Preta, portuguese for a very pure kind of black, has its name very related to its concept: I wanted to make the fattest/darkest script ever. People who follow my work may notice its forms are very related to works of my past (1) but this time the challenge was to be very cautious with the white spaces between letters. Not only I followed some rules and ductus of the copperplate style of calligraphy but also I took a lot of inspiration in posters of the early Art Nouveau (specially in Alfred Roller of the Vienna Secession) where letters forms looked like black squares if not looked from a close distance. With Preta, I wanted to achieve that same idea of “darkness” and thanks to the always welcomed question -what if?- the font grew a lot. The result is a very fat font, that looks delicious. Due to possible customer needs, I designed Preta Small, so it can be used in smaller sizes. Preta Ao Sol (which literally means under the sun!) is a style with those lovely tiny details to give the sensation of bright. Preta Ao Sol Solo was made to be used as a layered font with Preta. Finally, Preta Capitals serves as a company for Preta. Hope you enjoy the font as much as I did when designing it: The fact that it’s full of alternates, swashes, ligatures and swirls makes it really pleasurable at the moment of using it. Give it a try and dance with Preta! TIPS For better results, use Preta with the ‘standard ligatures’ feature activated. NOTES (1) Beatle in 2014. Seventies in 2015.

Take your typography to the next level with Super Sabretooth. A vigorous, rebellious brush font designed to bring the noise, start the fun, and leave any inhibitions at the door. It pushes lettering limits to the extreme and breaks down any boundaries on it's journey there. Super Sabretooth is packed full of great features & added extras, providing everything you need to create highly charged typography designs. Here's what this family consists of: Super Sabretooth • A high energy brush font containing upper & lowercase characters, numerals and a large range of punctuation. Super Sabretooth All Caps • This is a second version of Super Sabretooth, with all lowercase characters replaced with a brand new set of small-caps. Use this font as a larger & louder alternative to the regular version. Quick Tip! If you want more freedom, you can combine the two font sets together to create truly awesome customised typography, they will work in harmony as well as being strong standalone fonts. There are no rules with it - play around, mix it up, have fun, and enjoy the ride! Super Sabretooth Swashes • Still looking for even MORE features? Alrighty, check out this extra font containing 17 swashes and 9 paint splatters, designed to add the perfect finishing touch to underline & exaggerate your Super Sabretooth lettering. Simply type any a-z character in this font to generate the extras. Fonts include multilingual support for the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norweigen, Danish, Dutch, Turkish, Polish, Finnish, Romanian, Hungarian, Estonian, Filipino, Indonesian, Icelandic, Romansh, Welsh Thanks for checking it out, and remember: Push the Limits.

Introducing Containment, the ultimate font system that will elevate your design game to new heights. With its multilayered features, Containment is the perfect tool for creating headlines with a unique edge. Whether you want to add some fizz, gravel, snow, sand, or any other gritty effect, this font system has got you covered. Containing four fonts, namely the plain layer, shadow layer, crunchy-little-dots layer, and a combination of the three, Containment is designed to give you the creative freedom you need to craft stunning designs that stand out. The best part? This powerful font system is based on the renowned Tandelle typeface, known for its clean, sleek lines. As an advertising professional, you understand the importance of capturing your audience’s attention from the get-go. With Containment, you can create headlines that pop and grab your audience’s attention. Experiment with colors and add different layers to your headlines to create a unique look that will set your brand apart from the competition. In the fast-paced world of advertising, innovation is key, and Containment is the perfect tool for breaking the mold and taking your designs to the next level. Order Containment today and experience the power of a font system that combines style, creativity, and functionality like never before. 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.

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

Because we know that you will never get tired of using them and that you will always need a new tool for Identity Design, we created Identa. Conceived to translate corporate and humanist ideals in its typographic form, it seeks a dialogue between neutrality and contemporaneity. With a pragmatic attention to functionality that does not forget aesthetics. It is a Sans serif model, accessible and well-founded. All-terrain, workhorse that seeks to be reliable and durable. It solves any type of content with efficiency, intelligence and professionalism. Its clean forms and x-height make it a very competent face for both short identifiers and long text bodies, ideal for display use where legibility and personality must match new design needs within a company. It is available in eight styles, ranging from its White version to the darker Vantablack, each optimally set with its respective italic variables, and a Dingbats font designed to solve everyday cases. Each font contains 737 glyphs, macro and micro aesthetic details inspired by current visual communication systems and trends. The dingbats font includes 303 signs and is a set of icons and symbols that can be used in multiple environments, both for print and digital media. This typeface family seeks to meet the needs of brand designers looking to create an assertive appearance, whatever the case. It is a solid and self-confident typeface, without appearing overly constructed; on the contrary, its nuance makes it look fresh.

