French type designer Xavier Dupré created this sans FontFont in 2007. The family has 6 weights, ranging from Thin to Black and is ideally suited for editorial and publishing projects. FF Absara Sans Headline provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Absara super family, which also includes FF Absara, FF Absara Headline, and FF Absara Sans.

Base Neue is the reincarnation of the basic typography (adaptation) of modern civilization. InkTrap is applied and many variations that can be used for this typeface, from very narrow media to extra-large publications. Weights from thin to black and then there are widths from Super Condensed to Super Expanded, which of course are all used in various media, from heading or titles to body text. Base Neue provides a total of 108 styles consisting of 782 glyphs per style. 95 different languages are supported, and it also has access to alternative letters and interesting ligatures.

Iwan Zaza is a high-contrast modern Arabic typeface designed by Ahmed Zaza. The design is inspired by the Kufi calligraphic style and influenced by the Naskh style. Iwan balances classic and contemporary tastes with wide open counters and short ascenders and descenders that minimize the hight. And has a high - contrast between the vertical and the horizontal to line up in harmony with Latin. And openType alternates and ligatures set. This makes it suitable for branding, editorial, packaging and advertising. Iwan features five weights from Light to Black, and supports OpenType features for Arabic, and has a wide glyph set.

The Vidal is a display typeface designed in 2016 by Elena Albertoni. It comes in three styles: Regular, Bold and Black. This wide sans-serif with low contrast is inspired by French and British Art Deco lettering and it is suitable for use in medium to large sizes, where it offers good legibility and all its friskiness. The attitude of Vidal when set in all caps derives from the models that inspired the design: mainly capital-only lettering pieces; the essential addition of lowercase letters distinguishes Vidal from similar revivals and makes it a great modern choice.

Victorina is a fantasy sans letter or display, inspired by the Victorian letters whose stylistic influence dominated the scene graph of the nineteenth and twentieth century. Victorina has a perfect structure of rigorous geometry. Victorina comes in several versions in both Black and Condensed, in italics with a varied repertoire of styles, besides providing small caps and ornaments. Victorina lets you work fine fantasy headlines when they overlap in layers of different styles. Victorina is a letter designed to recreate, with a contemporary vision, the spirit of those days of the industrial revolution and the early days of modernism.

Hello Buena - From Wood to Digital Type Buena is the first word I read on a letterpress paper, printed by my colleague and friend Wolfgang Wick. I was fascinated by the power of this fat wooden letters at first glance. So I started to create a digital version of it and »Buena Black« was born. Due to the fact that the original punches had only upper- case glyphs, I created the lowercase characters by myself. After that it was time to design the family... Buena is full of OpenType features. To get fully acces, go to www.mazefonts.de and Download the Type Specimen.

Must a letter always have a symmetrical basic form? What happens when the shape of the letters stretch like an arc in the reading direction? When writing with a broad nib, this is easily achieved. The HGB Santo examines the effect of this formal principle on the readability of a text. First attempts have shown a warm and reader-friendly typeface. Six shades from Light to Black, each with an italic should be sufficient for most applications. Small caps and old-style figures are available via OpenType features as well as some ornamental forms in the italics.

Danish type designer Jan Maack created this sans FontFont in 2012. The family has 8 weights, ranging from Light to Black (including italics) and is ideally suited for advertising and packaging, logo, branding and creative industries as well as web and screen design. FF Marselis provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates.The typeface was selected as one of Typographica’s favorite typefaces of 2012. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

RooneySans is a humanist sans-serif typeface, and the latest addition to the Rooney family. It shares the same attributes as its seriffed companion – softly rounded terminals and a moderate contrast, thoughtfully applied to classical sans-serif proportions. Although RooneySans was developed as a stand-alone typeface family, it combines well with Rooney since both typefaces share the same stem weights and an equal gray value. RooneySans is suitable for any task in branding and packaging design and gives long texts a warm and inviting feel. All six weights from Light to Black come with matching real italics.

