Introducing Venacti, the typeface that embodies the spirit of the industrial era. Inspired by the bold and powerful logotypes of the 1970s, Venacti is a typeface designed for the modern age. Featuring a robust and futuristic style, Venacti’s square letterforms and sleek corners exude a distinct scientific vibe, making it the perfect choice for any project that demands a technical and industrial edge. With three weights and italics, Venacti offers versatility and flexibility that makes it ideal for a wide range of applications, from branding and marketing to editorial and packaging design. Venacti’s bold and confident appearance is perfect for making a statement, while its clean lines and geometric shapes give it a timeless quality that will never go out of style. Whether you’re designing a cutting-edge tech startup or a retro-inspired brand, Venacti is the typeface that will help you stand out from the crowd. So why settle for anything less than the best? Choose Venacti and let your creativity take flight. 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.

Gryffensee is designed to be the Futura of blackletter, combining the time-honored gravity and relentlessness of the Gothic script with the clean, contemporary freshness of the geometric sans. Built from a tightly controlled inventory of lines, arcs, sharp cuts, and OpenType features, Gryffensee was born and raised in the digital age, yet retains the powerful charisma and human warmth of its mediaeval blackletter ancestors. As a result, it excels in a wide range of display settings, logotypes, and short text. Unlike most conventional blackletters, it even handles all-caps usage with grace, and includes an extensive Cyrillic character set (in the Pro version). Apart from a generous range of automatic ligatures and contextual alternates, Gryffensee offers stylistic alternates that allow users to customize its appearance to their tastes. The capital letters |AGHIKZ| come in alternate cuts that trade traditional shapes for increased legibility, while the letter |s| appears in three cuts, each with a unique, distinct flavor. All these options are accessible through OpenType stylistic sets in the main Latin font, Gryffensee Eins. For easy use in applications without OpenType support, we provide two additional Latin fonts (Gryffensee Zwei and Drei) in which these options replace the default cuts. Finally, Gryffensee Pro offers all the functionality of Gryffensee Eins, plus Cyrillic support. My intention to devise a contemporary geometric blackletter was inspired by four hand-painted letters, |ABCD|, in Sasha Prood�s online portfolio. I later found out that he had, in turn, taken those letters from an existing font, Bastard, by Jonathan Barnbrook. Luckily, by that time my project had taken on a life of its own. Gryffensee is an original design that bears only the most superficial resemblance to Bastard. Gryffensee is a mediaeval spelling of the lake Greifensee near which I grew up. It is pronounced [?gri?f?n?se?], or "GRIEF-un-say" in English approximation. This font is dedicated to Simone.

The Gill Sans® Nova typeface, by Monotype Studio designer George Ryan, expands the much-loved Gill Sans family from 18 to 43 fonts and features a coordinated range of roman and condensed designs. Several new display fonts are available, including a suite of six inline weights, shadowed outline fonts that were never digitized and Gill Sans Nova Deco that was previously withdrawn from the Monotype library. A variety of OpenType® features are supported that make it possible to include experimental characters from different points in Gill Sans’s long history, including pointed diagonals on ‘A’, ‘V’ and ‘W’ and alternatives for ‘b’, ‘d’, ‘p’ and ‘q.’ Proportional figures are also available as an alternative to the tabular designs. The Gill Sans Nova family has a large character set that supports Latin, Greek and Cyrillic languages. The display weights support Latin only. “Gill Sans was fast to strike a chord with people after its initial 1928 release and quickly became popular,” explains Ryan. “It’s been adapted for every publishing technology, from mechanical typesetting to digital imaging – always receiving the best treatment from Monotype in each iteration. This is especially true with all that we’ve added to the new series, while still retaining the familiarity of Gill Sans. My goal was to ensure clarity across digital environments, add missing weights, and bring more personality to the family with new display fonts, as well as Gill-inspired alternate characters.” The Gill Sans Nova typeface family is part of the new Eric Gill Series, drawing on Monotype's heritage to remaster and expand and revitalize Eric Gill’s body of work, with more weights, more characters and more languages to meet a wide range of design requirements. The Series also brings to life new elements inspired by some of Gill’s unreleased work, recently discovered in Monotype’s archive of original typeface drawings, designer correspondence and documents from the last century.

Introducing Hayate, a resilient small-cap typeface that draws inspiration from the strength and texture of sliced bamboo. This typeface features a rugged design that is perfect for creating a bold and impactful message. With its Japanese influence and subtle nod to the American pseudo-Asian restaurant aesthetic of the twentieth century, Hayate evokes a sense of nostalgia and intrigue. However, it’s important to note that this font should be used with care. In certain contexts, it could be seen as culturally insensitive and contribute to casual racism. Before using Hayate, take a moment to consider the message you are trying to convey and ensure that it aligns with your values and beliefs. By using this font thoughtfully, you can create impactful designs while also being mindful of cultural stereotypes. Choose Hayate for a typeface that’s as strong and sturdy as the message you want to convey. Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, 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, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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.

Antypica is a soft and friendly slab-serif font that draws inspiration from typewriter styles. This font is designed to be easily legible in both small and large sizes, making it a great option for various applications. Its simple yet timeless design with a modern twist makes it perfect for use in a wide range of design projects. This includes package design, ad campaigns, brand identities, movie titles, poster art, booklets, and even classified documents. With an impressive 790 glyph count, Antypica supports Basic Latin and Latin Extended-A. OpenType features further enhance typography by providing Small Caps and Small Numbers, Lining Figures, Oldstyle Figures, Superscripts, and Subscripts, Fractions, Tabular Lining Figures, Tabular Oldstyle Figures, Ligatures, and Contextual Alternates to prevent some unwanted letter pair collisions. Additionally, Stylistic Sets offer Stylistic Alternate Lowercase a, Alternate Cap T, Alternate Dollar Sign, and Slanted Hyphen to add calligraphic quality to text blocks, while the Special Set offers unique glyphs like Bitcoin and Interrobang. Antypica is highly versatile and can be used in many design applications. Small Caps and Small Numbers can be used creatively to create more visually engaging typography, and the optimized underline effect can be used to enhance the design. To access the Special Set in OpenType features, select it from the OpenType menu. To add special additional marks, type following in your text field. • For the Exclam-Comma mark, type ” ,! ” (comma+exclam) • For the Question-Comma mark, type ” ,? ” (comma+question) • For the Bitcoin mark, simply type " bitcoin " (not case sensitive). • For the alternate (Cap Height) Registered mark, type " registered " (not case sensitive). • For the Published mark, type " published " (not case sensitive). The font also has a small caps version of the Published Mark. • For the Numero mark, type " N° " (N + degree) (case sensitive). • For the Interrobang, type " bang " (not case sensitive). • For Price marking, type ” ,– ” (comma + one of these: hyphen, en dash, em dash). • For Dot(s) Pattern glyph, type " dots " (not case sensitive). • For Line(s) Pattern glyph, type " lines " (not case sensitive).