Super Puff MX is a Y2K inspired variable display typeface that takes from early 2000's futurism, pop, and cartoon aesthetics. Due to its heavy weight and alternates it offers, it's perfect for a variety of logos, 3D, and motion graphics. SPMX was designed specifically for those use cases, and its wide range of styles and alternates gives you lots of freedom for creating unique graphics that still capture the same fun, futuristic, and playful early 2000's aesthetic. Features & What's Included: Variable font file that allows you to choose any slant degree from Regular to Full Tilt. OTF font files in 4 styles or slants, from Regular to Full Tilt. This is included because many young, talented designers around the world don't have access to programs that can take advantage of a variable font. I want them to have the option of using properly slanted and kerned oblique instances of Super Puff. Robust OpenType features including a vast pool of alternates and stylistic sets giving you lots of choices when choosing letters, numbers, and punctuation. Two stylistic sets for letters and numbers One stylistic set for punctuation and symbols One stylistic set that replaces punctuation with Y2K style icons Extensive Latin language support covering almost all of Europe and South America. All multilingual glyphs have access to alternates as well. Super Puff MX was designed and developed by Abe Zeinali/Xuveki.

When designing a typeface, one has to be conscious of superfluous details. Although I am always tempted to add little personal touches, experience taught me that the phrase -less is more- is totally true. In Model, the letters (like models do) participated of a contest: An event in which models engage in competition against each other, often for a prize or similar incentive. The prize was staying in the font! yay! Tall, delicate, refined, the right amount of elegancy: These were some of the aspects to be chosen. Typographically speaking, these things were achieved thanks to a tall x-height (which leaded the font to be somehow condensed), a subtle contrast between thicks and thins, and just the right amount of decorative swirls. The result is a nice script that can be used in magazines, invitations, posters, book-covers and works very well when used over photographs. Get Model and let it be the star of the catwalk. STYLES Model Pro and Model Small Pro are the most complete styles of the font. Both have all the ligatures and decorative glyphs seen in posters above (OT programmed). Model Std One, Std Two and Std Three are reduced versions of Pro. This means they have less glyphs inside. TIP If you are planning to print the font in small sizes, it’s highly recommended to purchase Model Small Pro. Its thins are thicker so they will be better printed.

Brother To create a truly global font family, FS Albert needed an Arabic script sibling. Emanuela Conidi set about the delicate task of creating an alphabet to harmonise visually with its Latin sans serif counterpart so that the two could be used side-by-side in bilingual publications. Working with the Kufic style of script, with its simpler, geometric forms, Emanuela sculpted letters with the a similar optical size, weight and rhythm as FS Albert, with open counters and monolinear strokes. It never hurts to Naskh But there’s more to FS Albert than a simple, geometric structure. To match Albert’s cheery, charming character, FS Albert Arabic needed an injection of warmth and informality. Emanuela incorporated some of the more expressive, calligraphic shapes of the Naskh script style, which lent the letterforms a looser, softer, more handwritten quality, while remaining functional and structured. The Naskh influence is most noticeable in the bowl of characters such as Jim, Qaf and Nun, in the curved tail of Waw and Reh, and the deep joining of Tah. Follow the script The end result is an Arabic script that’s the perfect partner to FS Albert: open counters, monolinear strokes and a friendly, rounded appearance. FS Albert Arabic is available in Opentype format, in five weights from Thin to ExtraBold. It supports Persian and Urdu, with proportional and tabular numerals for both, plus full vocalisation and the Hijra feature.

