This font is mainly inspired from the engraved characters of the small book known as “Operina”, or “The method and rules for writing cursive letters or chancery script” from the famous calligrapher Ludovico Vicentino Arrighi, published in Roma in 1522 and signed with simplicity “Ludovico Vicentino”. The font contains a large set of standard ligatures and alternative characters: two lower cases, four sets of standard capitals, long s and variants, titlings, each feature easy to use with OTF managing software. It is a pro font, containing Baltic, Eastern, Central, Western European and Turkish diacritics.

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

Hype lives up to its name. An energetic attempt to blow past previous sans’ descriptive words of massive, large, extensive, super and others. Hype transcends the everyday marketing terms and rests solely atop them all with a jaw-dropping current offering of 432 fonts that spans 18 widths and 12 weights. Insert a long pause and mic drop here, because nothing compares. Hype Volume 2 includes 6 of the 18 subfamilies that comprise the full Hype Collection. Each of these subfamilies represent 1 of the 18 available widths and each width contains 12 weights and matching italics. Volume 2 contains 144 fonts. Families included in Volume 2: Hype 0200, Hype 0500, Hype 0800, Hype 1100, Hype 1400, and Hype 1700. If you would like to complete your collection be sure to view and purchase Hype vol 1 and Hype vol 3. Hype’s bombastic approach meant supplying everything it could within each typeface: including small caps, yes small caps, a full numeral set that includes inferiors and superiors, super- and subscripts, full fraction support, case-sensitive forms, stylistic alternate letterforms, and more while touting a full Western, Central and South Eastern European character support. Embracing a Univers-esque bravado and a willingness to push the envelope, Hype leaves even more room to grow. No corners were cut, no shortcuts taken with a focus on sensible, efficient letter construction and functional reliability that ignores any one classification and instead looks to form an amalgam of classic sans styles influenced by wood type, movie showcards, and urban industrial letterforms.

Hype lives up to its name. An energetic attempt to blow past previous sans’ descriptive words of massive, large, extensive, super and others. Hype transcends the everyday marketing terms and rests solely atop them all with a jaw-dropping current offering of 432 fonts that spans 18 widths and 12 weights. Insert a long pause and mic drop here, because nothing compares. Hype Volume 3 includes 6 of the 18 subfamilies that comprise the full Hype Collection. Each of these subfamilies represent 1 of the 18 available widths and each width contains 12 weights and matching italics. Volume 3 contains 144 fonts. Families included in Volume 3: Hype 0300, Hype 0600, Hype 0900, Hype 1200, Hype 1500, and Hype 1800. If you would like to complete your collection be sure to view and purchase Hype vol 1 and Hype vol 2. Hype’s bombastic approach meant supplying everything it could within each typeface: including small caps, yes small caps, a full numeral set that includes inferiors and superiors, super- and subscripts, full fraction support, case-sensitive forms, stylistic alternate letterforms, and more while touting a full Western, Central and South Eastern European character support. Embracing a Univers-esque bravado and a willingness to push the envelope, Hype leaves even more room to grow. No corners were cut, no shortcuts taken with a focus on sensible, efficient letter construction and functional reliability that ignores any one classification and instead looks to form an amalgam of classic sans styles influenced by wood type, movie showcards, and urban industrial letterforms.

Franca is a neo-grotesk family in nine weights plus matching italics. The inspiration for the design came through the constant interest in new interpretations of the classic grotesk model and a study of "neutral“ typefaces like Helvetica, Univers or Normal Grotesk. During the studies, additional attention was given to the American representatives of the genre, resulting in the initial impetus for a reinterpretation, combining both paths into one contemporary design. This is reflected in the name, blending together the names of the most popular typefaces of each genres, (Fran)klin and Helveti(ca). Due to its large x-height and plain design, the family is perfectly suited for all kinds of text. Its mid-weights are optimized for usage in long paragraphs, while the bolder weights, due to a short descender and ascender, create a compact and confident look in headlines or short copy. In order to create strong and dynamic italics, the oblique glyph shapes come with a faint calligraphic hint, defined by a higher stroke contrast and a steeper connection between stems and arcs in, for example, h n m and u. This is followed by different standard shapes for a and y, supporting the dynamic movement of the lowercase in general. A wide range of OpenType features such as ligatures, old style figures, fractions, case-sensitive shapes and many more, are available for professional and contemporary typesetting. This is completed with eleven alternative glyph sets, enabling a quick customization of the typeface. The family supports up to 92 languages and comes with 500+ glyphs per font.