Maclean's is a weekly Canadian newsmagazine with a broad editorial mission. A typical issue covers everything from violence on the other side of the globe to the largest pumpkin grown in a local county. In 2001, Maclean's invited Rod McDonald to become part of the design team to renovate" the 96-year-old publication. The magazine wanted to offer its readers a typographic voice that was professional, clean, and easy to read. Above all, the typeface had to be able to speak about the hundreds of unrelated subjects addressed in each issue while remaining believable and uncontrived. A tall order, perhaps? Now add in that this would be the first text typeface ever commissioned by a Canadian magazine. McDonald, who some have called Canada's unofficial "typographer laureate," took on the challenge. McDonald used two historic models as the basis for Laurentian's design: the work of French type designer Claude Garamond, and that of the English printer and type founder, William Caslon. From Garamond Laurentian acquired its humanist axis, crisp serifs and terminals that mimic pen strokes. Caslon's letters are less humanistic, with a more marked contrast in stroke weight and serifs that appear constructed rather than drawn. These traits also made their mark on Laurentian. Using these two designs as a foundation, McDonald drew Laurentian with the narrow text columns and small type sizes of magazine composition in mind. He gave his letters strong vertical strokes and sturdy serifs, a robust x-height and a slightly compressed character width A tall order, per McDonald's genius is evident in the face's legibility, quiet liveliness and in the openness of the letters. The result is a typeface that not only met Maclean's demanding design brief, but also provides exceptional service in a wide variety of other applications. Laurentian is available in three weights of Regular, Semi Bold and Bold, with complementary italics for the Regular and Semi Bold, and a suite of titling caps."

Originally conceived while sketching outline typefaces for a client, Minotte Pro has blossomed into a font one thousand glyphs strong and is chock full of alternates and contextual swashes! By enabling swashes, style sets, and contextual alternates in your OpenType savvy application, headlines and text set with Minotte Pro will transform into unique combinations of initial, middle and final swash forms! There’s also an alternate Cap set with a partial fill for even greater variety! Perfect for travel ad headlines, Minotte Pro adds a light, carefree touch. If your app doesn't support OpenType, then check out the split out versions, Minotte, Minotte Swash, Minotte Fil and Minotte Swash Fil. Minotte Pro Minotte Solid Pro contain these OpenType features: Contextual Swashes, Stylistic Alternates, Standard & Discretionary Ligatures, 6 Style Sets, Superiors & Inferiors, Fractions and Ornaments. The Minotte Extras Pro Pak includes three chromatic effects fonts, Minotte Center, Minotte Gradient and Minotte Shadow. These Extras fonts are intended to be used with Minotte Pro and Minotte Solid Pro, allowing colorizing and 3-D shadow effects. There are numerous combinations when using all three together! The three Extras fonts support the entire Pro character set and all OpenType features! Intended for users that do not own or use OpenType savvy apps, the four alternative fonts capture the best of the Pro version and will provide you with the glyphs needed to duplicate some of Minotte Pro’s typographic richness. Minotte and Minotte Fil are fully usable, whereas the Minotte Swash and Minotte Swash Fil are intended to work in tandem with the basic Minotte fonts. Set your headlines and text in Minotte, then switch to Minotte Swash and manually select the appropriate swash glyphs. Switch to either of the Fil fonts for full sets of Cap alternates sporting a partial fill. Minotte Pro, Minotte, Minotte Fil, Minotte Swash and Minotte Swash Fil support an extended European character set.

DT PaperType has evolved and morphed over time from quite distant origins. I previously created DT Paperside. It was neither Papyrus nor SSI Countryside, but was inspired in some ways by the Papyrus form, although untextured and smoother, and had the more open dimensions and proportions, similar to that of Countryside SSi, with its larger easily readable lowercase body, and more consistent, shorter stems. DT Paperside had an open scripted feel which was pleasing to the eye and easy to read. DT PaperType has since been crafted from of the original Paperside font. The Organic flow and comfortable form of Paperside has been retained, but it has been shifted very much from the feel of a script font, into a quality, extremely readable, organic and friendly, serif font, retaining its clarity, while adding a great deal of pose and class. This font is primarily suited to body text, and as such is extremely readable. It does however also make an excellent Display font, and comes with a full set of over sized Caps that drop below the line to stand out on a headline when required. Paperside can also automatically enhance the first letter of most sentences, and changes other letters to suit their position within words, and the letters they appear beside. Now comes with an italic that curves and softens various letters. For best results, use this ‘smart font’ with Contextual Ligatures turned on. Mulitiple Stylistic Alternatives are included. Inspiration for this fonts predecessor (Paperside) came from two other fonts. Papyrus: designed by Chris Costello and created in 1982, it is a hand-drawn textured typeface, emulating texts written in biblical times. One of the most used (and misused) fonts of all times. Owned by Letraset, and currently published by the Internation Typeface Corporating (ITC). Countryside SSi: The serif font of an unknown designer, currently licensed by Southern Software Inc. Feel free to preview some other Dragon Tongue fonts that are yet to be released, at https://www.dragon-tongue.com/fonts

