An unadorned Grotesque with a refreshingly personal touch. If “Grotesque” mainly means “industrial, mechanical, anonymous typeface” to you, Klainy might redefine your image of the genre. Yes, it’s a Grotesque—but with a contemporary look and a lot of personality. Klainy’s apertures are more closed at the top and more open at the bottom, creating an informal rhythm that sets Klainy apart: a confident, optimistic voice with a clean appearance. Terminals are subtly back-bent: these quaint “hooks” make Klainy a bit more personal, a bit friendlier. (You can find them in the a, c, f, and r.) Just like its old-style Grotesque ancestors, Klainy is optimized for display sizes and short texts. There, its unobtrusive quirks can be wholly appreciated. However, the familiar Grotesque appearance makes sure that the typeface is comfortable to read in smaller sizes, as well. Use Klainy whenever a basically classic sans-serif typeface with a modern and individual twist is called for. This font family comes in eight weights ranging from Thin to Black, each with a matching italic style. More than 500 glyphs and a bunch of Open Type Features make it a reliable companion for all of your projects. You can fine-tune the flavor of Klainy with Stylistic Alternates such as a one-story a and a two-story g. Their simple construction blends perfectly with the design concept of this typeface. Klainy is a seasoned blue-collar worker that surprises you with wit and team spirit. It’ll be a great addition to your font library.

Novin Font family is designed by Naghi Naghashian. This Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Novin supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Novin Font is available in Light, Regular and Bold. Novin design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Novin is based on Aldo Novareses Eurostile Extended. 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. Novin’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. Novin was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Amazingly easy on the eye; it draws the reader in with minimal brain bandwidth use. Designed to enable more focus on the content. Good for web pages. Very Dyslexia friendly. Our mission has been to create a font that scientifically designed to be dyslexia friendly while also being attractive and useful. Dyslexia features: Each letter is unique even if reversed or flipped. The spacing is carefully designed using scientific evidence to help all readers from those who read via word shapes to those who read using phonemes and syllables. The visual stress caused by contrast pattern glare is minimised and has fared well when measured by professionals against other common fonts. Usefully mid-sized to make it easy to transfer artwork from common fonts to Aravis. This is very helpful when providing reasonable adjustments for people with Dyslexia. Based on algorithms found in nature. Range of use: Ø 72 Latin based languages Ø Greek and Coptic Ø IPA extensions Ø Good Maths symbols provision with OT support for vulgar fractions Ø Innovative OT support for creating boxes for forms Ø Small Capitals with some accents also supported (Czech) Ø Subscripts and sups: Complete alphabet upper and lower case and numbers Ø Customers can request additional symbols and characters within reason, or add an accent /shape unique to their country if it fits with the overall mission of the font.

Rufolo is a family of fonts that can be considered both aesthetic and utilitarian. It has an apparent serif, barely hinted at, whose clear past reference is a beautiful epigraphic script on the marble plate placed at the southern entrance of the Roman amphitheatre, in Pompeii. Perhaps its origin dates back to Ugarit's cuneiform writing (as Morrison suggests as the origin of the serif in "Politics and Scripts") whose characteristic triangular-shaped incision footprint produces a powerful trait that not only gives character to the writing but also facilitates its support and visual compensation of sizes with neighboring signs. Other clear inspirational references have been Robert Hunter Middleton's Stellar (1929); Albertus (1932) by William A. Dwiggins; Optima (1952) by Hermann Zapf; And more recently RRollie (2016) by our foundry. Rufolo collects the attractive characteristic of the stroke endings but the proportions of its structure becomes much more regular, the capitals are in line with a constant square module, while the above references retain the proportions of the Roman Trajan. Some endings strokes have slightly baroque reminiscence with the intention of giving it greater plasticity and aesthetic enrichment, but absolutely controlled, taking special care of the aspects of readability and expressive neutrality. Rufolo Family comes in four weight: Light, Regular, Bold and Black, accompanied by its corresponding Italic versions.

Art Deco Arabic is a sans-serif Headline font. Designed by Naghi Naghashian as a sigle weight. Art Deco Arabic is reminiscence of Art Deco style, at the beginning of 20th century. The Latin part is a new design inspired from Art Deco style. It is extremely legible even in very small size. This font is a contribution to modernisation the Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Art Deco Arabic supports Arabic, Persian ( Farsi ), Urdu and Latin.It also includes proportional and tabular numerals for the supported languages. Art Deco Arabic design fulfills the following needs: A Explicitly crafted for use in electronic media fulfils 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, InDesgine or Illustrator. ArtDecoArabic’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. Art Deco Arabic was developed for multiple languages and writing conventions. Art Deco Arabic supports Arabic, Persian,Urdu and Latin. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

