto typesetter. The design's first use was for a catalog of the work of Stanley Morison, exhibited at the Albertina Library in Brussels in 1966. Sales of the design were not remarkable. With the advent of digital type technology, Albertina's story took a far happier turn. Frank E. Blokland, of the Dutch Type Library, used Brand's original, uncompromised drawings as the foundation of a digital revival. The Monophoto version had taken a considerable battering from the limitations of Monotype's unit system," recalls Blokland, "but there was no need for me to incorporate these restrictions in the digital version." With the full backing of Monotype and original designer Brand looking over Blokland's shoulder, a new design for Albertina emerged, displaying all the grace and verve of Brand's original drawings. The basic family drawn by Brand also grew into three weights, each with an italic complement and a suite of small caps and old style figures."

Say hello to another of my hot and trendy scripts, Hot Script! I got the inspiration for this one in the world of sign painters. My neighbourhood, and more specifically the avenue were I live, is very well known for its ''parrillas'': For those who don't know what this means, well, it may be better to live the experience rather than reading these lines. Villa Urquiza is full of restaurants with an argentinian flavour, with a ''gauchezco'' feel. Here you can taste some of the best ''asados'' in the entire world. Ok, this made me hungry, let's go back to type: These amazing venues still mantain genuine elements from the past, and try to preserve the beauty of the handcrafted. Parrillas of Buenos Aires have all their walls, windows and doors lettered with chalk or paint. I've always wanted to make a font out of that, and Hot Script is my first attempt. I believe the results are great! Hot Script follows some rules of the flat brush (see terminals, and tails especially in caps) but its contrast of thicks and thins was manually altered to make the font better for a wider range of uses. Although the sexy curves and versatility of Hot seemed to be enough, I decided to spice it a little more by creating some layers for it: Hot Script Shine Solo or Hot Script Shades Solo combined with Hot Script will give outstanding results. (Look for them combined in the posters above and dare to deny it!) Go make your project more savory! This font is Hot, hot, hot!

Green Fairy is a chromatic font family highly ornamented for display purposes. Green Fairy’s characters have been specifically designed to accommodate its loops and ornaments following a modern typeface structure. Green Fairy has four chromatic weights: 1. Green Fairy Outline 2. Green Fairy Dots 3. Green Fairy Stencil 4. Green Fairy Full The outline weight has been created as the base or structure for the other weights. You can combine these weights as well as add colours to obtain multiple effects and type styles. Green Fairy has also three combined weights (combos) to simplify your work flow, for these occasions when you only want to use one single colour in your font: 5. Green Fairy Dots Combo 6. Green Fairy Stencil Combo 7. Green Fairy Full Combo GREEN FAIRY ORIGINS The origin of this typeface is the lettering I designed in October 2015 as part of my illustrated cocktail artwork called “Absinthe. La Fée Verte (The Green Fairy)”. Originally, this lettering only featured eight letters “AB·SINTHE” vector drawn in Illustrator. Right after creating the full-colour artwork, I designed a fountain-letterpress print version of it, in collaboration with Ladies of Letters, A.K.A. Carla Hackett and Amy Constable from Saint Gertrude Fine Printing. At the beginning of 2016 –and thanks to the project @36daysoftype– I found the motivation, and most importantly the deadline, to draw the rest of the twenty-six letters of the uppercase alphabet using Illustrator. I started 2017 having my first two calligraphy courses sold out, so I took this amazing opportunity to devote myself to Green Fairy for a few months. In February 2017, I purchased the font software Glyphs and I started to re-draw all twenty-six letters of the uppercase alphabet again. PRODUCTION PROCESS Green Fairy started being one weight, but quickly turned into a layered/chromatic font. Things were going more or less fine till I arrived to the Dots weight: 1) I started drawing squares following a grid; 2) Then, the squares turned into diamonds following the same grid; 3) Then, the grid wasn’t working so well on the round letters so I tried randomising the position of the diamonds but it didn’t work; 4) So I went back to the grid, and this time scaled down the size of the diamonds creating a visual half-tone effect. I spent over four weeks working on the Dots weight and I felt like I was in the middle of a very long tunnel and I couldn’t see the light at the end. I encountered many other problems along the way but by June 2017, I felt I was back on track again. I kept working, tweaking, re-drawing and re-adjusting, and then the diacritics came on board… And then more re-drawing, re-tweaking, re-adjusting and then numbers… And then spacing, symbols, and currencies… And then more spacing, kerning, contextual kerning for triplets… In September 2017 I told myself “that’s it, I’m going to finish it now!” But guess what? More re-tweaking, testing, hinting, testing, rendering, testing… For those of you not familiarized with typeface design, it is extremely time consuming and it requires a lot of hard work, focus and determination. This project could not have been possible without the help of these generous professionals: Jose Manuel Urós, typeface designer based in Barcelona and my teacher twice in the past; Jamie Clarke, freelance letterer and typeface designer who has released a couple of chromatic fonts recently; Troy Leinster, Australian full-time typeface designer living and working in New York City; Noe Blanco, full-time typeface designer and hinting specialist based in Catalonia; And Nicole Phillips, typographer currently relocating from Australia to New Zealand. To all of you: THANK YOU VERY MUCH!