Ten years or so after his unique treatment of Garalde design with Trump Mediaeval, Georg Trump took on the transitional genre with Mauritius, which was to be his last typeface. He started working on it in 1965. The Stuttgart-based Weber foundry published a pamphlet previewing it under the name Barock-Antiqua in 1967, then announced the availability of the metal types (a roman, a bold and an italic) a year later. The global printing industry was already in third gear with cold type technology, so there weren't that many takers, and Weber closed its doors after more than 140 years in business. Subsequently, Trump’s swan song was unfairly overlooked by typography historians and practitioners. It never made it to film technology or scalable fonts. Thus, one of the most original text faces ever made, done by one of the most influential German type designers of the 20th century, was buried under decades of multiple technology shifts and fading records. The metal cuts of Mauritius seem to have been rushed in Weber’s desperation to stay afloat. So the only impressions left of the metal type, the sole records remaining of this design, show substantial problems. Some can be attributed to technological limitations, but some issues in colour, precision and fitting are also quite apparent, particularly in Mauritius Kursiv, the italic metal cut. This digital version is the result of obsessing over a great designer’s final type design effort, and trying to understand the reasons behind its vanishing from typography’s collective mind. While that understanding remains for the most part elusive, the creative and technical work done on these fonts produced very concrete results. All the apparent issues in the metal types were resolved, the design was expanded into a larger family of three weights and two widths, and plenty of 21st century bells and whistles were added. For the full background story, design analysis, details, features, specimens and print tests, consult the PDF available in the Gallery section of this page.

Are you ready to unleash your wild side? Look no further than Duality, the tough and eccentric display typeface that will add a truly unique and unforgettable flair to your message. These fonts are not for the faint of heart—their wild slab-serifs and insane ball-terminals will make your text stand out in a sea of bland and boring fonts. Choose from three different styles to make your message truly pop. The regular style is perfect for making a bold statement, while the gritty Sand style adds an extra layer of texture and edge. And if you really want to make a statement, go for the letterpress Steel style—its rugged, industrial look will make your text look like it was stamped onto the page with raw, unbridled power. Whether you’re designing a poster, a logo, or anything in between, Duality is the perfect choice for anyone who wants to inject some wild, untamed energy into their typography. So go ahead, embrace the madness, and let Duality take your design to the next level. 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.

Introducing "Korge", a captivating and versatile retro bold slab serif font that seamlessly marries vintage aesthetics with modern functionality. With its bold design, serif form, and a trio of regular, rounded, and extruded versions, Korge offers a wealth of creative possibilities for your design ventures. Korge is a font that transports your projects back to the golden eras of design. Its bold and distinct serifs evoke a sense of nostalgia, lending your creations a classic and enduring appeal. Korge provides not one, but three distinct styles to choose from. The regular version exudes a commanding presence, while the rounded variant softens the edges for a more approachable feel. The extruded version adds depth and dimension, giving your text a 3D, eye-catching quality. Korge is a font that speaks the language of design across borders. With its multi-language support and PUA encoding, it ensures your message resonates with audiences from diverse linguistic backgrounds. From logo design to branding, packaging, posters, and beyond, Korge adapts seamlessly to a wide array of design projects. Its bold slab serifs demand attention, making sure your message is delivered with both authority and style. Korge invites you to embark on a journey of creative exploration. Craft memorable headlines, iconic logos, or striking signage – this font is your canvas for pushing the boundaries of design. With Korge, the possibilities are limitless. Its vintage-inspired bold slab serif design, multi-language support, and versatile styles make it the ideal choice for designers seeking to infuse their projects with timeless charm and contemporary appeal. Get ready to bring your visions to life with Korge, where classic meets cutting-edge. ——— Korge features: A full set of Uppercase & Lowercase letters Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features +237 Total Glyphs Rounded Style + Regular Style Extruded Style Korge Includes: Korge Regular Korge Regular Extruded Left Korge Regular Extruded Right Korge Regular Extruded Left Italic Korge Regular Extruded Right Italic Korge Rounded Korge Rounded Extruded Left Korge Rounded Extruded Right Italic Korge Rounded Extruded Left Korge Rounded Extruded Right Italic

Introducing Kamasunday Dynamic Blackletter, a typeface that seamlessly blends the timeless elegance of blackletter script with a modern, dynamic twist. This font is a perfect fusion of tradition and innovation, offering an impressive array of 837 meticulously crafted glyphs, ligatures, and alternates that will elevate your designs to new heights. Key Features: Dynamic Wave Design: Kamasunday Dynamic Blackletter features a captivating wave-like design that adds a sense of movement and energy to your text. Each character flows seamlessly into the next, creating a visually stunning and cohesive text. Modern Elegance: This font embodies the essence of modern elegance, making it perfect for a wide range of design projects, from branding and packaging to invitations and posters. Extensive Glyph Set: With a whopping 837 glyphs at your disposal, you have access to a vast selection of characters, including uppercase and lowercase letters, numerals, punctuation, and a variety of special characters, ensuring your design needs are met with versatility. Ligatures: Kamasunday Dynamic Blackletter includes an extensive set of ligatures, allowing you to achieve a more fluid and natural look in your text. These ligatures create seamless connections between characters for a polished and sophisticated appearance. Alternates: The font offers an abundance of alternate characters and swashes, giving you the creative freedom to experiment and customize your text. These alternates add an extra layer of uniqueness to your designs. Versatile Usage: Whether you're designing a vintage-inspired logo, a Gothic-themed poster, or a contemporary Music event poster, Kamasunday Dynamic Blackletter adapts beautifully to various design contexts. Timeless Appeal: While embracing modernity, this font retains the timeless charm of traditional blackletter script, making it a versatile choice for projects that demand a touch of history and sophistication. Elevate your design projects with Kamasunday Dynamic Blackletter, where the past and present merge into a harmonious typographic masterpiece. This font promises to breathe life into your creative visions, making your designs stand out with its unique style and extensive character set.

