Lens Grotesk is a Neo-grotesque type family of 16 fonts born as a result of a very conscious research in the field of the neutral Swiss aesthetic. There's a reason for all the prominent examples of this design like Helvetica and Univers to be used on a daily basis for more than 70 years and it's a simple one - they just work. The closed terminals, the low contrast, uniform widths and proportions makes the Neo-grotesques feel just right. Although very often branded as stiff, the neutral Neo grotesques are here to stay and Lens Grotesk is our own reading of the popular style. Lens Grotesk takes the Neo-grotesk model one step further adding a pinch of Geometric sans-serif to the mix thus creating a way more modern and contemporary looking design. Characterized with more generous oval proportions and slightly more open terminals, Lens Grotesk keeps the modulation and rhythm needed for a slightly longer texts while visibly keeping everything in order. Zooming in you'll find traces of the Geometric aesthetic - the robust almost right angled approach of the arches and tails (look t, f, j, y) and the way more circular rounded shapes. Like all our fonts, Lens Grotesk is equipped with a range of OpenType features, stylistic alternatives and of course Cyrillic support. It comes in a pack of 16 fonts with 8 styles and their matching italics or one variable font file available with all full family purchases. Live Tester | Download Demo Fonts | Subscribe

This is Floral Decay, your seasonal autumn font with jaded, weathered, and earthy contours of rustic lettering. As they blend into words, the characters evoke floral arrangements of a decaying beauty. It is versatile, playful, and perfect for Graphic Design decorations! This font is unique because, in order to create it, I had to answer some tricky questions: What makes autumn… autumn? Capturing the essence of the other seasons into your letters comes easier. For instance, in order to suggest summer, you only need to draw a few flowers. How about autumn? You could garnish your letters with a few grapes, you might think, but it would only result in a grape-themed font. The notion that is more directly associated with autumn is the image of falling and withering leaves, which brought me to the second question. How exactly are you going to create something beautiful out of a somewhat morbid premise, like wilted leaves? Well, I soon realized that by creating a handwritten font and preserving the right imperfections, you can actually portray collateral beauty. In this context, asymmetry is important because it suggests decay. Further on, the design concept required the letters to come very close together, so that every typed word can be regarded as a floral arrangement. How close together, though? As much as possible without confusing one with the other, risking a lack of legibility. Therefore, in contrast with the demo version of this font, this actual version provides the ideal kerning.

Holy Dooley! It’s a new Ainslie! Based on the inspiration from Mt. Ainslie and the Ainslie suburb outside Canberra, the original Ainslie adds geometric simplicity with a hint of aboriginal flair to the project. And now the muses of Ainslie are back at work, lending their structure as the foundation of Ainslie Slab. Like its big brothers, the new Ainslie Slab puts together a great mix of influences from Oz for a great looking typeface with some ace new shoes. Slab’s spiffy new slab serifs complement the classic frame, making the result a ripper Aussie typeface that can be used in a great number of applications. Take a look at the trendy typeface’s alternates in action, too. You can access these in any OpenType-enabled application. Alternates, swashes and alternate titling caps allow you to customize your look and feel. Capital swash alternates, old style figures, and compact caps are included to add a bit more flexibility to your work as well. OpenType enabled applications can take complete benefit of your automatic replacing ligatures and alternates, and this font also presents the glyphs to help a wide array of languages. View all of these in the PDF brochure. And then try them out. Combine it with the original Ainslie and Ainslie Sans for more flexibility. Whether you need a good slab for the copy or you want a clean, upbeat look for your headline, Ainslie Slab offers you a unique touch of the Outback that’s anything but out of touch.