The Obla font family is a modern serif typeface accompanied by appropriate italic in seven weights. Sketches of letters were drawn manually, using thick marker for creating shape and pencil for finishing details. Calligraphic origin of shapes is revealed beneath strained curves drawn on computer. All of the weights were carefully adjusted to each other. Obla is equipped with some basic OpenType features and supports Cyrillic and Latin script. Using Obla in small sizes is very convenient, because of its large x-height, and Obla is a very readable typeface. It seduces the reader with its vivacious character. The typeface is also suitable for usage in large sizes. The best choice for headlines is using the heaviest (Black) and the lightest (Thin) weight. There are two smaller family packages in offer: Obla Basic Set contains Regular, Italic, Bold and Bold Italic, while Obla Light Set contains Light, Light Italic, SemiBold and SemiBold Italic. These two sets are the most appropriate for working with small text. Other weights can be bought separately, or within the whole family. Obla is an awarded typeface. It got Special Mention in Cyrillic Typefaces category in Granshan 2016 competition and it was chosen as a Merit Winner in Print’s Typography and Lettering Awards competition. At that time, before publishing, the typeface was named Petra.

Vinneta is a direct italic font. Its contours and graceful, and precise. Vinneta has a huge number of alternative variations of the glyphs, 20 stylistic sets, it allows you to create a variety of compositions. In addition Vinneta has 17 OpenType features, including oldstyle numbers, swashes, contextual alternates, historical forms, standard ligatures, discretionary and contextual ligatures, localized forms, stylistic alternates, and more others. For convenience here are two faces, one with stylized capitals (they are different from swashes), in another - classic capitals. Vinneta has characters of all European and Slavic languages. "Vinneta" it is an ancient city of the Venedi (Wends), the legendary highly developed Slavic-Aryan people that lent its name to Venice city, lake Bodensee in southern Germany, the land of Wendland in Lower Saxony; and besides, Lithuanians and Estonians even today, this name referred to the Slavs (Veneja and Vene).

Trolls are lurking under each and every river crossing. The earth is shaking as Ogres stomp across the land, spiked clubs in hand. Swordsmen and Sorcerers are waging war on one another even as the pure and young and stout of heart search for the talisman which will restore harmony once more. Are you under the spell of some wizard's magickal incantation or are you just looking for exactly the right typestyle for your J.R.R. Tolkien Convention newsletter? Regardless, an ancient curse has been lifted and the Talmudic Legend of the Clay Beast they call GOLEM has been restored to his former majesty. The shapeless mass is no longer one of unfinished substance, no longer a body without a soul. The Homunculus that was once Comicraft's Golem has had a spiritual awakening and is now available with the crinkly bits smoothed off.

The font is based on an alphabet from a mid1920s art deco book. The original seemed to have tapering strokes but it was too small to be sure; I made all strokes parallel & orthogonal and slightly modified the original in a number of other ways to bring it into the 21st Century. The designers of the original were Paul Carlyle and Guy Oring. Nocturne has all the elegance of the Deco fonts of the 1930s. It recalls the romantic, sophisticated Zeitgeist of the early 20th century, that nostalgic time "between the wars". Nocturne comes in two styles: Nocturne Regular, which uses the Art Deco convention of small x height, and long ascenders. This style is perfect for headers, posters, labels etc. Nocturne Book, which, with its higher x height and slightly wider characters, is extremely legible and suitable for small size text.

Stevia is a font family designed by Carlos Fabian Camargo Guerrero. Stevia is a sweet font family created to design logos, cards, posters, book covers, blogs, packaging, walls, etc. Stevia is useful to differentiate your designs and stimulate your imagination through 5 fonts drawn with an apparent handmade lettering look. Stevia dingbats has more than 250 special monolineal icons to accompany Stevia Script Black (600 glyphs), Stevia Script Light (470 glyphs), Stevia Subtitles Bold (300 glyphs) and Stevia Subtitles Light (300 glyphs) in quotes, legends and short writings. That’s why you'll get a lot of alternative letters in uppercase, lowercase and opentype numbers as well as ligatures and flourishes ideal for beginning, middle and end of word. In summary Stevia is great for communicating naturalness and freshness in designs that need to be outside conventional typographic norms.

Brown Chunkers is an unique serif based display typeface containing many alternates, swashes, ligatures that can make your lettering/logotype become more interesting. The clean and neat of a serif combined with the swirl swashes makes this font one of a kind.

Trick Pony is a typeface bastard that steals its characteristics from sans serif fonts and combines these with an ink brush appearance. The design is strictly reduced on the one hand, but on the other gets its handmade touch through varying stroke sizes.

Scripty is a hand drawn, calligraphy longhand handwritten font. With careful spacing, the letters can be used together to create words that look like theyπve been written with an old≠fashioned fountain pen, or used alone as embellishment to more plebean text.

This font was inspired by an old photographic film package I found. Over time, the vertical slits in the letters have become more complex and acquired slanted sections. The font is suitable for accidences: headlines, posters... maybe you can suggest something interesting ;)