Steinweiss Script began its journey towards daylight when Michael Doret was asked by Taschen Publishing to do cover lettering for the huge commemorative edition they were putting together on the work of Alex Steinweiss—“The Inventor of the Modern Album Cover”. The lettering was to be created to appear similar to the famous “Steinweiss Scrawl” the calligraphy that Steinweiss had used on countless album covers. While designing this piece of lettering, Michael realized that there was great potential for a font that was designed in the spirit of that famous “scrawl”. Through his contacts at Taschen Publishing, he was fortunate enough to be able to contact the Steinweiss family, and get the official Steinweiss approval to proceed with his “Steinweiss Script” project. Michael decided that in addition to giving the font his name as an homage, that he would donate a portion of the proceeds from the sale of this font to the man himself: Alex Steinweiss. Read more about the background of Steinweiss Script in Steven Heller’s article in Imprint. Steinweiss Script is a family of fonts in three weights: Light, Medium, and Bold. Additionally, within each weight there are three variations: Simple, Fancy, and Titling. These variations relate to the size/ratio of the caps to the lowercase, the complexity of those caps, and the size of the ascenders/descenders on the lowercase characters. These variations add usefulness to the font, making it accessible not just for headlines, but for longer passages of text as well. For a better understanding of its unique features please download The Steinweiss Script Users Guide from the Gallery section. PLEASE NOTE: the three Steinweiss Script fonts are cross-platform fonts which depend to some extent on certain advanced OpenType features, therefore they can be used to their full potential only with programs that support those features. When setting Steinweiss Script one should almost ALWAYS select the “Standard Ligatures" and “Contextual Alternates” buttons in your OpenType palette. See the “Read Me First!” file in the Gallery section.

A geometric sans for space saving typography Sofia Pro Condensed is the condensed version of the popular Sofia Pro font family. This typeface was completely drawn with the look of the original normal-width version. Sofia Pro Condensed contains 16 styles from Ultra Light to Black (Ultra Light, Extra Light, Light, Regular, Medium, Semi Bold, Bold and Black) with an alternative glyph set to improve its use in different graphic contexts. This typeface will be suitable for many projects such as titles, subtitles, long editorials, brand building, mobile applications, ebooks, websites or company signage. Its contemporary aspect and its condensed style will also be suitable for editorial projects who needs to save space. Sofia Pro Condensed also has many powerful OpenType features such as case sensitivite forms, old style and tabular figures, ligatures, capital spacing, fractions and alternative characters to give personality to graphic design projects. Designed also for complex editorial content, this typeface has a powerful home kerning system called “Pro Kerning”. With more than 1500 pairs of glyphs in many languages, Pro Kerning optimizes headlines, subtitles, texts as well as long paragraphs in real time. In addition to all the features of its kind, Sofia Pro Condensed is part of a very complete “type system” with style variants such as the normal-width-version (Sofia Pro), the soft version (Sofia Soft) or the rough version (Sofia Rough). With all these typefaces, you have more than 40 styles to make your own vibrant and professional graphics or web creations while maintaining consistency in your creations. The OpenType features of Sofia Pro Condensed have an extended character set to support Central and Eastern European as well as Western European languages, Cyrillic and Greek. For more info about the powerful opentype features and the complete character map of Sofia Pro Condensed, download the PDF specimen to get a detailed view of all features.

DIN Stencil on Behance. DIN Stencil: Specimen Manual PDF. Despite the fact that over the years several designers have manually created stencil lettering based on DIN for various projects, there has never been a professional digital stencil version of a DIN-based typeface. After the successful introduction of DIN Monospace a few months earlier, PF DIN Stencil now completes Parachute’s extensive library of DIN superfamilies. It was based on its original counterpart DIN Text Pro and was particularly designed to address contemporary projects, by incorporating elements and weights which are akin to industries such as fashion, music, video, architecture, sports and communications. Traditionally, stencils have been used extensively for military equipment, goods packaging, transportation, shop signs, seed sacks and prison uniforms. In the old days, stencilled markings of ownership were printed on personal possessions, while stencilled signatures on shirts were typical of 19th century stencilling. Two companies dominated the market in the mid-twentieth century: the Marsh Stencil Machine Company in the United States and the Sächsische Metall Schablonen Fabrik in Germany. Ever since the late 1930s, it was the German Sächsische Metall Schablonen Fabrik which used heavily the new DIN 1451 standard font (introduced in 1936), attempting to overthrow the reign of the Didot-style modern roman which was at the time the most common stencil letter in Germany. These letters were manufactured mainly as individual zinc stencils which could be ordered in sizes between 10 and 100mm. The DIN Stencil family manages to preserve several traditional stencil features, but introduces additional modernities which enhance its pleasing characteristics and make it an ideal choice for a large number of contemporary projects. Furthermore, the spacing attributes of the glyphs were redefined and legibility was improved by revising the shape of the letterforms. The DIN Stencil family consists of 8 diverse weights from the elegant Hairline to the muscular Black. Currently, it supports Latin, Eastern European, Turkish and Baltic.

Whether you call them slab serif, square serif, or Egyptian, you know them when you see them – sturdy, nearly monoweight designs with blunt, straight-edged serifs and a no-nonsense attitude. The Rockwell® Nova family is a fine example of this appealing and eminently usable type style. This is a design that is both robust and adaptable. Marked by the flat top-serifs on the cap A, unusual Q tail and high-legibility two-storied lowercase a, Rockwell has a bit of handmade charm that distinguishes it from the cool, more modern interpretations of the slab serif style. The family is excellent for branding, headlines and other display uses. The simple shapes and hearty serifs also make it a good choice for short blocks of textual content in both print and on-screen environments. The light and bold weights are perfect for setting blocks of text copy, while the extra bold and condensed designs bring authority to display copy. Throw in a little color, and you amp up Rockwell’s messaging power. The regular and italic designs perform handsomely, in the most modest of screen resolutions. With four weights of normal proportions, each with a complementary italic, and three condensed designs, two with italics, the family is a commanding and versatile graphic communicator. Rockwell’s large x-height, simple character shapes and open counters, make for an exceptionally legible design. It should not, however, be set so tight that its serifs touch, as this will erode legibility and impair readability. A benefit to Rockwell’s slab serifs, however, is that the design combines beautifully with both sans serif typefaces and a variety of serif designs. Rockwell OpenType® Pro fonts have an extended character set supporting Greek, Cyrillic, most Central European and many Eastern European languages, in addition to providing for the automatic insertion of ligatures and fractions. Looking for its perfect pairing? Look no further than ITC Berkeley Old Style, Between™, ITC Franklin Gothic®, Harmonia Sans™, Metro® Nova or Frutiger® Serif.