Metron is so far the most ambitious typeface made to order in the Czech Republic. Despite the fact that for a number of years it has not been used for the purpose for which it was designed, every inhabitant of Prague is still well aware of its typical features. Metron Pro was commissioned by the Transport Company of the Capital City of Prague in 1970 to be used in the information system of the Prague Metro. It was first published in the manual of the Metroprojekt company in 1973 and then used to the full, under the author’s supervision, for lines “A” and “C”. Since 1985 Rathouský's system has been disappearing from the Prague Metro; it survives only in the form of metal letters at its stations and at some stations of the Czechoslovak Railways. In 2014 we're mentioning the 90th birthday of Jiří Rathouský. It’s a good opportunity for updating and re-introducing his Metron. Extended was the choice of figures and fractions, new currency signs added, diacritics revised, etc., but above all the newly designed Cyrillics including true SmallCaps. Now we have six weights plus italics, where the tone of the basic style is even closer to the original. Ten years back we've had the feeling that this typeface should again take a part of Prague’s traffic system and today, when revisiting of all the fonts, the feeling turned to certainty. The main feature of this typeface is namely a noticeability a property above all welcomed in rush of platforms.

Dolsáb was designed from scratch with uniqueness in mind. The subtle movement from thick to thin and the variants of sharp to rounded make this cutting edge san serif a must have. The inspiration for Dolsab was a simple pairing of a rhombus and calligraphy. While neither of those two elements can be seen in their entirety in any instance, the influence of both is strong. The rhombus can be notice on most ascenders like on the lowercase t & l, for example. And the calligraphy inspiration is most easily captured on the descenders such as the lowercase y & g. The most beautiful characteristics of Dolsab is definitely the calligraphy-influenced movement. These features really stand out on the lowercase a & e. It's almost amusing to let your eye follow the contours of those two letter forms as they travel from thick to thin, sharp to rounded and back again. Users are welcomed to try all font styles of Dolsab in any applique of their choosing. However, it will be quickly noticeable that only Dolsab Air & Demi (the thiner of the styles) will be best suited for body copy. Personally I like to see these letterforms as large as they can be to really showcase the subtle movement, especially in Dolsab Heavy where these movements become much more dramatic. You'll never know what really works best unless you experiment. Dolsab surely isn't the answer to all projects, but it's certainly worth trying. No other typeface moves quite like Dolsáb.

Alfie™ is lively, friendly, inviting and easy on the eyes. What more could you want in a script? How about four flavors of the same design? Alfie Script is a delightful connecting script with a touch of comfortable elegance. Use it for everything from social announcements to headlines and packaging. Alfie Casual is a little more laid-back with letters standing on their own. It works great in short blocks of text copy, subheads and navigational links. Alfie Informal has spirited serifs and its own demeanor, while Alfie Small Caps does a fine job of supporting its other siblings. There’s an immediacy to words and messages set in these lighthearted confections. Jim Ford was practicing drawing with a new brush pen when the inspiration for Alfie came to him. He had filled several pages in a notebook with letters and, at one point, realized that there might be a typeface among them. As it turned out, there were four. The process, however, wasn’t choosing one design and modifying it. The makings of all the designs were on the pages. It was just a matter of culling out the right collection of characters to build the foundations for the four flavors of Alfie. Because they share the same family roots, each design in the Alfie family can be paired and intermixed. Ford admits that there’s a hint of Emil Klumpp’s 1950s Murray Hill typeface (https://www.myfonts.com/fonts/bitstream/murray-hill/) in the Alfie family. Just enough to give the design a 50s vibe. (Some fashions never go out of style.)

Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto sub-families have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well. The serif version has been designed to work best at small point sizes (around 8, 9 points). You will not achieve calm, boring or invisible look of your text with Preto Serif. Its long, spiky and sharp serifs contribute to give the typeface a distinct and energetic character. It is very suitable for magazines, corporate identity, brochures or other print materials where a typeface for continuous reading is required. The ligatures in Preto Serif are very special. You can set them in different tracking values and spacing will increase/decrease consistently in the ligatures as well. Alternative characters in the font files allow you to change the feeling of the text from typical to more special (J, Q, g , &). Each font contains a full set of small caps and many alternative characters for complex typesetting.

