Hassan is a traditional-style Arabic text face designed by Hassan Sobhi Mourad, an experienced calligrapher and teacher of the art and first produced by the Linotype Design Studio (U.K.) as a PostScript font in 1993. An individual Naskh style, Hassan cleverly combines elegant proportions, echoing an inscriptional Thuluth in its tall vertical stems and deeply rounded final jim and ain. The effect of verticality is enhanced by the tense, reined-in kerning strokes of ra and waw, the well-poised lam-alif, and the compactly drawn ligatures. The broad-band strokes of Hassan Bold smooth some of the angularity and relax the tension apparent in the Light. The traditional-style ligatures are rendered with an easy flow. Because of the economical character count, Hassan Light and Bold text may be headed by the compact titling styles (Hisham, Mariam) as well as designs like Ahmed or Kufi which answer to the inscriptional qualities of Hassan. In addition to other uses, Hassan would be particularly suited to document text-setting. Hassan’s two OpenType weights include Latin glyphs from Janson Text Roman, and Janson Text Bold, respectively, inside the font files, allowing a single font to set text in both most Western European and Arabic languages. The OpenType glyph ranges incorporate Basic Latin and the Arabic character set, which supports Arabic, Persian, and Urdu. The fonts include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Assemblage Designed by Daniel Hernández, Alfonso García, Bruno Jara Ahumada and Luciano Vergara. Thanks to Pedro González for his contribution in the initial stage of the design process. Assemblage is a typeface-inspired by Roman square capitals-that comes in 6 different weights and ranging from Thin to Black. The background of the typeface makes it well-suited for branding, short text, titles and complex compositions, thanks to its italic version. Contrary to some conservative fonts, Assemblage includes an italic version with a look based on Elzeverian and Dutch Barroque typefaces, what gives the font an extra dash of elegance, resulting in a very enjoyable design. The family was specially created for labelling wine bottles and general packaging. Assemblage is a font collection consisting of a Sans Serif plus an Italic version of classic features. The family comes in 6 weights and includes ligatures, caps and small caps plus 3 sets of smaller small caps for different kinds of composition. The Italic version-with strong decorative features-comes with swashes. Assemblage also includes a set of dingbats, especially designed for packaging as well as for publishing or branding. The Sans contains 979 characters and the Italic version 620 characters. Assemblage supports 212 different languages and its OpenType features include ligatures, semi oldstyle figures, 3 sets of ornamental small caps (in the Sans version), swashes, ending forms and alternates in the Italic version.

It was the original work of fifteenth century designer Nicolas Jenson that formed the basis for this roman serif style developed by Ernst Detterer in 1923. Similar in spirit to other early twentieth century revivals such as Centaur, Cloister Old Style, and Italian Old Style, Nicolas Jenson is distinguished by its pristine and delicate nature. A gifted young apprentice to Detterer, Robert Hunter Middleton, greatly expanded the family. And by 1929, bold, italic, and open were part of the Ludlow Foundry’s beautiful Nicolas Jenson Series. It was reintroduced under a new name, Eusebius, in 1941. This digital version includes a new medium and extrabold weight with intermediate small caps and swash alternates throughout the family. There is also a regular expert version with a variety of currency symbols plus a regular petite caps (regular x-height small caps) and old style figures version. Nicolas Jenson is now available in the OpenType Std format. Small caps, old style figures, and swash alternates have all been combined into one style for ease of use. You will also find an additional regular petite caps version included with the regular style. Some new characters have been added as stylistic alternates and historical forms. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

The font series Andron MC introduces a new feature to the repertoire of the Andron family: middlecase glyphs (intermediate between upper- and lowercase) – and uncial letters. Middlecase glyphs reach a medium height compared to full caps height and lowercase x-height. However, ‘uncial’ means the historic transitional lettershapes of the medieval ages which have gained no status in the bicameral typographic system of modern times. In all three of the Andron MC fonts middlecase (“MC”) glyphs dwell on the lowercase positions. These are coined in uncial fashion in the MC Uncial and MC Medieval fonts but appear as capital glyphs in MC Capital. The same variation occurs with the uppercase positions: whereas standard Roman/capital glyphs are there in MC Uncial and MC Capital, MC Medieval features uncial majuscules here instead. At the end that makes three different combinations of uncial and capital sorts. These fonts can be used for a great variety of purposes. The uncial sets are particularly well-suited for any typographic matter related to the middle ages. MC Capital is a worthwhile alternative choice when titling is to be possibly set in CAPITALS or Small caps. Andron MC adds a fascinating new aspect to the classical Andron fonts family. It enhances again the unique scope of typographical possibilities Andron is praised for since quite some time now. All three Andron MC fonts support full Latin, Greek (monotonic), Coptic and Gothic character ranges. Each font contains about 1000 glyphs.

