Wainou, a free-form handwriting font, gracefully dances on the digital canvas, embodying the essence of unbridled self-expression. Its fluid strokes and whimsical curves breathe life into each character, fostering a sense of organic spontaneity that captures the nuances of individual penmanship. Wainou transcends the rigidity of conventional typefaces, inviting a playful journey through the artistry of personal writing styles. With a harmonious blend of elegance and informality, this font offers a delightful visual experience, evoking a handwritten note’s warmth and authenticity. Wainou stands as a testament to the beauty found in the unrestrained, inviting users to infuse their projects with the unique charm of personal expression.

Introduction Introducing Reins – Serif Typeface, a masterpiece that exudes classic elegance with a modern twist. Initially, it captivates with its timeless appearance and style. Versatility at its Best Moreover, it’s incredibly versatile, adapting seamlessly to a multitude of projects. From logos to editorial designs, it enhances every artwork it graces. Furthermore, it brings out the richness in your content, making each word profoundly striking. Classic Appeal This typeface carries a classic appeal, gracefully bridging the past and the present. Coupled with a sense of nostalgia, it remains relevant and attractive for contemporary designs. Therefore, each character stands out, adding a touch of historical elegance.

Macha shares the same DNA as its sibling Anago, but is a completely different species than the former or any of my other sans serifs (Aaux Next, Air, Akagi Pro or Wasabi). It's no-nonsense construction bears many influences from Gill Sans and Frutiger while stubbornly blending my own humanist touch. The focus on developing Macha was just to get to the point with each letterform and discard the rest. Macha takes a little but gives a lot. A fully-loaded character set includes: Small Caps, Proportional Lining and Oldstyle Numerals, Tabular Lining and Oldstyle Numerals, Fractions, Ordinals, Inferiors, Superiors, Stylistic Alternates, Ligatures, Case-sensitive, and more.

Our Righteous Pro was inspired by the all-capital letterforms from the deco posters of Hungarian artist Robert Berény for Modiano. Grid based and geometric in execution, the font is highly readable at a wide range of point sizes, ideal for display and print. Unlike that of its original inspiration source, Righteous has both a full lowercase and a SmallCaps set as well as an extensive figures set to increase flexibility and ease of use. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

In the age where stationery is replaced by typing devices, Meltow brings back memories with the design created from the actual writing tools and then developed into a convenient-to-use set of font. It features Brush (written with larger painting brush), Script (smaller painting brush), and Hand (watercolour texture). It also comes with a Sans Serif design to befit a caption, a body and a headline. With the Rust option for a retro appeal and an all-round usage, a mix of Meltow and other types can bring you something new. Offering 25 letters in 4 options, Meltow is most desirable for your creative projects.

Geometric Sans with Humanistic proportions Typeface (Roman a.k.a. ‘Capitalis Monumentalis’), Inspired on vintage minimalism, with a subtle Art Déco air, where the configuration of the basic and open shape (long ascenders/descenders and a moderate ‘x’ height) star a crisp and luminous look, manufactured under an analytical and handmade process as used to be in ancient times. Among its graphic virtues are a special focus on relaxed and fluid reading rhythm while looking clear and sophisticated, an upright version representing a formal voice paired with an Italic with a more expressive vocal tone, easily distinguished as a second quoted content in Editorial and Branding communicational contexts. Equipped with generous stylistic options controlled by OpenType features as: 17 glyphs variations stored as stylistic sets Standard and Discretionary Ligatures Lining and Old Style Numeral forms Tabular forms Superior and Inferior Scientific Numeric Notation Numerators and Denominators for fractional compositions Pre-Composed Fractions, ordinals Dotted Zero for alphanumeric contexts Circled numbers An Art Déco style Border Set Bullets set for multiple levels ordered list Arrow set Monetary Symbols Mathematical Operators Publishing and Social Media Markers Wide range of Diacritics allowing you to set contents in more than 200 Latin base languages. The access to all these options is also possible via character set panel. With no hesitation, PGF Now is a highly valuable publishing and Branding tool that deserves to flaunt in the more elegant contexts but also daily situations that need a clear and modern voice.