Kate Slab Pro Ultra Expanded is a sophisticated and robust modern Slab Serif Typeface that works in a variety of design scenarios. It is designed to work in big attention grabbing headlines as well as in smaller text and even body text. The recognition value of Kate Slab Pro Ultra Expanded is its biggest asset in world of uniformity. Ranging from “100 Thin” all the way to “900 Black” makes Kate Slab Pro Ultra Expanded such an amazing and versatile font family that stands out. Kate Slab Pro Ultra Expanded doesn’t only work great in lifestyle and fashion related contexts but will also look amazing for restaurants, coffee shops or and other use cases that ask for character and identity. To fill all the gaps of a designer’s needs, Kate Slab Pro Ultra Expanded comes with an italic style with every weight. Those italics are equipped with unique and real italic characters and will make you love it. Being a Slab Serif Kate Slab Pro Ultra Expanded manages to remind you of a classic Font Family with a modern and timeless approach that will make you happy for decades. Monday Type can’t wait to see the beautiful designs you are going to create with our Kate Slab Pro Ultra Expanded.

Hazim is a display font designed with isolated letters. It uses thin white slits positioned within extra bold black space glyphs emphasizing the main visual characteristics of the Arabetic letters in two positions: initial/medial and final/isolated. The spacing widths between glyphs match that of the slits to give a virtual cursive look and feel. The name Hazim was chosen to honor a friend of the designer, Hazim al-Khafaji. Hazim supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It comes with one weight and a left-slanted “italic”. The script design of this font family follows the Arabetics Mutamathil Taqlidi style and utilizes varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter in an Arabic text. Hazim includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Hazims’s soft-vowel diacritic marks (harakat) are only selectively positioned with most of them appearing on similar lower or upper positions to make sure they do not interfere with the letters. Kashida is enabled.

Nanami Rounded is a heavily engineered follow up to the hugely successful Nanami, which debuted at MyFonts #1 Hot New Fonts for over 2 weeks. Nanami Rounded is a carefully engineered take on the original Nanami family. We kept the curve very slight in order to keep the clean corporate balance, and not to go into a style that was too friendly. Nanami Rounded consists of 18 weights ranging from Thin through to Black. It has also extensive support for over 50 languages, and as a font family that works well both in headlines and bodycopy, Nanami Rounded is the perfect choice for a whole variety of creative briefs. The gentler, softer follow-up to the popular Nanami, Nanami Rounded is also motivated by the artistry of Japan. Smoothing the hard lines and definite corners of its predecessor just slightly, Nanami Rounded is still clearly defined and crisp enough to work in whatever context you need. If Nanami is a battle hardened Samurai, Nanami Rounded is the lotus blossom favour handed to him as he leaves his home village to go to war. If Nanami Rounded isn't quite floating your boat why not check out it’s counterparts Nanami and Nanami Handmade.

Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto sub-families have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well. The serif version has been designed to work best at small point sizes (around 8, 9 points). You will not achieve calm, boring or invisible look of your text with Preto Serif. Its long, spiky and sharp serifs contribute to give the typeface a distinct and energetic character. It is very suitable for magazines, corporate identity, brochures or other print materials where a typeface for continuous reading is required. The ligatures in Preto Serif are very special. You can set them in different tracking values and spacing will increase/decrease consistently in the ligatures as well. Alternative characters in the font files allow you to change the feeling of the text from typical to more special (J, Q, g , &). Each font contains a full set of small caps and many alternative characters for complex typesetting.

Encore Sans Pro is a sans serif which projects an image of reliability, authority and competence making it ideal for corporate applications. A functional typeface which combines utility with style. It’s subtle round characteristics such as the slightly curved-in edges, create a distinctly contemporary look, blending effectively traditional with modern details. Encore Sans Pro has received 3 international awards and distinctions including a Silver at the european ED Awards 2010. This is a contemporary typeface which may function as the perfect alternative to several overused classic sans. Encore Sans Pro does not pretend being different but it does claim its own personality. It is simple and stylish. Furthermore, it is extremely versatile. It comes with 22 weights and supports simultaneously Latin, Greek and Cyrillic. Each font contains 1535 glyphs and is loaded with 22 advanced OpenType features. Extreme weights, such as the elegant hairline, are carefully designed to establish an even color throughout, while ultra black despite its heavy characteristics is quite legible and powerful. Other intermediate weights such as light and book are ideal as body text for magazines and catalogs. Every font in this series has been completed with 270 copyright-free symbols, for packaging, public areas, environment, transportation, computers, fabric care and urban life.