Designed from the perspective of a multi-purpose font family, comprehending the slab-serif and humanist-sans subtypes, the Distéfano typefaces were specifically developed and subsequently tested considering the needs of editorial products, for both print and digital media.   Includes a comprehensive program where formal, style, thickness and slant attributes are especially indicated for the composition of text and headings in newspapers, journals and magazines. For that reason, in addition to the more traditional weights, others, ranging from Light to Black were added. The identity and systemic criteria of this font family doesn’t fall short on diversity of specific solutions, flair and quirks for each variant, especially noticeable in the contrast of the italics to the roman styles. The original drawings of Distéfano date back to 1983; embodied in pencil on paper, provided only the alphabetical characters and punctuation signs for Spanish, and the Sans Serif family. By digitalizing them, their possibilities of use were widened, the set of characters of each typeface were considerably completed considering the current requirements for the majority of the latin and germanic languages, and the slab-serif family was developed. This type family bears the name of the most notable argentinian designer, and it is a homage to his work, that influenced the youth of the 50’s decade of the 20th century, and especially to him, whom I have always recognized as a friend, and a teacher.

Designed from the perspective of a multi-purpose font family, comprehending the slab-serif and humanist-sans subtypes, the Distéfano typefaces were specifically developed and subsequently tested considering the needs of editorial products, for both print and digital media.    Includes a comprehensive program where formal, style, thickness and slant attributes are especially indicated for the composition of text and headings in newspapers, journals and magazines. For that reason, in addition to the more traditional weights, others, ranging from Light to Black were added. The identity and systemic criteria of this font family doesn’t fall short on diversity of specific solutions, flair and quirks for each variant, especially noticeable in the contrast of the italics to the roman styles. The original drawings of Distéfano date back to 1983; embodied in pencil on paper, provided only the alphabetical characters and punctuation signs for Spanish, and the Sans Serif family. By digitalizing them, their possibilities of use were widened, the set of characters of each typeface were considerably completed considering the current requirements for the majority of the latin and germanic languages, and the slab-serif family was developed. This type family bears the name of the most notable argentinian designer, and it is a homage to his work, that influenced the youth of the 50’s decade of the 20th century, and especially to him, whom I have always recognized as a friend, and a teacher.

Stabia is a multi-purpose typeface with large wedge-angular serifs. It is delicate and highly readable at very small sizes but reveals all its strength and personality when used at big sizes. The contrast of the sharped serifs provides a fresh and very contemporary look. The family has 5 weights, ranging from Light to Black (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo and branding, small text as well as web and epub. Stabia provides advanced typographical support with features such as ligatures, small capitals, 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. As well as Latin-based, the typeface family also supports Central European languages. Stabiae was an ancient Roman town, located close to the modern town of Castellammare di Stabia approximately 4.5 km southwest of Pompeii. According to the account written by his nephew, Pliny the Elder was at the other side of the bay in Misenum when the Mount Vesuvius eruption started. He travelled by galley ship across the bay, partly to observe the eruption more closely, and partly to rescue people from the coast near the volcano. Pliny died at Stabiae the following day, probably during the arrival of the sixth and largest pyroclastic surge of the eruption caused by the collapse of the eruption plume.

The island of Fuerteventura is more known for its white sand beaches and windsurf-friendly constant winds than for its typographic marvels. Still, it's on the walls of a ballroom next to its white-sand beaches that Debora Manetti found the hand-painted letterforms that she took as inspiration for her typeface Sala de Fiestas. The resulting font was a condensed sans serif full of curious details and a jumpy latino vibe that many years after still keeps its freshness and vernacular charme. Francesco Canovaro took the original typeface as a starting point for a grand tour into sign-painter aesthetics, developing a reboot of the original into a new type family: Salad. While being faithful to the original proportions and feeling, Salad provides extreme versatility through its five-weights range, its extended charset and its set of Open Type features including stylistic sets, alternates, positional numerals, small capitals and case sensitive forms. While the roman family with its italic counterpart provide a good workhorse tool for informal branding, packaging and editorial projects, the interlocking and the inline weights add additional possibilities for display purposes. This is enriched by the inclusion in the typeface of a set hand-drawn decorative dingbats that further complement the sign painting vibe of the family. All Zetafonts expertise in handmade lettering, typographic design and water sports has been put to test to assure Salad is the best typographical alternative to a a trip to Canary Islands!