Body graphic project at Behance Body is a type family designed for Zetafonts by Cosimo Lorenzo Pancini with Andrea Tartarelli. Conceived as a contemporary alternative to modernist superfamilies like Univers or Helvetica, Body tries to maximize text readability while providing a wide range of options for the designer. It comes in two variants (Body Text and Body Grotesque), each in four widths and four weights: regular and bold for basic typesetting, light and extrabold for display use. Body Grotesque applies to the sans serif modernist skeleton little imperfections and quirks inspired by our research in early 20th century type specimens. Curves are slightly more calligraphic and a light inverse contrast is applied to bold weights, giving the typeface a slight vintage appearance in display use. Body Text, on the contrary, challenges the modernist aesthetics maximizing horizontal lines and using open terminals for letters like “s” and “a” that appear normally dark in modernist grotesques. For both variants, the normal width family is slightly condensed in an effort to maximize space usage; the Slim width is provided for extremely dense texts or side notes while the Fit width is optimized for display usage as in logos, headings or titles. The Large width manages to look elegant in its light weight while becoming a valid heading or subtitle font in its extrabold weights. All the 64 fonts in the Body superfamily include a complete latin extended character set with small caps for over 70 languages, Russian cyrillic, open type positional numbers, stylist sets and alternate forms.

Hype lives up to its name. An energetic attempt to blow past previous sans’ descriptive words of massive, large, extensive, super and others. Hype transcends the everyday marketing terms and rests solely atop them all with a jaw-dropping current offering of 432 fonts that spans 18 widths and 12 weights. Insert a long pause and mic drop here, because nothing compares. Hype Volume 1 includes 6 of the 18 subfamilies that comprise the full Hype Collection. Each of these subfamilies represent 1 of the 18 available widths and each width contains 12 weights and matching italics. Volume 1 contains 144 fonts. Families included in Volume 1: Hype 0100, Hype 0400, Hype 0700, Hype 1000, Hype 1300, and Hype 1600. If you would like to complete your collection be sure to view and purchase Hype vol 2 and Hype vol 3. Hype’s bombastic approach meant supplying everything it could within each typeface: including small caps, yes small caps, a full numeral set that includes inferiors and superiors, super- and subscripts, full fraction support, case-sensitive forms, stylistic alternate letterforms, and more while touting a full Western, Central and South Eastern European character support. Embracing a Univers-esque bravado and a willingness to push the envelope, Hype leaves even more room to grow. No corners were cut, no shortcuts taken with a focus on sensible, efficient letter construction and functional reliability that ignores any one classification and instead looks to form an amalgam of classic sans styles influenced by wood type, movie showcards, and urban industrial letterforms.

Crypton is a modern geometric design by Alex Kaczun. It’s an alternate style variation based on his popular Contax Pro family of fonts. The look is clean, smart and sophisticated—the chiseled end strokes reflect the rage of the 1980s; lettering that represented something to do with electronics, computers and outer space. It’s a futuristic sans-serif exploration of shape and form. This display font is not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. The entire font has an original look which is strong and dynamic—it can be widely used in publications and advertising. Crypton is a futuristic, techno-looking and expressive typeface with the appearance of machined-like parts—round geometric shapes and sharp edges. This attractive display comes in roman with lower case and lining figures. The large Pro font character set supports most Central European and many Eastern European languages.