“Nusaibah” is the first name of an early convert woman to Islam, and the first female to fight in defense of the Islamic religion. Her full name is Nusaibah bint Kaíab Al-Maziniyyah and she took part in the Battles of Uhud, Hunain, Yamama and the Treaty of Hudaibiyah with Islam’s prophet Muhammad (pbuh). Nusaibah is best known for her brave and heroic feat during the Battle of Uhud - fought on March 19, 625 - when she entered the battle carrying a sword and a shield to protect the prophet Muhammad (pbuh) from the arrows of the enemy, and she accordingly received several wounds while fighting and these wounds were not healed until the following year. The prophet Muhammad (pbuh) mentioned her distinct courage by saying that in whichever direction he turned in the battlefield, he could see her defending and protecting him. "Nusaibah" is a modern, geometric, and headline Arabic display typeface. The main trait of this typeface is the novel symmetrical design of its letters which renders it as one of the modern stylish typefaces used for headlines and titles. This is can be noticed in its letters such as “Theh”, “Jeem”, “Ain”, “Sheen”, and others. Moreover, “Nusaibah” font has a character set which supports Arabic, Persian, Urdu, and Latin letters and numerals with a limited range of specific Arabic and Latin ligatures. This font comes in two weights (i.e., regular and bold) with nearly 643 distinctive glyphs. Due to its geometric and linear design, “Nusaibah” typeface is appropriate for heading and titling in Arabic, Persian, and Urdu magazines, posters, and surfaces of different equipment. It is also elegantly suitable for signs, books’ covers, advertisement light boards, products’ and services’ names, and titles of flyers, pamphlets, novels, and books of children. “Nusaibah” typeface is one of the Arabic typefaces that has a novel and modern-day design which can be used in versatile graphic, typographic, and artistic works in different languages for diverse cultures.

Attention all designers and typographers! Discover the font that will take your work to the next level— Alphii. This sophisticated, angular typeface is the perfect blend of precision and simplicity. Its clean, straight lines exude elegance and sophistication, while its easy-to-read nature makes it the perfect choice for conveying serious technical information. Alphii is a typeface that means business. It’s the perfect choice for those who want to communicate with confidence and authority. With four weights and italics available, you can customize your message to suit your needs. Whether you’re creating a sleek corporate logo or designing a technical manual, Alphii has got you covered. So why settle for a font that just looks good when you can have one that performs? With Alphii, you’ll be able to communicate your message with precision and style. Don’t miss out on this incredible typeface—try Alphii today! Most Latin-based European, Greek, and some Cyrillic-based 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, Bulgarian, 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, Greek, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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), Ukrainian, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Musical notes and letterforms, silences and white spaces, pentagrams and lines, music and writing have much in common and go beyond time, cultures, styles and locations. This new typeface emerges from the blend between the lyrics and the harmony, rhythm, femininity and luminosity of the traditional musical forms. It`s not about blues or rock, tango or salsa, instead it recovers the neoclassical characteristics of the current musical notation system and revitalize the essence of its signs. Taking care of both the function and the form, Elisetta has been specially designed for the writing of texts and musical sheets considering all its elements and communication needs. This source of inspiration also makes the font really good for extensive texts, since its design is based on situations that require high line performance, great readability and high aesthetic coherence. With 5 variables that vary in weight and style, the typography gathers asymmetry and organic nature in vertical structure, narrow horizontal proportions, high x height and extreme contrast between black and white. Elisetta Book has been created for the writing of clear texts and long lines composed in small sizes inside and outside the pentagram; Elisetta Italic intensifies the organic nature of the musical keys by offering softer signs, contextual alternates and initial caps; finally, Elisetta Display increase and emphasize the contrast between vertical stems and horizontal lines to highlight short texts and titles. For those who love music and for those who like romantic forms, this typography has a lot to offer: Elisetta is the best option to write light words with style, compose clear and rhythmic lines and read comfortable paragraphs with high performance. You can tell everybody this is your font, how wonderful life is while you're in the world! * This typeface was originally designed and supervised as «Elisa», the main project of the Master in Typography at University of Buenos Aires, Argentina.

Step back into the 1990s with Gameness, the font that embodies the spirit of the era’s gaming culture. Inspired by the Game Boy box art for Final Fantasy Adventure, Gameness evokes a sense of nostalgia while still looking fresh and modern. But this isn’t just any retro font. Gameness is sleek and sophisticated, with a narrow elegance that sets it apart from other throwback designs. Its tall letters are perfect for headlines, logos, and branding materials, giving your projects a bold, confident look. For clients who demand only the best, Gameness comes with an alternate barred “A”, adding even more versatility to your designs. And in OpenType-enabled applications, the “S” shape subtly alters to match the adjacent letters, ensuring a smooth, harmonious look every time. So why settle for ordinary fonts when you can make a statement with Gameness? Download it now and bring a touch of retro cool to your next project. 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.