BetterKamp was originally constructed in 1995-6. It was not constructed to meet any specific purpose but out of curiosity, to see what the result would be if two quite different faces were blended. KampIngriana is the offspring of BetterTypeRight, which has characteristics of a typewriter face without the monospacing, and KampFriendship, which mimics a serifed face drawn by hand. The original blending had many oddities that I did not clean up until 2020 when I also added the semi-bold weights. BetterKamp lacks polish and elegance, but it is very readable at small point sizes.

French type designer Xavier Dupré created this script FontFont between 2002 and 2007. The family contains 3 weights: Regular, Bold, and Black and is ideally suited for advertising and packaging, logo, branding and creative industries as well as sports. FF Tartine Script provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Greek writing system.

French type designer Xavier Dupré created this script FontFont in 2009. The family contains 3 weights: Regular, Bold, and Black and is ideally suited for advertising and packaging, festive occasions, editorial and publishing as well as poster and billboards. FF Masala Script provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Masala super family, which also includes FF Masala.

Getho is a Semi Sans family of geometric construction with 6 weights plus the italic versions all include small letters, the symbol of Bitcoin and other monetary symbols. It is an exclusive typography with neo-grotesque modulations and maximum readability in any size. The typeface has alternative letters and numbers, small caps and advanced OpenType functions. The complete Pack includes versions of the Variable Fonts type. The drawn of the vectors is meticulous to obtain smooth curves of elegant aspect to which also contributes the subtle rounding of the corners, the thicker versions have of traps of ink in the knots of the unions to be able to use them in small sizes. The Metric and the Kerning of all the versions I have reviewed individually to obtain a fluent reading in any type of text and size.

Mezalia is a one of a kind typeface. Its shapes were strongly influenced by bastarda scripts of high medieval times. Unlike most fonts sharing similar origin, Mezalia is not just another blackletter but a fully functional text typeface, blending medieval poise and character with modern sensibilities. Stroke widths, imitating a broad nibbed pen of a scribe, fluctuate constantly giving paragraphs a characteristic vibrating texture. Despite it's strong character Mezalia is very legible and will be an excellent choice for a book or an elegant magazine. Mezalia has two distinct styles: straight and cursive (true italic if you will, although the word is not really correct here), which come in seven weights, from thin to black. Each weight contains a set of old-style figures, lining figures, small caps and ligatures. A separate style containing drop-cap initials is also available.

The letters in the Linotype Aspect Family fonts seem to be experiments in the handcrafting of letters with just a few basic geometric forms. For instance, the bowls of the letters C, D, and G in Linotype Aspect Intro are all made up of narrow half circles. Features like this make Linotype Aspect Intro perfectly suited for headlines and short passages of text. Its quirkiness is sure to lend a smile to the faces of your readers. For shorter headlines with larger point sizes, try setting your text in Linotype Aspect Regular, the second member of the Linotype Aspect family. Linotype Aspect Regular uses the same basic letterforms as Linotype Aspect Intro, but reverses them out in white, and places them over bulbous black shapes. The Linotype Aspect family was developed by German designs Hans-Jürgen Ellenberger in 1999.

"País" is a contemporary and modern grotesque sans serif, inspired by the grotesques of the early 20th century, but more geometric and with a wider x-height than its referents; making it ideal for the current times. "País" comes in 2 versions, each with 9 weights, from thin to black, and matching italics, for a total of 36 fonts. The standard sans serif version is fresh, clean, and more ideally neutral. It's a perfect choice for editorial design, branding, headlines, or any other piece of graphic design. The "País Alt" version has more expressive and modern characters, with some giving it a much more playful image. It is ideal for logos, packaging, web and television use. País contains a total of 682 characters that make it possible to write in more than 200 Latin languages ​​and basic Cyrillic.

