Ponta Text is an incise semi-serif type family designed for editorial purposes. It includes 18 fonts – 9 weights and their respective italics – providing you with versatility and flexibility for many of your typographic needs. Designed for legibility and readability, Ponta Text is specifically intended for long-form texts such as in books and magazines, in both print or digital media. Its letterforms and fine-tuned spacing ensures comfortable reading experiences, while its subtle details and elegant sharp corners add a touch of sophistication to your designs. These features allow you to fine-tune your typographic settings and create stunning layouts with ease. All the fonts include an array of typographic features such as ligatures, contextual alternates, lining, oldstyle, and tabular figures, as well as superscript / subscript numerals and fractions. The entire family can be used both as static instances or variable fonts. All of them come together in the Complete Family package.

Genera Grotesk is a strong & clean modern sans serif font family. It is total rework of Genera typeface which was released in late 2019. This totally new version of its predecessor has closer aperture, some new letterforms, new italic style and new weight distribution ranging from Thin to Extra Black. Genera Grotesk also available in variable fonts for more flexibility in choosing the right weight. This typeface also equipped with useful OpenType features such as Ordinal, Superior, Stylistic Alternates, Proportional Figure, Fraction, Numerator & Denominator. Each font file covers Western & Eastern Europe Latin language, as well as other Latin based languages – over 200 languages supported! This is a new real multi-purpose typeface that will be perfect for logo, packaging, greeting cards, presentations, headlines, lettering, posters, branding, quotes, titles, magazines, headings, web layouts, mobile applications, art quote, typography, advertising, invitations, packaging design, books, book title, & nearly any other type of creative design you’re working on.

Burner is an advanced, connecting, wildstyle graffiti font family including over 200 unique letters, numbers & symbols. The family includes outlines, fills, details and more. Mix and match glyphs from 3 alphabets, add end pieces and more. Repeating flames, arrows & flourishes & other embellishments are included. The Burner family includes 3 full alphabets in each of the 4 styles as well as numbers, punctuation and a wide array of arrows, bars , begining & end pieces. Like some of our earlier wildstyle typefaces such as RaseOne or WildStyle, the Burner font family is a layered type system made to work as a team. In nearly any application 2 or more styles can be easily layered to create advanced, multicolor, wildstyle pieces. This layering system provides a shortcut to time consuming effects such as sharp corners & variable widths on outlines, fills & details. The original glyphs were all drawn by hand taking inspiration from actual painted & drawn wildstyles from RaseOne spanning the late 90's to about 2006.

A connected typeface design with a calligraphic flavor. The Lahab (Arabic for flame) font family employs visual features from the Arabic Diwani Calligraphy. It has six members, normal, bold, and light, all of which come in two styles, regular and left-slanted italic styles. This font family design follows the guidelines of Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in the latest Unicode Standards, and one additional final form glyph, for the freely-connecting letters in traditional Arabic cursive text. Lahab employs variable x-height values. It includes only the Lam-Alif ligatures. Soft-vowel diacritic marks, harakat, are selectively positioned. Most of them appear by default on the same level, following a letter, to ensure that they would not interfere visually with letters. Tatweel is a zero-width glyph. Keying the tatweel key before Alif-Lam-Lam-Ha will display the Allah ligature. Lahab includes both Arabic and Arabic-Indic numerals, in addition to standard punctuations.

A typeface design with extra isolated scattered letters and random careless look. It has six members, normal, bold, and medium, all of which come in two styles, regular and left-slanted italic styles. This font family design follows the guidelines of Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for the freely-connecting letters in traditional Arabic cursive text. Fallujah employs variable x-height values. It includes only the Lam-Alif ligatures. Soft-vowel diacritic marks, harakat, are selectively positioned. Most of them appear by default on the same level, following a letter, to ensure that they would not interfere visually with letters. Tatweel is a zero-width glyph. Keying the tatweel key before Alif-Lam-Lam-Ha will display the Allah ligature. Fallujah includes both Arabic and Arabic-Indic numerals, in addition to standard punctuations.

