Introducing Valve—the ultimate industrial typeface for the modern age. With its superelliptical letterforms and pragmatic stroke logic, Valve is the perfect choice for anyone looking to evoke the cold, hard world of plastics, pharmaceuticals, electronics, and alternative energy. But don’t be fooled by Valve’s emotionless, android-like forms. This is a typeface that packs a punch, with soft stroke ends that lend it a touch of elegance and sophistication. Whether you’re designing a cutting-edge tech brochure or a sleek new website, Valve is the perfect choice for anyone who wants to convey a sense of modernity and precision. And unlike other ultramodern typefaces that rely on tongue-in-cheek references to retro futurism, Valve is purely synthetic. Built solely from artificial elements with no specific structural source, this is a typeface that’s as forward-thinking as they come. So why settle for a typeface that’s stuck in the past when you can choose Valve and embrace the future? And with OpenType fractions, numeric ordinals, and a wide range of currency symbols included, Valve is more versatile than ever. Available in five weights—Extra-Light, Light, Regular, Bold, and Heavy—as well as a set of sleek obliques, Valve is the perfect choice for anyone looking to take their design game to the next level. So what are you waiting for? Choose Valve today and see the difference that a truly ultramodern typeface can make. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

TT Travels useful links: Specimen | Graphic presentation | Customization options About TT Travels: TT Travels is a geometric grotesque with wide proportions and peculiar shapes of circles and brackets. TT Travels incorporates two stylistic sets which add completely different characters to the type family. The first set ss01 (aka salt) makes the font more humanistic, thanks to the ductal and smooth design of the characters defining the style. And if you want to work with the futuristic version of TT Travels, we recommend that you enable the second set (ss02). In this set, most of the characters defining the style change to characters possessing experimental forms of graphemes. For the convenience of the TT Travels font family use and for working within a complex text hierarchy, we've created 9 weights (Thin, X-Light, Light, Regular, Medium, DemiBold, Bold, X-Bold, Black) and added 9 true Italics. TT Travels also implements standard and discretionary ligatures, oldstyle figures, slashed zero, and much more. The full list of OpenType features used in TT Travels is: ordn, sups, sinf, numr, dnom, onum, tnum, pnum, liga, dlig, salt, ss01, ss02, case, frac, zero. TT Travels language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Introducing Polarized—the innovative and ultramodern typeface that redefines the concept of digital display type. Inspired by the iconic seven-segment liquid crystal numeric displays, Polarized encapsulates the essence of technological advancement through its angular and geometric design. With its unique corner logic, Polarized provides a distinctive and futuristic look that sets it apart from other typefaces. Whether you’re creating a digital interface or a sci-fi themed project, Polarized’s sharp and sleek design will add a touch of technical elegance. But that’s not all—Polarized’s versatility doesn’t stop at its design. It features a range of currency symbols, numeric ordinals, primes, and OpenType fractions, providing the flexibility and functionality that you need for your project. Available in Extra-Light, Light, Regular, Semi-Bold, and Bold, with obliques, Polarized offers a range of weights and styles to suit your specific design requirements. Whether you need a subtle accent or a bold statement, Polarized has got you covered. Incorporate Polarized into your project and experience the power of a typeface that blends cutting-edge technology with contemporary design. Get ready to bring your work to the next level with Polarized. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Nothing is hidden in the simplistic forms and overt aesthetic of Anya Danilova’s Rezak font family. Rezak is not a type family directly from the digital world, but was inspired by the stout presence of cutting letters out of tangible material: paper, stone, and wood. With only a few cuts, the shapes remain dark and simple. With more cuts, the shapes become lighter and more defined, resulting in a dynamic type family not stuck within one specific category. The Black and medium weights began as one approach before separating into display and text categories. The four text weights were created through pendulum swings in design direction that experimented with contrast, angles, tangent redirections, and the amount of anomalies allowed. The text weights are vocal when set larger than ten points and subtle at smaller sizes. The tech-heavy Incised display style came last, employing a surprising range of trigonometric functions to make it behave exactly as desired. Its look can result in something distinctive and emotional or completely over-the-top. Most normal typefaces change only in thickness; Rezak changes in intention, highlighting the relationship between dark and light, presence and absence, what’s removed and what remains. Rezak’s Black and Incised display styles are like a shaft of light in reverse and are perfect in situations of impact: websites, headlines and large text, gaming, call-outs, posters, and packaging. The tone works for something from youthful or craft-oriented to organic and natural products. Try these two in logotypes, complex print layering, branding, and words-as-pattern for greater experimentation. The text styles are bold, energetic, well informed, and round out the family with four weights (Regular, Semibold, Bold, Extrabold) and matching italics for a family grand total of ten. These jaunty styles work well in children’s books, call-outs, movie titles, and subheads for myriad subjects such as architecture, coffee, nature, cooking, and other rough-and-tumble purposes. Rezak’s crunchy letters are meant to expose rough, daring, or dramatic text. A further benefit is that this family is not sequestered within one specific genre or script, so it can be easily interpreted for other scripts, such as its current Latin and extended Cyrillic which supports such neglected languages as Abkhaz, Itelmen, and Koryak. Rezak’s push toward creativity and innovation, with an eye on typography’s rich history, reinforces our foundry’s mission to publish invigorating forms at the highest function and widest applicability.