Presenting Dena Font, a forward-thinking typeface that straddles the boundaries of future aesthetics and modern design. Designed for the cutting edge designer, Dena Font is more than simply a letterform—it's a design language, a representation of sophisticated elegance influenced by cyberculture, sci-fi movies, and innovative video games. Dena Font is a tool that gives designers the ability to push the frontiers of creativity and reshape the visual world. Elevate your projects with Dena Font's futuristic appeal, which combines typography with creativity. Every letterform in Dena Font has a vibrant, futuristic feel to it. The deftly drawn characters blend together to create a visual rhythm that mirrors the quick-paced, constantly-changing nature of contemporary design. Modern Futuristic style: With futuristic style, Dena Font is at the vanguard of modern design. It is the perfect option for forward-thinking design projects because every curve and shape is painstakingly created to communicate a sense of innovation and advancement. Ligature-Enhanced Creativity: Dena Font's rich ligature set enables designers to smoothly combine characters to create a flowing and melodic typographic expression. These artistically elegant ligatures provide a touch of refinement to your designs and are ideal for creating distinctive logo types and brand identities. Overcoming linguistic obstacles, Dena Font provides extensive assistance for the Latin Western Europe character set. This makes your creative vision a flexible instrument for international design projects by guaranteeing successful communication across linguistic environments.

Plener is a type family of layered fonts available in four weights: Light, Regular, Bold, and Heavy. The properties of layered fonts are matched with the classical type family structure, which makes Plener specific. The letters have humanist origins, interpreted expressively with short brush strokes separated in layers. These humanist forms keep the text set in Plein Air surprisingly legible. Layer structure allows the user to play with colors and transparency, giving the text a more personal feel. Plener comes in two additional styles, made of layers from the Light and Heavy weight. These new, display styles, named Plener LLH and Plener LHH are separated from the main family. To make the work easier, we created basic fonts out of merged layers (for every weight and style). We recommend users to set the text using these basic fonts first, then apply an opacity value lower than 100%. When satisfied, copy the text on multiple layers, changing the font to Layer A, B, and C. Apply a unique color to the text on each layer or use the same color but different opacity value. Plener fonts have the following features: ligatures, oldstyle figures, proportional and tabular lining figures, fractions, etc. Besides, there are fifteen dingbats set as discretionary ligatures. Contains Latin and Cyrillic. For some extra tips on how to work with the Plener family, see the pdf file attached to the gallery.

Lust’s original masters were completely redrawn, expanded, with a new optical size added based on customer requests. Lust now sports 6 fonts, instead of the original 4: Standard, Display, Fine, and complementing Italics. The character set has been expanded as well to include more OpenType features and more swashes. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

Compatil is the first comprehensive type system which enables all typographical elements to be used to full effect in order to reproduce the message conveyed by text information. Four different type styles with a total of 16 weights including italics have been merged into a unique typographical network. There are now no limits to the font user's creativity. The system is a product of technical innovation and constitutes a new design approach which meets the highest aesthetic standards. For almost two years, a team of experts from Linotype has been working with initiator Professor Olaf Leu under the direction of Silja Bilz, Erik Faulhaber and Reinhard Haus to create the Compatil type system. Despite the Internet and TV, it is essential today to be able to absorb information quickly by being able to read it with ease. A fact that is becoming increasingly important both on-screen and on paper. It is the role of the font to increase legibility and to ensure typographically perfect results for text design work. The new Compatil type system meets all these needs. The Compatil is a part of the Platinum Collection. The following four different styles are available: Compatil Exquisit, Compatil Fact, Compatil Letter and Compatil Text. Compatil is available in various font formats: 16 separate OT Pro fonts including the small caps and Adobe Central European character set for OpenType-supporting applications like Adobe InDesign, or as 32 separate OpenType Com fonts for office communication, with the following special features: 1. Optimized display capabilities for computer screens eXcellent Screen Fonts (XSF-quality). 2. An extended, international character set, which supports 48 different languages for Microsoft Office applications like MS Word or as 64 PostScript fonts, which can be used in non-OpenType-supporting applications like Quark XPress.