Quarca's masculine power runs strong across the page with bold self-assurance and a raw energy that courses through its thick veins. Don't think the continuous, smooth geometry of this semi-modular face is captively chained to the grid, though. Quarca has been cautiously optimized to engage the reader's eye. Achieving an attractive balance to its sturdy design, the open forms of this "rounded square" geometric sans -together with a tall x-height- make the font legible even when using the compact widths. This high-impact typeface definitely doesn't sacrifice versatility for style. These compact widths, with their raw heart and strength, are perfect for callouts, while the extended widths provide you with the platform for a punchy and extremely efficient headline. The font has a thinner weight and transcends to an intense bold. The face's geometric or technological construction also tends to make it right at home on the web. The family consists of 36 fonts -six weights plus italics. Where Quarca truly stands out, though, is its wide number of OpenType typographic choices and optional glyphs, allowing you to design your piece with a personal, one-of-a-kind variant touch. These variations consist of Experimental Capitals, Angled Capital Terminals, and "Future Stencil". In all, you can find more than one hundred of these alternate glyphs. Quarca is well-suited for anything you are able to throw at it. Devised for today's multi-disciplined designer, this clear and infinitely versatile family provides tremendous value to your toolbox.

Introducing Goxac is a boldly shaped font that gives any project a cutting-edge, futuristic feel. Goxac’s slick lines and distinctive letterforms give your text a contemporary appearance, making it ideal for designs with a science fiction or technological theme. Goxac is the perfect tool for designing eye-catching headlines, posters, and social media graphics because of its bold aesthetic and futuristic theme. They are ideal for branding projects, packaging designs, book covers, and more due to their distinctive letter shapes. With a complete set of punctuation and numbers, Goxac is available in both upper- and lowercase letters. This multipurpose font is ideal for designers, marketers, and anyone looking to add a touch of futurism to their work because it has four different variants. With the Goxac font, rest assured that your designs will look unique, stylish, and futuristic. This font is perfect for those who want to stand out in the modern era, and for those who want to give their designs a touch of innovation. Goxac is a must-have for anyone looking to create a plan that really stands out. So don’t wait, make Goxac your font of choice today, and take your design to the next level! What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Blacker Sans Pro is a complete redesign and development of the original family designed by Francesco Canovaro in 2019 as a sans-serif variant of the successful Blacker created by Cosimo Lorenzo Pancini and Andrea Tartarelli. The original idea of Blacker Sans was to create a versatile pairing for Blacker, parting with its spiky wedge serifs but keeping its dark, elegant character and extending its weight range to 20 weights including italics. This Blacker Sans Pro family did also differ in contrast from the original Blacker family, choosing a more even and monolinear, almost grotesque approach. This choice that favored versatility over elegance left some of the original uses of Blacker not covered by its sans counterpart, and so two subfamilies were added, applying to the same skeleton varying degrees of contrast, from the readability-optimized medium contrast of Blacker Sans Text to the extreme variations of Blacker Sans Display, with its elegant juxtapositions of thin curves and thick black slabs. The original signature details of Blacker, like the hook shape of lowercase "f", have been complemented by new alternate forms, ligatures and swashes, with stylistic sets providing options to easily make logos and headings stand out. The wide range of OpenType features (that includes also small caps, positional numbers, and alternate punctuation) is applied to all the 60 weights of the family, each with over 1600 characters offering language support for 220+ languages using Latin, Cyrillic and Greek alphabets. Ready to make your text look gorgeous? Ditch your usual sans-serifs and try Blacker Sans Pro!

Rough Love, it’s fair to say, came before Love Script. The brushed letter specimens that would ultimately serve as the template for the much ‘cleaner’ Love Script have now been turned into a typeface. As I packed these up, I just kept coming back to them and staring at the texture and movement caught on the page. On a lark, I decided it would be fun to let people see an almost a before and after scenario of how one led to the other and decided to produce a typeface from these specimens… Rough Love. For the most part, in typical fashion for me when I brush out a typeface idea, I try to brush the entire character set along with each of the planned variants for swashes, titling, and other alternates—the reason for that is simple -- each letter looks and acts a bit differently when the same movements are imposed on them. With Rough Love, I tried to adhere to that and made very few modifications to the originals, and only had to ‘borrow’ in a few occasions when I happened to forget to brush a variant.