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...

Migae is a versatile and elegant display font designed to captivate and engage audiences across a wide range of design applications. With 14 distinct weight variants spanning from delicate Light to commanding Black, and complemented by a refined set of italics, Migae offers a harmonious balance of strength and elegance to fulfill your typographic needs. Key Features: 1. 14 Weight Variants: Migae's extensive weight range, including Light, Regular, Medium, Semi-Bold, Bold, Extra Bold, and Black variants, allows you to choose the perfect weight for your design, whether it's a subtle headline or a bold statement. 2. Italics: In addition to its standard upright styles, Migae boasts a comprehensive set of italics that adds versatility to your typography, conveying an air of sophistication and style. 3. Strong to Elegant Styles: Migae's design philosophy seamlessly combines strength and elegance. Its strong weights provide a bold and impactful presence, while the lighter weights exude an effortless elegance, making it suitable for a wide array of creative projects. 4. Modern Aesthetic: Migae's clean, contemporary lines and carefully crafted details make it an ideal choice for modern graphic and web design, editorial layouts, branding, and advertising. 5. Legibility: Migae prioritizes legibility across all weights and styles, ensuring that your messages are communicated effectively, regardless of the chosen variant. 6. Versatile Applications: From branding and packaging to posters, editorial design, and web headings, Migae adapts to various design contexts, making it a versatile choice for graphic designers, typographers, and creative professionals. Design Inspiration: Migae draws inspiration from the harmony of nature, where strength and elegance coexist. Its name, derived from the Korean word "미래" (miraee), meaning "future," reflects its forward-thinking design approach that is equally rooted in tradition and innovation. Ideal Usage: Migae is an ideal choice for those seeking a display font that can effortlessly transition between bold and delicate, exuding confidence and refinement in every style. It's perfect for branding, packaging, advertising, editorial layouts, and any design project where typography plays a pivotal role. Migae is more than just a font; it's a design companion that empowers creatives to achieve a perfect balance between strength and elegance in their visual communications. Explore the world of Migae and let your design projects shine with its captivating charm and versatility.

From today's point of view Katarine has a rather unusual origin. Initially an all-caps display face, what was to become the Medium weight of the family was augmented with a lower case, then the character set was completed by adding all the missing glyphs. The next step was the creation of the Light and the Bold weights with matching Italics. This working method compromised the relationships between the characters across the different weights After some consideration the decision was made to start over and draw the complete family from scratch. This time the "conventional" process was followed — first the Light and Bold weights were designed. Those extremes were used to interpolate the Regular, Medium and Semibold weights. When compared to the original, the glyphs of the new fonts are slightly wider. The construction of the letters is sturdy, with an x-height that varies from the heaviest to the lightest weights. The relationship of the stem weight between the horizontal and vertical strokes is carefully balanced. Characters are open and firm; the italics have room to breathe. The original fonts included two sets of small caps — Small Caps and Petite Caps. However neither set were suited for emphasis, with the Small Caps being too tall and the Petite Caps too short. We decided to replace them both with one set of traditional small caps, slightly taller than the x-height, perfectly suited for emphasis in text usage. The original version of Katarine was partly incorporated into the new OpenType versions. Thus most of the original arrows, frames and boxes can be found in the new Katarine. Each individual weight now contains 830 glyphs, nine sets of numerals, small caps, numerous ligatures and fractions. An additional font named Numbers contains numerals in circles and squares, and is now augmented with accented caps and a number of terminal alternatives, which can easily be accessed through stylistic sets. We also added two extra variants, Experts Regular and Experts Black (in inverted form). Katarine Std preserves the solid construction and excellent legibility of the original family, but has now become a fully featured OpenType typeface. Katarine is suited for a broad range of applications, from simple layouts to intricate corporate systems. It is the typeface of choice where the cold, austere character of modern sans serifs are inappropriate, yet simple shapes and good legibility are required.

