Geria is a hand drawn sans serif in four weights. Despite being rough and organic, Geria retains the basic structure and shape of a readable sans serif. The result is a functional typographic tool with a lot of personality. The family comes in four carefully balanced weights that offer a lot of contrast from the delicate Light to the punchy Heavy weight. Geria is perfect for display use in branding, packaging, editorial design, posters and advertising.

Catskin is a fairytale by The Brothers Grimm. The story is about a king who has a beautiful wife and daughter - you know, the basic fairytale stuff. Long story short: they all live happily ever after (except for the wife, who dies…). Catskin is also a nice, handmade font. I like making fairytale fonts, especially since I have three kids, who love books. And when I see one of my fonts on the cover, I can tell them: ‘daddy made this’. #prouddaddy ;-)

Under Terror is a rough handwritten font with creepy vibes that will suitable for your next halloween poster. You can use this font for any project especially horror movie poster. With unique lowercase and uppercase, you can combine both to get more handwritten looks. You can access the underline from ligatures, just type underline + number(1-6) in the middle of the text. For example: TeR_2roR. This font also support multilingual.

Vintage sheet music for the song "Just Once for All Time" (from the United Artists release "Congress Dances") provided the bold sans that served as the model for Dance Number JNL. This 1932 film was the English language version of the German comedy "Der Kongrefl tanzt" The movie's plot is based around the Congress of Vienna. There, an Austrian commoner is mistakenly thought to be the Tsar of Russia.

Sporting pot-hook serifs and a tiny aperture, the Scotch Modern was an evolution of the Didone and Scotch Roman classifications, becoming the default type genre of the 19th century. Recontextualizing the 10-point type of a scientific report published in 1873, Nick Shinn has produced sleekly refined, micro-detailed vector drawings by eye, without the assistance of scans, of this magnificent classic. A beautiful genre of type, so popular in books, magazines and advertisements during the Victorian era and much of the 20th century, the Scotch Modern was derided by advocates of both the Arts & Crafts movement and 20th century modernists, and was never been properly adapted to hot metal, phototype, or digital media -- until now. Now the full range of typographic expression is possible in this style. The OpenType fonts support Western and CE encodings, Cyrillic (with Bulgarian alternates) and Polytonic Greek. There are many special features, including small caps, unicase, italic swash capitals, ten sets of figures per font, and both slashed and nut (vertical) fractions. Together with Figgins Sans, comprises The ModernSuite of matched fonts.

Shackle One is a geometric Sans Serif with a twist. As a modern classic that does not wear out visually it is suitable, for example, for luxury items, leather goods, watches and jewelry, high-class sports, documentation of historical technology or graphics in the field of art and design. It works excellently for huge headlines, but can also show particular strengths in continuous text – its gray value is almost flawlessly uniform. All line connections and terminations are perpendicular, which means that slopes or curves have a light bend at their ends, similar to the lordosis of the cervical spine. This makes the font look upright and straight and at the same time agile and dynamic, like an athlete with good posture – a typeface that is powerful and confident without appearing steely or violent. Shackle One is a classic but casual looking font with sophisticated details. It has a classy appearance without being pretentious. It can appear stern and serious as well as playful and humorous. Its strong character also makes it an excellent corporate font for certain branches. You will love it.

ITC Ludwig has an edge. It's nervous, tense - maybe even a little scary. Drawn by Italian designer Giuseppe Errico, ITC Ludwig refuses to be confined to a traditional baseline. Its twisted lowercase g" and an "e" that could double as an upside-down "a" both add to the design's spooky personality. As a young man, Errico studied to be a fine artist. He became a graphic designer only after a “long reflection period,” he says. His early training is evident in many of ITC Ludwig's suggestive qualities. There is far more to this face than cranking up the “distort” knob in Fontographer. Reflection and personal expression are at its core."

Monthoers is handmade Modern font family with Elegant and Classic style containing of sophisticated siganture-style script and elegant, classic all-caps sans font. Which is combining the style of classic typography with an modern handlettering style. you can easily combine with this pair to create classic style. This family is designed to pair harmoniously, and lend themselves to high end branding, logo designs, product packaging & invitation designs. A modern and elegant signature script font containing upper & lowercase characters, all punctutation and numerals. also contains over 20+ ligatures and 50+ alternates to create the text flow and add a custom-made feel Language Support: All fonts support English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Turkish, Slovenian.