Pulse JP is a constructivist text and display font that differs from comparable fonts due to its special sharpness and harmonious balance. Its technical and constructed form creates a somewhat artificial impression of special appeal. It is ideal for display on the screen and is used in many projects. Pulse JP is a super family consisting of 48 weights from compressed to expanded in 6 fat gradations each. This opens up a wide range of designs and the possibility of combining typefaces of the same character in a wide variety of variants, or of being able to adapt typefaces to very different conditions. The details of the individual typefaces are coordinated with each other with great precision and perfectly implemented in terms of craftsmanship. In all variants, this leads to a well-balanced typeface with particular sharpness. The very extensive character set supports 120 Latin languages. Pulse JP meets the pulse of the times, which is in a transition away from the humanistic to the classicistic designs. jp Pulse outperforms many other fonts not only in terms of sharpness but also in terms of variety and is therefore always a good choice.

Crafted in the best tradition of the geometric sans-serif, Rondana is a typographic tribute to the the retro-futuristic aesthetics of the 1960s and 70s, as well as an exercise in purity of line. However, its spirit is decidedly non-bauhausian, since its strokes intentionally deviate from the dull, obvious, ruler-and-compass construction; its arcs and curves being much more complex, tending towards a slightly square shape, imbued with subtle modulations. This sums up to a more organic, flowing, extroverted personality than the one just expected from the use of plain, simple geometry. Another feature is the conscious use of non-standard shapes for many signs, that are quite legible but somewhat unexpected, such as the E, the g and the ampersand; making Rondana an excellent display face and also giving a particular flavor to the text composed in it, especially in its italic variants —which are, by the way, designer italics in their own right and not just an oblique version of the roman. Rondana comes in twelve variants comprising a wide spectrum of weights, allowing for an extremely diverse range of expression.

Classic Grotesque by Rod McDonald: a traditional font with a modern face. The growing popularity of grotesque typefaces meant that many new sans serif analogues were published in the early 20th century. Setting machines were not compatible with each other but all foundries wanted to offer up-to-date fonts, and as a result numerous different typeface families appeared that seem almost identical at first glance and yet go their separate ways with regard to details. One of the first fonts created with automatic typesetting in mind was Monotype Grotesque®. Although this typeface that was designed and published by Frank Hinman Pierpont in 1926 has since been digitalised, it has never achieved the status of other grotesque fonts of this period. But Monotype Grotesque was always one of designer Rod McDonald’s favourites, and he was overjoyed when he finally got the go-ahead from Monotype in 2008 to update this “hidden treasure”. The design process lasted four years, with regular interruptions due to the need to complete projects for other clients. In retrospect, McDonald admits that he had no idea at the beginning of just how challenging and complex a task it would be to create Classic Grotesque™. It took him considerable time before he found the right approach. In his initial drafts, he tried to develop Monotype Grotesque only to find that the result was almost identical with Arial®, a typeface that is also derived in many respects from Monotype Grotesque. It was only when he went back a stage, and incorporated elements of Bauer Font’s Venus™ and Ideal Grotesk by the Julius Klinkhardt foundry into the design process, that he found the way forward. Both these typefaces had served as the original inspiration for Monotype Grotesque. The name says it all: Classic Grotesque has all the attributes of the early grotesque fonts of the 20th century: The slightly artificial nature gives the characters a formal appearance. There are very few and only minor variations in line width. The tittles of the ‘i’ and ‘j’, the umlaut diacritic and other diacritic marks are rectangular. Interestingly, it is among the uppercase letters that certain variations from the standard pattern can be found, and it is these that enliven the typeface. Hence the horizontal bars of the “E”, “F” and “L” have bevelled terminals. The chamfered terminal of the bow of the “J” has a particular flamboyance, while the slightly curved descender of the “Q” provides for additional dynamism. The character alternatives available through the OpenType option provide the designer with a wealth of opportunities. These include a closed “a”, a double-counter “g” and an “e” in which the transverse bar deviates slightly from the horizontal. The seven different weights also extend the scope of uses of Classic Grotesque. These range from the delicate Light to the super thick Extrabold. There are genuine italic versions of each weight; these are not only slightly narrower than their counterparts, but also have variant shapes. The “a” is closed, the “f” has a semi-descender while the “e” is rounded. Its neutral appearance and excellent features mean that Classic Grotesque is suitable for use in nearly all imaginable applications. Even during the design phase, McDonald used his new font to set books and in promotional projects. However, he would be pleased to learn of possible applications that he himself has not yet considered. Classic Grotesque, which has its own individual character despite its neutral and restrained appearance, is the ideal partner for your print and web project.

