Sansduski is a sans-serif decorative/display family. Its very high x-height and tight spacing make it more suitable for use at large point sizes than small point sizes. (There are better options if one wants a readable text font.) It comes in nine weights and one outline style, with an oblique style accompanying each of these ten styles to give a total of 20 styles in the family. The letter O is a rectangle with rounded corners and this shape motif is carried over to other characters that are usually rounded. For a monospaced rather than proportional version of this design idea, see SansduskiMono. Sansduski is appropriate for titles, posters, advertising, and other uses that benefit from simple letter forms that are geometric and clean.

A 1916 book entitled “Lettering” by Thomas Woods Stevens features a number of hand lettered alphabets; some plain, others unique. One of the more novel examples was designed by Harry Lawrence Gage and featured letters and numbers with a crude, wavy style described in the book as “adapted to wood block and linoleum cutting”. To keep the design as close to the original as possible, the image from the book page was auto-traced, with each character given just enough of a clean-up as to retain its own quirkiness while smoothing out any jagged lines and fixing some curves. From there, other necessary characters were created for the digital font, and the end result is Tenement JNL, which is available in both regular and oblique versions.

Lockal - the ultimate font display that's here to take your designs to the next level. With a solid structure and an impressive collection of ligatures, this bad boy is bound to make your creations pop. But wait, there's more! Lockal comes in not one or two but THREE styles - Regular, Rounded, and Rough. And as if that wasn't enough, each style also has an oblique mode for when you need that extra edge. So whether you're working on a branding project or creating eye-catching posters, Lockal has got your back. Trust us; your clients will be blown away by the results. Don't settle for ordinary fonts when you can have something extraordinary like Lockal. Get it now and watch your creativity soar!

Codeline Mono is a friendly monospaced typeface designed to appear more modern, softer and less formal than the usually robotic and strict mono fonts. Unique and highly versatile, this family includes over 400 glyphs in each of its twelve styles (six weights and six obliques). While great at all the typical mono use cases where a technical look is needed, Codeline also creates an ease of reading not commonly found in mono typefaces. This duality makes it a perfect fit for other uses in the role of a uniquely technical yet remarkably breathable display font. The character set implemented in Codeline Mono ensures full support for over 100 languages by including an extensive list of localized forms, precomposed accented letters and modifiers.

Cell is a sturdy, geometric typeface with many potential applications. Though it is best suited to display sizes, its construction is simple enough for use in smaller settings. Its octagonal, almost mechanical design is softened by rounded corners. The face is characterized by a single thick stroke in each letter, lending it a unique appearance. It also features an oblique counterpart with several italic-style glyphs. Both members of the family also include small capitals mapped to the Private Use Area. Cell was designed to be at once simple and unique. Its grid-based structure is enhanced by slight adjustments for optical consistency. Glyphs which are normally round instead have 45-degree angles at the corners, sticking to the grid system without losing legibility.

Bourne is a comprehensive text and display sans-serif family consisting of 21 typefaces, all with a range of features including stylistic alternates, discretionary ligatures, as well as old-style and tabular numeral forms and fractions. The 21 typefaces include two widths and three weights of type as well as square and round terminal forms and oblique faces. Three specialised display faces are also included. The face is ideal for establishing a consistent 'look' across a range of projects and could readily become the basis of an organisation's house publication style. Bourne works well in poster and large scale design work, as well as for the setting of large amounts of text. Individual faces are priced economically and substantial discounts are offered for packs of multiple typefaces.

Ramose is a experimental display serif font. Ramose is well-suited for advertising, branding, logotypes, packaging, titles, headlines and editorial design. This font comes in two styles, Regular and Oblique Version. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor / application. We highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. We hope you enjoy the font. Thanks and have fun!

What does “smart casual” look like as a font? Try Portheras: a fairly wide, contemporary humanist sans with a laid-back attitude. Inspired by the fine Cornish beach of Portheras Cove, this typeface pays homage to British design tradition while incorporating an informal idiom. At ease both in flip-flops and silk blouses, in Bermudas and knit ties, Portheras sports a low x-height and comes with italics between “oblique“ and “true italic”. Despite its approachable look, the font family is equipped for heavy duty—you’ll get 16 styles with 780 glyphs each and OT features such as small caps, numerous figure sets (with old-style figures at mid-cap height), a bunch of arrows, three stylistic sets, and more. Portheras is as classy as relaxed gets.