Acton is a deceptively simple, grid-based design. Though derived from a 2 by 3 arrangement of blocks, it uses white spaces to allow for more complex shapes – for example as the R – where the underlying 3 by 5 arrangement is apparent. It also departs from this strict grid-based logic for characters such as the the T, L, f and r, whose cross-bars are shorter than they would otherwise be in order to promote optical evenness. No elegant solution could be found for the V, which in geometric fonts can appear very similar to the U, lacking as it does the cross-bar that can differentiate a square A from the capital form of the n. However, the resultant diagonal retroactively proved useful on the lower-case e and a, characters that otherwise would have more uninteresting design solutions.

Aromo was initially conceived for editorial purposes. This typeface mixes the versatility of a simple and modern sans-serif, with the sensibility of the humanist feeling: thus making it useful in a wide range of purposes when a balanced and friendly font, with elegant proportions and high readability is required. The functional nature of its design is complemented by a family of 14 variants (7 weights, plus their matching true italics) interpolated optically for application as a hierarchical resource, where the middle weights (Light, Regular) have been optimized for use in small bodies, while the extremes (Ultra Light, Black) where designed for display environments._ Aromo also offers a wide range of historical and discretionary ligatures, small caps, eleven different types of numerals and a set of more than 700 characters covering about two hundred languages of Latin script._

Briliond has an aesthetic style, and the serif-type tagline is modern and elegant. This font is equipped with ten levels of thickness, from thin to black suits your needs. Briliond is also equipped with the latest professional characteristics that can present an elegant and attractive identity for your company or project for business purposes. It goes well with modern serifs, and scripts depicted or stand firm as a title and brand representative for an elegant look. Briliond also comes with multiple languages, making it easy for any country and language use. It also comes with alternative Ligatures and styles to make your designs more attractive. Briliond is suitable for branding projects and various design purposes such as business cards, name tags, and uniforms as a brand enhancement. Advertisements, posters, invitations, branding, logos, magazines, merchandise, presentations, etc.

What do you get when you mix iconic Cooper Black from 1922 with an even older font, equally iconic Windsor from 1905? Well of course, you get Manchego! Manchego combines the best of both: the plump features and serifs from Cooper with seriously bold forms, such as the oversized bowl of R, peg-legged N, pinched U and leaning a, h, m & n giving it an adorable retro-appeal. With these distinguishable features Manchego works extremely well with illustrations or can actually be used as an illustration per se. Despite its vintage charm, Manchego is fully equipped with modern OpenType features. Standard ligatures help with certain difficult character combinations. In addition Manchego sports Swash, Titling & Stylistic Alternates that can be deployed for more original look. Try Manchego with a bit tighter kerning for more 70s feel.

Secca Soft is the rounded sister of Secca font family. With its workhorse qualities, Secca Soft is perfectly suited for a wide range of applications - especially where legibility and economy are important factors. It comes with a wide language support and many typographic features and extras. The family comes in nine weights from Thin to Ultra Black - each with italics, small caps and italic small caps. While the weights from Light to Bold perform well in text sizes, the more extreme styles give extra freedom for Headlines & Signage. For setting tables and charts, Secca Soft offers tabular figures, fractions, currency signs and mathematic operators which share the same fixed width throughout the entire range of weights. This special feature is called "weight duplexing" and is a time saver for designers of annual reports and other figure-heavy texts.

Rough-hewn industrial geometric typefaces have been used and admired from early wood types through the digital age of Machine and beyond, but they have lacked an expansive enough family to become a true workhorse. The Tradesman family finds its origin of inspiration in the Craftsman tool company logo, and from there expands to type megafamily. Tradesman celebrates the angular octagonal forms of industrial lettering, transcending its brand inspired origin to give birth to a font family that pulls on modern and historical styles. It inherited its reliably tough tone from the all capitals lettering that inspired it, and goes on to include a lowercase, small caps style, and a comprehensive range of widths and weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers.