Dupont Gothic is a sleek and contemporary sans-serif font that embodies elegance, clarity, and modernity. With its clean lines, balanced proportions, and distinctive character, Dupont Gothic is a versatile typeface that can be used in many ways. The simplicity of Dupont Gothic lends itself to a wide range of applications. Whether used for headlines, body text, or branding, this font possesses a quality to effortlessly adapt to different design contexts. The font comes in 10 weights with matching oblique characters, 2 widths, and 2 style sets that ensure the endless combinations and possibilities.

For more than 70 years the 10-foot tall letters displaying the word FOSHAY have illuminated the Foshay Tower in the Minneapolis skyline. However, the typestyle has never been made into a font before. This new modern font family, dubbed Fosho Book, is optimized for book print usage as well as functioning as big bold display type on screen. The Fosho fonts are available in three styles: Outlines, Dotted Bulb Inlines and Composite with both. You can use the three styles in overlapping colors for dramatic chromatic effects.

Sébastien Truchet designed a modular typographic system during his last year in the School of Fine Arts of Besançon. The system is made of a unique grid and 6 modules which are the components to build several typefaces. The most radical is the "2-2". The last one is the "10-12". This is the 4-4. It is built into a square grid. Four modules in width and in height. This font proposes to you two appearances : the caps are blackest and the small letters are more open.

The German-born designer Lucian Bernhard designed Bernhard Fashion in 1929. An American" typeface, Bernhard's original design was created for the American Type Founders (ATF). It bespeaks the spirit of the roaring 20s. The hairline-thin letters exhibit elongated ascenders (but not descenders), and many stylized elements. The capital letters also all descend visibly below the baseline. In text, the extra large capitals seem almost like drop caps. This typeface is best used sparingly in text. Largely set headlines will allow readers to enjoy the fashionable quality of Bernhard Fashion's design."

ITC Mudville was Christopher Wolff's entry in the 1998 U&lc Type Design Competition, for which he won an Honorable Mention (Display). Mudville evolved from variations on hand-lettering that Wolff had done on a variety of projects over the years. The underlying shapes of the letters are formal roman letterforms, but the actual strokes retain the look of letters sketched casually on a layout. Mudville straddles the line between inline and outline type designs. It recalls some of the styles of popular lettering used in display advertising in the '20s.

Introducing our new font the Dioksiany! Inspired by Sophisticated Fashion Style. Classy, contemporary paired font. It is free-flowing, fashionable, feminine, and friendly. Use the fonts for: logos, branding, wedding invitations, farmhouse decor, farmhouse signs, mugs, shirts, pantry labels, stickers, business cards, greeting cards, posters, social media, planner prints and websites. Dioksiany Includes: Uppercase, lowercase, numeral, punctuation & Symbol Multilingual support Stylistic alternates 55 Discretionary ligatures 10 swash (numeral keys) PUA Encoded Characters Fully accessible without additional design software. If you have any question please do not hesitate to contact me: sizimon.id@gmail.com

String Theory has been a 10+ year project in the making which originated from a type workshop in Graduate School at Otis College of Art & Design. The workshop was hosted by Dutch designer Hansje Van Halem, and we were tasked to play with string to create letterforms. Thus String Theory was born, and slowly migrated from yarn, to an illustrator file, to what it is today as a type family. Each glyph has it’s own custom string set up, along with each weight. Experimental in nature, edgy, with subliminal angst and grittiness.

Groovy style font becomes one of the most popular fonts these days, many designers use it to create a fun and happy themes design projects. Popstone is one of a unique groovy font from our collection, it contains 10 weights from thin to black including variable format. It also has alternatives and a lot of fun ligatures to play with. Popstone is a fun, funky, and versatile font family, you can use it for poster, logo, retro or vintage theme, DIY projects, baby, kids, 70s, 80s style, and much more.

Phoenica Std Mono expands the already large family of my very successful Phoenica. The motivation to develop a new mono-Phoenica family was that I was not satisfied with monospaced fonts in programming code, or simply in e-mail correspondence. The Mono Phoenica solves the problem of a typical monospaced font, a rigid, fixed width. The design gradations from Condensed monospaced to monospaced from 390em to 600em-square incurred a total of 21 fonts. Packages contain the fonts in CFF-OpenType and TrueType format, so you can use these beautiful fonts on all operating systems.