Kafkey is a display slab serif font. Kafkey is well-suited for advertising, branding, logotypes, packaging, titles, headlines and editorial design. This font comes in 2 styles, Regular and Oblique version. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor / application. We highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. We hope you enjoy the font. Thanks and have fun!

The Madison Ave. family started from Madison Ave. at Fontstruct.com. As my most downloaded font, this was an easy, although not necessarily logical choice to make – regarding taking an existing free font and attempting to offer it for purchase. The font is very basic and simple in its layout, but has achieved popularity over at Dafont with almost 80,000 downloads with its cool, understated nature and inherent sophistication. The original Madison Ave. is now 95 Madison Ave. A couple of glyphs have changed from the original, but mostly the set is the same. The big news here is the availability of multiple variations on the original. Ninety-five refers to the filter settings used to achieve the faint cross lines in the font. The sequence 95-100 provides a gradual fade to solid effect when used together. The other versions use variations on the filter settings that allow each its own distinctive flavor, while at the same time maintaining inherent characteristics of the original. Ninety-five is now joined by 55, 75, 97, 99, 100, 102, 105, 155, 175, 201, 202, and 275. 100 is the solid version which doesn’t contain the trademark lines found in 95. In 95-99, the line width varies to achieve subtle effects. 50 and 85 are distorted by reducing the filter settings in a somewhat minimizing fashion. In 102-205, these are distorted by increasing the filter settings above the normal which is what 100 represents. While some of the effects are extreme and challenge the legibility of text, these can be fun or edgy. They offer a cohesion that can be used to advantage for different projects that require the use of a modern font family.

Jourba is my quick scribbled serif font. Here and there you can notice inkblobs and obvious clumbsy lines. Comes with alternate upper- and lowercase along with a lot of ligatures of the most used typical letter combinations! You will need to use OpenType supporting applications to use the ligatures.

In the late 60’s, one of the best art publications in the country was Motive magazine, published (amazingly) by the United Methodist Church. Filled to the brim with poetry, essays, line drawing and woodcuts, it also featured some cutting-edge typography. Boxy/Code is based upon my memories of woodcut typography from that great magazine. Since Boxy/Code ’s lowercase consists of the uppercase’s negative spaces, it’s easy to combine the two with Layer Styles in Photoshop in order to achieve the effect I used in one poster above. It also works great if you use a well-known text as a background. This new version is totally redrawn and features all the Latin-accented letters. Uppercase consists of black capitals in boxes; lowercase features the negative spaces of those boxed capitals. Uppercase and lowercase line up exactly for 2-color effects.

Since 1985, Cartoonists Across America & The World have been promoting literacy, creativity, the arts, and other positive issues using cartoons and humor. Founder Phil Yeh and his band of artists -- including Comicraft President and First (Flying) Tiger, Richard Starkings -- create books, paint murals, take part in school assemblies, conventions, conferences and other public events for all ages throughout the world! Cartoonists Across America & The World have worked in partnership with the Center for The Book in The Library of Congress and other organizations all over the world. They have painted more than 1000 murals in 49 of the United States as well as in Canada, Mexico, Italy, England, France, Germany, Hungary, The Netherlands, China, Taiwan, Singapore, and the Cayman Islands. So we made Phil a font 'cause he's a noble soul. Avoid Extinction -- Read, Reuse, Reduce and Recycle!

Copenhagen has been in need of a typeface that unites the city’s many visual expressions. The three designers Morten Rostgaard Olsen, Henrik Birkvig and Ole Søndergaard have designed and developed the typeface FP København. Now available from MyFonts in 20 styles: Uprights & Italics, small caps, pictos-characters, stencils, sprayed style, OT-features, ligatures, contextual alternates etc. The shapes of the letters are inspired by the city’s culture and the visual environment and design in Denmark in the 20th century. It is relatively low and wide as the city itself and with rounded corners that give it a warm visual mood. “You can find examples of the use of a typeface with the same purpose in other parts of the world, for example, to identify local areas or urban tourism materials. FP København is our take on that kind of typeface” the designers add.