Designed by Malou Verlomme of the Monotype Studio, Macklin is a superfamily, which brings together several attention-grabbing styles. Macklin is an elegant, high contrast typeface that demands its own attention and has been designed purposely to enable brands to appeal more emotionally to modern consumers. Macklin comprises four sub-families —Sans, Slab, Text and Display— as well as a variable. The full superfamily includes 54 fonts with 9 weights ranging from hairline to black. The concept for Macklin began with research on historical material from Britain and Europe in the beginning of the 19th century, specifically the work of Vincent Figgins. This was a period of intense social change--the beginning of the industrial revolution. A time when manufacturers and advertisers were suddenly replacing traditional handwriting or calligraphy models and demanding bold, attention-grabbing typography. Typographers experimented with innovative new styles, like fat faces and Italians, and developed many styles that brands and designers continue to use today, such as slabs, serifs, and sans serifs. Verlomme pays respect to Figgins’s work with Macklin, but pushes the family to a more contemporary place. Each sub family has been designed from the same skeleton, giving designers a broad palette for visual representation and the ability to create with contrast without worrying about awkward pairings. With Macklin, Verlomme shows us it’s possible to create a superfamily that allows for complete visual expression without compromising fluidity. Macklin™ font field guide including best practices, font pairings and alternatives. Featured in: Best Fonts for Websites

Anderfont is a Signature Font is a handwritten script font with a simple and classy style. This font is great for your next creative projects such as watermark on photography, signature or signature logo design, quotes, album cover, business card, and many other design project. From business cards to photo watermarks, Anderfont is here to elevate your work to the highest level. Anderfont comes with uppercase letters, lowercase letters, lowercase alternative letters, numbers, punctuation, ligature and multi lingual support What's inclued : - Anderfont.otf Please note : To use alternative end text is just block end letters and select alternative letters on glyphs option. It may be used in almost any program by using your Operating System’s utilities (CharacterMap for Windows and Font Book for Mac.), as well as Illustrator, Photoshop CC 2017 and several other applications.

TT Backwards useful links: Specimen | Graphic presentation | Customization options About TT Backwards: TT Backwards is an experimental font project inspired by the USSR typography and fonts of the late 70s and early 80s. Shop signs, posters, and book design—this is where we drew the inspiration for our project. TT Backwards consists of two complementary font subfamilies, a Script and a Grotesque, each of them includes 5 typefaces in 5 different weights (Thin, Light, Regular, Bold, Black). TT Backwards Script is a noncontrast almost monolinear solid script inspired by shop signs, poster and book design of the USSR. TT Backwards Script features a large number of Latin and Cyrillic ligatures (more than 70 items), which allows to make the script versatile and sophisticated to the max. And thanks to the implementation of a huge number of context alternates, all lowercase letters are joined softly and without breaks, and they meet the uppercase letters beautifully and correctly. TT Backwards Script supports the following OpenType features: liga, case, ordn, frac, sups, sinf, numr, dnom, tnum, onum, pnum. TT Backwards Sans is a narrow grotesque, which takes us back to the book design of late 70s and early 80s with its ductile characters. It is created considering its use in the small text size. TT Backwards Sans has a number of pronounced peculiarities: high x-height, exaggerated extenders, and big visual compensators and ink traps. Apart from the basic visual solution, TT Backwards Sans contains two experimental stylistic sets, which markedly change the overall visual perception of the text. SS01 alters high-frequency symbols of the Cyrillic alphabet, and SS02 significantly changes the high-frequency symbols of the Latin alphabet. FOLLOW US: Instagram | Facebook | Website TT Backwards OpenType features: case, ordn, frac, sups, sinf, numr, dnom, tnum, pnum, liga, zero, salt, ss01, ss02. TT Backwards language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.