Toronto Subway is based on the lettering originally used for station identification and signs by the Toronto Transit Commission (TTC) in the Toronto, Canada, subway system. The first subway line opened in 1954. However, the original lettering remains unique. The lettering on the original signage consists only of uppercase characters and a few bits of punctuation in two weights: Regular and Bold, introduced in 2004. The Toronto Subway fonts were developed from rubbings of the lettering etched into station walls and photographs of painted signs. The overall style of the lettering is very mechanical, almost naive, yet still having a certain amount of elegance. This style was followed as much as possible in creating the extra lowercase, punctuation and other special characters. The Toronto Subway family was expanded in 2014 with the addition of the Light and Black weights.

Introducing Inertia - Logo Typeface - 5 weights Inertia is futuristic, logo typeface loaded with alternate glyphs, ligatures, 5 weights and multilingual support. It's a very versatile font that works great in large and small sizes. Inertia is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, numeral, punctuation & Symbol Hairline Light Regular Bold Black Alternate glyphs Ligatures Multilingual support How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

What do you use to write a price tag at a store or to design a wall menu in a cafe? What to choose – a marker or chalk? Now it makes no more sense to be torn apart by the choice – use both techniques for your design. Walls fontfamily allows to perfectly combine an eco-friendly style with contemporary motives. Walls fontfamily supports over 70 languages and consists of 10 typefaces in 5 popular weights (Thin, Light, Regular, Bold, Black). Initially we wanted to create a font that would imitate an inscription made by a square tip marker which is usually used to write price tags at supermarkets, shops and cafes. During the working process we've decided to extend the conceptual boundaries of the Walls fontfamily and added 5 rough typefaces that imitate the style of ecologic chalk writing

Aromo was initially conceived for editorial purposes. This typeface mixes the versatility of a simple and modern sans-serif, with the sensibility of the humanist feeling: thus making it useful in a wide range of purposes when a balanced and friendly font, with elegant proportions and high readability is required. The functional nature of its design is complemented by a family of 14 variants (7 weights, plus their matching true italics) interpolated optically for application as a hierarchical resource, where the middle weights (Light, Regular) have been optimized for use in small bodies, while the extremes (Ultra Light, Black) where designed for display environments. Aromo also offers a wide range of historical and discretionary ligatures, small caps, eleven different types of numerals and a set of more than 700 characters covering about two hundred languages of Latin script.

Francker is a sans-serif typeface family based on clean and simple principles of design. The letterforms' curves are inspired by the "super ellipse," a mathematical shape that is about halfway between an ellipse and a rectangle. Francker's lowercase letters appear somewhat reduced, as the a, b, n and u have no spurs. The family is available in nine weights, from Extra Light to Extra Black. Excellent areas of use for Francker signage, posters, magazines, advertisements, or logos; wherever a timeless, modern look is needed. Francker's fonts have a large character set that includes all glyphs in Linotype's W1G specification (World Glyph Set 1). Proportional figures are available as alternatives to the tabular defaults, via an OpenType feature. The Francker type was developed designed by Anders Francker (b. 1972), an engineer and designer living in Denmark.

Catsy is a cute and curly upright script family. Catsy is great for any kind of display use from packaging to poster to headlines. Catsy makes clear word images but if you want more curly action try Swash, Stylist or Titling Alternates on any OpenType savvy software. If that isn’t enough you can manually select from even more alternates from Glyph Palette: Each version of Catsy contains more than 700 glyphs. Keep Standard Ligatures on for smooth flow. Catsy Printed is a texturised version of Catsy. Catsy Printed also has softer features than Catsy. Catsy Ornaments is a pack of 86 extra swashes, badges, ornaments and swirls designed to play with the font, though they work nice on their own as well. For the best price purchase Catsy Family, Catsy Printed Family or Catsy Complete Family.

For decades, cereal companies have included premiums [promotional gifts] inside their packages, printed on the cartons or to send for with a special coupon and redemption instructions. During the 1940s, Pep cereal [a long-discontinued Kellogg's brand] offered a series of water-applied decals within its boxes. Most likely made by the Meyercord Company (one of America's largest transfer decal manufacturers at the time), one decal in particular had an alphabet in gold letters with black outlines. (One can only presume the marketing strategy was to have kids bug their parents to buy more Pep cereal if the child needed more than one letter of the alphabet for his or her initials!) Those decal letters have inspired a digital version as the outline character font Toy Decals JNL, which is available in regular oblique, solid and solid oblique styles.