Kate Slab Pro Expanded is a sophisticated and robust modern Slab Serif Typeface that works in a variety of design scenarios. It is designed to work in big attention grabbing headlines as well as in smaller text and even body text. The recognition value of Kate Slab Pro Expanded is its biggest asset in world of uniformity. Ranging from “100 Thin” all the way to “900 Black” makes Kate Slab Pro Expanded such an amazing and versatile font family that stands out. Kate Slab Pro Expanded doesn’t only work great in lifestyle and fashion related contexts but will also look amazing for restaurants, coffee shops or and other use cases that ask for character and identity. To fill all the gaps of a designer’s needs, Kate Slab Pro Expanded comes with an italic style with every weight. Those italics are equipped with unique and real italic characters and will make you love it. Being a Slab Serif Kate Slab Pro Expanded manages to remind you of a classic Font Family with a modern and timeless approach that will make you happy for decades. Monday Type can’t wait to see the beautiful designs you are going to create with our Kate Slab Pro Expanded.

Bodrum Collection: 1- Bodrum Sans 2- Bodrum Sweet 3- Bodrum Stencil 4- Bodrum Slab 5- Bodrum Styte 6- Bodrum Soft Bodrum Stencil is a stencil 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 Stencil 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 Stencil" a harmonious and sensible appearance for both texts and headlines. Bodrum Stencil 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 Stencil 14 Regular” forms the central point. "Bodrum Stencil" 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 Stencil is the perfect font for web use.

A nice, black display face - for a retro/western poster look. I have kept the quirky “t”, increased the dot above “i” and “j” slightly, improved the spacing/kerning and modified/added all the usual diacritics. A pretty easy reworking of a good quality font. Nick Curtis says: "An old favorite, Bernhard Antique Bold Condensed, cleaned up and fattened up. Warm, charming, personable … suitable for any occasion." ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Gogh is a geometric sans serif with a modern look and traditional spirit. It blends evenly without overly distracting the reader, yet still keeps a rich and distinctive character. The generous x-height, easily distinguishable glyph forms, and open terminals help the eye perceive a block of text smoothly, making it clearly legible. Gogh thrives when used both on-screen and on print media. Gogh type family consists of 10 weights from Hairline to Black and their matching Italics. Gogh is also available as a fully functional variable font, which gives unlimited opportunity to explore typography without the restrictions of predefined weights. Gogh Variable is also the best option if used on the web as it has a much-reduced size compared to the original font family. Regardless of which Gogh family you choose, the typeface covers a broad spectrum of languages, as it includes Extended Latin and Cyrillic. And it also comes with an alternative stylistic set that will completely change the overall look of a paragraph, giving it a more contemporary and display appearance. In addition to that, Gogh type family is enriched with an extensive list of OpenType features for advanced typographic layout, including standard and discretionary ligatures, tabular and small figures, fractions, language localizations, case sensitive punctuation, and more.

You can download Bodrum Soft PDF Type Specimen here . "Bodrum Soft" is a rounded sans serif type 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 Soft" 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 helps the legibility and gives "Bodrum Soft" an harmonious and sensible appearance for both texts and headlines. Bodrum Soft provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. “Bodrum Soft 14 Regular” forms the central point. "Bodrum Soft" 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 can be accessed with one simple touch in all graphic programs. Bodrum Soft is the perfect font for web use. I hope you enjoy using it!