My first font for the summer of 2009, Abrect is a new sans serif font where I try to maximize the x-height and keep the design fresh and personal. It fits in with my continuing objective of designing book fonts that I can really use. Abrect is a tangent for me just taking an idea out to its end. In particular, it is a radical modification of my first font in 1993, Nuevo Litho. The hand-drawn shapes vary a lot, many pushing the boundaries of the normal character. With many of the new releases I see, the digital perfection is getting pretty extreme. It’s looking like a Rococo stage of development for many with decoration taking over from function. I'm consciously trying to head a different direction. This is not a normal font for me in that it has caps, lowercase, with the appropriate figures for each case, no small caps. This is the first time I have skipped small caps in over a decade. This font has all the OpenType features in the display set for 2009 except for the small caps. There are several ligatures for your fun and enjoyment: bb gg ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more and many of them are experimental in form. Enjoy!

Arturo is a brand new font family drawn from the original inspiration of an old alphabet in one of Dan Solo 's Dover Clip Art books. It has moved far away from those raw roots, however. Every character has been redrawn. For example, I had a light version that I never could get working. Arturo is based on that light style and called Arturo Book. The name comes from a good friend of mine in El Paso. He was the guinea pig upon whom I foisted off the beginnings of this style so many years ago. I did several marketing pieces for him using the raw drawings. I figured that he deserved to have the family named after him, at the very least. This is a normal font family for me in that it has caps, lowercase, small caps with the appropriate figures for each case. This font has all the OpenType features in the set for 2009. There are several ligatures for your fun and enjoyment: bb gg ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, small caps, proportional lining figures, proportional oldstyle figures, & small cap figures, plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

Presenting Valley of Winter! A Calligraphy Font. This font made with the perfect combination of each character. You can combine with Extra to get a unique combination. It looks original and can be used for all your project needs. Each glyph has its own uniqueness and when meeting with others will provide dynamic and pleasing proximity. This font can be used at any time and in any project. You can see in the presentation picture above, Valley of Winter looks versatile on design projects. So, Valley of Winter can't wait to give its touch to all your design projects such as quotes, poster design, personal branding, promotional materials, website, logotype, product packaging, etc. Besides that, Valley of Winter also has some ligature that gives a surprise when you type certain characters combining. The ligatures are tt, ll, rr, ss, ee, and cc. WHAT'S INCLUDED? 1. Valley of Winter • It comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). Also included some alternates for ending glyphs; a, e, d, g, h, i, j, k, l, m, n, q, r, t, and u. 2. Extra Swash • You can feature all with typing c_1 until c_4 A Million Thanks Colllab Studio

Meet Ollie, a casual signage script whose friendly, bouncy exterior belies a heart of sophisticated OpenType programming. This font is designed to make the most of OpenType savvy applications, and as such is recommended for professional design use. Or to put it another way: Make sure that contextual alternates and ligatures are always turned on! Ollie includes about 900 glyphs, many of which are automagical substitutions to keep the text flowing smoothly, and to pseudo-randomly pick different glyphs to avoid repetition. With contextual alternates turned on (as they should be by default), most lowercase letters will alternate between at least two different forms. The powerful OpenType programming makes the font itself ‘look back’ (up to eight characters) on previously used letters; typing “banana” will give you three different a’s and two different n’s (the last a is a special ‘end form’ character). The calt feature controls many other ‘special effects’ which all add together to give a smooth-flowing, hand-lettered look. These effects include start and end forms (and indeed, ‘loner’ forms) of many letters, which are automatically substituted in at beginnings or ends of words, or when the previous or next letter doesn't connect. Another special feature tests to see if there is room for the crossbar of t (or tt ligature) to extend further over the previous or next letter, or both, as is often the case. The last main effect of the calt feature is to substitute certain letters typed before any ‘e’ character, to make for a more natural connection (see the pe combination in ‘Eclectotype’ in the first poster). Ligatures should be on by default, for a much nicer looking tt combination, and a few others besides. The swash feature should be used sparingly (one glyph at a time, really) to apply a more extravagant look to g,j and y in the lower case, and quite a few of the upper case too. Oldstyle figures are included, as well as the lining defaults. Now to delve into the stylistic alternates... These are all included in the salt feature, or for uses of applications that support them, separated into stylistic sets thus: ss01 - (with swash feature on) L and G swashes get even swashier. ss02 - standard s changes to a connected script s form. ss03 - r takes on a script form. ss04 - z also gets a scriptier look. [the previous three sets also change any versions of s, r or z with diacritics] ss05 - a useful underline function. When enabled, typing two or more underscores will extend a cool underline under the previous letters. More underscores = longer underline. ss06 - the Polish script lslash changes to its more standard form. ss07 - E, S and B change to a more top-heavy alternate form. ss08 - An alternate form for A characters. ss09 - Alterative rounder forms of M and N. ss10 - An alternate ampersand. That about wraps up the features. Now all that’s left is for you to license the font and get experimenting!