Compatil is the first comprehensive type system which enables all typographical elements to be used to full effect in order to reproduce the message conveyed by text information. Four different type styles with a total of 16 weights including italics have been merged into a unique typographical network. There are now no limits to the font user's creativity. The system is a product of technical innovation and constitutes a new design approach which meets the highest aesthetic standards. For almost two years, a team of experts from Linotype has been working with initiator Professor Olaf Leu under the direction of Silja Bilz, Erik Faulhaber and Reinhard Haus to create the Compatil type system. Despite the Internet and TV, it is essential today to be able to absorb information quickly by being able to read it with ease. A fact that is becoming increasingly important both on-screen and on paper. It is the role of the font to increase legibility and to ensure typographically perfect results for text design work. The new Compatil type system meets all these needs. The Compatil is a part of the Platinum Collection. The following four different styles are available: Compatil Exquisit, Compatil Fact, Compatil Letter and Compatil Text. Compatil is available in various font formats: 16 separate OT Pro fonts including the small caps and Adobe Central European character set for OpenType-supporting applications like Adobe InDesign, or as 32 separate OpenType Com fonts for office communication, with the following special features: 1. Optimized display capabilities for computer screens eXcellent Screen Fonts (XSF-quality). 2. An extended, international character set, which supports 48 different languages for Microsoft Office applications like MS Word or as 64 PostScript fonts, which can be used in non-OpenType-supporting applications like Quark XPress.

TextTile is a system of heavy sans titling faces which can be utilized to carry a repeating chromatic pattern across words and letters. It stands apart from other chromatic faces, where layered effects typically interact only within each letter and do not carry through from one letter to another. The pattern repetition across letters of varying widths is achieved through OpenType substitution, using conditional alternates for each successive letter to allow for a seamless appearance across words, regardless of letter combinations. Though the pattern exists on a strict grid and the letters' widths and spacing must be highly regular in order to preserve the pattern repeat, the letterforms themselves are not rigid; rather, they appear organic, lively. The initial release includes patterns inspired by a classic buffalo plaid, separated into its horizontal and vertical components to maximize the creative possibilities for layering one-, two-, three-, and even four-color plaid patterns. Kits are available to produce the plaid pattern in detail—with overlapping diagonal hatching fully visible—or as a simplified version in which transparency can be used to simulate plaid or to create a checkered or striped effect. The TextTile family of fonts is a flexible canvas for mixing and matching a broad array of patterns to create a unique look. Check back for more pattern releases and take a look at the online specimen to see what is possible with the current offerings. Usage Notes For best results use an OpenType aware program. Enabling Contextual Alternates will ensure pattern alignment. For patterns that are made up of vertical stripes or columns using the Stylistic Alternate/Stylistic Set 1 will shift the columns. Stylistic Set 2 will change 1-0 into blocks of patterns.

Compatil is the first comprehensive type system which enables all typographical elements to be used to full effect in order to reproduce the message conveyed by text information. Four different type styles with a total of 16 weights including italics have been merged into a unique typographical network. There are now no limits to the font user's creativity. The system is a product of technical innovation and constitutes a new design approach which meets the highest aesthetic standards. For almost two years, a team of experts from Linotype has been working with initiator Professor Olaf Leu under the direction of Silja Bilz, Erik Faulhaber and Reinhard Haus to create the Compatil type system. Despite the Internet and TV, it is essential today to be able to absorb information quickly by being able to read it with ease. A fact that is becoming increasingly important both on-screen and on paper. It is the role of the font to increase legibility and to ensure typographically perfect results for text design work. The new Compatil type system meets all these needs. The Compatil is a part of the Platinum Collection. The following four different styles are available: Compatil Exquisit, Compatil Fact, Compatil Letter and Compatil Text. Compatil is available in various font formats: 16 separate OT Pro fonts including the small caps and Adobe Central European character set for OpenType-supporting applications like Adobe InDesign, or as 32 separate OpenType Com fonts for office communication, with the following special features: 1. Optimized display capabilities for computer screens eXcellent Screen Fonts (XSF-quality). 2. An extended, international character set, which supports 48 different languages for Microsoft Office applications like MS Word or as 64 PostScript fonts, which can be used in non-OpenType-supporting applications like Quark XPress.