Aphrodite Slim Pro is not just a lighter version of its sister Aphrodite Pro. Aphrodite Slim Pro has duplicated the quantity of characters of its partner, and that means more than 500 new glyphs, reaching a total of more than 1000. More delicate and meticulous, Aphrodite Slim Pro is once more a new typography with deep calligraphic ideals: We immersed ourselves into the world of each calligraphy ductus and each calligraphy masters by studying from decoration to lettering books. This was the key for the logic of Aphrodite Slim’s behavior. The new concept of Aphrodite Slim Pro was to join diverse styles of calligraphy in one in order to achieve an autonomous expressiveness, in fact, this is what calligraphy aims to, and we agreed to bring those ideals to the world of typography: It is justifiable to be inspired in hundred-year-old calligraphies, but it is even better if the results you obtain have a plus. A personal plus. During the creation process we were wondering whether it was possible to mix certain strokes of such rigid styles as uncial, (Li·n’s favourite style), with strokes of the copperplate, (Sav’s favourite style), and also to take and mix cualities of cancelleresca cursiva, formata and moderna; finally giving our creation a roman-transition italic look. So Aphrodite Slim takes ideals and aspects from those formal styles, following its own logic though, and emphasizing the fact of being a decorative typography. Calligraphy masters of our past are who we are in debt with. They are the cause we have lovely letters now. They have been spontaneous at the moment of creation, what differs from the type-designers of nowadays, whose spontaneity is more limited. Digital faces that we are used to see these days are a result of long hours of optical adjustments, grids, macros and inspirations of other existing typography, but without personal contributions. Aphrodite Slim wants to refute this. Its mission is to rescue de spontaneity of the artesanal lettering in order to obtain unique words; those which only calligraphy masters of our past or lettering artists of our present could give us. We have worked hard to achieve this, making Aphrodite the most universal font we could: It was necessary to study the most common words, focalizing more in the ones referring to “sensitivity”, of four of the most spoken languages in the world. Aphrodite Slim has an enormous quantity of decorative characters and special ligatures for phrases and words in English, French, Spanish and German. (See English, Français, Español, Deutsch PDF in the gallery section). We promise there is no existing type that decorates/ligates glyphs and words like Aphrodite Slim does: It is the first time a font like this really considers its purpose. -The way glyphs are ligated is insane- : Aphrodite Slim rescues some ideals of persons like Jan van den Velde (Italian cancilleresca writing of XVI Century) who understands ascenders and descenders as possibilities to beautify the lines of writing with curved strokes that seem to be dancing above and below of the words. This master also creates ascenders and descenders even where they are not necessary, on letters that do not actually need them: Aphrodite Slim takes this ideal. The font counts with a wide range of glyphs that seem not to be satisfied with its more primitive form and prefer to extreme their parts to be decorative. It also existed masters of calligraphy like José de Casanova of XVII Century, who, with a magnificant skill and a really personal mark, had the particularity of ligating words that were actually separated with spaces. This is another innovative feature in Aphrodite Slim. An investigation of the most common beginnings and endings words of the English language was done. Having that feature activated (discretionary ligatures), common words will start to ligate or to be decorated even when they are separated by spaces. Impossible to forget Francesco Periccioli of XVII Century and our experience us designers to face with works of him: His letters, that today are included in the group of cancellerescas modernas, have been a direct inspiration to the oldstyle figures and historical forms variables in Aphrodite Slim. Giovanni Antonio Tagliente (XVI Century) and his particular way of making tails and diagonals longer than usual, qualities that our creation reflects too. Finally, our adventures in Biblioteca Nacional and Barrio San Telmo, Buenos Aires, were essential for us to make Aphrodite Slim more complete and interesting: Sav did an excellent work when studying how the decorative miscellanea and swirls of early XX century were. She also investigated what particularities made those roman titling characters look antique so she could rescue some ideals for the oldstyle figures and historical forms variables. This also leaded her to create the ornaments variable in Aphrodite Slim. We are really proud of presenting Aphrodite Slim Pro, a typography that was the result of days and nights of working hard, because we do love what we do; and we are glad we are living in a present that gives us the possibility to spread this kind of art, because that is the way we consider our job: Aphrodite Slim Pro is Art. Hope you can appreciate the enormous work this type has. Features. Aphrodite Slim Pro is the most complete variable. It includes more than 1000 glyphs. Thanks to the Open-Type programming, it counts with a easy way to change/alternate glyphs if the application in which the font is used supports this. The variables contained in Aphrodite Slim Pro are also offered separately. Aphrodite Slim Text: It is the variable for lines and paragraphs. Thus it is the least ornamental and the most accurate to achieve a satisfying legibility. It has the Standard Ligatures feature in order to improve the possible conflicts some glyphs could have by others. Aphrodite Slim Contextual: It is the one that makes emphasis in decorating. It has the particularity of ligating/decorating words of common use in English, French, Spanish and German. It also has the quality of ligating common beginnings and endings of the common words in English. Aphrodite Slim Stylistic: With similar features of Slim Contextual. It includes a set of decorative numbers for a display use. Aphrodite Slim Swash: This one has special beginnings and endings to decorate words. Aphrodite Slim Endings: It makes words look as a signature. Aphrodite Slim Historical: It adds an antique look to the written word. It also has the special historical ligature function. Aphrodite Slim Titling: This one is the most decorative. Its copperplate inspired ornaments give words a special color, in order to handle the quantity of decoration, it comes with the standard ligature feature, which has the most common ligatures plus others that make decorative swirls not to be conflictive. Aphrodite Slim Ornaments: A set of 52 ornaments. Aphrodite Slim Pro includes all this features plus the Stylistic Set 1; Stylistic Set 2 and the possibility of Slashed Zero. We recommend you to check out the gallery in order to see all these features in action.