Drawn shortly before Jim Rimmer's passing in 2010, Loxley was designed to be used in a fine press edition of the folklore story of Robin Hood. It was named after the cited birthplace of the story's classic hero. Loxley's shapes were inspired the same early Roman faces (such as Subiaco from the late 1400s) that influenced Frederick Goudy's Aries, Franciscan and Goudry Thirty types. It exhibits the preculiarities of Jim's left-handed calligraphy, as well as his outside-the-box thinking with exit strokes and serif variations. Loxley was remastered for the latest technologies in 2013. Now it comes with a character set of over 450 glyphs, including plenty of stylistic alternates, a full compliment of f-ligatures, a Th-ligature, basic fractions, ordinals, a long s for historic setting, comprehensive class-based kerning, and extended Latin language support. 20% of this font's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

Logik is a futuristic square sans serif typeface. Its personality is defined by squared-off corners that you would normally expect to be rounded, this sharpness gives the glyphs an eccentricity that the eye quickly adjusts to. Sharp, incised/stylised ink traps along with slightly tapered/curved horizontals and verticals add to the character of each letterform. These subtleties combine to give Logik a distinctively futuristic aura. Logik’s main use would be for headlines, short runs of text, branding and display purposes – ideally suited for film and book titles, Logik could be widely used for sports, media and recreation purposes also. Logik comes in 7 weights (from Thin to Black) across 3 widths – Regular, Wide, and Extended. Each font covers all European Latin-based languages and includes Old Style Figures, Small Caps, and some Case-Sensitive Forms. Key features: 7 Weights in Roman and Oblique 3 Widths – Regular, Wide, Extended Small Caps Old Style Figures European Language Support (Latin) 550+ glyphs per font.

The peculiarity of this alphabet is already its origin: the basic drawing was created by narrowing Roman capitals with corresponding lowercase letters. The goal was to create a monumental font for architecture and book covers. Surprisingly, however, Amor Sans has found its way into corporate identity, offices, magazines and packaging design. Its slightly narrowed, economical design predestines it for quick reading of shorter texts, which is why it is also excellent for theater posters and programs. Its moderate width proportions and rich selection of arrows and pointers are excellently used in public spaces. Amor Sans has a neutral expression that works harmoniously in any architectural style. It will serve as an orientation system in a medieval monastery as well as in a modern building, while remaining distinctive even in the dark. The family consists of ten cuts with many functions, such as small capitals, Cyrillic, several types of numerals, a number of ligatures and stylistic alternatives.

Stevens Titling refers to the classic Roman alphabet as it appears on the Trajan column and numerous other monuments. With its realistic brush strokes, it shows the letterforms as they might have been sketched on the marble before the stonecutter reached for his hammer and chisel. The four fonts that constitute the Stevens Titling suite are named after animals — badger, boar, sable and wolf –, each known for the specific character of its hairs when used to make painting brushes. Sable Brush is the most formal and elegant, with solid forms which show no obvious trace of the handdrawn brush stroke; it comes with a set of small capitals for those classical titles preferred by Hollywood. In fact, each of these fonts would do a great job as a film title and poster font. The Badger Brush variant is compact and firm; Boar Brush is dramatic, and in Wolf Brush each part of the letter is made up of realistic, dry strokes.

The Arial® Nova family takes Arial back to its roots. Character spacing has been adjusted and a number of subtle modifications were made to the design to return the shapes and proportions to those of the original 1982 design created for IBM's then new high-speed laser printers. Although these first Arial fonts, called "Sonora Sans" by IBM, were low-resolution bitmaps, it was apparent that the design could also be an important high-resolution digital typeface, and Arial was redrawn for Monotype's imagesetters in the late 1980s. In the process Arial evolved from its original design loosing some of its earlier personality. The restored Arial Nova family is made up of three weights of roman design of standard proportions and three weights of condensed - all with complementary italic designs. The Arial Nova family is also compatible with the fonts that Microsoft® provides in the Windows® 10 operating system.

In 1905 the Parisian typefounders Peignot & Cie. issued their Série 16. This clear roman with a large x-height and an italics soon enjoyed a great popularity. Coen Hofmann’s drawings made for the Seizième follow the original Peignot Série 16 as close as possible. The regular font has the original small caps, while all members of the family are enhanced, next to the ranging ones, with old style figures. Also superior and inferior figures are available. The original series did not have a bold version. This was, however, carefully drawn for this digital rendition. The Série 16 and its versions for the composing machines were much used for the type setting of scientific publications. That is why a comprehensive set of mathematical and sundry characters are added to the Seizième fonts. Next to the accented characters for the several West and East European languages the Seizième was also enhanced with a Cyrillic, also available in regular, italic and bold versions.