Soprani is a unique typeface inspired by a plaque found in New Zealand dating from the 1920s. The design was contemporized and brought 100 years into the future. The serifs are dramatically flared at the end of the stems, while in the middle, they contract. This leads to a unique shimmering effect that draws the eye and catches your user's attention. This typeface meets the demand for unique serif types that are both eye-catching and delicate. It’s a display face that's ideal for very contemporary work. This typeface has plenty of alternates and has a full complement of OpenType features. The 1920s inspire the design, with a bit of art nouveau and arts and crafts, yet the typeface is designed to meet contemporary design requirements. It has a unique elegance and the letterforms are condensed more than most. Soprani is suggested for table books, menus, and various promotional materials, newspapers, television, motion pictures and other media. There is a wide range of widths and weights available, from the thin, which is delicate and graceful, to a bold and robust black. Production assistance by Lucas Azevedo and ikern.

The BF Rotwang™ Pro is a contemporary new edition and re-design of a formerly design by Guido Schneider. Named after the C.L. Rotwang, the inventor of the Mensch-Maschine from the film Metropolis (1925/1926), BF Rotwang plays with the character traits of high-contrast transitional serif typefaces and Didone-style typefaces. BF Rotwang is a typeface characterized by balanced elegance. It is sensitive, sophisticated and self-confident, but unobtrusive. The heavy weights have the power and dynamic for strong headlines and exciting logotypes, the lighter cuts the elegance and lightness for use in continuous text. All letters and characters are a touch condensed, so the typeface looks compact and works space-saving. BF Rotwang™ Pro supports up to 200 Latin-based languages. The family comes with 7 weights plus matching Italics. Each font contains more than 1.220 glyphs, featuring a wide range of alternate characters, small caps, figure sets, fractions, more than 35 ligatures, many currency symbols, special characters and other useful symbols. The style sets give you the option to individualize and adjust the typeface to the requirement of your design, without changing the general visual feeling.

Lusto display typeface , come from mexican style and atmosphere. Bold, Powerfull and unique glyphs character. with some unique Alternates for covering your Project, like Branding, Movie Title, Headline Letter, Bookcover or Book Content, Magazine cover, Poster, Quotes Lettering, Logos, and more your project design. - Unique glyphs - Multilingual Characters - UPPERCASE - Lowercase - Numeric - Symbol - Punctuation Character - Ligature - Stylistic Alternates (ss01, ss02, ss03, ss04, ss05) inumocca type Studio

Hazelle is a typeface suitable for elegant, upscale, classic, luxury editorial content as well as headlines, sub-headings, and logo designs. It can enhance the tone of your messages when used in headlines, and it also gives a unique character when used in logo designs. This updated version comes with variable fonts version and more discretional ligatures and new alternate despite a major glyph shape improvements.

Caldicote is a formal and conventional serif typeface, with slightly broadened verticals. The Tab version is the same as the ordinary version, EXCEPT the Tab version has monospaced numerals and zero kerning between numbers - useful where you might like columns of numbers all vertically aligned in a Tabular display. The zip files contain both OTF and TTF versions of the font - install one version only.

Put the kettle on and break out the biscuits. This no-nonsense stencil face is a faithful recreation of Tea Chest, released by the Stephenson Blake Type Foundry in 1939. Its bold strokes and slender profile retain their freshness, even seventy-plus years on. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Moldovan and Romanian.

Although the pattern for this typeface, originally named Glenmoy, was released by Stephenson Blake in 1932, the letterforms can be more aptly described as pure 1950s retro. With beatniks, Brando and blue suede shoes all rolled up into one, this typeface is definitely a contender. The Opentype versions (OTF and TTF) of this font contain the complete Unicode Latin, Latin 1 and Latin Extended-A character sets.

Introducing Arealand, a Monoline Script Font. Arealand is perfect for logotype and branding. also can creating beautiful vintage typography on any of your projects such as merchandise, logos, posters, calendars, quotes, t-shirts and more. Arealand fonts are also suitable for use in text content because they have good legibility. Uppercase Lowercase Symbols Numbers Accents Ligatures Alternates Thank you for watching. Hope you like it and enjoy!

Fogie is a modern serif family font. Features with 10 fonts. This family also featured with many ligatures and alternates. Designed with powerful OpenType features in mind and perfectly suited for graphic design and any display use. It could easily work for web, signage, corporate as well as for editorial design. The Thin style is free so you can try this for your content.

Auxiliary is a humanist sans serif font. Make it more interesting and dynamic. Auxiliary is designed for content display and text. Maximizes thickness while maintaining balance in each shape. This is perfect for any type of creative project. Auxiliary come with 4 styles plus Multilingual support.. That is Regular, Italic, Hollow, and Hollow Italic. Makes every project you work on easier, and will certainly be awesome!