First Ladies is a unique collection of signatures of almost all of the First Ladies of the United States plus the First Lady of the Confederacy in a high-quality font. A must-have for autograph collectors, desktop publishers, lovers of history, or anyone who has ever dreamed of sending a letter, card, or e-mail “signed” as if by one of these famous women. This font includes 45 signatures for the following First Ladies: Martha Dandridge Custis Washington, Abigail Smith Adams, Martha Wayles Skelton Jefferson, Dolley Payne Todd Madison, Elizabeth Kortright Monroe, Louisa Catherine Johnson Adams, Rachel Donelson Jackson, Anna Tuthill Symmes Harrison, Julia Gardiner Tyler, Sarah Childress Polk, Margaret Mackall Smith Taylor, Abigail Powers Fillmore, Jane Means Appleton Pierce, Harriet Lane, Mary Todd Lincoln, Eliza McCardle Johnson, Julia Dent Grant, Lucy Ware Webb Hayes, Lucretia Rudolph Garfield, Ellen Lewis Herndon Arthur, Frances Folsom Cleveland, Caroline Lavinia Scott Harrison, Frances Folsom Cleveland, Ida Saxton McKinley, Edith Kermit Cardow Roosevelt, Helen Herron Taft, Ellen Axson Wilson, Edith Bolling Galt Wilson, Florence Kling Harding, Grace Anna Goodhue Coolidge, Lou Henry Hoover, Anna Eleanor Roosevelt, Elizabeth Virginia Wallace Truman, Mamie Geneva Doud Eisenhower, Jacqueline Lee Bouvier Kennedy, Claudia Taylor (Lady Bird) Johnson, Patricia Ryan Nixon, Elizabeth Bloomer Ford, Rosalynn Smith Carter, Nancy Davis Reagan, Barbara Pierce Bush, Hillary Rodham Clinton, Laura Welch Bush, Michelle Obama, and Varina Howell Davis (First Lady of the Confederacy). This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map.

The PARATYPE library is our latest major addition, consisting of more than 370 typefaces. In the spirit of the perestroika changes and following the collapse of the Soviet Union, a group of Russian type designers quit the state-owned Polygraphmash foundry to establish ParaType, the first, and now largest Russian digital type foundry. The ParaType team under the supervision of Vladimir Yefimov creates new typefaces and explores the Russian typographic heritage by making digital versions of existing Russian designs: these include the hits of Soviet typography such as Literaturnaya and Journal Sans. Most ParaType fonts are available in Western/Roman, Central European, Turkish and Cyrillic encodings. The Russian constructivist and avant garde movements of the early 20th century inspired many ParaType typefaces, including Rodchenko, Quadrat Grotesk, Ariergard, Unovis, Tauern, Dublon and Stroganov. The ParaType library also includes many excellent book and newspaper typefaces such as Octava, Lazurski, Bannikova, Neva or Petersburg. On the other hand, if you need a pretty face to knock your clients dead, meet the ParaType girls: Tatiana, Betina, Hortensia, Irina, Liana, Nataliscript, Nina, Olga and Vesna (also check Zhikharev who is not a girl but still very pretty). ParaType excels in adding Cyrillic characters to existing Latin typefaces — if your company is ever going to do business with Eastern Europe, we recommend you make them part of your corporate identity! ParaType created CE and Cyrillic versions of popular typefaces licensed from other foundries, including Bell Gothic, Caslon, English 157, Futura, Original Garamond, Gothic 725, Humanist 531, Kis, Raleigh, or Zapf Elliptical 711.