Joachim Müller-Lancé's Uppercut is a rather sporting fellow, originally developed for the Krav Maga training center of San Francisco (Krav Maga is a simple and efficient self-defense system that has become equally popular in Hollywood and with law enforcement). Joachim has spent several years training, hitting things and people whenever he needs a break from kerning. Uppercut can be seen on the school's t-shirts and other articles. Despite bearing the same moniker as an upwards punch to the chin, the name actually fell together quite naturally as Uppercut is an all uppercase typeface, and the word "cut" is also historically used to describe a type style in hot metal type. For this slanted look, "Angle" felt just right (with thanks to Mia McHatton). The design idea sprang from pencil sketches for the center's new identity. Uppercut's shapes are not calligraphic or handwritten, more like lettering seen in comics or sports logos. Its brush movements are imaginary, not too literally brushy. During development, details were simplified and reduced until a bit of a cut-paper feel emerged, but more fluid like writing. The shapes are economical and efficient; simplicity makes the font versatile, holding up in small as well as big sizes. Uppercut is decidedly analog, muscular but not bulky, with the fluid but determined movements of a boxer or martial artist - not theatrical but powerful, fast, confident and dynamic. Well... it has punch. In the proportions, there is emphasis on a strong upper edge "keeping its guard up", while several stems protrude downward, giving the impression of leaping or being "light on the feet". Use Uppercut to pick up the pace, add snap, verve and drive - on movie posters for action and adventure, to advertise your dojo, rumble or prizefight, racing team or tuning shop, or invite friends to your barbecue with old time rock'n'roll and homemade hot pepper sauce.

Ambiguity is a type family with five distinct personalities or ‘states’, created as a tool for coaxing designers and brands out of their comfort zone. It embraces both tradition and radicality, as well as generosity and thrift, encouraging us to question our beliefs about the intersection of style and meaning. The family is designed by Charles Nix, who describes Ambiguity as “as much thought experiment as typeface.” Its five states—Tradition, Radical, Thrift, Generous and Normate—each express or subvert different aspects of typographic tradition. Tradition is conservative, relying on historical letter shapes. Radical rejects inherited ideas of proportion, making typically slender letterforms wide, and wide letterforms slender. “It’s contrarian,” says Nix. Thrift cherry picks the condensed shapes from Tradition and Radical, while Generous does the same for wide forms. Normate sits at the center, a synthetic blend of all of the others. “Tradition is very comforting,” says Nix. “It’s the mask of conservatism. It’s calming because it delivers the proportions we expect. With Thrift more fits into a smaller space, so it’s great where words want to get large, like gigantic headlines, or text needs to cram in, like small screen type. You get a sense of carefree and luxury from the Generous cut. One would expect the Radical to be used in a sort of Dadaist way, but in a classic context it provides an enjoyable jolt.” Ambiguity is a litmus test. Designers could spend hours trying on typefaces that offer just one of these voices. Ambiguity provides five different personalities—ideas—beliefs—each of which also work seamlessly together. “It’s a palettea, like idea cards,” he says. “It’s a way of making yourself see differently. My hope is that traditionalists will try on radical clothes and vice versa. It’s a way of exploring outside your comfort zone, breaking out of the doldrums, by stepping through a variety of voices.”

It's been a while... more than three months we developed our brand new font. We call them "Meastro". Fun fact though, we want to call it "Maestro", but you know... we were afraid of the copyright thing. Meastro Script is a fun, bold, luscious, retro display script font. We crafted this font very carefully and make them very smoothly attach to each other. Especially, on the script version. You can see every character's tail beautifully connected one to another without using ligatures' help. This font takes full advantage of the Open Type format with several automatic ligatures that occur as you type for your preferred design. Moreover, the manual stylistic alternates allow you to choose the letters you prefer. Alternates occur automatically as you type in supported programs when you have "Ligatures" or "Stylistic Alternates" turned on. Meastro is Created with a ton of stylistic alternates, swashes, and ligatures, and also comes with layerable fonts to recreate the effect without uncomfortable overlaps of the extruded shadow effect. On this pro pack, you will also get the Meastro Display font! On this font you will meet the unique blocky and squared design, making your design feel classic and retro-like. Combine them and “boom”, you will be the “Maestro” of the vintage design! This retro typeface is perfect for logotypes, t-shirts, vintage badges, retro quotes, branding, packaging, posters, signboards, social media needs, etc. ——— Meastro features: A full set of uppercase and lowercase characters Layered Style Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features +553 Total Glyphs (Script) +235 Total Glyphs (Display) +238 Stylistic Alternates +30 Ligatures +69 Swashes and more (Shiny and Graffiti Spray Effect Included!) ——— ⚠️To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe InDesign & CorelDraw X6-X7, Microsoft Word 2010, or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac), or a software program such as Pop Char (for Windows and Mac).

Changing nature of work FS Industrie is an extraordinarily versatile new type system, with 70 variants built around five different widths and seven different weights. Type in the future will be increasingly variable, and FS Industrie is specifically designed to address the changing needs of brands. As more of the things we make exist primarily in a digital space, so our need to create type that can adapt within that space grows. It is the spirit of variable design, adaptation and flexibility that drove us to create FS Industrie. A typeface for future work in a future world. FS Industrie is a response to the changing nature of type, for brands that are responding to the changing nature of work. Industrial style Stylistically, FS Industrie feels direct and simple without sacrificing its humanity. It takes inspiration from German fonts of the 1930s, with their roots in manufacturing and signage. A classic sense of functional utility combined with a progressive view of where type is heading. Expressions in width A fundamental challenge with variable type is to ensure that craft and precision is preserved at every interval. Each width and weight is drawn by hand, with subtle variations in terminals and angles as you progress through the system. This ensures each variant can play to its unique strengths, while also pairing perfectly with its siblings. From the closed terminals of the Condensed and the open terminals of the Extended. FS Industrie is a design system that maintains a practical, grounded and robust tone throughout every variable style. Variable nature The 70 styles offer a range of expression. Each width contrasts with the next to clearly define typographic roles in graphic layouts. Every glyph is crafted with adaptability and scalability in mind, creating a pliable design space for the user. The proportions of each letterform flex as weight scales up, stem weights increase as letter width broadens. These subtle design changes create an optically consistent visual impression.