Decorative, extra bold font ResotYc with which you can work in three ways: with Uppercase, with lowercase as Unicase and with mixed uppercase & lowercase for best result. Automatic contextual alternates and ligatures built into the font compensate for whitespace area differences. Geometric strokes and simplicity makes ResotYc Uppercase excellent for headers, banners or advertising slogans and MixedCase is perfect for fun headlines and outstanding logos.

Aukim is an exceptional, unique and ligature-rich font that gives a new look to your texts. It is a more text-oriented font and thanks to its OpenType features, it becomes versatile. It is available in 3 sub-families (condensed, normal and extended) for a total of 54 fonts. There are 9 weights with their real italics. It has 886 glyphs, 107 uppercase and 65 lowercase ligatures per font. It also offers a wide range of languages, from Latin to Cyrillic, as well as powerful OpenType features such as meticulously and professionally maintained kerning, stylistic variations, swashes, highly distinctive ligatures, old-fashioned tabular figures, fractions, denominators, superscripts, unlimited subscripts, arrows and much more to satisfy the most demanding professionals. On the one hand, it has rounded curves with very open endings that make this font family noble, friendly and contemporary and on the other hand very useful for writing titles on any medium. Perfectly suitable for graphic design and any display use. It could easily work for web, signage, corporate design as well as editorial design. Aukim is a cool, wonderful, elegant, bold and fun display font. It can easily be paired with an incredibly wide range of projects, so add it to your creative ideas and notice how it makes them stand out!

Graphic designers of any nationality and background know very well that the art of composing titles correctly is not easy, Especially when it comes to periodical publications where there is need for both flexibility and graphic coherence. Tablet Gothic was originally engineered as a titling type family, meant to help designers working on publications that require output as hard copies and a variety of digital platforms at the same time. As such, it is a grotesque sans serif that looks to the future of publishing with a clear understanding of its history, and reminiscences that go back to nineteenth century Britain and Germany. Tablet Gothic delivers the sturdy, straightforward and clean appearance expected from a grotesque, but it allows itself a good measure of personality to make it stand out on the page. Its 84 styles –six series of condensation and seven weights in each series plus obliques– guarantee that, whatever the publication format is, there's a Tablet Gothic font that will do the job and perform well both technically and aesthetically. Furthermore, the rounder styles, Tablet Gothic Wide, Normal and Narrow achieved amazing results at very small sizes, producing  a beautiful texture and highly readable text blocks. Tablet Gothic fonts can be purchased individually, by series or as a complete bundle (best value!)

Bion is a contemporary geometric sans serif with a down-to-earth attitude. It is distinguished by a high x-height, vertically cut terminals, and a minimal stroke contrast, giving it a distinctive, sharp look that is both timeless and universally appealing. Bion comes with 40 weights in a single variable file, ranging from Hairline to Black. We also included Upright, Italic, and Condensed variations to give you a fresh and diverse look for poster and title designs. Whatever message you want to get across, Bion has you covered - with support for 220 languages and 1,220 glyphs in total, as well as Extended Latin, Cyrillic and Greek scripts and an exhaustive list of typographic symbols. Our latest typeface also arrives packed full of OpenType features, including an alternative glyph set that will transform the way your text looks, giving it a more squarish appearance and offering additional visualization options. The Bion type family also includes an extensive set of standard and discretionary ligatures, tabular and small figures, fractions, and language localizations. These features work in static and variable fonts alike, providing a ready-made solution to all your advanced typographic needs. This functional, pragmatic typeface is clean and easily readable, making it an ideal choice for both print and on-screen media.

Senlot Didone enchants with this fresh and cutting-edge sequel. It’s a modern interpretation of Senlot that says glamor and seduction. The typeface adds to the original high contrast sans serif with it’s modern high contrast shape, and features a new beauty with the distinctive sinuosity of contrasting forms. Senlot Didone is the sleek, serifed, high contrast follow-up to Senlot, and it's low contrast sequel, Senlot Sans. A serif typeface suitable for text and display work joined in 2019. Senlot Didone includes a wide range of OpenType features, including titling capitals, superscripts and subscripts, and oldstyle figures. Senlot Didone is composed of 3 widths: Condensed, Normal, and Extended, with 9 weights and their italics for a total of 54 fonts with more than 800 glyphs. Senlot Didone is a great display typeface for logos, branding, packaging, and advertising. With its broad palate of options, the font covers over 72 Latin-based languages. Dress your text in any of nine separate styles from Thin to Bold. With Senlot Didone, there's no need to compromise on another font with fewer features. Simple, elegant, and versatile, Senlot Didone now makes perfect more possible. Take the show by storm with this high contrast serif. The seductive figure of Senlot Didone is here to entice your viewer.