Royal Lodge - Display Sans Serif Font. Royal Lodge font makes for more fun, trendy and more lively. This font is inspired by the extra bold font style and well balanced curves.This font has a surprise from alternate that will make your work even more beautiful. This font is perfect for a professional touch which makes it even more unique and classic. But this font is also suitable for logos, branding, greeting cards, invitation cards, advertisements, titles, healines, book titles, stickers, packaging, quotes, posters, t-shirts/apparel, billboards and others. 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.

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

Abigral is a minimalist sans serif font, created with geometric shapes and fancy double-strokes letterforms. Abigral is designed in normal letterspacing that looks versatile to be used as a display, logotype, or body-text. This font is compliment with the beauty alternates characters and stylish ligatures that make your design more conceptual. This font is flexible for many styles of graphic design. You can use Abigral for minimalist themes, feminine, masculine, or luxurious. Perfect for logo, headline, magazine, body text, quotes, and more. Here's what you'll get : Uppercase Lowercase Numbers & punctuation Accented characters Stylistic set 01-04 Ligatures Thank you for your support and happy designing!

Looking for a font that feels both cozy and stylish? Look no further than Comfy Cozies. This organic sans serif font has a skinny form that gives it a light and airy feel, while the regular and slanted styles offer versatility and creative potential. Whether you're designing for a playful brand or a casual event, this font will add a touch of warmth and charm to your work. Features : Uppercase & lowercase Numbers and punctuation Alternates & Ligatures Multilingual 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.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to the methodical and engineered nature of its design. The FF DIN family breathes an atmosphere of versatility and authority, FF DIN Stencil follows the same design principles with extra flair. The bridges are arranged vertically, which usually replaces the thinnest parts of the strokes — offering depth in your headlines. Go loud and scale up, as the weights get heavier, the width of the bridges skillfully expand and contract, enabling FF DIN Stencil to provide confidence in volume, and in any chosen style. Also made available as a Variable font, creatives can design hyper specific variations to thrive in any design space, and even to animate movement from one state to the next. Get innovative with the entire FF DIN family, FF DIN Stencil’s spacing and kerning is identical to FF DIN, this enables swapping between any FF DIN font without changes in word length or line breaks. For true FF DIN fans, FF DIN Slab and FF DIN Stencil designed by Albert-Jan Pool, Antonia Cornelius and Achaz Reuss, can be seen as harmonious companions to the FF DIN family, rather than alternatives. Bestowed with its parents distinctive DNA, all the FF DIN extensions open up new possibility with their own unique qualities, but stay true to the FF DIN design philosophy of engineered precision.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to the methodical and engineered nature of its design. The FF DIN family breathes an atmosphere of versatility and authority, FF DIN Stencil follows the same design principles with extra flair. The bridges are arranged vertically, which usually replaces the thinnest parts of the strokes — offering depth in your headlines. Go loud and scale up, as the weights get heavier, the width of the bridges skillfully expand and contract, enabling FF DIN Stencil to provide confidence in volume, and in any chosen style. Also made available as a Variable font, creatives can design hyper specific variations to thrive in any design space, and even to animate movement from one state to the next. Get innovative with the entire FF DIN family, FF DIN Stencil’s spacing and kerning is identical to FF DIN, this enables swapping between any FF DIN font without changes in word length or line breaks. For true FF DIN fans, FF DIN Slab and FF DIN Stencil designed by Albert-Jan Pool, Antonia Cornelius and Achaz Reuss, can be seen as harmonious companions to the FF DIN family, rather than alternatives. Bestowed with its parents distinctive DNA, all the FF DIN extensions open up new possibility with their own unique qualities, but stay true to the FF DIN design philosophy of engineered precision.