‘Skiart Serif Subtle’ is now available online. Originally inspired by the san serif font ‘Skia’ by Mathew Carter for Apple. ‘Skiart’ was designed to feel more like a serifed font, but without any serifs. It took a step between sans serif and serif fonts. Next on the path towards a serif font came Skiart Serif Mini, with tiny serifs added. This was a true serif font, all be it on the small side. Skiart Serif Subtle is less of a serif than Skiart Serif Mini, in that it doesn’t have actual 'serifs' as such. It has a subtle flare where a serif might normally be found. It remains fully readable and feels as clean and normal as any of the best body copy serifs, and yet still has the strong solid bones of all the other Skiart font families. If compared to one of the more commonly used serifs like ‘Times New Roman’, the ‘Skiart Serif Subtle’ lowercase is more open with a taller x-height, increasing its readability and friendliness. The serifs are smaller and less distracting. They are not pretending to be ligatures. Where ‘Times’ makes its p q b d forms out of a barely touching oval and stem, the ‘Serif Subtle’ forms are much more firmly attached, appearing clearly as single letters. The standard setting for the a’s and g’s are round single story, feeling warmer and more inviting in the ‘Serif Mini’ font. Much more friendly than the stuffy double-storied versions in fonts such as ‘Times’ etc.

The letterforms that we now accept as the historical standard for printing latin alphabets were developed in Italy around the end of 1400. Deriving from Roman capitals and from italic handwriting, they soon replaced the blackletter letterforms that were used a few years before by Gutenberg for his first moveable types. Between these two typographical traditions there's an interesting and obscure middle ground of historical oddballs, like the Pannartz-Sweynheym Subiaco types, cut in Italy in 1462. Keratine is the result of Cosimo Lorenzo Pancini's exploration of that territory. Like our Kitsch by Francesco Canovaro it explores the impossible territory between antiqua and blackletter, not as a mere historical research, but rather as a way to re-discover and empower an unexpected and contemporary dynamism. Using contemporary digital aesthetics to combine the proportions of humanistic type with the gestural energy of Fraktur letterforms, Keratine develops a "digitally carved", quasi-pixelated appearance (clearly stressed in Keratine's italics) that allows an unexpected balance between small-size readability and display-size personality. Keratine also relies heavily on a variable identity as the letterforms change dynamically with weight, developing from a contrasted, text-oriented light range to more expressive and darker display range, for a total of 8 weights with italics. Open type features and glyph alternates further enrich the usage possibility of this typeface that embodies our contemporary swap culture by embracing the contradictory complexity at the crossroads between Gothic and Humanist styles, while playfully empathising with a digital, brutalist spirit.

The fundamental in creating this typeface is the implementation of our interest in typography over the past year. Inspired by the elegance, consistency, and hard work of Times New Roman pull up our minds to a daunting blank canvas and began to think about what we had to do to take this idea even further. Whatever comes to our mind and when it is poured out, it will certainly remain within the rules of the letterforms. This typeface is created by a careful approach, consisting of 28 fonts 13 weights with matching true italics forms. Feature an extended charset of over 1800 glyphs, covering 219 languages using Latin, Cyrillic (basic to extended), and Greek alphabets. Included advanced open type features like stylistic alternates, terminal form, swash, discretionary ligatures, ordinals, small caps, positional numbers, fractions, and case-sensitive forms. BD Megalona provides a range of choices that will give luxury vibes in symmetrical layouts with selective deviations, and work well in a stylish look for your typographic project. This is a complete package of problem solvers perfectly suited for body text and high-impact headlines. Advance open-type features definitely stunning on logos, branding, magazines, website, etc. BD Megalona is our ego in expression that aims to supply the necessity of design nowadays while still in the corridors of the glory of past traditions as a source of our inspiration. We would like to show you a SHORT FILM about the process of designing BD Megalona Font Family, Click Here!!!