Introducing Quantia casual script font, a playful Blend of Elegance and Charm Quantia is a delightful typeface that effortlessly captures the essence of handwritten script with a casual and carefree touch. Perfect for adding a touch of whimsy and personality to your designs, this font exudes a relaxed and informal vibe that is sure to make your content stand out. With its flowing strokes and graceful curves, Quantia strikes a harmonious balance between elegance and approachability. Whether you're designing invitations, greeting cards, or social media graphics, this font brings a touch of playfulness to any project, creating a warm and friendly atmosphere that resonates with your audience. It includes set of lowercases without connecting stroke. Be sure to turn on your OpenType features when type with Quantia.

Hi, Everyone! Want a font to make your branding bold? Are you trying to make a stylish statement with your projects? We've got what you want. Introducing Beauty Swing- A Serif Font A fabulous, elegant, and modern serif font that’ll engage your audience and make your branding stand out. This stylish font can be used for a host of different content needs and projects. Perfect for social media branding projects, fashion designs, printed quotes, or even as a stylish text overlay to any background image and many more! Beauty Swing includes Multilingual option to make your branding reach a global audience. Features: Standard Ligatures Stylistic Sets Multilingual Support PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studio

The Kensington Runestone is a rune-covered slab of brownstone that was claimed to have been discovered in central Minnesota in the United States in 1898. Olof Öhman, a Swedish immigrant, reported that he dug it out of a field in the largely rural town of Solem in Douglas County. It was then named after the nearest settlement, Kensington. The inscription claims to be a record left behind by Scandinavian explorers in the 14th century (internally dated to 1362). There has been a long-standing debate as to the stone's authenticity, but since the first scientific review in 1910, scientific consensus has classified it as a 19th-century hoax, and some critics have directly accused Öhman of fabricating it. there is community.

A no-nonsense modern sans serif design, the ITC Conduit type family embodies an earnest vernacular spirit. Its designer, Mark Van Bronkhorst, explains: “It’s the kind of lettering you might find on boilers, assembly diagrams, and desiccant packets,” he explains. “It’s plain, grid-based, visually incompetent, yet legible and direct.” Brilliantly assembled from a typographic kit of parts, ITC Conduit's letterforms project a coolness, without feeling austere or unapproachable. It's an excellent choice for publication, packaging, or even wayfinding design systems. The ITC Conduit collection is available in 14 styles, with weights from extra light to black—all with matching italic designs. An easy, efficient way to bolster your go-to typographic arsenal, add it to your type library today!

Dreaming to make your branding sparkle? Or maybe you’re looking for the perfect font to use on your invitations? Whatever you need - we’ve got the thing for you. Introducing Basking- A Serif Font A fabulous and elegant modern serif font that’ll engage your audience and make your branding stand out from the competition. This font can be used for a host of different content needs and projects. Perfect for social media branding projects, fashion designs, printed quotes, packaging, or even as a stylish text overlay to any background image. Our font always includes Multilingual option to make your branding globally recognized. Features: Alternates Standard Ligatures Swashes Multilingual Support PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studi

Fontology-E is an experimental font designed by Fabrizio Schiavi. It was created for the cover of the Fontology catalogue. Schiavi's need was to build an optical false modulation effect with versions of the logotype and typical rectangles of an empty font chart. The basic idea was to create a page that contained many rectangles in order to demonstrate the modulation. At the same time, it was important to understand that Schiavi inserted 8 versions of the same logotype each time the corresponding letter is digitized in e, a, d, f, g, h, c and b. The inside of the catalogue has the same layout and text, which is revealed by fanning the pages. Schiavi confess that Fontology-E is a highly experimental typefont.