The letters in this font are made by chopping bits from footprints. Individual letters are sometimes very hard to decipher, but when put together as words they are usually readable. In Pedestrisan-Regular, the original version of this font, the upper-case letters have toes on the top the lower case letters have toes on the bottom. All the feet with letters are right feet. The upper case and lower case do not mix. In 2020 two alternate versions were created. In Pedestrian-Alt all toes are on the top but the lower-case letters are left feet. In Pedestrian-AltTwo all toes are on the bottom with the upper-case letters being cut from left feet and the lower case from right feet. Both the alternate styles also have an alternate set of numbers on the unicode circled numbers that can also be accessed with an OpenType feature.

Looking for a fun, offbeat, and fantastic font? Charming Charlie is here to fit the bill! Inspired by an old poster for the film Charlie Chan in Egypt, comes this playfully plump, soft-edged sans serif font to sweep you off your feet. The Contextual Alternates feature in this font automatically alternates between the Capitals and alternate Capitals of the font to mix things up a bit and keep your type-settings lively.

Virtue Script is a font that is meant to make your designs attractive and striking, having a serif foundation makes this script font different from the usual scripts. all the letters can connect nicely and also the fonts are designed with simple nodes so that they can be easily stretched and changed as you wish. Virtue Script has 9 weights from Thin to Black and each letter has 4 beautiful stylistic Alternates, combining this Font with other font types will really give your design a distinctive look.

Marons and Glance This is a very charming and elegant font, very beautiful to look at and displays the impression of endless luxury, very suitable for all types of designs that want to display the impression of deep beauty. there are several characters that you can use, and combine them, very easy to use can be accessed with the glyph you are using include: numeric punctuation latin Alternate Thank you very Much

Similar in design to Franklin Gothic, News Gothic was one of a number of sans serif faces manufactured by American Type Founders in the early years of the twentieth century. Initially cut as a light sans, heavier versions were made in the 1940s and 50s along with some condensed weights. The News Gothic font family offers an uncomplicated design that is well suited for use in newspapers and magazines for headlines and in advertisements.

Similar in design to Franklin Gothic, News Gothic was one of a number of sans serif faces manufactured by American Type Founders in the early years of the twentieth century. Initially cut as a light sans, heavier versions were made in the 1940s and 50s along with some condensed weights. The News Gothic font family offers an uncomplicated design that is well suited for use in newspapers and magazines for headlines and in advertisements.

The 1929 sheet music for Cole Porter's "You Do Something to Me" (from the musical stage comedy "Fifty Million Frenchmen") has the name of the play hand lettered in a bold sans with an intersecting inline. This design was the inspiration for Suggestion Box JNL. Not quite Art Nouveau, and not yet Art Deco, the typeface is nonetheless timeless in its clean, appealing style.

From the 1917 sheet music for "The World Has Been So Mean to Me" comes a wonderfully hand lettered chamfered sans with varying widths and character shapes, now released digitally as Sentiment JNL in both regular and oblique versions. This informal bit of lettering retains the stylish elements of the Art Nouveau period without the extreme eccentricities found in some typographic designs of the period.

Headlines are transformed into clear-cut messages with the handwriting type family Slandic. Its robust appeal combines the elegance of script typefaces with the lightness of handwritten notes. What makes the Slandic so playful is the synergy between the quite narrow lowercase letters and the wide uppercase letters. Therefore it might rather be an upright chancery italic of a humanist sans. You can see it very clearly in its sharp upward angles and its long-limbed ascenders. Its visual appeal sets a reliable tone. It is precisely balanced with a solid stroke contrast and confidently angular-shaped curves. Slandic perfectly enhances exciting contrasting typography adding a personal note without giving it a comic spin.

Krimhilde was originally designed by Albert Auspurg and released in 1933 with the type foundry Ludwig & Mayer. The design mixes elements of German blackletter typefaces and geometric sans-serif designs, which became popular in the 1920s in the movement known as New Typography. The FDI version of Krimhilde offers both original styles (regular and bold) as “version A” with a full Latin 1 character set. “Version B” has alternative shapes for some letters to make the design more legible for people who are not familiar with the German blackletter shapes. In addition, there are optional display styles available (outline, shadow and fill), which can be used separately or together to create a chromatic layout.