It is a modern grotesque family that can feel strong power. Hairline Styles are designed to be thinner than the average Thin Styles and have a lower x-height than Black Styles. So when you design your typography using the entire font family, you get a great sense of balance and harmony. And with creative Alternates, you can make your logo and product branding design work unique. Cropped glyphs provide meaningful metaphors for logo design. Be sure to try the Stylistic Alternates and Ligatures this family has to offer. OpenType Features Stylistic Alternates - C, G, K, N, R, S, a, e, g, i, o, s, u, y Standard Ligatures - ff, ffi, fi Discretionary Ligatures - tt, rr Fractions Oldstyle Figures Tabular Figures Circled Numbers Multilingual Support Western Europe, Central/Eastern Europe, Baltic, Turkish, Romanian Basic Cyrillic Ukraine

Identitype is very pleased to present Varent Grotesk, a sans serif family designed by Hendra Maulia and Aulia Rahman who was inspired by modern sans serif. The weights of the family itself contain 18 styles plus italic, ranging from Thin to Black. Ideally, it works to capture in a graphic way the universe related to technology, sci-fi, industry, and similar topics. It is a mixed family because of the construction of certain letters (as in “a”, “e”, “h”, “k”, “A”, “B”, and more). Another important line in the creative concept of this typeface is the function of its ink traps, which, in addition to fulfilling their primary function, serve to gain gestuality in its use. This font is capable of covering complex design needs by enabling association with specific themes, which makes it highly competitive in its graphic line.

Rubis is a contemporary serif typeface with a sharp aspect designed for long running text. It’s a family with a serious aspect but it keeps a certain charm. The idea behind Rubis was to create a typeface with flawless curves, every letter and symbol has been designed in this idea, it can be seen in the terminals which finish the letter with an extreme fluidity. It’s a family which mixes classical influence such as the calligraphic terminaison and the sharpness of a modern typeface. The Regular and Medium are optimized for long text while the Light and Black can be useful for Title. The range of style give a good flexibility to this family. It’s an excellent family for editorial use. Rubis consists in a 10 styles family, from Light to Black with their corresponding italics. Each font includes OpenType Features such as Small Caps, Proportional Figure, Tabular Figures, Numerators, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals, Fractions and ligatures. Rubis family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afar, Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek .

ION A is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there's a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION A are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what's important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

ION C is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there's a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION C are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what's important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

ION B is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there’s a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION B are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what’s important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

TT Severs useful links: Specimen | Graphic presentation | Customization options TT Severs is a geometric grotesque with emphasized elements of internal brackets. A distinctive feature of TT Severs is the unusual form of internal ovals, which refers us to the style of traditional Arabic writing. TT Severs has a strong character and is great for use in high tech (IT), the web, in robotics, computer games, and sports. TT Severs is a 2-in-1 font family. In a large body size, it works great as a display font, creating a distinctive character for logos and headings. At the same time, when TT Severs is used in a small body size or in large text arrays, the font’s peculiarities of bracket construction fade, and it perfectly functions as a text font, thanks to both the low contrast between vertical and horizontal strokes and the detailed logic of interaction of black and white letter elements. The font family TT Severs includes 18 fonts, each of which consists of 558 glyphs. The family has standard and discrete ligatures, which include experimental ligatures for the Cyrillic alphabet. In addition, TT Severs can be made a little more humanist—it is enough to turn on stylistic alternates, and due to them the font takes the form of a humanist grotesque, which refers us to traditional broad nib writing. As part of the font family, you will also find old-style figures and a large number of OT features such as case, ordn, sups, sinf, dnom, numr, onum, tnum, pnum, liga, dlig, salt (ss01), frac.

