Toma Sunny is a modern and classic serif font with a unique style and bold look. This typeface is perfect for an elegant & luxury logo, book or movie title design, fashion brand, magazine, clothes, lettering, quotes, and so much more.

'Rossija' is inspired by russian typographic designs. It's bold look makes a perfect font for the use of titles. You can use these fonts to create posters, greeting cards, scrapbooks, CD labels, T-shirts, coffee mugs, digital videos websites and banners.

Blantica font is inspired by something harmonious and is made with variations in inktrap with bold font sizes making this font look unique and harmonious. suitable in the use of display fonts and graphic designs such as logos, covers, and others.

The HeiT ASC Font family contains 3 Traditional Chinese fonts with Big 5 support. HeiT ASC Font Family features a sans serif style with consistent strokes. HeiT ASC Bold Font Family character Set: Latin-1, Traditional Chinese (code page 950).

Bitelephant is a type of pixel font with Slab Serif. It's unique pipeline characteristic, result a bold & simple font. It's bitmap give a retro game looks, but with a futuristic feel. Suitable for any fun, sci-friction, techno, game & digital theme.

Magical Night is an another retro serif font inspired by classic sixties and seventies bold typeface, comes with alternate and ligature make this font more stylish with retro style. This font will be suit for heading, logotype, poster, and many more.

Emirose consists of 4 weights: Thin, Light, Regular and Bold, all equipped with many ligatures and alternative letters that look cute and classy. They work very well for your work such as logos, brands, packaging, posters, invitations, headlines, posters, and more.

The Torino font family was designed by Alessandro Butti in 1908 for the Nebiolo foundry in Turin. Torino is a narrow face in the Bold weight; the condensed weight is so narrow that it should be used in over 14pt.

Is Rundigsburg a calligraphic face morphing into sans serif or sans serif reverting back to a medieval, calligraphic face? The letters are angular and some retain traces of older letter forms, but the ornamentation is gone. Rundigsburg is decorative but also very legible, suitable for both display and some text purposes. The family has four weights, each with an italics style. There are two shadowed versions and each has an "inside" style designed for uses in layers with its shadowed style to add color. These "inside" style are similar to the light style but the spacing matches its shadowed complement. Among Rundigburgs OpenType features are a few basic fractions and some alternative letter forms.

Introducing Taylor Johnson Display Font is a handmade font style dance and then traces of life to have a Grungy brush and unique calligraphic shape, the writing style is very natural and simple. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with sans or serif. Featured: Standard Uppercase & Lowercase Numeral & Punctuation Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ Alternate & Ligature PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

Do you want your designs to have strong characters? Hirace is a display font in capital letters perfectly created to meet your needs. A racing theme sticks in its display, which is a brilliant idea. This font, in accordance with its theme, shows a strong brave character to use anytime designers need a large-sized text. Other incredible features are also available to maximize the design projects. Features: Multilingual Supports PUA Encoded Numerals and Punctuation Apply this font for any design projects such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, and so on. Find out more ways to use this font by taking a look at the font preview. Get it now. Happy designing.

Fiona Pro is the Extra Condensed answer to the beautiful didones of this world with a modern twist. It is made for brave designers who are not afraid to design big attention grabbing designs, whether it be on screen or in print. The recognition value of Fiona Pro is its biggest asset in world of uniformity. Fiona Pro's strong contrast is an homage to the great times of graphic design and makes it so elegant. Equipped with an italic version as well as a back slanted version for every style there is nothing you can't design with this beauty. MondayType can't wait to see the beautiful designs you are going to create with our Fiona Pro.

The successful Gill Sans® was designed by the English artist and type designer Eric Gill and issued by Monotype in 1928 to 1930. The roots of Gill Sans can be traced to the typeface that Gill's teacher, Edward Johnston, designed for the signage of the London Underground Railway in 1918. Gill´s alphabet is more classical in proportion and contains what have become known as his signature flared capital R and eyeglass lowercase g. Gill Sans is a humanist sans serif with some geometric touches in its structures. It also has a distinctly British feel. Legible and modern though sometimes cheerfully idiosyncratic, the lighter weights work for text, and the bolder weights make for compelling display typography.

Circuity is a display font designed in a racing theme which provides a unique yet modern capital letter font. Each stroke shows a firm brave character. Due to its shape and size, it is suitable to apply for a large-sized text such as titles. Enjoy the interesting features to maximize the design projects. Features: Multilingual Supports PUA Encoded Numerals and Punctuation Circuity is definitely proper to use in any design projects such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, and so on. Find out more ways to use this font by taking a look at the font preview. Thanks a lot for purchasing our font. Happy designing.