Compatil is the first comprehensive type system which enables all typographical elements to be used to full effect in order to reproduce the message conveyed by text information. Four different type styles with a total of 16 weights including italics have been merged into a unique typographical network. There are now no limits to the font user's creativity. The system is a product of technical innovation and constitutes a new design approach which meets the highest aesthetic standards. For almost two years, a team of experts from Linotype has been working with initiator Professor Olaf Leu under the direction of Silja Bilz, Erik Faulhaber and Reinhard Haus to create the Compatil type system. Despite the Internet and TV, it is essential today to be able to absorb information quickly by being able to read it with ease. A fact that is becoming increasingly important both on-screen and on paper. It is the role of the font to increase legibility and to ensure typographically perfect results for text design work. The new Compatil type system meets all these needs. The Compatil is a part of the Platinum Collection. The following four different styles are available: Compatil Exquisit, Compatil Fact, Compatil Letter and Compatil Text. Compatil is available in various font formats: 16 separate OT Pro fonts including the small caps and Adobe Central European character set for OpenType-supporting applications like Adobe InDesign, or as 32 separate OpenType Com fonts for office communication, with the following special features: 1. Optimized display capabilities for computer screens eXcellent Screen Fonts (XSF-quality). 2. An extended, international character set, which supports 48 different languages for Microsoft Office applications like MS Word or as 64 PostScript fonts, which can be used in non-OpenType-supporting applications like Quark XPress.

Centennial appeared in 1986 in honor of Linotype’s 100th birthday. The roman and light cuts of the font are reminiscent of the Century typeface, particularly on that of Linn B. Benton and Morris F. Benton, designed around the turn of the 19th century for the American Type Founders. Like Century, Centennial too embodies a cool, reserved neutrality.

The Uglystick font is best described by its name. A typestyle that is all shaken up, scribbled, and scrawled, it’s a grungy typeface for those experimental and not so pretty occasions. Definitely a typeface beaten one too many times with the old ugly stick. Put some grit in your design, for the price, you can’t lose!

Hello, Introducing the new hand brush fonts Roasted. Roasted is truly hand made by 100%. This fonts have a Stylistic Set. You can access the Stylistic Set with lowercase too. Still have a good readibility and strong font. What's Included Inside The Fonts ? Uppercase Lowercase Numerals Symbols European Multilingual Stylistic Set 1 Stylistic Set 2 Thank You, Regards!

Jazz Age is inspired by the Golden Age of Jazz, the Twenties and Thirties. Think Scott and Zelda Fitzgerald, cocktails, flappers and the whole Art Deco thing. Oh, and don't forget the radios, by which I mean old Bakelite valve or tube radios with their grilles and fretwork. This font is a celebration of them too.

Doorkick is my grungy handmade font with rough lines and a squarish look. Each letter has 5 different versions, which automatically cycles as you type - leaving your text with a super lively and natural/organic look. I'd say that Doorkick is best for short words or shoutouts, but try it out it massive text too! I dare you! :)

LIETZ Germion draws inspiration from viennese jugendstil scripts. It features strong geometric figures but with a scruffy handwritten poster-look and a distressed feel. Use the stylistic alternate sets and ligatures or combine it with it's font-bro Lietz Berlham for vivid vintage fun! Kolo Moser is dancing an absinthe infused poster-polka! You should too!

For Real is a fun mix of bubbly and retro.. you could say it's a little groovy too! Each letter is hand-drawn giving this font a unique and fun look! For Real boasts big bubbly letters that are perfect for all of your retro designs, t-shirt designs, branding, packaging, advertisements, social media, posters and more!

Norma was my second sans serif. You can find a few details in common with Dialog, but the graphic impression of Norma is totally different.Every typeface has some characters that are the favourites. In Norma I simply love the lowercase roman a. Don't you, too, think that it is perfection itself? Norma was released in 1994.

Fairground was created by calligrapher Rachel Yallop using a vintage nib and ink. This gives it a light flourishing feel, combining the formal penmanship of calligraphy with something a little more informal at the same time. It’s a delicate font with a full range of upper and lowercase alternate characters. Oh, and it has ligatures too!

Raker is a science fiction-inspired geometric sans serif text typeface family with a humanist influence and solid spacing/kerning. Regular, Display, stencil, and display stencils versions are included. Think NASA. Think the Space Race. Think Geometric. Think “works with text, too.” Detailed spacing, Western and Eastern European language support, and automated ligatures. Think hidden glyphs.