HS Alwafa is an Arabic display typeface. It is useful for book titles and creative graphic projects where a contemporary, streamlined look is desired for digital purposes. The font is based on the simple lines of sequre Kufi calligraphy, that support Arabic, Persian, Urdu and Kurdish. This font was created in the beginning as a digital weight in 2012 for use by an engineering digital company. The company tends to follow the geometrical united and equal shape in both vertical and horizontal dimensions and with a tendency for digital strokes showing digital numbers under the name of base. I followed that with three styles: first, the digital with a solid base, second is a stencil and the third is the regular solid font. By producing this font, we provided the Arabic fonts library with various styles which grant many design purposes.

The Brushability is a brush-written font family that contains 9 fonts, all united by a brushy look. All fonts compliment each other perfectly and can be used either together or with many other brush-looking fonts on the market. The script contains a lot of alternates, swashes, ligatures, arrows etc. while the Extras font has quite a few design elements with the same brush look - such as arrows, frames and swashes - to add more personality to the design. The 5 sans serif fonts (ranging from Light to Black) also contain alternate glyphs for certain letters - just to make your design process even more fun. All fonts, as usual, are fully unicode mapped so you can use them in any application. Just be aware that if your application doesn’t support OpenType features, you’ll have to choose the glyphs you need manually.

John Quincy Adams, sixth President of the United States, didn't hit his stride until he'd left that lofty office. It was during his many years in Congress that he assured his legacy, not least because of his long, masterful oratory opposing slavery. His speeches, in fact, won him the nickname "Old Man Eloquent." So when I decided to simulate Adams's penmanship in his legendary diary (which he kept for nearly 70 years), it seemed fitting to call the font by that name. I focused on his handwriting from about 1810, when he was Ambassador to Russia, but also consulted pages from later years. Old Man Eloquent has both regular and bold weights. The OpenType version has more than 450 glyphs, including alternate uppercase characters, old-style and lining figures, and numerous ligatures; all formats contain several common (English) words.

In 1968, Adrian Frutiger was commissioned to develop a sign and directional system for the new Charles de Gaulle Airport in Paris. Though everyone thought he would want to use his successful Univers font family, Frutiger decided instead to make a new sans serif typeface that would be suitable for the specific legibility requirements of airport signage: easy recognition from the distances and angles of driving and walking. The resulting font was in accord with the modern architecture of the airport. In 1976, he expanded and completed the family for D. Stempel AG in conjunction with Linotype, and it was named Frutiger. The Frutiger™ family is neither strictly geometric nor humanistic in construction; its forms are designed so that each individual character is quickly and easily recognized. Such distinctness makes it good for signage and display work. Although it was originally intended for the large scale of an airport, the full family has a warmth and subtlety that have, in recent years, made it popular for the smaller scale of body text in magazines and booklets. The family has 14 weights and 14 companion fonts with Central European characters and accents. Another 14 Cyrillic companion fonts are available as well. See also the new revised version Frutiger Next from the Linotype Platinum Collection. Featured in: Best Fonts for Logos

ITC Veljovic Script was designed by Jovica Veljovic and displays an obvious calligraphic heritage. The designer was strongly influenced by German designer Hermann Zapf and Israeli designer Henri Friedlander. ITC Veljovic Script exhibits a crisp precision, as if the letters were cut in stone rather than drawn with pen and ink.

Marishka Roseville is a luxury and elegant display serif font. Marishka Roseville is well-suited for advertising, branding, logotypes, packaging, titles, headlines and editorial design. This font comes in two styles, Regular and Oblique Version. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor / application. We highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. We hope you enjoy the font. Thanks for purchasing and have fun!

Neutral and universal are two words that could describe a kind of perfection. The search for neutrality and universality is part of history in type design; it was specially important in the so-called Swiss Style. Samplex is a typeface that joins this particular search. The design gets rid of unnecessary elements and stays away from style conflicts. The large and slightly condensed body of lowercase letters makes Samplex a good choice for long paragraphs, and especially appropriate for screen devices. Letters with a blocky appearance give shape to a text in perfect order, ideal for grid lovers and layouts with a strict structure. The design of Samplex is clean and efficient. The diagonal cuts are reserved to the italic letterforms, setting some distance between the solid upright characters and the dynamic oblique forms.