Aure Brash speaks with the cheeky inuendo of a sassy parrot. The quirky forms of this unique outline font engage the reader with a subtext of whimsy. Designed for its visual impact, Brash stands out as a title font and offers delightful possibilities for graphic imagery. Brash is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets. The CJ glyphset is a full text font with an extended set of lowercase and uppercase glyphs supporting a variety of European languages. Additional glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining and oldstyle versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Brash is not designed for use in extended text. It shows its strength paired with strong text fonts such as Aure Jane or Aure Teddy. Used sparingly, Brash will add witty highlights to catch the reader's eye. Give Aure Brash a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

Please note: Acorde webfonts are exclusively available at willerstorfer.com Acorde is a reliable workhorse for large, demanding design projects. It was designed to be perfectly suited to all different sizes, from small continuous text to large headlines and big signage. The typeface’s name is derived from ‘a’ ‘cor’porate ‘de’sign typeface, however Acorde is not only suitable for corporate design programmes but for information design and editorial design purposes as well. Acorde’s inception was in early 2005 as Stefan Willerstorfer’s final project in the Type and Media course at the Royal Academy of Art in The Hague (NL). It is a humanist sans serif with noticeable diagonal contrast and shows clear influences of the broad nib pen, especially in the Italics. Acorde’s characterful details give it a distinctive appearance in large sizes and contribute to its high legibility in small sizes. It comes in 14 styles – seven weights in Roman and Italic each. While the proportions of the Regular style were chosen to guarantee optimal legibility without being too space consuming, the heavier the weight gets the more suitable it is for headline purposes. The heavy weights are relatively narrower than the lighter ones, which gives them a strong appearance. The huge character set contains 925 glyphs per font and covers a vast range of latin-based languages. Various accented letters, small caps, eleven figure-sets, superscript and subscript are all included. OpenType features allow for a comfortable use of the large set. Acorde was honored with the 2010 Joseph Binder Bronze award for type design by DesignAustria.

Mid Century Sans (MCS) is composed of high-geometric shapes. László Moholy-Nagy —professor in the Bauhaus— said “Typography is a tool of communication. It has to be communication in its most intense form. The emphasis must be on absolute clarity since this distinguishes the character of our own writing from that of ancient pictographic forms.” As same as you can see in modern typefaces in the early twentieth century, MCS has very efficient, clear and minima letterforms. There are not any decorative parts in the skeleton of letters. At the same time, Mid Century Sans has one more feature. In the middle of the twentieth century, one big movement which was called Mid-century modern had occurred. The Mid-century modern movement in the U.S. was an American reflection of the International and Bauhaus movements and it was slightly more organic in form and less formal than the International Bauhaus-style. In other words, it was friendly and stylish. We added Mid-century-spices to the Bauhaus-modernism. The basic letter form is geometric yet it has very friendly strokes and human touch. Mid Century Sans consists of 8 weights and their matching Italics for a wide range of usages. Farther, Mid Century Sans is supporting international Latin languages and basic Cyrillic languages including Basic Latin, Western Europe, Central and South-Eastern Europe. Also MCS covers Mac Roman, Windows1252, Adobe1 to 3. This wide range of international characters expands the capability of your works. Lowercase "a" has OpenType stylistic alternates for advanced typography.

An open-hearted humanist sans-serif. Playful and friendly. Faible is everybody’s darling. You cannot not like this good-natured humanist typeface. Sure, it’s a typeface for serious work—but all serious work is better when you put a smile on your face and a whistle on your lips. The typeface itself isn’t rooted in calligraphy, but there are quite some details in Faible that reference handwriting and add a friendly, humanist facet to its appearance. Take the bowls of B, P, and R: they are merrily bulged, like balloons about to take off. The curved leg of the R adds to this joyful mood. Faible’s italics are rendered playfully, too: they’re not merely sloped Roman styles. Rather, they were designed independently with an internal dynamic that sets them apart on the page. With its trademark glyphs, the swooshin’ K and k, and its friendly details, Faible will radiate optimism in display sizes, titles, and headlines. That makes it a great choice for book covers, posters, editorial design, branding, corporate design, advertising, and packaging. Nontheless, it’s carefully spaced and equipped with plenty OpenType features—a reliable tool for short texts and body copy, too. The font family consists of six weights (ranging from Thin to Black), each with its corresponding italic style. Faible’s glyph set contains more than 600 characters, allowing you to enhance your layouts with ligatures, different sets of figures, case sensitive forms, arrows, and other necessities for the ambitious typographer. Faible is the typeface that puts “fun” back into “functional”.