The English stone carver, artist, and typographer Eric Gill conceived the Joanna typeface as a personal design for use in books printed at his Joanna Press."" Gill saw his press work there as a continuation of the British Arts and Crafts Movement, pioneered in the 19th Century by William Morris. Joanna is notable for its almost vertical ""upright"" italics, and the unusally small size of its italic characters. Joanna is versatile and extremely legible. The letterforms are a bit narrow, so the face is very economic as well. A lot of text may be packed densely together onto a page with Joanna. Joanna mixes very well with other typefaces designed by Eric Gill; especially Gill Sans.

Smashed Typeface is a reversed-contrast, slab serif, display font. Was inspired by the old west days that we can often see in printing, circus posters and wanted notices in western movies, even tho the style was really used in many parts of the world during that period. This style is sometimes called as "circus letter" too. Was designed to have a modern look, using straighter lines and an extended style, can be used on various situations like posters, logos for restaurants, alternative business like an old washing station (as you can see on the next images), music bands etc. I believe that is a promising typography that can be used by various designers in a lot of diverse project. It counts with 226 multi language characters, one weight on version 1.0, on a next version I hope to take this project to another level, creating a variable typeface from condensed to really extended weights. It would complete this typography and eliminate the limits of use.

Compasse is a semi-condensed sans-serif family designed by Ryoichi Tsunekawa and the whole family consists of 12 style: six weights from Thin to ExtraBold and their matching Italics. The range of styles provides flexibility for title, headline and body text. And the large x-heights increases legibility and readability. The basic skeleton of their letterform was not designed over-modularly but moderately semi-modularly (adjusted by designer's experience). Therefore the typical artificiality and unnaturalness which come from module-design does not exist in this family. The sophisticated letterform and its universal, neutral, and standard design make it possible to be used across a wide range of applications in all medias, all purposes. Compasse supports almost all european languages: Western, Central, South Eastern Europeans and afrikaans. And superior figures, inferior figures, denominators, numerators and fraction can be accessed by using OpenType features.

Stylish is a Unique Ligature Sans Serif Font with Modern shape make your design look unique and modern A new Display Font that we created special for Headline, Title and more stand out typography needs, with extra ligature that will add your variations. It's so perfect to add your style and headline overview. And specially for this font, we crafted for unique style and modern feels so enjoy to create any project that will show your main idea out. Stylish Unique Ligature Sans Serif Font ready with: Any options to get creative variations (combination of Ligature Characters) Preview as a inspirations that you can do with this font Ready with All characters Wish you enjoy our font. :)

CAPITALIZED, geometric, bold and round. If the typo­grapher sees a font like that, it's enough to make his toes curl. But sometimes it just has to be that way. Geometrically constructed fonts do not necessarily have to be pointed and angular; It also works consistently around. And if I say it consistently, then in this case, that's done consistently. The basis for the BOULE is the circle. The letters are drawn with constant line width, the “corners“ and endings all have the same radius, the lines are all the same thickness. The BOULE consists only of capitals. There is only one difference in the use of uppercase and lowercase letters: in the uppercase letters, the round letters are circular, while the lowercase letters are narrow. The character set of the Boule contains all letters and accents to support the Western, Northern, Central and Eastern European languages with Latin alphabet. The BOULE is not only very fat, it also runs very tight; that is, the glyphs are very close to each other. To avoid "holes" due to unfortunate letter combinations, the BOULE contains ligatures for FT, ST, TT and TZ. There are also other versions of the font: BOULE Brillant on the one hand. In this version, simple highlights simulate a light incidence from the top right. These light edges give the font a decorative effect that makes it easy to think of wet sausages or balloons in some shapes. And finally the BOULE Contour. As the name implies, it is the outer contour of the letters, combined with a shadow at the bottom left. The name BOULE (French for ball) says it already: this font is globated. Therefore, it is also very suitable for all three-dimensional alienation effects. With simple light and shadow you can achieve a very convincing 3D effect with little effort.

The Iberian scripts are the Paleohispanic scripts that were used to represent the extinct Iberian language. Most of them are typologically unusual in that they are semi-syllabic rather than purely alphabetic.[1] The oldest Iberian inscriptions date to the 4th or possibly the 5th century BCE, and the latest from end of the 1st century BCE or possibly the beginning of the 1st century CE. The characters in this font do not contain all the characters of the Iberian script. If there are friends who need all the characters, contact me so that I can install the font on the system.