Circolino is calligraphic script typeface set that is inspired by the letterforms taught in Italian schools. Each letter combination is designed to tie in perfectly within the word. In this regard, many contextual alternatives and letter variants have been designed, especially to make a more calligraphic feel. The Circolino character set consists of two families: Circolino Classic and Circolino Sport. The Classic Family has an almost vertical tilt axis, while Sport Family has a much more pronounced tilt axis that gives it more dynamism and movement.

Camp is a rough-hewn, woodsy font that gives new meaning to logging on to your computer. With engraving-like, hand-rendered details, it harkens back to frontier days and simpler times. Whether gliding across a placid lake or trekking through untarnished nature, Camp will let you see the forest among the trees. A family of 5 fonts gives you the option of printing a single color outline w/drop shadow or up to four different colors using the shadow, fill, ends and outline variants.

Tabac Big Glam probably stretches the Tabac super-family’s boundaries the furthest. While it’s based on the serif version, it achieves an especially surgical cleanliness and extremely sharp typesetting by completely letting the serifs go. Despite this, the text isn’t boring for a moment — the angled cut of the stems on b, d, h, k, l, the open loop on g or the rounded variant of the italic y, which can be called by turning on the stylistic set, reliably banishes any suspicions of the letters’ monotony.

Walpurga is a witchy display font that comes in two variants - regular & bold - and with four glyphs for each letter. There is a set of ornaments and the in-built open type features produce a random, natural looking effect when activated through the "contextual alternates" feature. Walpurga was created with stylized brush ends that become visible at larger font sizes. A fresh, versatile font that is usable for a wide range of design applications. Please activate Open Type Features to get the most out of this font.

Sink your teeth into the heavy-hitter Sistine Family consisting of Regular to Extra Black weights along with an extra black stencil style. They are a tough and industrious set of typefaces suited perfectly for headlines and poster design, and so much more. The Opentype ligatures feature swaps in special THE & AND (by typing a space before and after THE or AND in all capitals), as well as a double cap L option. Stylistic Alternates include a variant Q and R for all styles.

Energia Pro is yet another new, charming and whimsical profonts script typeface designed by Ralph M. Unger. Its design is based on Arno Drescher’s Energos from 1932, but Unger completely redesigned the typeface, extended and completed the character set and digitally remastered the font. Energia Pro is a joining handwritten-like script well suited for comics, book titles, and the like. Standard at profonts, Energia Pro contains a large set of manually created ligatures and glyph variants to make it a perfect OpenType Pro connecting script.