Check out Mr Gabe in motion! Mr Gabe is a typeface designed to dance. Not that it’s a flamboyant display face, but that it has a liveliness, especially in its heavier weights, that dances across the page. And the letters include a selection of exuberant flourishes that can be used to kick up a ruckus or make a sweeping gesture. Mr Gabe is a high-contrast serif typeface with vertical stress, a “modern” face in traditional type terms. Even in the regular weight, the contrast between thick and thin strokes is very obvious. Designer Andrea Leksen has given many of the lowercase letters ball terminals, teardrop shapes that make Mr Gabe seem decorated even when most of its letter forms are conservative. If you need more bells and whistles, or perhaps revolving mirror balls and dancing shoes, you can explore the font’s collection of ornaments and decorative borders. Mr Gabe comes in four weights, from Regular to Black, with italics for each. Each font includes over 57 ligatures, 31 illustrations and borders, small caps and proportional oldstyle numerals.

Quit trudging through the thick with encumbering fonts, and spring to the front of the pack with the cutting edge sans serif, Haboro Sans. With nothing to clutter up your work, your editorial designs, websites, and software will be sharp and clear. While this hyperfamily is simple in character, it (like Haboro Slab and Haboro as well) provides you with plenty of options. Haboro Sans features simple geometric shapes to help you achieve that perfect effect wherever you use it. Enjoy the comforting reassurance that this multi-tool of a typeface family can work on most anything, including packaging, branding, web copy, and more. Take the simplicity of Haboro Sans a step farther with OpenType features, too. Haboro Sans contains special glyphs like Titling, Small Caps and Oldstyle figures that give your work just enough of a distinct touch. For even more options, use the entire Haboro hyperfamily to expand your capabilities. Put some simple class into your projects with the traditional look of Haboro Sans. Your layouts, websites, iPhone apps, advertising, and newspapers (to name just a few) will thank you.

Mantika Book expands the Mantika super family: a contemporary serif font with a soft, yet robust character and a classic lookMantika Book, an Antiqua, is the third member of the Mantika super family, which consists of the Mantika Sans and Mantika Informal. Designer Jürgen Weltin has gone back to the roots of his font, which he had originally derived from a Renaissance Antiqua. These origins are recognizable in the first member of the Mantika family, Mantika Sans, in the form of carefully suggested line use and a contrast in the weights that recalls the Antiqua. This solid sans serif, optimized for use in text, also has a particularly energetic and dynamically designed italic. Mantika Informal also brings to mind a cursive font at first glance; ultimately, however, it is not easily categorized. Its light, organic shapes combine the informally flowing style of cursive handwriting with the open and airy form and contrast of a humanist sans serif. The shapes in the serif Mantika Book are also based on the Renaissance Antiqua, just like the other members of the Mantika super family. However, the contrast in the weights is somewhat stronger than is conventional for this genre, and the serifs are characteristically asymmetrical, with slanted ends. Lightly grooved stems with an implied curvature in the lower-case letters as well as dots whose shape flirts with a fountain pen lend the Mantika Book a dynamic and particularly friendly character. Details like the open "g" or the contoured foot of the "k" emphasize this dynamism. The letters of Mantika Book have the same large x-height as the other members of the super family, but are equipped with somewhat longer ascenders and descenders.

Disclaimer: An unhealthy amount of energy drinks were consumed while creating this product Bring some loud, bright, and nostalgic fun to your designs with the Neo Retro font pack! Create bold, vibrant, 90s-inspired designs in just a few clicks—giving you more time to hang out at the mall, go to a drive-in, kick-ass at the arcade or go make the perfect mix-tape (you get the idea). Here's a run through the font family; Neo Retro Font • A high energy font with clean edges and sharp ends. An all caps font, but with a larger and smaller variation included as upper and lowercase sets. Neo Retro Alt Font • This is a second version of the Neo Retro Font, with a completely new set of upper & lowercase characters drawn in the same style. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Neo Retro Icons Font • A set of 36 fun, hand-drawn icons designed to match with the Neo Retro font. Includes doodles, shapes, zig-zags, underline swashes & more. Simply install as a separate font and type any A-Z or a-j letter to generate an icon. Language Support; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.