The Nesobrite typeface is a striking representation of the modern, boxy design aesthetic. Its linear, mechanical structure is the perfect embodiment of clean and neutral, with an austere edge that adds a touch of sophistication to any design. This font has been inspired by classic square-sans fonts, such as Bank Gothic and Microgramma, but with a contemporary twist that sets it apart. One of the most remarkable aspects of Nesobrite is its ability to imbue your message with a clear, professional, and authoritative voice. Its scientific vitality is sure to make your text come to life, whether it is for a technical report, a research paper, or a business presentation. The font’s versatility makes it ideal for conveying complex data and analytical information in a concise, clear, and easy-to-read manner. Nesobrite is also packed with useful features that make it an invaluable tool for any designer. Its small caps function is a useful addition for those looking to create designs that exude an air of formality and elegance. The font comes in five different widths and weights, as well as italics, which allows designers to use it in various contexts and settings. But what truly sets Nesobrite apart is its boxy design. The typeface’s clean and geometric structure is an ode to the modernist design movement, with its minimalistic and uncluttered aesthetic. Its sharp corners, angular edges, and right angles give it a distinct and eye-catching appearance that is sure to capture the attention of anyone who sees it. In conclusion, the Nesobrite typeface is the perfect tool for designers looking to create a sleek, modern, and professional look for their projects. Its linear, mechanical design, scientific vitality, and boxy design make it a versatile and dynamic font that is sure to elevate any project to new heights. With its range of weights, widths, and italics, Nesobrite is the perfect font for any designer looking to make a statement with their work. 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 'Stanford Breath' a vintage decorative font inspired by the western typography and victorian style. this font has strong look with the rounded serif, all-caps, and decorative uppercase. Collected from many references such as vintage signage, logo, badges, and old-fashioned graphics. Stanford Breath is complete with extra ornaments that look great to combine. This font is perfect for many display purposes. You can use this font for posters, labels, logos, signboards, t-shirts, book covers, decorations, merchandise, and more! Multilingual support with a ton of alternate characters! Fonts Featured : Uppercase Smallcaps Numbers & punctuations Stylistic Set 01-14 Custom ligatures Accented characters: ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØÙÚÛÜÝÞŒŠŽßàáâãäåæçèéêëìíîïñòóôõöøùúûüýþÿœšž Stanford Breath font is PUA Encoded which means you don't need any special software to access the OpenType features.

BoRock is a handcrafted font that comes in two pigheaded styles, inspired by the rock music scene. You can use BoRock instead of the usual neat serif fonts. BoRock Grunge is a rough crispy serif font, excellently suited for use in both display and body text. The BoRock Slick is what the name implies, a more smooth serif font, ideal for use in body text, but also suitable for titles and headings. You can use BoRock Grunge and BoRock Slick for magazines, advertising, T-shirts, posters and so on. By activating Discretionary Ligatures and typing _1 to _9 and *1 to *8 you can get your hands on some nifty bonus symbols. So get creative with BoRock and the stage is yours.

Munchies is a reverse contrast slab-serif font family. Inspired by the volume and size of 19th century wood letterpress blocks and the Italian Caslon language. Munchies has 12 variants, from Heavy to Thin, with opentype options in a set consisting of uppercase, lowercase, small caps, ligatures, and alternate letters (A, M, N, V, W, &, Arrows, *). Munchies is divided into two subfamilies: Normal and Display. The Normal style has an appearance reminiscent of Western posters with a “measured” contrast. While the Display style takes the contrast to the extreme. Both styles are also available in Variable version. The inverted contrast makes it an interesting and striking looking typeface that stands out in any context. Perfect for headlines, bold branding, or animation like kinetic typeface.

Supria Sans™ and Supria Sans Condensed is an extended family of 36 fonts designed by Hannes von Döhren. It contains two widths, six weights and three styles, including the curvy, feminine Italic as well as the more conventional Oblique. Although it is inspired by the utilitarian clarity of Swiss type design, subtle curves and fine detailing impart a more playful character to the whole Supria Sans family. Supria Sans™ is equipped for complex, professional typography. As an exclusively OpenType release, these fonts feature small caps, five variations of numerals, arrows and an extended character set to support Central and Eastern European as well as Western European languages. Supria Sans™ received the “Certificate of Excellence in Type Design” at the TDC2 (2011).