Elevate your designs with Fendesert – the ultimate vintage and stamp font duo. This collection features a pair script and san serif font in regular, rough, and stamp styles. Plus, you get 20 hand-drawn western illustrations for added creativity. Perfect for logos, branding, apparel, and more. Unlock vintage charm with Fendesert. Fendesert font features : - 3 style typefaces (regular, rough and stamp) - Uppercase, lowercase, numeral, symbol, punctuation and alternate in script font - All-caps, numeral, symbol and punctuation in sans serif font - Multilingual - PUA Encoded Fendesert includes : - 7 fonts (script, sans serif and dingbat) - 20 hand-drawn illustrations in dingbat

Beatarisa is inspired by my handwriting. This font is feminine and playful, you can use it in various categories including making banners and posters etc. The name "Beatarisa" derived from Hawai language and means "he who brings happiness". We hope this font can be a source of happiness for everyone who uses it.

Swansbury, Inc. provides handwriting instruction to all ages, accompanied by two exemplar fonts, Barchowsky Fluent Hand.otf and Barchowsky Dot.otf. The basis for the design of the characters is the italic of the Renaissance. With the advantage of contextual alternates, Barchowsky Fluent Hand automatically joins lowercase letters so it can be used in any venue where a clean and elegant appearance of handwriting is desired. The fonts allow maximum instructional flexibility. Aside from their use in lesson plans, educators can customize pages for specific student interests, studies and needs. Included are all math symbols that one typically encounters in school curricula. Nan Jay Barchowsky, designer of this font, believes that children should hone their handwriting skills as they learn all subjects, reading, math, history and foreign languages. Both fonts support all Western European languages and Turkish. Barchowsky Dot is for young children or others who need remediation. The letterforms are identical to those in Barchowsky Fluent Hand. Used at a large point size open dots appear within the lines that form the characters indicating where one should start each stroke in a letter or number. Once formations are learned Barchowsky Fluent Hand can be used with the contextual alternates turned off until students are ready to write in the joined-up manner of a true cursive. Specifications: The technology for fonts that automatically join letters, or allow them to be unjoined is relatively new. At present, both fonts work on Windows XP with Service Pack 1 or later (or Vista), using AbiWord, a free word processor (go to abisource.com). They also work well with InDesign 2. Currently there is an unknown factor in later versions of InDesign for Windows that disallows joining. Macs completely support the fonts using InDesign 2 and later, PhotoshopCS and IllustratorCS. If you do not have these applications, there is an inexpensive word processor for Macs.

Swansbury, Inc. provides handwriting instruction to all ages, accompanied by two exemplar fonts, Barchowsky Fluent Hand.otf and Barchowsky Dot.otf. The basis for the design of the characters is the italic of the Renaissance. With the advantage of contextual alternates, Barchowsky Fluent Hand automatically joins lowercase letters so it can be used in any venue where a clean and elegant appearance of handwriting is desired. The fonts allow maximum instructional flexibility. Aside from their use in lesson plans, educators can customize pages for specific student interests, studies and needs. Included are all math symbols that one typically encounters in school curricula. Nan Jay Barchowsky, designer of this font, believes that children should hone their handwriting skills as they learn all subjects, reading, math, history and foreign languages. Both fonts support all Western European languages and Turkish. Barchowsky Dot is for young children or others who need remediation. The letterforms are identical to those in Barchowsky Fluent Hand. Used at a large point size open dots appear within the lines that form the characters indicating where one should start each stroke in a letter or number. Once formations are learned Barchowsky Fluent Hand can be used with the contextual alternates turned off until students are ready to write in the joined-up manner of a true cursive. Specifications: The technology for fonts that automatically join letters, or allow them to be unjoined is relatively new. At present, both fonts work on Windows XP with Service Pack 1 or later (or Vista), using AbiWord, a free word processor (go to abisource.com). They also work well with InDesign 2. Currently there is an unknown factor in later versions of InDesign for Windows that disallows joining. Macs completely support the fonts using InDesign 2 and later, PhotoshopCS and IllustratorCS. If you do not have these applications, there is an inexpensive word processor for Macs.