In 1529, Geofroy Tory, French scholar, engraver, printer, publisher and poet, was publishing the well known so called Champ Fleury, printed by Gilles de Gourmond, in Paris. It is a fully illustrated handbook where the author explains how to draw Roman characters. The font used for the text - a Humane/Jenson type - was not a very beautiful one, but rough and ready, and the book is well known for its capital letters designs. We are offering here the two complete historical type sets and more -- we have entirely redrawn the lacked letters: J, U and W, Eth, Lslash, Thorn and Oslash in the two initial forms. The text font, 1529 Champ Fleury Regular is now containing all characters for West European (including Celtic), Baltic, East and Central European and Turkish language, and the Initial set 1529 Champ Fleury Init is containing two complete alphabets, with a very great effort to be as close as possible to the original pictures.

Sinkwitz Gotisch is a new release of the font of the same name originally designed by Paul Sinkwitz in 1942. The Sinkwitz Gotisch was 1942 by Schriftguss AG Dresden font cast first cast and later supplied by the East German firm VEB Typoart. Paul Sinkwitz (1899-1981) has created them. This font displays not the characteristics of a chunky Gothic, which have influenced the image of national socialism. Paul Sinkwitz was a painter, graphic artist, wood engraver, was interested in religious topics, which he had presented in numerous graphics. But also his interpretation of his Gothic font is modern, without having the font this is ugly. In addition to the GOTISCH he created Roman Uppercase letters, which perfectly harmonize with the lowercase letters. This extra font is called BASTARD. The digital version of Sinkwitz is a beneficial addition to a Gothic with calligraphic character and should be in any historically interested graphic design.

Gothic Gothic is a fusion of old and new that is both Gothic and Gothic. In typography Gothic can refer to German Blackletter or Old English styles. Gothic can also mean block or sans serif style lettering. By combining and balancing the elements from both of these ideas we have created a contemporary extended block letter typeface. The Gothic Gothic family contains 2 companion fonts. Gothic Gothic Text is a more minimal variation that has a more roman looking style while still retaining some Blackletter feel. Gothic Gothic Black is a bolder version designed to tend more toward the Blackletter style of Gothic with more contrast of stroke and a few of the more unusual Blackletter forms thrown in for flavor. Gothic Gothic has been honored with an award of Excellence in Type Design from Association Typographique International (ATypI) in 2001. Typeco has updated this font and has released it as an expanded family. Gothic Gothic is a crepuscular family of 3 fonts

Civane Serif maintains the epic grandeur of Civane with a text-friendly typeface. Inspired by the great tales of old, the grandeur of Civane is refined into a serif font with sharp serifs. Civane Serif is a contemporary sans-serif typeface with a robust character set. The Civane Serif family of typefaces supports 48 Latin-based Western, Central, and Eastern European languages, as well as the Baltic States and Turkey. Ligatures, small caps, embellishments, and a wide range of numerals are all accessible in OpenType, including proportional and tabular-width numbers, old style figures, fractions, inferiors, and superiors. Civane Serif is one of the finest choices for serif text setting. The italic or bold weights, as well as the roman set in titling caps, will impart a feeling of serene dignity on posters and webpages. Civane Serif's craftsmanship shines through with its higher contrast modern design, perfect for high-end premium goods and services.

Re-introducing the classic mid-1500s Garamond forms for the twenty-first century is never an easy task. But Hans van Maanen makes a fine attempt at just that by remodeling the traditional shapes through a modern lens with stunning results. Aragon is a workhorse family that performs very well in a variety of text sizes, from footnotes and legal copy to lengthy body sets. Its combination of wedge serifs with uniquely tapered stems offers a sturdy Dutch touch that improves legibility altogether, while at the same time the slight stress shift to the top half of the characters makes the immersive reading experience very open and comfortable. The Aragon family comes in a standard two-weight set with corresponding italics, a roman small caps font with its own italics, and very attractive initials for display uses. All fonts come in the usual popular formats, and include a glyph repertoire that covers Western, Central and Eastern European languages, as well as Turkish and Welsh/Celtic.