Waba Pronounced ‘Vah-bah’, is a font family that I designed. The name comes from a historical variation on the Estonian word ‘vaba’ – meaning ‘free’, or 'at liberty'. Back in 2017 I visited the Estonian Print & Paper Museum in Tartu to see its great collection of type (well worth a visit!). While I was there I saw some big woodcut blocks of Reklameschrift Herold - a super Art Nouveau/Jugendstil style display font. The Print & Paper Museum's collection covers both Latin and Cyrillic faces and as a foreigner in these parts I'm kind of fascinated by the exoticism of Cyrillic. How it is different but the same to the Latin letters I take for granted (as a humble Englander – no excuses). Not to mention, Jugendstil with its imitation of natural form, reverse-weights and looping-delicious curves (like you've left the window open all summer and the garden plants are climbing in). This mix of Jugendstil, Cyrillic letters and the beautiful historical border town of Tartu inspired me to start drawing Waba. Trimming the serifs from Herold, simplifying those angles and expanding the category of weights, then taking look at the magical logic of Berthold Block and doing a few things that just seemed right at the time – Waba is a bit of love letter to Estonia, the Baltics and the visual history of Eastern Europe. Waba Monogram Waba also contains a monogram face, which allows you to create any monogramming latin and cyrillic. Simply type out your 2-3-4 characters in Waba Monogram, making sure Contextual Alternates is turned on them voila! Monograms can be customised manually using the OpenType select-pop-up in Adobe. Also included are a few Discretionary Ligatures for Mc, De, Von etc. Monograms work best when Contextual Alternates is turned on.

Welcome to our cozy coffee shop! Come on in, take a seat and savor the aroma of freshly brewed coffee. Speaking of coffee, have you seen our new font? Meet Barrista! Its relaxed, curly script perfectly captures the whirling curls of steam rising from a hot cup of Joe. Barrista is not just any font. Thanks to OpenType ligatures, certain letter combinations will automatically be substituted with customer pairings. This creates a natural, relaxed look that’s perfect for our laid-back atmosphere. Imagine jotting down your order in Barrista, watching as our talented baristas create your perfect cup of coffee. As you wait for your order, you can admire the intricate details of Barrista’s flowing script, which is inspired by the art of coffee-making itself. So, come on down to our coffee shop and experience Barrista for yourself. 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.

Introducing Chainprinter, the typeface that channels the raw power of vintage computing. This all-caps font takes inspiration from the mighty chainprinter—a machine that printed at breakneck speeds, slicing through paper at the speed of a chainsaw. It was a marvel of 1960s technology, and now you can capture its unique texture with this stunning typeface. Incorporate Chainprinter into your next project and transport your audience back to the early days of computing. Use it to create posters, flyers, or even business cards that pay homage to the pioneers of computing history. And if you need a cleaner, more modern version, check out Typodermic’s Linefeed—the perfect complement to Chainprinter’s raw style. So why settle for boring, generic fonts when you can tap into the raw power of Chainprinter? Try it today and experience the thrill of vintage computing in every letter. 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.

Welcome to the world of Stampoo, where creativity meets typography. This isn’t your run-of-the-mill typeface—this is a joyful, wild, and curvaceous font that is guaranteed to make your words pop. When you use Stampoo, your message will be transformed from a mundane statement to a laid-back expression of kindness. It’s like giving your words a warm hug, but without the awkwardness of physical contact. The rubber stamp letterforms are as natural as the grass under your feet, and the bespoke pairs will make your text flow like a mountain stream. But Stampoo isn’t just a pretty face. Oh no! This font is a true workhorse, designed to make your life easier. With OpenType ligatures, those tricky letter combinations are replaced by bespoke pairs, making your text look more natural and realistic. It’s like having a personal typographer at your fingertips, without the exorbitant hourly rate. So why settle for boring, run-of-the-mill typography when you can have the natural, creative, and joyful letterforms of Stampoo? Add a touch of whimsy to your next project, and let Stampoo do the heavy lifting. Your audience will thank you for it. Some Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aymara, Basque, Bemba, Bikol, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Galician, Genoese, German, Guadeloupean Creole, Haitian Creole, Hiligaynon, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Kikongo, Kinyarwanda, Kirundi, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Papiamento, Piedmontese, Portuguese, Quechua, Rarotongan, Romansh, Sango, Saramaccan, Sardinian, Scottish Gaelic, Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tetum, Tshiluba, Tsonga, Tswana, Tumbuka, Uzbek (Latin), Venetian, Võro, Walloon, Waray-Waray, Wayuu, Xhosa, Yapese, Zapotec Zulu and Zuni.