Manual is an 80 font super family formed of 10 weights in 4 different widths. The font is styled with a slight retro feel to give it a unique appearance. Manual is a blue-collar font that works hard for you and your design ideas. The higher x-height enhances the readability for smaller, more informative text sizes whereas the black weights create beautiful, impactful headlines to fit a variety of spaces. The support of the expansive weights and widths will give your design a truly unique feel.

In the DR Krapka Square typefamily, the pixel has a square shape. The font supports OpenType features and contains small capitals, ligatures, oldstyle figures, terminal forms, historical forms, stylistic sets. The dingbats, arrows, emoji are also present. For small texts, it is recommended to use DR Krapka Square-FontSize10px in the font size 10 px. DR Krapka Square typefamily supported European languages based on Latin, Cyrillic and Greek scripts. If you want to use fonts with a different shape of pixels, there are also typefaces from DR Krapka family: DR Krapka Round, DR Krapka Rhombus.

Ondo is a low contrast geometric sans serif with large open counters which give the typeface a somewhat bold and contemporary appearance. This feature gives Ondo a fun yet sensible feel which can be used for both large chunks of text as well as for short headlines. Ondo comes with more than 370 glyphs, supporting a wide range of languages. With its 10 fonts, Ondo is an ideal font family for text, branding, signage, print and digital design. Give Ondo Demo Medium a try on your personal projects – completely FREE.

"Gardariki" font is geometric sans-serif, straight, bold, extra condensed, monoweight font, accidental with sharp corners and closed aperture. Typeface is great for headlines, text logos and posters. Primarily font is inspired by Constructivism. It has laconic forms, geometricity and solidity and a tight inter-letter space. - Uppercase and lowercase letters - Kerning - Numbers and punctuation - Multilingual support (Latin, Latin Extended, Cyrillic) - Support for more than 20 languages: Albanian, Belarusian, Bulgarian, Croatian, Danish (Norwegian), Estonian, Finnish, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Moldovan, Portuguese, Russian, Slovak, Slovenian, Spanish, Swedish, Turkish and others

Sittl Pro is a professional version of the style of the same name in our Plaquette package, including 4 weights and true italics (most letters are not simply slanted but carefully crafted for that purpose). The smooth retro look achieved by softly rounded edges and a geometriec appeal is ideal for logos, company identities, menu cards, magazine headlines and the like. There are many choices regarding alternatives – choose the 20 stylistic sets, ligatures as well as initial and final forms to create unique typography for your next stylish project.

Rollbox Rollbox is a font inspired by the development of technological modernization in the world of the digital visual industry, By adopting a modern style and a little combined with the beauty of the monospace style that can be found in small letters, Rollbox with 20 font weights & the addition of several alternative letters, this will be more enriching & more extensive exploration. Not only that rollbox letters can also be used in logo characters, writing short paragraphs will all work well with beautiful combination portions. Let's start design. With love & be happy.

German type designer Ole Schäfer created this slab FontFont in 2001. The family has 10 weights, ranging from Regular to Black (including italics) and is ideally suited for editorial and publishing. FF Zine Slab Display provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, super- and subscript characters, and stylistic alternates. It comes with tabular lining and proportional lining figures. This FontFont is a member of the FF Zine super family, which also includes FF Zine Sans Display and FF Zine Serif Display.

I used to be a frequent flyer; as a tour guide I often had 6 to 10 international flights per year. At the time I didn’t even think about the consequences of flying, as I loved my job and the job was all about travel. Now, with the planet in deplorable state, I try to keep flying to an utter minimum. I guess you call it ’shame of flying’… Frequent Flyer font is a nice, eroded, all caps font. It comes with multilingual support, so you may come across it during your travels.

Contane Text is the text optimized version of the Contane family. More solid, more robust, it repesents the down-home addition to the more subtle Contane family. Stronger hairlines, solid serifs, and slightly more comfortable proportions make it appropriate for bold headlines, as well as for small text sizes. 20 styles offer fine graduation of the weights. All weights contain small caps, ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows, and alternate characters.

Helnore is a sans serif font family with tapered accents in some of the letters giving it a modern and bold character, even being quite prominent in thin characters. This font aims to give an elegant impression and also looks so luxurious in short words for a letter-based title and logo. Helnore bring 20 style/Italic and support multi-languages, this font provides a wider range of exploration, which can be useful also for reading sentences and giving variety in each sentence by combining it with several sizes.