Pelegotic makes you think of Scandinavian pioneer design, with its functional letterforms and architectural look. It is also a very versatile typeface, and fits easily as headline type for a magazine, or as part of a graphic profile for a company. It looks simple, but that impression is deceptive; the letters are drawn with a flair and individuality that shows the hand of a master typographer. Pelegotic Regular is rather thin, and is useful for big type like signs. Veteran designer Bo Berndal has created Pelegotic: "Pelegotic is a sansserif inspired by the Art Deco of the 20's and the Swedish functional style of the 30's. The slightly condensed design is an attempt to find a somewhat more elegant lettershape than the usually rather technical expression of monoline typefaces", says Bo Berndal. Pelegotic comes in three weights, with roman and italic in each weight. It is an OpenType creation, for both PC and Mac.

Capital is a multifunctional super family with modernist roots. It is comprised of two distinct subfamilies: Gothic and Serif. Both share the same structure and proportions and come in seven weights – thin, light, regular, bold, extra bold and black, along with corresponding italics. Both Capital families are equipped with a full set of Cyrillic characters, making them a versatile choice for multinational use. All Capital fonts come with the following Open Type features: Small Caps, Old Style Figures, Fractions, Numero-sign & Ligatures.  Features specific for Gothic roman versions only are Circle Numerals, Titling alternate for the R character and Arrows. The Gothic italics have a Titling alternates feature where the true italic forms are omitted and replaced with simpler stroke endings. Both Capital gothic and Serif families are true workhorse fonts that can carry out almost any typographic task. Combine them both for the best results – multi-pack available for a no-brainer price.

Technology in mind in 12 fonts Allumi is a different font. Different from anything Jean François Porchez has designed in the past. Allumi is a sleek typeface designed with technology in mind. It’s a perfect font family for any communication concerning design, robotics, or functionality. Pushed to its extreme limits, the Allumi shapes are neither perfectly round or geometrically square. It’s a human design with a high tech touch. Allumi can be described as the Eurostyle (designed by Aldo Novarese in 1964) of the new century, mixed with Frutiger. Allumi is a serious typeface because of the unique design and sturdy form. The pure shapes can create a global presence today with an eye on the world of tomorrow. Two widths The Allumi family has been built around two series of widths, standard and extended. Italics have been carefully designed as slanted roman with all necessary optical and human corrections to create a perfect and neat italic. I Love Typography 2009

Introducing Flatline Serif, a warm, friendly, and sensual serif font family. Meticulously drawn with high contrast between thick and thin strokes, it’s perfect for headlines, editorial uses, and advertising projects. Makes beautiful luxe logos and wedding invitations, too. Flatline Serif is an expansion of our existing bestseller, Flatline Sans. Flatline includes sixteen styles (eight weights each in both roman and italic), each of which includes nearly 500 glyphs. OpenType features include standard and discretionary ligatures, a small number of character variants, three figure sets, four ampersand styles, and multilingual support (including multiple currency symbols). The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (You can also access most most of these features in Microsoft Word and other similar programs, but you'll need to get comfortable with the advanced tab of Word's font menu. If you need help with this, just ask!)

Inspired by the MacFarland series in the 1912 ATF catalog, Apparel is a typeface that shares similar functional characteristics with Times New Roman and Caslon fonts yet it has its own personality: A great choice for high-impact design. Apparel is a contemporary, classy and fresh serif typeface with a laid-back attitude that best suits your design needs. Its medium-large x-height makes it ideal for headlines and brand identity design. Apparel also includes a version, with a greater contrast between thick and thin strokes, for use in even larger sizes. The font comes with italic styles which can be used individually or in combination with the upright variant. Moderately slanted italics are also available as OpenType Stylistic Alternates. Each font style supports more than 200 Latin-based languages, as you would expect from Latinotype fonts. Apparel also includes a basic Cyrillic set, old style & lining figures, fractions and alternates, among other OpenType features.