Smallstep - One geometric sans serif with a free spirit. If we presume that geometric typefaces play with the idea of what typography would look like in the future when all unnecessary elements would disappear, than most of their designers seem to envision the future in a rather metropolisque kind of way. We love geometric faces, but the cold and heartless feelings that most of them leave is just not our cup of tea. That is why we are happy to bring some optimism in that genre with our new typeface. We called it Smallstep. Smallstep is a typeface that follows the traditions of classic geometric sans serifs like “Futura”, but is at the same time friendly and whimsical. We took the liberty to deviate from the standard sans serif glyphs while drawing some characters (such as ”a” and ”r” ), others (“w” “k”) are completely redesigned. Probably the biggest trademark of this typeface is the way vertical lines in most lower case characters are “cut” so they end in a 60 degree angle. Smallstep is over all a expressive face, which means it brings some emotions to your design and feelings in itself, and should be used accordingly. Other than that, it is suitable for both headline and body text, print and web. So what kind of name is “Smallstep”? We view the type design process as a form of evolution: There can be no typeface that differs drastically from the current standards, since its characters would be unrecognizable and thus unreadable. But at the same time there are hundreds of faces that differ a little, and still manage to make a difference by moving with small steps towards better and more refined looks. Smallstep consist of 4 weights, that cover all the features, that are expected of a modern Opentype face: kerning pairs, ligatures, true italics and alternative characters, plus a set of symbols, that will help you start off your designs more easily.

Sancoale Softened is the new rounded companion to Sancoale. While the original Sancoale is crisp and defined, its delicate forms also lend themselves well to a lighter, more rounded version. The stems of Sancoale Softened are blunted, and its corners have been carefully rounded, avoiding the “sausage” look seen with some rounded fonts. This blend of definition and delicacy makes the Sancoale Superfamily versatile and appropriate for a variety of applications. The design minimizes the characters to their essence, leaving a default set of simple characters without notches or spurs. However, the typeface family’s slightly technological feel still appears friendly and approachable to the reader. It’s slightly condensed proportions and tall x-height also make the design readable at a wide range of sizes, which works especially well for web pages. These softer letterforms give Softened its unique, futuristic look--great for distinguishing your text or display. There are six weights with true italics. All insigne fonts are fully loaded with OpenType features. Sancoale Softened is also equipped for complex professional typography, including alternates with stems, small caps and plenty of alts, including “normalized” capitals and lowercase letters. The face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. The Sancoale family also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Sancoale Softened supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Sancoale Softened continues with Sancoale’s successfully simple, geometric and legible structure. With its suitability for a wide range of uses, the Sancoale superfamily is a very economical and versatile addition to any designer’s font collection.

Grava is Neil Summerour’s injection of warmth within the geometric sans font category. Historically, geometric sans families have been based on primal shapes — triangle, circle, square — and the more closely they held to those rigid rules, the more internal inconsistencies they showed. Angles won’t match up correctly, letters will lean, overshoots complicate clean typesetting, and idealized circles become grotesque and unwieldy in some weights. Because of issues like these, geometric sans fonts have a reputation of being cold, austere, even a bit “off”. Grava was made to hold a T-square and triangle in one hand while giving a welcoming handshake with the other. The Grava font family comes in two styles (a normal and a Display), each with 20 weights (Thin to Ultra) and paired with italics. Its design allowed the three scripts of Latin, Cyrillic, and Greek to emerge seamlessly, ensuring Grava will find its home in multilingual publications. Even better, each character in the three scripts is spaced with every other character for a beautifully matched fit, and it’s a buy-one-get-all-three deal since they are all packaged together. The normal style’s large x-height won’t let you down in paragraphs, headings, and any call-out text. And have you seen the angles on those numerals? Pairing Grava’s numerals on a jersey is sure to catch some eyes, just sayin'. Grava Display is purposefully quirky and sharp, and made for poster sizes, book and album covers, and those websites with a well-defined character — somewhere between playfully self-aware and overtly vintage. Flat edges are abandoned to make way for sharp points and conspicuousness, for geometrical attitude and respectful expressiveness. Corporate reports use Grava Display to take on a professional and current look. The optional ligatures (N–T, L–L, G–A, C–O, almost anywhere an ‘A’ is placed, and more) in both the normal and Display styles invoke a midcentury modernist and high art feel. Now that introductions are done, you can let go of Grava’s hand and put it to work for you.

The script version of the typeface Viabella introduces us to the calligraphic side of the Berlin type designer and typographer Karl-Heinz Lange. The sketches for this script typeface, which resulted from the close cooperation with Veronika Elsner and Günther Flake, found their roots in sketch drawings which Karl-Heinz Lange had already drawn in the 1980’s. For the Viabella design, Karl-Heinz Lange drew the basic letterforms of the Black and Regular cuts with a brush. He then re-worked the drawings and transferred them on to tracing paper. The design studio Elsner+Flake in Hamburg cut these typeface extensions and later digitized them manually with the help of the IKARUS Sustem. With the Regular cut as a basis, Elsner+Flake extended the family with the Light version and interpolated and re-worked the Medium weight. The completion of the family was taken over by the type designer Björn Gogalla who had done the same kind of work on Rotola, a design which Karl-Heinz Lange had also created for Elsner+Flake. While Viabella was originally conceived as a headline typeface, its lighter weights can certainly be used for shorter text applications. The Black version creates powerful headlines with highly effective accents. With the help of swashes, which are available for all weights, the user can lighten up longer texts and add special character to titles. In contrast to pure headline fonts, Viabella has been enriched by an extensive complement of special characters. In addition to the Europa-Plus character set which allows setting type in over 70 latin-based languages, the user will find multiple versions of numerals as well as oldstyle figures, tabular and proportional lining figures, diagonal fractions, and a complete set of superior and inferior figures and fractions (60%). With such a rich character set, Viabella is not only ideal for many different uses in the areas of newspaper, magazine and advertising but it will surely be chosen for the design of greeting cards, invitations and other design projects within the privat sphere.