Alf Becker graced the pages of "Signs of the Times" magazine month after month for decades, presenting attractive and unusual hand lettered alphabets as inspiration for other sign painters and show card writers. From straightforward text faces to novelty ideas, Becker's talent as a master sign crafter was constant in his work. Show Card Casual JNL is one example of what is referred to as a "one stroke" alphabet (utilizing a single brush stroke in each direction to form the letter or number). Its casual look and playful charm allow for a message to be presented in an informal format that is pleasing to the eye. The type design is available in both regular and oblique versions. Special thanks to Tod Swormstedt of ST Publications for providing the reference material.

Alleyn Pro is a re-working of the font Alleyn in response to a request to increase the character set and include Vietnamese. The fonts now cover most Latin languages, Greek and many Cyrillic languages – apparently around 275 in total. The letters have been redrawn and re-proportioned and the spacing recalculated to make for better reading at text sizes. Alleyn Pro has been developed to meet the needs of publishers, companies and individuals addressing a wide international market in a range of publishing media. The low contrast, slightly rounded sans-serif letterform with six weights and corresponding obliques provides a friendly and highly legible set of styles which are equally effective on signage, packaging, advertising and editorial. Opentype features include many numeral and positioning options, ligatures, stylistic alternatives and localised variants.

Chunkfeeder was inspired by the many vernacular forms of lettering created for high speed printing and electronic displays found in our modern techie world such as postal packing slips, airline tickets and informational video displays. Many of these type of fonts are designed by engineers and interface designers who presumably do not have a background in letterform design and consequently these glyphs have many quirky idiosyncrasies. In keeping with it's mechanical inspiration, Chunkfeeder is a monospaced font, much like an OCR type font. Chunkfeeder has a rather ridged modularity but it incorporates more typographic nuance into the letterforms than most other fonts of this style, while exploiting some of the visual artefacts of high speed printing. Chunkfeeder is a versatile family of 6 fonts -- 3 weights, each with an accompanying oblique.

Meccanica is pretty unique and difficult to describe, suffice to say that it’s a geometric sans typeface with some hexagonal DNA. Meccanica’s defining features include soft, chamfered edges, angular bowls and shoulders, angled/hexagonal terminals, and semi-hexagonal ink traps (in a nutshell). View the microsite for full info: http://meccanica.info Meccanica was inspired by the mechanics of engineering – the humble nut and bolt in particular – it is a versatile typeface that will give your own typography a distinctive voice. Initially designed as a display typeface (for headlines, logotype, branding and short runs of text), Meccanica also reads well as body copy – particularly at smaller point sizes. Key features: • 9 weights in Roman and Oblique • Small Caps and Alternates • Full European character set (Latin) • 640+ glyphs per font.

Geometric sans serif is one of my favorite fonts because it's so, simple, clean and modern, and a long time I've been dreaming of making this type, inspired by many media and especially "Futura, 1927" ( by Early Bauer) I created "Magnify" Geometric sans. The structure and element shape of Magnify is not really perfectly circle, but slightly oval it can be seen in the uppercase letters O, G, C, Q and in the lowercase letters o, a, c, e. Magnify has 8 weights, - from Hairline to Bold and Matching Oblique. Magnify also has special alternate characters in letters a, g, y and o. it is to give a different look to a paragraph, headline or your display design. thanks, hope you would like and accept "Magnify" as part of your family. thank you in advance

Buddy is the new companion sans for Contenu, the book font family designed for my book on font design design. Originally, I called it Compagnon, but that seemed to pompous. Then I called it Aide, but that was too formal and dry. It's a loose, free, easy to read sans, so when my wife suggested Buddy, it clicked. This is the 4-font Buddy family of Regular, Italic, Bold, & Bold Italic. I made a new, more limited feature set for these fonts due to their designed usage, but there are still small caps, small cap figures, oldstyle figures, numerators, and denominators. The bold is closer to a black, and the italics are only slightly slanted obliques. If you need a strong black in caps, use the small caps of the bold.