‘Technical Scripture’ 2015-2021 A manuscript look, Pixel labyrinthine Display Type System… Plus, an Optical “Layered Game”, Retro Futuristic Sci-Fi Digital interface evolving placeholder… Now with 3D Styles! It was designed as a pair to its brother font ‘Technical Signature’ a Small Caps Font, both inspired by antique Greek, mosaics zig-zag ornaments “ancient times computer” intentionally as a Romanic variation with same metrics... Searching for Technical Solutions, it resulted in many combined styles by matching the primary ones so there’s plenty variations for multi-purpose texting like layered typesetting or simply monochromatic designs… Plus got accurate streaming resolution, therefore some sub-families like Stamp and Texture implicates greater points for minimum size as Regular and Light is appropriated to Small Optical Text reductions. *The New 3’s Upgraded Edition Improvements consisted of Correct ‘Font Info’ (verified data-debugging) rescaled glyphs, quick design review, better style linking with correspondent renamed fonts, addition of automatic OT features encoding, 3D Styles and Italics. Ps. This actual Typeface was quickly re-edited for technical reasons and hasn’t yet reached the intended design, it will soon receive a more tangible redesign upgrade, mainly in lowercases to enhance cursive style. Due to other priorities. Tip: Give preference to THE LYSERGIC UPPERCASES! Multilanguage Support: Western & Eastern European, Baltic, Turkish, Greek, and Cyrillic. This Type is pleasant to Technician Compositions, Such as Briefs layouts manuscript, Old Engineering & Crafts Logos or Support Text, Op-Art Posters, Stamps, Labels, movies and Cartoons Ludic Scripts, sites and of course Video Games! Try ‘Technical Scripture’ & Have some Power to the Pixel! Padang!

Aure Nox inspires the chill whimsy of a haunted forest. The roughhewn forms of this decorative, sans-serif font engage the reader with a subtext of rakish charm. Surprisingly legible, Nox adds a bit of rebelious sass to text and titles, and a daring stance to astrological expressions and chartwheels. Nox is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets in regular, italic, bold, and bold-italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Though Nox stands well on its own as a text font, the more traditional sans-serif forms of Aure Jane pair well as an innocuous foil to Nox's brazen presence. Give Aure Nox a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

Big News! Tenez has been selected for the Tipos Latinos Biennial 2016 and Typographica’s Favorite Typefaces of 2015! Tenez is a Grand Slam display didone typeface from Plau. We designed it for a branding project, further developing the resulting logotype into a typeface we felt could solve many designers’ needs. Its origins are rooted in pointed nib calligraphy which can be seen in contemporary Didot and Bodoni inspired typefaces. But Tenez’s shapes are organic (these modern typefaces were originally cut by hand after all) – in fact that was the challenge we set from the start: to make a typeface as organic in construction as possible. This echoes some of late 19th century typefaces and advertising, yet we thought of it for contemporary uses. One of the several unique features of Tenez is its unusual Thin weight, in which the contrast between thin strokes and the black area left by the serifs makes for a typewriter-like personality. The italics provide a perfect counterpoint to the roman weights. Tenez was unapologetically conceived as a display typeface meant to be used large as in magazine openings, drop caps or everywhere there’s a need for elegant impact. The family includes support for almost all Latin languages available, figure sets for almost every conceivable occasion (tables, text, you name it), alternates for the quirky beautiful R (sometimes simpler is better, but not always!) and Q (with a nice big tail for that article opener). Tenez pairs really well with our no-frills sans-serif Motiva Sans and our cute vertical connected script Primot.

Haarlemmer is a recreation of a never-produced Jan Van Krimpen typeface that goes one step beyond authentic: it shows how he wanted it to be designed in the first place. The original, drawn in the late 1930s, was created for the Dutch Society for the Art of Printing and Books and was to be used to set a new edition of the Bible, using Monotype typesetting. Hence the problem: fonts for metal typesetting machines like the Linotype and Monotype had to be created within a crude system of predetermined character width values. Every letter had to fit within and have its spacing determined by a grid of only 18 units. Often, the italic characters had to share the same widths as those in the roman design. Van Krimpen believed this severely impaired the design process. The invasion of Holland in World War II halted all work on the Bible project, and the original Haarlemmer never went into production. Flash forward about sixty years. Frank E. Blokland, of The Dutch Type Library, wanted to revive the original Haarlemmer, but this time as Van Krimpen would have intended. Blokland reinterpreted the original drawings and created a typeface that matched, as much as possible, Van Krimpen's initial concept. While Van Krimpen's hand could no longer be on the tiller, a thorough study of his work made up for his absence. The result is an exceptional text family of three weights, with complementary italic designs and a full suite of small caps and old style figures. Van Krimpen would be proud.