Gilman Sans is the family member of Gilman, the serif that it was derived from. The idea for Gilman started simple enough, a serif typeface that works well for large amounts of text. However, after many struggles creating a quality typeface digitally, I decided to first draw the complete alphabet by hand on paper, and then trace that digitally. The result is a unique workhorse typeface with a subtle “human touch” that is very rare in this modern technological age. Gilman Sans has extensive language support and comes with many opentype features like true small caps, tabular lining figures, stylistic alternates, ligatures and more. Gilman Sans and Gilman are excellent compliments and work together harmoniously on the page.

The Applied Sans™ family is a reinterpretation of the first sans serif typefaces used in what was then called, “jobbing or trade” work – typefaces like Venus and Ideal Grotesk. While built on the foundation of these late 19th and early 20th century designs, Applied Sans adds to it all the required features for modern typographic communication. The design benefits from a large x-height, open counters, generous apertures and a subtle modulation in stroke weight. These ensure character legibility and make for a design that is inviting and easy to read. Applied Sans family’s wide range, precise gradation of weights and extensive language support guarantees the design’s effectiveness in a wide and varied range of uses.

A couple of years ago, I walked the Kumano Kodo pilgrimage trail in Japan. At the start of the walk, I stayed in a nice guesthouse in Tanabe city, which lies in Wakayama prefecture. I wouldn’t mention all of this, if it didn’t have something to do with the font name: Wakayama prefecture is THE mandarin orange (Mikan) growing area of Japan and the owner of the guesthouse had just picked a bagful of mikan, which he shared with me. So, I had to think of that when I made this font. Mikan is a nice, rounded family of fonts. Both styles come with alternative a’s (and accented a’s), which some people prefer for Children’s books.

SL Gardel is a tribute to the genial tango singer Carlos Gardel (1890-1935). Gardel was portraited with proverbial slenderness by Natalia Español in SL Gardel. SL Gardel synthezises the most outstanding facets of the "creole trush" (zorzal criollo) through its exclusive icons: his seduction, his tango, his magic, his style. His Buenos Aires. Integrally worked through the typical modulated trace style founded in Buenos Aires tango graphics, the SL Gardel's imaginery unfolds a singular fan of images-concepts. The tango spirit reflected trough an excellent developement. SL Gardel is an original iconographic illustration library in True Type format. SL Gardel takes part of the "Icons of Icons" Gallery, developed by SinergiaLab for Sudtipos.

A piece of British sheet music for “You’re Sweeter than I Thought You Were” [from the 1935 film “Jack of All Trades” starring Jack Hulbert] provided inspiration for a digital typeface based on the credits for Hulbert and the film that rather than the song’s title. What’s interesting is the lettering style was influenced by Art Nouveau at a time when Art Deco was gaining in popularity. The result is Sweet Treats JNL, which is available in both regular and oblique versions. (According to Wikipedia, John Norman ‘Jack’ Hulbert (April 24, 1892 – March 25, 1978) was a British actor, director, screenwriter and singer, specializing primarily in comedy productions, and often working alongside his wife Cicely Courtneidge.)

ITC Hornpype is the work of California freelance designer Mott Jordan, a cheerful display face inspired in part by the cartoons of the 1920s and 30s. According to Jordan, the typeface's name and three-dimensional quality can be traced to an early cartoon in which a cat blows on a horn with such force that the instrument bulges out. For the three-dimensional look, Jordan added highlights to the thicker strokes to create letters that look as though they were, in his words, squeezed from a toothpaste tube". Jordan suggests his eye-catching font for shorter words in larger point sizes. ITC Hornpype is a lively font perfect for anything needing a "fun, goofy" look."

Auster, A Sans with Flair! Auster packs sensational personality in its fine-tuned forms. Confident and quirky, yet comfortable to read, this distinctive san serif family stands out from the crowd. The curves cinch and strokes flair in unconventional places making Auster an unashamed rebel sure to turn heads. Originally designed during the TipoBrda Workshop in Slovenia. Resistenza spent 3 years developing this 2 style (roman & Italic), 20 weight family. The subtle reverse contrast characters were first painted with a flat brush, then polished in pencil on tracing paper before being carefully digitized, to include language support and all the opentype features you expect in a quality contemporary font. More About Opentype Features: https://bit.ly/opentype-rsz

Raven hair and ruby lips, it may have been a trick of the light but I'm sure sparks flew from her fingertips. I definitely heard echoed voices in the night, of a restless spirit on an endless flight. If I remember correctly she held me spellbound in the night, with dancing shadows and firelight. Yes, I think I did see a crystal ball on the table, showing the future, the past and I did drink the potion she offered me, when I really should have gotten out of there fast. And that's my story and I'm sticking to it, your honor. It was that girl with the white hair, I'm telling you. She has my wallet too.