Anyone old enough to remember either the radio or television version of “The Adventures of Ozzie and Harriet” pictures Ozzie Nelson as the easygoing father figure who never seemed to have a real job – he was always hanging around the house. In truth, the handsome young Ozzie was a bandleader in the 1930s and 1940s and ended up marrying his ‘girl singer’, Harriet Hilliard. A piece of sheet music from 1933 for “You Have Taken My Heart” was one of the songs Nelson featured with his Columbia Broadcasting System Orchestra. The title was hand lettered in what can only be described as a slightly eccentric Art Deco Sans serif. Redrawn and cleaned up to reflect more uniform stroke weights, Bandshell JNL is now available in both regular and oblique versions.

Gramatika is a typeface family of sans serif from the neo-Grotesque styles. There are four different weights available, ranging from light to bold. Each weight is equipped with an italic style that is a bit like an oblique style and lifted by some unique characters, with an alternative to the single story ‘a’ for example. Inspired by the famous grotesk typefaces such as Akzidenz Grotesk and Bauersche Giesserei’s Venus Grotesk, Gramatika shapes and styles are consistently adjusted for each character to meet the classic contemporary style, treated with some ciruclar-based characters in descender g, y. By balancing balance and flexibility, Gramatika was established to create alternative communication for current trends. The latest version of this fonts comes with Latin plus script coverage, and supported by the basic characters of Cyrillic and Greek.

Elettra is a completely new type, primarily designed for display or titling. As you can see, Elettra adopting a transitional style between the nineteenth century printing typefaces and the new fonts at the beginning of the twentieth century: in particular serif are elongated, but the oblique or round shapes continuing softly on the horizontal line instead of staying vertical. Furthermore, two more glyphs were designed for each capital letter: a swashed form, which tends to embrace the following letter, and a backswashed version, that instead embraces the previous. The swash version is accessible from swash or from stylistc set 01 OTF features, while the backswashed version is accessible from stylistc set 02 OTF feature. Be aware that the stylistic set OTF features are not available on Photoshop or Illustrator.

Hando Soft is a variant of Hando neo grotesk sans family. Each letter on Hando Soft has curve strokes end, which gives a soft and more ease-looking letterforms. Hando offers a wide range of usage possibilities. It's low x-height and variety of light size options make it a good choice for reading, it's tenuous white spaces in the counter letterforms make it legible enough to be recognized remotely. It's curved tensions on the circular letterforms gave a futuristic impression. It's sleek and simple strokes make it perfect for a broad range design purposes. Hando consists of 10 styles from Hairline to Black with each matching oblique. Contains more than 440 glyphs that support a broad latin language. Also some Opentype features e.g. stylistic alternates, variation of figures, e.t.c

Point™ aims to be an epitome of the Geometric Style. Inspired by intemporal classics such as Futura, Avant Garde or Avenir, passing through more contemporary approaches of the same style; ignited by the overarching narrative of the Modernity (Perfect Geometric Shapes) and careful design decisions, Point™ is a font that references the past as well as projects itself to the contemporaneity. With a total of 10 weights, with respective hand adjusted obliques, Point™ has a total of 20 styles with Extended Latin support as well as Cyrillic, all with the most needed Opentype features, such as fractions, tabular and oldstyle figures, alternates, case sensitive forms, etc. Point™ has a superb versatility and can be used in almost every circumstance, try it for yourself and see what point Point™ makes.

Electrostatic JNL was inspired by the 1930s lettering for radio station WMCA in New York City. It was found as part of an ad for the station in a 1932 radio broadcasting trade magazine. WMCA went on the air Feb. 6, 1925. According to Wikipedia, the "MCA" call letters stood for the Hotel McAlpin, where the station's original studio and transmitter were located. "W" is the call sign prefix for all broadcast stations East of the Mississippi River; with the exception of KDKA (Pittsburgh), which was the nation's first commercial radio station. This bold novelty typeface with lightning bolds intersecting the characters can be used to represent anything from electricity to stormy days; power generators to brute force and so forth. Electrostatic JNL is available in both regular and oblique versions.

Melian Kingsley is a modern and elegant serif font. Melian Kingsley is well-suited for advertising, branding, logotypes, packaging, titles, headlines and editorial design. This font comes in two styles, Regular and Oblique Version. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor / application. We highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. We hope you enjoy the font. Thanks for purchasing and have fun!