Since the beginning, Palsam was intended to be a super multilingual family, with a real cursive Arabic companion, and a display cut. The typeface was designed to be used for setting text and titles of contemporary Arabic content, specially magazines, and websites. The Arabic and Latin scripts were designed at the same time, to make a true authentic bilingual typeface. Both scripts have affected each other in several ways through the entire design process, which happened within ten years. Palsam has an inviting, approachable, fashionable and humanist look. Thanks to its low contrast, open apertures, detailed calligraphic strokes, and smooth counters, which also make it easy to read at smaller sizes. The main highlight for Palsam was the Cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. Since the Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh. Moreover this script was used in margins, and to highlight specific content inside a paragraph in older manuscripts. With true cursive companions in five weights, and many opentype features, Palsam grants all the tools needed to set complex information and editorial designs applications. More than 1000 characters are included per weight, including small caps, fractions, old style and lining numbers, ligatures, contextual ligatures, and discretionary ligatures. It supports over 40 languages that use the Latin extended, as well as Arabic, Farsi, and Urdu Languages. PalsamArabic only covers the Arabic script. The latin script was designed in collaboration with the Slovenian type designer Alja Herlah.

The Bunken Tech Sans superfamily: A reminiscence of constructed fonts of the modern age designed with considerably cleaner forms. •See other members of the Superfamily: Bunken Tech Sans •For further details, view the Specimen PDF. Bunken Tech Sans Wide follows in the best tradition of the straight-lined and somewhat angular structures of its predecessors while offering a much more open and mild design. The shapes of the letters are therefore reduced to the most essential elements: The spurs on a, b, n and other lower case letters occur just as little as decorative or style details, the lightly rounded inside edges are more pleasing to the eye than certain historic role models and make for a harmonic, flowing style. Use In particular Bunken Tech Sans Wide stands out as an easy, distinctive headline font with its straight-lined, technical design. Open counters and large x-height make it equally suited for use in shorter texts. It is also perfectly complemented by Bunken Sans or Bunken Slab in longer texts (available soon). Features Available in 16 styles with widths ranging from Light to Heavy with associated Italics. All of the styles are very extensive: Support for at least 58 languages, Small Capitals, 9 number sets (e.g. Lining, Oldstyle, Tabular and Small Cap Figures), ligatures, alternate characters, numerous Opentype functions, and lots of other small features that make it more pleasant to work with the font on a daily basis as well as fulfilling typographic desires. Each style contains more than 870 characters! Each style is available in a professional (Pro) standard (Std) and Small Caps (SC) edition with a different range of functions. (Language support, OpenType features and number of glyphs). Details can be found on the respective pages. Bunken Tech Sans Wide is part of the Bunken Tech superfamily and is available in Condensed, Normal and Wide. Also of interest: The slab serif variation Bunken Tech Slab Features in Detail: 16 Weights: -Light -Book -Medium -SemiBold -Bold -ExtraBold -UltraBold -Heavy and corresponding Italics 3 Widths: -Condensed -Normal -Wide Alternate Characters: A, E, F, L, S, e, f, t, s, y, etc. Small Capitals 5 Sets of Figures: -Lining Figures -Old Style Figures -Tabfigures -Old Style Tabfigures -Small Cap Figures Automatic Ordinals Automatic Fractions Extended Language Support and more...

Nadirii Pro Greek Cyrillic Font is a fun display typeface with a nostalgic touch. In fact, this typeface supports over 30 languages and it can be a perfect match for all your food packaging projects. Of course, you can use it for organic handcrafted products branding. Also, it can be an ideal tool for storytellers, too! In other words, the crafty feeling of this font is pairing perfectly with illustrations, book covers and handmade social media content. In addition, Nadirii Pro Font supports extended Greek diacritics or Polytonic Greek. Therefore, this feature is perfect for writing Byzantine, Katharevousa and Greek-Orthodox texts, with a modern twist.

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

Beardstown is solid, hardworking & no-nonsense. It may be a little gritty & rough around the edges, but it can also be open, warm and welcoming. Beardstown is a little Midwestern town on a river with a town square where you can buy comic books from a spinner rack at the front of the drugstore and read 'em with a root beer float from the soda counter in the back. The Beardstown font is perfect for t-shirts, sports graphics, beer cans, trading cards, carnival posters and record albums. But that’s it. I mean, you could use it on foofy hipster stuff like organic produce, vegan meat substitutes, electric car accessories or mountain bike parts, but you risk Beardstown coming over there to kick your butt. Features: three versions of each letter and two versions of each number automatically rotate for authentic print texture thirteen catchwords (like "and" "of" "for" & "the") accessible in Discretionary Ligatures support for 223 languages including Western & Central Europe, Vietnamese & Cyrillic