Zebrawood font is a joint work of the typeface designers K.B. Chansler, C. Crossgrove and C. Twombly, who also designed Rosewood, Ponderose and Pepperwood together. Like its relatives, Zebrawood also displays a kind of Wild West character. Its style can be traced back to the Toscanienne typefaces which appeared in advertisements and on signs at the end of the 19th century. Typical of this capital alphabet are the split serifs and robust base forms, which emphasize the typeface's decorative character. Zebrawood is, like Rosewood and Schwennel, meant as a bicolor font, meaning that the weight Zebrawood fill complements the inner spaces of Zebrawood regular. When used carefully in headlines, Zebrawood font will be sure to attract attention.

Acústica is a display font family designed by Carlos Fabian Camargo G. Its styles were designed to form words and phrases related to delicate and feminine contexts. Acústica Caps, Italic, Swashes and Ornaments are drawn investigations with flexible tip pen inspired by Didot capitals. All ideal for mixing with Acústica Script whose idea represents the volatile sound of a fine tip brush against rapid tracing paper. Its script path in width condensed lowercase and uppercase letters in loose horizontal proportions are generous between letters laced with long, agile and thin connecting strokes. Its script sensitivity is in Italian calligraphy with uninterrupted lines of cursive English. Acústica was selected at the Bienal Tipos Latinos 2014. Photos by http://www.desdeesteladodemimundo.blogspot.com

A Colporteur is a peddler of books, newspapers, and similar literature. When I was young, we often got visits from colporteurs - mostly they wanted to sell us a very expensive encyclopedia. I haven’t seen them for a while - the internet probably killed their trade, as there are numerous free encyclopedias out there. Colporteur font won’t try to sell you stuff - it basically sells itself. It is a jolly serif family of 6 styles plus a very useful doodle style full of arrows. Use it to sell your encyclopedia online, write a book and use if for the cover or create a ‘hunt the colporteur’ game. Comes with an encyclopedic knowledge of diacritics too!

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

This typeface is an attempt to offer as a font the well known marvelous Hans Holbein “Death Alphabet”, first published in 1523. We have tried to preserve as much as possible the spirit and appearance of the original Initials set — incredibly fine and enriched with detailed figures — trying at the same time to create a font not too complex to be usable. Neverteless, the font files are large, and when used, the decorated initials may appear on screen more slowly than ordinary characters. (Minimum size recommended : 96 pts) We are offering here two complete standard sets (no accented characters) : Initials and capitals. We have reconstructed the missing letters : J and U, Eth, Lslash, Thorn and Oslash. The font may be used with all our Humane and Garalde fonts, like 1543 Humane Jenson or 1592 GLC Garamond and others from the GLC foundry catalog.

Like a bright star shimmering on a still and quiet summer night, Arched Gothic Condensed is a glowing example of Victorian type. Thin in the middle with clumpy wedges on top and bottom, it truly bears the spirit of a bygone era. Originally known as Concave Extra Condensed, this typeface has shed its waist-high spur notches and gained new figures and lowercase letters. Developed around 1885 by the James Conners & Son Foundry (New York), Arched Gothic Condensed is a marvel of sparkle and glitter in nineteenth century typeface design. Arched Gothic Condensed is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

French type designer Xavier Dupré created this serif FontFont in 2009. The family contains 4 weights: Regular, Italic, Bold, and Bold Italic and is ideally suited for advertising and packaging, book text, festive occasions, editorial and publishing, logo, branding and creative industries as well as web and screen design. FF Yoga 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. This FontFont is a member of the FF Yoga super family, which also includes FF Yoga Sans.

French type designer Xavier Dupré created this sans FontFont in 2009. The family contains 4 weights: Regular, Italic, Bold, and Bold Italic and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries as well as web and screen design. FF Yoga Sans 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. This FontFont is a member of the FF Yoga super family, which also includes FF Yoga.

Neilston is a bold handmade font of beautiful bold typeface with an authentic touch. This includes OpenType features with PUA encoded such as alternatives and ligature. This font is perfectly made to be applied especially in logos, and various other formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Feature: Uppercase & lowercase letters Numbers and punctuation marks Multilingual PUA is encoded We highly recommend using a program that supports OpenType features and the Glyphs panel like many Adobe and Corel Draw applications, so you can see and access all Glyph variations.

Simpatico is a clean and fresh looking font, with a … nice character! (Simpatico in Italian language is a nice and funny behavior). Designed in two ways: standard and italic; each of which is divided into four weights: light, regular, semi-bold and bold. Simpatico is a versatile font! It has 595 glyphs including: letters that have been drawn with different accents for particular languages; ligatures between characters (eg fl, fi etc …); mathematical symbols and signs; differentiation between capital “i” and lowercase “l”; alternatives for characters like “a”; and much more. Simpatico is a multi-ethnic font! In addition to the glyphs commonly used, Simpatico is also in Greek and Cyrillic.