Techno Sphere is the epitome of modernity and technology in font form. With its bold and futuristic design that convey a sense of precision and efficiency. It comes with 3 style, Regular, Oblique & Inline. With Techno Sphere, your text will stand out as the ultimate embodiment of progress and innovation. This font perfectly made to be applied especially in logo, and the other various 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. Features : Uppercase & lowercase Numbers and punctuation Alternates & Ligatures Multilingual PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

While watching the 1947 holiday classic “Miracle on 34th Street”, one scene in particular presented a chance to develop a retro type design. ‘Kris Kringle’ suggests to a mother visiting with her child in the Macy’s toy department to try Gimbel’s for a toy she couldn’t find at the store. The news of this behavior reaches Mr. Macy himself, who embraces the practice as a brilliant marketing strategy. A number of departments are then presented with reference books containing competitor ads, and the visual of the cover stating “R.H. Macy & Co. Shopping Guide for the Convenience of Our Customers” shows on screen. The thin, Art Deco sans serif monoline with a few serif-like hooks added onto some characters became the basis for Shopping Guide JNL, which is available in both regular and oblique versions.

Roadhouse is a layering typeface family that is part of the greater Evanston type collection, which is inspired by American typefaces commonly used at the turn of the century leading up to Prohibition. Roadhouse reflects the style of lettering used on tavern signage and printed ephemera during the early 20th century. The family comes with 31 layering fonts, from top layers like bevels, highlights, stripes, outlines, as well as extruding and drop layers. It also includes 2 script fonts, upright and oblique, as well as 9 complimentary text fonts for smaller text settings. Either get the entire family of extrusions, bevel angles or the basic family with ready to use fonts that don’t need to be layered. Roadhouse is a great display typeface for logos, branding, packaging, and advertising.

While the Aspire SmallCaps family finds its roots of inspiration in the ACURA automotive company logo, with its wider base, the Aspire Narrow SmallCaps family condenses those styles into something more suitable for larger bodies of text in a more standardized width. Aspire Narrow SmallCaps is perhaps the most true to form tribute to the original all capitals inspiration logotype. It maintains all capital forms (whether standard or smallcaps) and yet is still strikingly powerful in its presence and readability including numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here's what's included with the Aspire Narrow SmallCaps Family bundle: - 430 glyphs per style - including Capitals, Small Caps, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) - Stylistic Alternates - alternate characters that remove the angled stencil cuts for a more standardized text look. - 3 weights in the family: Light, Regular, & Black. - 3 obliques in the family, one for each weight: Light, Regular, & Black. - Fonts are provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Aspire Narrow SmallCaps Family is for you: - You're in need of automotive sans font family with a range of weights and obliques - You're love that ACURA letter styling, and want to design anything within that genre - You're looking for an alternative to Eurostile with more stylized letterforms. - You're looking for a battle-tech typeface for your futuristic war chest labelling. - You just like to collect quality fonts to add to your design arsenal

While the Aspire family finds its roots of inspiration in the ACURA automotive company logo, with its wider base, the Aspire Narrow family condenses those styles into something more suitable for larger bodies of text in a more standardized width. Aspire pays homage the techno display styling of the inspiration logotype, further evolving beyond its brand inspired origin to give birth to a font family that pulls on modern and historical styles. It adopts a sturdy yet approachable style with its uniform stroke forms and curves, and goes on to include a lowercase, numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here’s what’s included with the Aspire Narrow Family bundle: 477 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) Stylistic Alternates - alternate characters that remove the angled stencil cuts for a more standardized text look. 3 weights in the family: Light, Regular, & Black. 3 obliques in the family, one for each weight: Light, Regular, & Black. Fonts are available in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here’s why the Aspire Narrow Family is for you: - You’re in need of a narrow automotive sans font family with a range of weights and obliques. - You’re love that ACURA letter styling, and want to design with a narrow font within that genre. - You’re looking for an alternative to Eurostile with more stylized letterforms. - You’re looking for a clean techno typeface for your starship console labelling. - You just like to collect quality fonts to add to your design arsenal.