Eurostile, created in 1962 by Aldo Novarese for the Nebbiolo type foundry, is one of the most popular sans serif fonts of all, and has been for about 50 years. Originally designed as a screen font it was very popular from the beginning, even though it is only a slightly modified version of the 10-year-older Microgramma, but completed with lower case characters. On public demand, URW++ has expanded its range of Eurostile with Eurostile Round with 19 additional styles. Quite like Futura Round by URW++, Eurostile Round works perfectly well as webfont.

Mirador is a powerful neoclassical font family designed for various usages — ranging from editorial and corporate design to web, interaction and product design. It is a contemporary take on high contrast typefaces that have never gone out of style — defined by elegance, tradition and timelessness. Although Mirador seems to be a display font at first glance, its proportions and design reveal a powerful and characteristic workhorse when set in smaller sizes. Mirador comes in 10 weights with matching italics. It is equipped with ligatures, a large set of alternative glyphs and many more opentype features.

Introducing, proudly present the newest and fresh product from the oven. The Lord Music font is a decorative serif font made with collaborating of beauty and elegant looks. This font made with a lot of alternate features that every letter has a minimal 3 alternates for change and mix with your style do you want. This font will to giving more valuable projects that outstanding and elegant. The Lord Music font is perfect for a title, headline, logo, branding, quote, tagline, and etc. The font also supports more than 20 languages.

German type designer Ole Schäfer created this sans FontFont in 2001. The family has 10 weights, ranging from Regular to Black (including italics) and is ideally suited for editorial and publishing and sports. FF Zine Sans Display provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, super- and subscript characters, and stylistic alternates. It comes with proportional lining and tabular lining figures. This FontFont is a member of the FF Zine super family, which also includes FF Zine Serif Display and FF Zine Slab Display.

Legitima is a text font family inspired by the types found in the 3rd edition of the Italian book La Cicceide Legitima, printed in 1695. Its weight and x-height, optimized for 10 point-size, make it an ideal choice for book design and anything with running text. Like most typefaces from the 16th century, the strokes that constitute Legitima seem to depart from the traditional broad-nib pen model of handwriting and dare to explore the shapes produced by the techniques in use by punch-cutters of the time.

ITC Binary was designed by Mauricio Reyes in 1997 as a semiserif font with a pronounced stroke contrast. A distinguishing characteristic of this font is that many of the lower case letters seem to be missing a small piece of their forms, either at the base line or x-height. Setting the letters together makes an impression of waviness which draws the attention of the reader. Binary is a reserved, elegant font which should be used in point sizes of 10 or larger and only in headlines and short to middle length texts.

Houstonville is the debut letterfrom of Veteran Type. Design by Abdul Rochman a.k.a Veteran Type. This font is inspired by ancient letters in the 19th century. This font is very suitable for designs with ancient concepts, such as print, logo design, and others. This consists of : 20 stylistic set 520 ± glyph count Multilingual support Support for multiple languages Math Symbol Numerals & Punctuation I am very grateful, to my friend and mentor, namely Spencerandsons a.k.a Gilang Purnama, for sharing their knowledge, time, and teaching me. Thank you again Spencer and Sons, always be great !!!

Anteb font family is one of those large and useful families that you really can’t miss if you are looking for typeface combining originality and legibility. Anteb is one of these – a sans serif with modern look designed very smart with rounded corners. It is developed in 10 separate weights ranging from Thin to ExtraBlack, each coming with Alternate version, which is well suited for a variety of typographic applications such as headlines and small texts. The Anteb font family supports multiple languages and is available as both webfont and desktop font.

Introducing Carilo. Modern and classy serif that combines two types of typefaces, classic calligraphy and serif fonts. You will also get 20+ ligatures and several stylistic alternates that will make your work look more unique, luxurious and elegant. This font is perfect for to create logos, branding, stickers, shirts, signs, posters, quotes, instagram posts, procreate designs. book or movie title design, fashion brand, magazine, clothes, lettering, quotes, and so much more. Features : · All Uppercase and Lowercase · Number & Symbol · Supported Languages · Alternates and Ligatures · PUA Encoded Hope you enjoy with our font!

MB Narrow is a very compressed display font that comes in three weights. with is full use of the 20 stylistic sets it gives the user a lot of scope to how it look. without using them it has a very rounded and geometric look but with alternates for the Capital A, M, N, V, W, X, Y and the lowercase a, f, g, v, w, x & y you can create a more traditional 'movie poster' look. with standard & discretional ligatures and oldstyle figures there are plenty of opentype features.