Always intrigued by Bodoni's original work, I was set out—back in 2000—to examine his work and study Manuale Tipografico, one of the greatest specimen books ever printed. Issued in 1818 at Parma, Italy by Bodoni's widow, the two-volume work shows an impressive array of 142 roman alphabets and some foreign ones such as Greek and Cyrillic. After a careful examination of all characters, I decided to create a typeface based on the distinct script capitals presented in the book. Matching lowercase italics were later selected and designed to complete the series. Since my intention was not to create simply a digital version of Bodoni's work, this typeface was designed with connected characters and capitals with extra calligraphic elements. The result was released in 2002 and published in our award-winning catalog/book IDEA/Trendsetting Typography vol.1. Later in 2005 we revived a large number of ornaments and borders (credit goes to designer George Lygas). All this work was left behind till recently when it was revisited to create a complete 'Pro' family. Several new uppercase and lowercase glyphs were designed in order to create a distinct typeface, which is based on Bodoni but yet it stands out on its own. The new version also takes care of conflicts between neigbouring letters, something that was not included in the first version. Bodoni Script Pro is a 3-weight superfamily. It supports 10 special opentype features including 'contextual alternates' as well as support for both Latin and Greek. Each font comes with 725 glyphs including a large number of alternates as well as 144 ornaments. Furthermore, when you purchase the whole package you get a bonus font which contains 120 frame parts. These parts, when put together, create some truly amazing borders. -Panos Vassiliou

"Step into a world where the 1920s meet the future with Soprani—a typeface that seamlessly blends vintage charm and modern sophistication. Drawing inspiration from a distinctive plaque unearthed in New Zealand, Soprani showcases serifs that flare and shimmer, capturing the essence of art nouveau and arts & crafts in a contemporary light. Dive into its rich OpenType features, granting designers unparalleled flexibility to bring their visions to life. Its condensed yet elegant letterforms are the perfect fit for everything from artful table books and stylish menus to dynamic media showcases in TV and film. Spanning from the graceful subtlety of its thin variant to the undeniable boldness of the black, Soprani is diverse and dynamic. Soprani isn't just a typeface—it's a revolution in design. Production assistance by Lucas Azevedo and ikern.

Penitentiary Gothic is a digital recreation of the letters used on California state license plates, designed in order to make props for movies and television shows. The regular style is meant to be used on its own, but the other four styles are meant to be used one on top of another in different colors to create an embossed 3D effect. For best results, use the fill style in a dark color on top of a light colored background. Put the lolite style directly on top of the fill style in 10 - 30% of the background color. Put the hilite style directly on top of that in 10 - 30% of your fill color. Put the shadow style directly on top of that using your background color plus 50 - 80% black.

Hazelton is a neo-humanist typeface inspired by the explorations and development of early British sans-serif typography. Six weight have been developed for Hazelton. The lighter weights are loosely inspired by Edward Johnston’s Underground typeface. The heavier weights glean inspiration from Stephenson Blake’s Granby. Sharp, pointed terminals that are indicative of British typography have been omitted in favour of a more modern sensibility. Subtle humanist characteristics become more exaggerated as the typeface increases in weight, making the lighter weights practical for text purposes and the heavier weights ideal for display use. A unique set of numerals have been developed to infuse them with a humanist quality that is often lacking when typesetting technical data. The result is a diverse typeface that is as powerful as it is beautiful.

Meet Wiblz (say “Vibbles!”). Wiblz is a Modern/Didone text family in the great tradition of squarish text families like Walbaum, Ibis, and Georgia. He has a high x-height and a great balance of legibility and readability. Plus, he supports the Latin alphabet, basic Cyrillic, Monotonic and Polytonic Greek, and the International Phonetic Alphabet. That makes him superlative in his usefulness and versatility! When searching for a didone typeface, it's often a struggle between blackness/legibility and stylishness/contrast. this is especially true of squarish didones, which number less than their round counterparts. Wiblz is an excellent balance between the two — clean and striking, good for uses from text to heading, and at home in print and on screen. Give him a try! He's a smart, adaptable, useful guy!