Grafical is a contemporary take on 19th-century sans serifs. In this family, the amount of geometry inherent within the letterforms has been amped up. Many shapes have received further streamlining, too. All the geometric forms you see have been optically corrected, ensuring their delivery of better legibility. Grafical ships in two different formats: depending on your preference, you can install the typeface as two Variable Fonts or use the family’s 16 static OpenType font files instead. The static fonts offer eight weights, running from Extralight through Black. Each weight has an upright and an italic font available. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Fonts have vastly greater control over their text’s stroke width. The Grafical Variable and Grafical Variable Italic font’s weight axes allow users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. Grafical is the perfect tool for a range of design uses, including text on the web, text in print, and text in motion graphics. Its fonts are typographic workhorses – not just from their legibility perspective but also because of the amount of OpenType features they include. There are ligatures, for instance, as well as proportional and tabular lining and oldstyle figures, fractions, numbers placed inside circles, and even Roman numerals. Users can also substitute alternate versions of the “a”, “g”, “i”, “j”, “y”, “G”, and “Q” into their work.

Span is a modern chiseled style family that flaunts its engraved heritage with sweeping serifs and sculptural forms. Bridging the contemporary and traditional, Span appears exuberant yet dignified. Designed primarily for luxurious headlines and titles, Span’s strong vertical stress is softened by elegant organic curves while its compact height accentuates the deep serifs. The family offers five weights, each with three widths and italics. The condensed styles provide an invaluable advantage when designing within narrow spaces. Span’s italics strike a balance between true italics and oblique letterforms to create a change in rhythm while preserving its chiselled style. A variety of additional features enhance Span's typographic capabilities including restrained swashes and flourishes are available in both roman and italic styles. Span also introduces an additional set of capitals for exceptional typographic control over uppercase settings. ‘Mid Caps’ sit midway between full-height capitals and lowercase letters and extend Span's title setting options to All Capitals, Capitals with Mid Caps and Capitals with Small Caps. Choose Span and take full control over your title settings and produce classic typography with statuesque poise. Overview: 30 styles comprised of 5 weights, 3 widths and accompanying italics Additional features include alternate characters, swashes, Small Caps and Mid Caps 987 glyphs per style See the Specimen Supported Languages: Albanian, Asturian, Basque, Breton, Bosnian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Finnish, Filipino, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Malay, Maltese, Moldavian, Norwegian, Occitan, Polish, Portuguese, Romanian, Samoan, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof, Zulu

Arabetics Harfi is a Latin Serif typeface with a comprehensive support for the Arabetic scripts, including Quranic texts. Careful spacing and kerning was used to enhance resulting text legibility both scripts. Arabetics Harfi fully supports MS 1252 Western and 1256 Arabic code pages, in addition to all transliteration characters required by the ALA-LC Romanization tables. Users can either select an accented character directly or form it by keying the desired combining diacritic mark following an unaccented character. For Arabic, it fully supports Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks. The Arabic design of this font family follows the Mutamathil Taqlidi type style with connected glyphs, but it emphasizes a horizontal look and feel rather than verticalone, utilizing slightly 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 of the Arabic cursive text. Arabetics Harfi includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph. Arabetics Harfi includes both Arabic and Arabic-Indic numerals, in addition to generous number of punctuation and mathematical symbols. It includes two weights, regular and bold, each of which has normal, right slanted Italic, and left-slanted styles.

Hanna has its roots in the Plato and Cilantro fonts published earlier by Wilton Foundry. It is an informal roman and very legible at any size - a rare combination for many applications. Hanna was specifically designed to generate additional income for an orphanage in Ethiopia. Hanna Teshome runs an orphanage of roughly 140 children in Addis Ababa, Ethiopia. She is an amazing lady with a deep passion for orphan kids as well as innocent kids that find themselves in jail because their mothers have been imprisoned - they are treated as prisoners and are typically sexually abused - it is not uncommon for them to commit suicide when they are released from jail at age 18. Most of the orphans end up with Hanna because one or both of their parents have died from AIDS. Hanna relies entirely on donations to keep her orphanage running and this font is a small but tangible way for you to help make a difference in the lives of the orphan kids. I am committed to helping Hanna after visiting the orphanage several times and seeing the jails from where the kids have been rescued. Hanna is my hero because she stepped out of her comfort zone, with no financial support, to take care of the kids. My hope is that you will use this font as a messenger of good. All of Wilton Foundry royalties for this font will go to the support of Hanna’s orphanage in Ethiopia. Thank you in advance for your support on behalf of Hanna and the kids!