Andron 1 Monetary is a special supplement font containing 120 monetarian and weight measurement characters, both historical and modern. It provides a most comprehensive repertoir of even older currency unit signs as testified in manuscripts and printed sources. Among the most recently launched national currency signs, the Rubel, Manat and Turkish Lira characters are present with their new Unicode values. – All glyphs are drawn in the classical Andron style and blend perfectly with all other Andron fonts. – This font is a valuable addition to your Andron library.

The Sommet series has been updated with a rounded variant. Sommet rounded retains its predecessor's high-tech web 2.0 character but features blunted terminators, making for a much warmer and friendlier impression. Sommet Rounded features a tall x-height, and its letterforms are compressed, perfect for when layout space is at a premium Sommet Rounded can be easily mixed and matched with its non-rounded relative. Sommet Rounded includes four weights and italics for plenty of design options and is suitable for body copy and display text.

Neuron puts a chemist's twist on standard block-style print to create a fresher version of the elemental alphabet. Widely spaced letters and a slightly tall x-height have a clean effect for great readability. Squarish shapes are stylized to retain curved tails, achieving a neutral appearance that makes it very versatile. A thick width in ExtraBold, Black and Heavy give stand-out strength for headlines and branding, without affecting legibility. This modern sans-serif family includes 16 variants, and covers Latin, Central European and Cyrillic characters.

Accio is a modern and versatile sans serif font that effortlessly combines legibility with a touch of unique character. With its clean lines and distinctive curved terminals in the bold variant, Accio offers a refreshing and friendly appearance that sets it apart from traditional sans serif typefaces. Designed to meet the needs of a wide range of design projects, Accio boasts a total of nine meticulously crafted weights, each complemented by a corresponding italic style, providing designers with a comprehensive toolbox for all their typographic needs.

Orange Street - Rounded Modern Sans Font is an all-caps sans-serif typeface that offers three distinct versions: clean, rough, and textured. With its versatile character set, this font seamlessly adapts to various design themes. Its flexibility is further enhanced by the range of available versions, making it a valuable asset for design projects spanning modern, retro, classic, and playful aesthetics. Whether it's for logos, branding, posters, titles, headlines, printing materials, quotes, or more, Orange Street lends itself perfectly to an array of creative applications.

Impetus is a powerful capitals-only geometric sans in a solid and inline variant. Built around a framework of a circle and square, it echoes angular Deco or Italian Futurist "moderne” forms, and is about as heavy as it is possible for a font to be. Alternate forms are provided in the lower-case keystrokes for the S, G, J and W, and there is also an alternate 1. The two styles can be combined in one setting for effect. Use Impetus where maximum impact is required.

This handmade-looking, playful type is inspired by the titles of a few old Czech movies for children. With its irregularity and numerous alternates, Rumburak simulates live handwriting. When the font is used in OpenType-savvy applications, the 4 variants of glyphs are automatically alternated to achieve a random-like effect. The spacing and kerning were carefully fine-tuned by Igino Marini and the kerning table contains kerning pairs for use with the random feature turned on or off. The font includes multi-language support. Enjoy!

A contemporary revival of early 20th century fonts, the Square Slabserif 711™ typeface family from the Bitstream library is perfect for contemporary print and interactive design projects. Its geometric structure of right angles and opposing round corners are ideally suited to current imaging devices. An added benefit is that they also give the design an enduring industrial strength demeanor. Available as three weights with relatively condensed proportions, the Square Slabserif 711 family will surely be a valuable addition to any professional collection of fonts.

Viktor Solt-Bittner drew logo sketches for an insurance company. Luckily for Schriftlabor, they rejected the design, and he turned the sketches into a font family. Years later, Plantago was expanded, developed and completed by Schriftlabor’s type directors Franziska Hubmann and Lisa Schultz. Plantago shows delicate leaf-like stroke endings and subtle curvings and offers condensed and wide variants. Typeset in 6 weights from Light to Black, 3 widths from Condensed to Extended, both upright and italic, totaling in no less than 36 styles.

Radiograph is a stylish serif font with subtle curves and playful proportions. It’s equally at home in all-caps headlines as it is in full paragraphs. Radiograph is perfect for headlines, editorial design, monograms, branding, logos, poster design, and more. Radiograph includes approximately 480 glyphs and 16 standard and discretionary ligatures. OpenType features include a smattering of character variants, ligatures, 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.