German type designer Hans Reichel created this sans FontFont in 2005. The family has 14 weights, ranging from Thin to Black (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, poster and billboards, small text as well as web and screen design. FF Daxline provides advanced typographical support with features such as ligatures, small capitals, 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 Cyrillic and Greek writing systems. This FontFont is a member of the FF Dax super family, which also includes FF Dax and FF Dax Compact.

Franciszek Otto of Poland designed Linotype Notec in 1999. Linotype Notec is a low-tech" (or even "no tech!") typeface. By embracing handwriting's spontaneity, it has gotten as far away from technology as it can. Classified as an "inky"-style script face, for lack of a better term, Linotype Notec's informal design seems immediately artful and full of expression. Its irregularity and unexpectedness enlivens any composition, similar to how jazz or modern dance animate a room. Quite full of "ink," Linotype Notec's "strokes" are written in a sort of short-note-handwriting-style, which a slow-writing, thoughtful humanist might theoretically scribble to himself late at night. Yet Linotype Notec's character still maintains a jolt of energy; try Linotype Notec in small applications, in any size from 12-point on up."

Qonora is an innovative new sans-serif text face that combines flowing, almost calligraphic strokes with a post-modern sensibility for a look that works as well on the printed page as it does on screen. Its comfortable proportions and no-nonsense streamlining (note the lack of spurs, serifs or any unnecessary ornamentation) make it an excellent choice for legibility even at very small point sizes. Qonora includes a true italic, drawn independently from the Roman. Strokes for the italic have been re-weighted to complement the Roman, and idiosyncratic italic glyphs have been substituted where appropriate. The typeface’s extensive Hebrew implementation (including diacritics and cantillation marks) is an important part of its character. The Latin, Cyrillic and Greek ranges of the face maintain a consistent ethic of form and function.

A dinner is not complete without a fine appetizer. Whatever you dinner will be, CA Negroni is the perfect introduction. Delivered in three flavors, Normal (Light + Black + Fill), Inline and Round. Versatility is proved by the extensive language support, covering whole Central Europe. CA Negroni is the well aged and improved version of a typographic classic: in the beginning of the 20th century, type in advertising was mostly drawn by hand. A master of this art and pioneer in logo-design was Wilhelm Deffke (1187–1950). CA Negroni is inspired by his kind of bold and solid letterings, picking up some of the charming details while leaving away other that might have a disturbing effect on the general look. Two stylistic sets let you choose between a more serious or a more playful look.

Base & Bloom is an experimental (but relatively organic) fusion of geometric monoline sans and high-contrast flourish didone. It was inspired by the lack of curious modern display sans as opposed to the uprise of contemporary serifs past couple of years. The idea was to incorporate flourishes not as unnecessary elements like swashes, but as a part of letter structure, which was an especially interesting task considering it was not a serif, which potentially could give more room for that. And after all, the idea pays off by generating many inventive letterform solutions. Base & Bloom has alternates for each letter (up to 11) so you can make endless combinations to find the perfect look. It is a bold choice for posters, album covers, identity and packaging, headlines, oversize typography, and editorial design.

Some years ago I had my first contact with a grotesque typeface, when handling a sample catalog of typographic specimens from the age of phototypesetting. The style eventually settled in my memory waiting for the work of time. Behind its apparent neutrality, there is a complex balance game, that almost leads to the basic principles of design which deliver such power to the grotesque style. Stevie Sans is the answer to the action of time. A bridge that allows the designer to go into the past, while being in the present and looking towards the future. It is what it’s expected from a grotesque designed in the 21st century. With 7 roman styles ranging from thin to black, support to many languages and essential opentype features, Stevie Sans is the ideal choice for your project.