Gandur is a display textura in three weights, split into two families: Alte — the German word for old — and New. Gandur was inspired by other geometric texturas, specially Max Bittrof’s Element (1933). The design began by adhering to a strict hexagonal grid, but during its development, slowly moved from a purely geometric to a more pen-based design (this is especially true in the heaviest weights). The differences between Alte and New are essentially morphological, with reflections in the character set and OpenType features. Gandur New has a more humanistic, contemporary structure and is more ‘romanized’ then Alte. Gandur New also features small capitals. Gandur Alte, on the other hand, remains truer to historical forms, most notably: S s X x Z z. Gandur Alte also features the long-s, which can be accessed via a Stylistic Set or the glyph palette. (As is historically accurate, a short-s will be used at the end of words automatically when the historical Stylistic Set has been activated).

Inspired by butcher shop and supermarket window advertising, Beefcakes™ emulates "big brush” style lettering – with a contemporary twist. Not for the typographically timid, this is a design that makes a powerful and friendly statement in print and on screen. Advertising headlines, posters, cover art, menus and packaging are all in Beefcakes’ wheelhouse. While it would be a little crowded on small screens, big type in web sites and games are also part of Beefcakes kit-bag. Drawn by Jim Ford, Beefcakes’ big, sassy and playful shapes are sure to grab attention. Its letterforms are dense and sturdy – yet soft and welcoming as your mom’s old couch. The suite of Beefcakes fonts is available as all-caps designs with small caps, in roman, italic and shadow flavors. As a nod to the typeface’s inspiration, Beefcakes fonts also include a set of decorative abbreviations (lb, oz, kg, in, etc.) for bold signage and showcard-style displays.

Axion RX-14 is an original design by Alex Kaczun. It is but one of several alternate designs based on his original Axion family of fonts. Alternate design elements, specifically on capitals like 'A' , 'V' and terminals of 'C' and 'G', along with contrasting sharp and rounded corners, create a tension within this modern grotesque and add a class of destinction and interest. This display font is not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. The entire font has an original look which is strong, dynamic, machine generated and can be widely used in publications and advertising. Axion RX-14 is a futuristic, techno-looking and expressive typeface with an apperance of machined parts with sharp and rounded edges. This attractive display comes in roman with lower case and lining figures. The large Pro font character set supports most Central European and many Eastern European languages.

Kulturista is an unmistakeable linear slab serif typeface with pronounced rectangular serifs. The drawings are based on the sans-serif Nudista typeface, and Kulturista also inherits Nudista’s distinctive narrowed character proportions, range of weights and glyph sets. The italics are inclined sufficiently, and have the same width and colouring as the plain styles. They aren’t just a mechanically-slanted version of the basic styles, as is often the case for typefaces derived from geometrical images — a whole range of characters have their own drawn variants, which greatly strengthens their highlight function. The italics are therefore an equal partner for the roman styles. Kulturista is definitely a good choice for a headline typeface for magazines and book covers. The range of boldness can come in handy when editing sections, headlines and supplements. The typeface understandably proves itself as a healthy foundation for a unified visual style, and holds up at display sizes as well as on shorter texts.

I dedicate this font family to Nima Yooshij (1896-1960), the great poet and innovator of Persian poetry. Nima is a new creation of Naghi Naghashian. Nima design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Nima was developed for multiple languages and writing conventions. Nima supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography.

CA Normal Serif is the perfect companion to its grotesque brother CA Normal. But it is not just a serifed equivalent. It has a character of its own while preserving the principal proportions and the idea of quirkiness. It was not the aim to build a typeface that can immediately be identified as a relative of CA Normal. The intention was to create a matching typeface in aspects of aesthetic and concept. Whereas commonly serif-companions to grotesques are old-style or slab-serif, CA Normal Serif is situated between modern and slab-serif typefaces. CA Normal Serif is a little bit of an uncomfortable typeface. Nothing is smooth and cozy. It picks up elements of classic newspaper type as brought to us by Chauncey H. Griffith's legibility group, sharing the flavor of abrasive details and "slabbish" serifs. But the proportions are more condensed than the ones of its predecessors giving it a bit more elegance, which moves it closer to the aesthetic of "Scotch Romans".