A triple threat, Letteria Pro is a typographic trio designed for branding and packaging. With the soul of a broad nib pen and the grace of a brush, it has five weights and a lot of style. In order to achieve a pragmatic contrast between a composition’s communication levels, we have created a mechanical typeface with only capital letters in sans and slab versions that elude to a De Stijl style. Ligatures and swashes provide a plethora of options, including Thin, Light, Regular, Bold and Black weights, while its companions offer a single weight. Together, this Latinotype original covers more than 200 languages within the Latin alphabet. Yet another powerful tool for your arsenal of fonts that command consumer attention.

The Chlorines are two unique fonts, for they look as if they have been corroded with some sort of caustic material. Could it have been chlorine? Who knows? Both fonts have a modern appeal to them and fancy up any document. And when you can pick both of 'em up for only $45 how can you resist that corrosive, yet clean appeal? Chlorine Serif is a unique font, for it looks as if it has been cleanly corroded with some sort of caustic material. Could it have been chlorine? Who knows? This font has a modern appeal to them and fancy up any document. And when you can pick it up for only $25 how can you resist that corrosive, yet clean appeal?

A hand lettered emulation of a Roman stencil type face on the cover of the folio for the Stenso School Set was the basis for Eutaw Stencil JNL, which is available in both regular and oblique versions. The Stenso School Set (circa 1940-41) was comprised of three stencils – two lettering guides and a map of the [then] 48 United States. Developed and patented by Baltimore school teacher Ruth Libauer Hormats, her stencils were the first to offer a system for accurate letter spacing and ease of use. “Eutaw” (as part of the font’s name) is taken from Eutaw Place, the street where Ruth and her husband lived at the time of Stenso’s inception. To the Cherokee, the name means “Creek Indian”.

Umbero is an experimental geometric blackletter. Umbero was inspired by modern street art (by artists like Pokras Lampas, RETNA, etc.), gothic script and constructivism. It has an ornate and twitchy structure: you can not find two similar letters. Capital letters have even more complex structure, then lowercase, to the extent that you can even use them as initial letters with a different, more calm font if you want to achieve a medieval stylization in a contemporary way. Get Umbero if you need something extra for your design. Or vice versa use it as a starting point of your work. It’s a perfect choice for the mystic or contemporary logos, headlines, oversize typography, branding, identity, website design, album art, covers, posters, advertising, etc.

The Aguas Frescas font family is an outline, hand-drawn display typestyle that reflects script handwriting with a lively, whimsical twist. It is a flowery little font that dances across headlines with a happy and likable good-natured attitude and a lyrical lilt. For extra OpenType tastiness, there are alternate versions of all the lowercase glyphs and a Contextual Alternates feature to make the letters flow together more smoothly and look more natural and handmade. And if you want to kick it up one notch further, you can combine the outline font Horchata with its “aguas frescas” companion font Tamarindo which is the solid, filled-in version of this font. Duplicate your text in overlapping layers of the two fonts for an brighter multi-color effect.

CAL iWasLike™ Pro is totally for sure the amazing friendly font you need for, like, everything! Its conversational tone makes reading fun and enjoyable! Designed for friendly, paragraph reading ease on screen or medium res print, with the full set of OpenType features. It's design gives it the most even text shade for digital fonts, and has less holes in the text for easier reading. iWasLike™ is a large x-height, informal text and caption font designed to render well for Apple Quartz and Microsoft devices, low res to high res printing, with full Western Central European, and Turkish support, small caps, superiors, inferiors, fractions, as well as some special additions like music symbols, pricing feature, arrows, and two sets of circled numbers.

Sagona is a contemporary slab serif building on the clarendon/ionic model dating back to the 19th century. Like its most famous representative Clarendon, Sagona features strong serifs and a variable stroke contrast resulting in a versatile typeface working great in headlines and small text sizes. Where great typefaces like Sentinel, Belizio or FF Hertz are staying close to the industrial and strict appearance, Sagona is focusing on a warm and welcoming approach, emphasizing a subtle elegance especially in the mid weights. The family comes in nine weights with matching true italics. It is equipped with a large set of alternative glyphs, ligatures, old style numbers, initials and finitials, two sets of arrows and many more opentype features making it a perfect choice for professional type setting.