An Uber-Black Sans Serif with a Warm Personality Latitude Sans began as a digitization of a film typeface from LetterGraphics known simply as "Free". The original specimen included standard Capitals and Lowercase, Numerals and minimal Punctuation, a bare bones character set. We've fleshed out the Latitude Sans typeface to include a full standard character set, an extended international set, and more so it can be a strong heavyweight sans typestyle. See the last graphic for a comprehensive character map preview. Opentype features include: - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional and Oldstyle figure sets. - Ligatures for a collection of "f" paired sets: fi, fl, ft, ffi, ffl, etc. Approx. 652 Character Glyph Set: Latitude Sans comes with a glyphset that includes standard & punctuation, international language support, and additional features.

Ravensara Serif - elegant high contrast classic serif. Style of the typeface originates in a classic Didone but took a step to simplify some letter forms and make Didone feel more contemporary. Ravensara Serif is a part of the Ravensara superfamily, united by the same anatomy, which currently also includes Ravensara Sans and Ravensara Stencil. Ravensara Serif, despite its ancient roots and due to simplified and smoothed forms, can be used in a variety of different styles. It’s a perfect choice for bold headlines, oversize typography, fashion logos, branding, identity, website design, album art, covers, posters, advertising, etc. It is available in 7 weights, including Thin, Light, Regular, Medium, SemiBold, Bold and Black. Ravensara Serif extends multilingual support to Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Pan African Latin and Afrikaans.

Sevigny is for the poetic eye. It sings to readers - luring and promising - sweet like candy. Even though it is different, you feel that you've already seen it. Sevigny seduces you to look. Look twice. Déjà vu Ease the lure. Allow your eyes to follow the rhythmic ribbon. Enjoy the wavy ride on the weavy patterns. Let Sevigny enrich your design ideas. Recommended for Christmas windows, ribbon candy packaging, lingerie labels, book covers, everything that smells good, everything for grown ups, everything for kids, Christmas carol titles, wedding invitations and wedding magazines. Sevigny is offered in three versions: standard latin letters (upper and lowercase), numbers and symbols. Sevigny PRO is packed with extra ligatures, alternate letters, OT features, more symbols, extended support for foreign languages. Sevigny CAPS has only uppercase letters & numbers.

Arpona Sans is a contemporary sans serif family inspired by the work of Edward Johnston and Eric Gill for London Underground. As well as its serif companion Arpona it is a symbiosis of different design concepts. Arpona Sans combines the esthetics of a geometric Sans with the usefulness of the humanist concept and the calm of the modernist proportions. Arpona Sans is a good choice for editorial design, branding, app design and web design – a workhorse well readable even in running text on screen. The family has nine weights, ranging from Thin to Black plus corresponding italics. Each style includes 590 glyphs supporting all western-, eastern- and central-european languages including four sets of figures and various currency symbols. If you want to go into details visit the microsite: https://www.floodfonts.com/arponasans

In 2011, while tutoring an exercise on Slab Serifs, Josema discovered Robert Thorne’s work for Thorowgood. Specifically, he was fascinated by the extraordinary density of the 6-line Egyptian Pica from 1820-21. As a simple exercise, he wanted to test the limits of readability within the context of a contemporary alphabet. Rothwood Ultra is the result of this experiment. As a way of developing the series, he found it interesting to go to the opposite end of the spectrum and discover how to evolve the extra-black Ultra’s DNA into a super lightweight model. The Hairline and Thin styles are her slim sisters. The third challenge has been the creation of the text version. Light, Book, DemiBold and Bold, including italics and Small Caps close the Rothwood cycle for editorial use.

Hando Soft is a variant of Hando neo grotesk sans family. Each letter on Hando Soft has curve strokes end, which gives a soft and more ease-looking letterforms. Hando offers a wide range of usage possibilities. It's low x-height and variety of light size options make it a good choice for reading, it's tenuous white spaces in the counter letterforms make it legible enough to be recognized remotely. It's curved tensions on the circular letterforms gave a futuristic impression. It's sleek and simple strokes make it perfect for a broad range design purposes. Hando consists of 10 styles from Hairline to Black with each matching oblique. Contains more than 440 glyphs that support a broad latin language. Also some Opentype features e.g. stylistic alternates, variation of figures, e.t.c