Lydia (Lydian: ‎𐤮𐤱𐤠𐤭𐤣𐤠, Śfarda; Aramaic: Lydia; Greek: Λυδία, Lȳdíā; Turkish: Lidya) was an Iron Age kingdom of western Asia Minor located generally east of ancient Ionia in the modern western Turkish provinces of Uşak, Manisa and inland Izmir. The ethnic group inhabiting this kingdom are known as the Lydians, and their language, known as Lydian, was a member of the Anatolian branch of the Indo-European language family. The capital of Lydia was Sardis. The Kingdom of Lydia existed from about 1200 BC to 546 BC. At its greatest extent, during the 7th century BC, it covered all of western Anatolia. In 546 BC, it became a province of the Achaemenid Persian Empire, known as the satrapy of Lydia or Sparda in Old Persian. In 133 BC, it became part of the Roman province of Asia. Lydian coins, made of silver, are among the oldest coins in existence, dated to around the 7th century BC.

When traveling in Paris, American designer Frederic W. Goudy did a rubbing of a second century marble inscription he found in the Louvre. After ruminating on these letterforms for several years, he drew a titling typeface in 1918, all around the letters P, R, and E. He called the new face Hadriano" as that name was in the original inscription. Robert Wiebking cut the matrices, and the Continental Typefounders Association released the font. Goudy designed a lowercase at the request of Monotype in 1930, though he didn't really like the idea of adding lowercase to an inscriptional letterform. The lowercase looks much like some of Goudy's other Roman faces. Compugraphic added more weights in the late 1970s, and made the shapes more cohesive. Hadriano has nicely cupped serifs and sturdy, generous body shapes. Distinctive individual letters include the cap A and Q, and the lowercase e, g, and z. Hadriano™ is an excellent choice for impressive headings and vigorous display lines."

Diverda Sans is a geometric family of typefaces that are all free from ornament. Swiss designer Daniel Lanz optimized Diverda Sans for maximum legibility. In contrast to many other modern typefaces, which try to squeeze the traditional rounder forms of the alphabet into square designs, and which often attempt to equalize the widths of the capital letters, Diverda Sans remains true to the proper proportions of the Roman alphabet. The x-heights of Diverda's characters are low, and the differences between curved, square, and triangular elements are very clear. Like the more calligraphic typefaces of the past, Diverda's strokes exhibit contrast that is inspired by movements of the pen on paper; down strokes are heavier than up strokes. Possible applications for the Diverda Sans include magazine design, as well as advertising for fashion, design, or architectural products. Because of its 10 different individual styles or weights, Diverda Sans is also a good fit for Corporate Identity solutions.

Mynaruse Flare is a new version of the Mynaruse superfamily. This version eliminates the elongated serifs of the original, and instead stems end with a flare. You will find that the thinner weights are delicate and beautiful, while the heavier weights provide impact and strength. Mynaruse is inspired by the elegant and regal Roman inscriptional types. The face shines in environments that require elegance and splendor. The eight weights of Mynaruse flare range from a subtle, delicate thin to a heavy and powerful Black weight. Mynaruse Flare includes many useful OpenType features, including a set of swash alternates, alternate titling forms, ligatures and miscellaneous alternates. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. This is a titling font that is ideal for logotypes, posters or other high-end luxury applications.

Mr Chips is a love letter to modern text serif families like Century Schoolbook and Scotch Romans of all kinds. There's nothing precious about Mr Chips. He's built sturdily, but with a less upright stance than his forebears, with a lower, more relaxed x-height. Mr Chips is dependable and true, with recognizable shapes that make him a pleasure to read. He's a Clarendon, but without the bulkiness that makes Clarendons difficult in text. Mr Chips has character sets for Western Europe, Cyrillic, and monotonic Greek. He has a full set of true small caps for versatility and hierarchy, and some fun and functional ligatures. His alternate characters include a one-story a and g in the upright versions, straight and curly Ka's and Zhe's in Cyrillic, and two styles of ampersand. He's an all around usable, agreeable guy! Mr Chips is a companion typeface to Miss McGee, also from The Ampersand Forest!