Gorgonzola Gothic is a geometrically-inspired gothic sans serif family that's robust and versatile. Inspired by the geometric quirkiness of IxD (also by The Ampersand Forest), Gorgonzola Gothic expands into a thirty-style family that works for everything from branding to text. It further mitigates IxD's quirkiness by offering two options in the round and shouldered lowercase glyphs. The standard letterforms, like IxD, have notched joins, giving them an assertive, almost futuristic look. The alternates of those letterforms (housed in Stylistic Set 01, and available as immediate hoverable glyph options in the Adobe Suite) are more conventional (as are the SS01 ampersand, Q, S, a, and s). In this way, Gorgonzola Gothic offers the best of both worlds: a flavorful, slightly futuristic family (in the same world as geometric classics like Eurostile) and a workhorse gothic sans (like the Benton classics Franklin Gothic, News Gothic, etc.). Its three widths: Skinny, Slim, and Standard, give it a wide range of applications, from display to body. Gorgonzola Gothic makes a statement with strength and sureness.

English description Karela is a humanist slab serif family. Karela is also the Basque word for gunwale, this is, the widened edge at the top of the side of a boat, where the edge is reinforced with wood or other material and to which the thwarts are attached. Gunwales resemble the way slab serifs reinforce vertical stems giving a more robust appearance to the letters. The sturdy, solid and often mechanical structure that is customary in slab serif or mechanistic typefaces is softened in Karela applying subtle tweaks as: humanist proportions, slightly curved endings in ascenders, and curved edges in serifs. The influence of calligraphy is noticeable all over the character set, especially in counters and letters with instrokes like “m”, “n” and “r”, and it becomes explicit in the italics. On the other hand, its low contrast, generous x-height and the constant width of characters across weights makes it very convenient for editorial uses when low resolution is a concern. Karela pursues to give a human touch to a strong and highly functional structure. It seeks for the ideal combination of strength, precision and warmth of the wooden parts painstackingly handcrafted by ancient boat builders. Besides its 12 standard styles, Karela offers also four additional fonts called "grades". Grades are subtle changes in stroke weight in order to compensate for differences in printing media or display conditions of text layouts. To minimize these subtle changes without a reflow of the text they have to be designed with the same character width of the base style. Karela offers 4 grades for its Regular weight: Grade Minus 5, Grade Minus 5 Italic, Grade Plus 5 and Grade Plus 5 Italic. This makes possible to counteract the effect of changes in paper, temperature, paper, background color… In addition, Karela takes this no‑reflowing idea from grades and extends it to the whole range of styles, allowing to play with any of its weights without undesirable text reflows. Enjoy the layout stability while you experiment and play with variations! Karela presents also a wide range of Opentype features for a professional text layout.

ATTENTION CUSTOMERS :) There's a new Selfie available, have a look here; Selfie Neue is better done and more complete in every aspect. However, you can stay here if you still prefer the classic version. -But first, let me take a Selfie!- said that girl of the song and almost all of you at least once this year. While some terms and actions get trendy, some font styles do it too. It wouldn't be crazy to combine these worlds, in fact it happens often. Selfie is a connected sans serif based in vintage signage scripts seen in Galerías of Buenos Aires. These places are, in general, very small shopping centres which pedestrians sometimes use as shortcuts to get to other parts of the city. Their dark corridors take you back in time, and all of a sudden you are surrounded by cassettes, piercings, and old fashioned cloth. For some reason, all these shops use monolined geometric scripts. Surely, neon strings are easier to manipulate when letterforms have simple shapes. My very first aim with Selfie was to make a font that would serve as a company to those self-shot pictures that have become so popular nowadays. However, the font turned into something more interesting: I realised it had enough potential to stand-alone. Selfie proves that geometry itself can be really attractive. In this font, elegance is not achieved with the already-known contrast between thicks and thins of calligraphy, but with the purity of form. Its curves were based in perfectly shaped circles which made the font easy to be used at different angles (some posters show it at a 24.7º angle) without having problems/deformities. In addition to its nice performance when used over photographs, the font can be a good option for packaging and wedding invitations. TIPS Adding some lights/shadows between letters will for sure catch the eye of the viewer: Words will look as if they were made with tape/strings; so trendy nowadays. Try using Selfie at a 24.7º angle so that the slanted strokes become perfectly vertical. Having the decorative ligatures feature (dlig) activated is a good option to see letters dance. TECHNICAL It is absolutely recommended to use this font with the standard ligatures feature (liga) activated. It makes letters ligate perfectly and also improves the space between words.