Canosa is an elegant, modern, and contrasting sans-serif font family. It includes upright and oblique styles, each having seven weights from thin to thick. This is a versatile font perfect for any project, contrasting, modern and easy to read. With it, you can create logos, use them in advertising, packaging, book and magazine covers, titles, descriptions and much more. Download Canosa for your next project today. What's included? Uppercase Characters Lowercase Characters Numbers and Ligatures Canosa Family features multilingual Support for multiple languages.

'HU Retroround' is a font that captures the feel of the retro typefaces used on signboards during Korea's modernization era. This font has a variable function, allowing users to fine-tune the thickness they want. (Available only in Adobe programs.) Six basic weights are provided so that they can be used even in programs that do not apply the variable function.

Grava is Neil Summerour’s injection of warmth within the geometric sans font category. Historically, geometric sans families have been based on primal shapes — triangle, circle, square — and the more closely they held to those rigid rules, the more internal inconsistencies they showed. Angles won’t match up correctly, letters will lean, overshoots complicate clean typesetting, and idealized circles become grotesque and unwieldy in some weights. Because of issues like these, geometric sans fonts have a reputation of being cold, austere, even a bit “off”. Grava was made to hold a T-square and triangle in one hand while giving a welcoming handshake with the other. The Grava font family comes in two styles (a normal and a Display), each with 20 weights (Thin to Ultra) and paired with italics. Its design allowed the three scripts of Latin, Cyrillic, and Greek to emerge seamlessly, ensuring Grava will find its home in multilingual publications. Even better, each character in the three scripts is spaced with every other character for a beautifully matched fit, and it’s a buy-one-get-all-three deal since they are all packaged together. The normal style’s large x-height won’t let you down in paragraphs, headings, and any call-out text. And have you seen the angles on those numerals? Pairing Grava’s numerals on a jersey is sure to catch some eyes, just sayin'. Grava Display is purposefully quirky and sharp, and made for poster sizes, book and album covers, and those websites with a well-defined character — somewhere between playfully self-aware and overtly vintage. Flat edges are abandoned to make way for sharp points and conspicuousness, for geometrical attitude and respectful expressiveness. Corporate reports use Grava Display to take on a professional and current look. The optional ligatures (N–T, L–L, G–A, C–O, almost anywhere an ‘A’ is placed, and more) in both the normal and Display styles invoke a midcentury modernist and high art feel. Now that introductions are done, you can let go of Grava’s hand and put it to work for you.

A special category of typefaces, combining together principles of both serif and sans-serif, is sometimes described as Linear-Antiqua by German typographers. This concept catches the eye wherever it appears and this is also the case of Tabac Glam — a highly contrasting display typeface, expanding the wide expressive spectrum of our Tabac super-family through a new characteristic hue. Tabac Glam is naturally a great complement to the serif Tabac. It’s however only in conjunction with other styles of the superfamily — Sans, Slab and Mono, that you’ll be able to unleash the enormous potential of the wide range of combinations, and the family’s 112 styles will certainly satisfy all needs of both elegant and technical typesetting. Tabac Glam will best stand out in huge grades, on the covers of thick magazines under glossy layers of UV coating, or on snow-white surfaces of displays.

My second font for 2009, Bling is a hoot. This vaguely Deco, sparkly sans is for those heads that need bling. This is the first font released in a long time without my complete feature set. It has lining and oldstyle figures, many wild ligatures, the x-height is too high to make a small caps set worth the effort. It's just for fun. Enjoy!

ABC Idea is a contemporary geometric sans full of opentype features in Regular, Bold and very "fast" Italic. The design is an experimental fusion or mix between Humanist, Geometric and Grotesque models. The fine drawing in all letters and signs has precise ink traps to highlight contrast jus like lettering and calligraphy does, then ABC Idea re-creates this exquisite graphic details into the digital world. Designed by Miguel H. Montoya Fonts in Use Images by letargo.cl Magazine. Art Direction by studioprado.cl