The Distillery Set is a collection of 5 fonts: Display, Strong, Script, Caps, and Icons. The fonts' influences are in lettering from different eras and styles. They reflect forms from the Arts & Crafts movement, the Roman majuscules, artistic printing, traditional tattoo lettering, sing painting and showcards from the early XX century and some typography trends started from 1970s America and being used today like chalkboard art or handmade labels in packaging. This is collection of fonts that strongly hints of the spontaneous ways of pencil on paper, the dynamic rebellion and simultaneous imperfection and elegance of DIY. This set contains a wide range of characters, including alternates, ligatures, variations on ascenders and descenders, initials and terminals, icons and ornaments, providing endless application possibilities. The different fonts can be used individually, but of course it is their combination in use that creates the magic. The Distillery Set was designed by young talent Carolina Marando. Alejandro Paul produced and expanded the digital work.

Eurocine is an expansive display typeface – a square sans serif that’s perfect for titling, headlines, logotype and branding. This 36-font family is packed with features to make it supremely versatile. This typeface attempts to capture the mood of movie credits from European Cinema in the 1970s, with a focus on Giallo films in particular. In terms of style, Eurocine sits somewhere between Walter Baum and Konrad Friedrich Bauer’s Folio, and Aldo Novarese’s Eurostile. With Eurocine you get a more versatile typeface by way of its small caps and additional stylistic sets giving you extended caps, extended small caps, and petite caps, as well as upper and lowercase unicase. Creating typographic masterpieces of your own will be so much easier! Key features: • 6 Weights in Roman and Oblique • 3 Widths – Narrow, Regular, Wide • Extended Caps • Small Caps • Extended Small Caps • Petite Caps • Unicase • Old Style Figures • European Language Support (Latin) • 1,200 glyphs per font.

Destra is a contemporary, narrow serif family, suitable to save space and legible at small sizes. Its shapes are the result of a mix of styles. "Destra" is the Portuguese word for "right hand". The font has several OT features - fractions, old style-, lining-, tabular numbers, superiors/inferiors, alternative glyphs, dozens of ligatures (standard + discretionary) and an exclusive feature to convert Arabic to Roman numerals up to 1000 (download the “OT Features Guide” pdf). Moreover, Destra has an impeccable technical finish, with a systematic review of nodes, curves, spacing and internal data, eliminating the possibility of errors when using it. The family consists of 8 styles, 4 weights - Regular, Medium, Bold and Black, plus their respective italic versions. The fonts are available in OpenType PS/TT and have extended character set to support CE, Baltic, Turkish as well as Western European languages. You can test Destra downloading the free trial font in Medium version (TT only). This trial file supports only Western languages.

Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto subfamilies have two text weights and two bold styles (Regular --> Bold, Medium --> Black). Every weight has a companion Italic style as well. Preto Sans OT Std The Sans version of Preto forms the basic skeleton of the family, it is decidedly simpler than the other styles (Semi and Serif). Although you can find many distinctive and unique elements in the details. The most visible elements are the tapered upper part of the letters. The capital letters have uniform widths achieving very different texture than traditional roman proportions. There are two different options for ligatures and alternative characters (J, Q, g, &) gives more variability for different languages.

Calligraphica was designed because there are very few inline fonts, and even fewer inline calligraphic fonts. The original forms were written with a split pen in a single stroke. The minuscules have a rougher look and the capitals have a smoother shape to imitate hand written calligraphy with more formal, decorative initial caps. The Calligraphica family contains 6 fonts: Calligraphica Regular and Italic are the regular upright roman true italic version of the font. The ascenders on this font are a bit higher than the capital letters--this is standard for most fonts. Calligraphica LX Regular and Italic are similar to the first 2 fonts except their ascenders are longer and reach high above the capital letters--giving these fonts a taller appearance. Calligraphica SX Regular and Italic are similar to the first 2 fonts except their ascenders are shorter and are the same height as the capital letters--giving these fonts a shorter appearance.