The Toriga typeface was named after the Portuguese grape variant known as Touriga Nacional. This fun typeface boasts the features of a well-balanced, versatile, modern sans which is highly legible as a text font and with a clean, elegant look as a display font at larger sizes. The rounded terminals give it a friendly, approachable look. Comprising 6 weights with equivalent italics, this font family is perfect for your more playful designs. It was created to be enjoyed, so enjoy creating with it!

Epicgant is a sans serif font with elegant characters. Epicgant is perfect for your elegant-themed work, suitable also for elegant vintage. This font is available in two font style variants, making it easy to do work on various design themes. Epicgant is equipped with multilingual accents. Check out the latest Viaction Type.Co font products : Matrole : https://www.myfonts.com/fonts/viaction-type/matrole/ Baskar : https://www.myfonts.com/fonts/viaction-type/baskar-stc/ Get it now Epicgant Family fonts, to add to your collection and work solutions. Thanks.

Deandra is a Familly Serif Font with 18 variant style, that gives a feel of Elegant font type. There's some connected letters and some alternates that suitable for any graphic designs such as branding materials, t-shirt, print, business cards, logo, poster, t-shirt, photography, quotes .etc This font support for some multilingual. Also contains uppercase A-Z and lowercase a-z, alternate character, numbers 0-9, and some punctuation. If you need help, just write me! Thanks so much for checking out my shop!

Kwersity is a boxy, geometric, slab-serifed typeface with strokes of uniform weight. Its circular elements are almost rectangular. The narrower style has a high x-height. Both the narrower and wider variants come in three weights, regular, semi-bold, and bold. (In its original, pre-2020 form, what is now semi-bold was bold. What is now bold is new as of 2020.) There is also a shadow version; Kwersity-semibold can be layered on top of it to color the interior of the letters.

Rosales integrates humanist style with geometry in a typography highly inspired by calligraphy. It has eight weights in round and italic variants, which also have a set of initial capital letters, small caps, Oldstyle and Lining figures, as well as two stylistic sets that allow for more humanist or more geometric versions. Basically, it covers whatever you’re going to need. The family’s extreme weights were designed for titles, while the intermediate weights are for texts. The first ones are perfect for displays and logos.

Auline is Modern Luxury Serif Font is a well-balanced contemporary font with a fancy, unique, and versatile Luxury serif, font that you can combine to get any variations and unique shapes easily just in seconds with choose alternates of them. What's Included: Character set A-Z Normal & Italic Style Numerals & Punctuation Accented Characters (West Europe) Stylistic alternates Works on PC & Mac Recommended using Adobe Illustrator or Adobe Photoshop. Wish you enjoy our font. :)

Georges Peignot designed the font Nicolas Cochin based on copper engravings of the 18th century and Charles Malin cut the typeface in 1912 for the Paris foundry Deberny & Peignot. The font is named after the French engraver Charles Nicolas Cochin (1715-1790) although its style had little to do with that of the copper artist. Nicholas Cochin is a freer variation of another Peignot font, Cochin, a bit more balanced and elegant.

The Beautyline is a modern monoline typeface. Like the font name, this font is made of beautiful lines with additional lines in some characters which makes this font more beautiful. It’s perfect for branding, logos, wedding designs, social media posts, advertisements, invitations, stationery and any projects. The Beautyline comes with uppercase, lowercase, numerals, punctuation and many variations on each character, including OpenType alternates and common ligatures to let you customize your designs.

Austten is a bold connected script font with a clear style and dramatic movement this font is great for your next creative project such as logos, printed quotes, invitations, cards, product packaging, headers, Logotype, Letterhead, Poster, Apparel Design, Label, and etc. Austten comes with uppercase, lowercase, numerals, accents (Multilingual characters), punctuations and so many variations on each characters include opentype alternates, common ligatures and also additional swash to let you customise your designs.

Delicia Pro Script is a versatile fat script designed with delicatessen shops in mind, it has lots of variations. There are for example seven different versions for the uppercase letters that can be accessed with opentype savy software. different ampersands, @-signs, Th combinations, lots of different lowercase letters and so on. The font can be used in all of Europe, Turkey and the Baltic countries (sorry no Greek and Cyrillic). Yours very versatile Gert Wiescher