Bely is the first design by French newcomer Roxane Gataud. Too many typefaces are either governed by fear and never accomplish what they could, or are unrestrained which results in their frenetic dangling like a leaf caught in a spider’s web. Bely’s strength is that it has both restraint and freedom throughout the text weights and into the unique display weight. There is no fear in this type family, but only great respect for both the tradition of reading and the opportunity to make an impression. Bely is a high-class throwback containing four text weights which were built upon classical proportions to capitalise on reading familiarity. Bely Text features balanced capitals and a play between large, triangular serifs at the top and thick, bracketed, rectangular serifs at the bottom. The family is capped by a radical, expressive French-style display weight which pushes the rules of the text weights to their logical extreme. Bely Display, truly daring with its monstrous and angled contrast, exploits the features which make an impression at larger sizes. In the end, Bely Display is adventurous when used in packaging, identities, and headlines with attitude, while Bely Text’s calm baseline and piercing ascenders give paragraphs texture and familiarity. Bely covers the Latin A Extended glyph set and brings its sense of confidence to your projects with its two text weights, matching italics, and unique display style. Bely’s satisfying OpenType features allow for the implementation of typographic niceties such as small caps, both tabular and proportional lining and oldstyle figures, ligatures, alternate characters, case-sensitive variants, and fractions. The complete Bely family, along with our entire catalogue, has been optimised for today’s varied screen uses. Awards – Selected for TypeTogether’s Typeface Publishing Incentive Programme scholarship in 2014. – Selected by French magazine Étapes for the 2014 Diploma Issue. – Selected for the 2014 exhibition “TransFormations” at Centre Pompidou. — Received the SOTA catalyst Award 2016

ATTENTION! See the newest version of Reina here. Reina Neue is now a family of 45 styles and it's also a Variable Font! Have a look. For the traditional version of Reina, you may stay here ;) --- Reina is Sproviero’s didone of the year. We recommend seeing its user’s guide . Inspired in the sweet letters of calligraphy and typography masters of our past; such as Didot, Bodoni and the incredible Herb Lubalin, its aim was to incorporate the decorative accolades from blackletter and copperplate styles of calligraphy into a Modern Roman typeface. Reina reflects sovereignty due to the enveloping atmosphere and the sensation of greatness that can be felt when using it. It has an unique way of standing over paper and screen, being its swashes responsible of an extreme elegance. Similar to what Lian did in his last font Breathe , Reina was designed to be playful yet formal: While none of its alternates are activated it can be useful for short to medium length texts; and when the user chooses to make use of its open-type decorative glyphs, it can be useful for headlines with dazzling results. TECHNICAL Reina is a family with many members. In order to achieve better results when printing, Lian took his time to design the necessary styles: Reina 72 Pro, prepared for display sizes; Reina 36 Pro, for medium sizes; and Reina 12 Pro, the best for text or decorative words in small size. Each of these members have variants inside, which are open-type programmed: The user decides which glyph to alternate, equalizing the amount of decoration wanted. Reina Engraved Pro has the same features than the variants mentioned above. The family also contains variants which were made exclusively for decoration. These are: Reina Words, a set of the most common words used in english, german, italian, french and spanish; Reina Capitals, which consists in a big set of ornamented capitals; and Reina Fleurons, those little friends which always help to embellish our work.

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though, in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from UltraLight to Heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Complete your designs with these perfect pairings: Dante™, Joanna® Nova, Kairos™, Menhart™, Soho® and ITC New Veljovic®. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic. Featured in: Best Fonts for PowerPoints

Archive Garamond is a typeface roughly based on the designs of Claude Garamond (ca. 1480 – 1561), a French publisher and a leading typeface designer of that period. Garamond’s influence on type design is reflected in many typefaces that are today known under different commercial names. While the majority of contemporary digital interpretations of the “Garamond types” are cleaner and more polished versions of that genre, Archive Garamond tries to keep the rough nature which was typical in the early days of printing. Archive Garamond has a rather unique, distinctive temperament which is even more emphasised with the preserved non-uniformity, such as irregular glyph shapes or a variable baseline. Although Archive Garamond was clearly made to be used for display sizes it works surprisingly well in text. Archive Garamond is availale in three versions, each containing approximately 600 glyphs (in Pro versions). Archive Garamond Pro A Professional version of the typeface contains all glyphs, including the advanced typographic forms, such as different sets of figures, small caps, swashes, historical forms, etc. The font also enables full use of the OpenType features. It fully supports the languages listed in the language list. Archive Garamond Std A Standard version of the typeface is meant to be used for the basic typographic work. It typically contains the most common glyphs. The standard figures are proportional lining. Besides kerning this version does not contain any advanced OpenType features. A Standard file type fully supports the languages listed in the Language list. Archive Garamond Exp An Expert version contains glyphs that are supposed to be used in advanced typographic works. This type of file contains uppercase and small cap glyphs with the proportional oldstyle figures as the default set. Besides kerning this version does not contain any advanced OpenType features (all OTF features have to be replaced manually). An Expert file type fully supports the languages listed in the Language list.

It is a font based on characters called "Kanteiryu," which were used in the Edo period for signboards and the rankings of actors in stage performances such askabukiandjoruri. While inheriting the culture of "Kanteiryu," the "NewKanteiryu" font is easy to read and is arranged in a modern style, maintaining its decorative nature. You can enjoy the movements of calligraphy-like brush strokes in both vertical and horizontal typesetting. 江戸時代に歌舞伎や浄瑠璃などの舞台演芸の表看板や番付に使用された「勘亭流」と呼ばれる文字をベースにした書体です。「勘亭流」は歌舞伎の舞をイメージした曲線的なエレメントが一番の特徴ですが、他にも「字を太くして空白（隙間）をなくす＝空席がないように」「尖らせず丸みをもたす＝興行の無事円満祈願」「ハネを内側に入れる＝観客を芝居小屋に入れる」など、一般的な毛筆とは違う、縁起を担いだ独特の決まりで書かれたとても装飾性の高い文字です。セイビジンダイは「勘亭流」の文化を継承しつつ、装飾性を保ちながら読みやすく現代風にアレンジした「新勘亭流」書体です。タテ組でもヨコ組でもカリグラフィのような筆の動きが楽しめます。

Modern Neon is an audacious display font that combines the allure of neon lights with an array of captivating lines. With its uppercase letterforms, this typeface commands attention, creating a visually stunning experience that leaves a lasting impression. The defining feature of Modern Neon lies in its bold and adventurous lines that adorn each letter. These radiant lines flow dynamically throughout the characters, adding an element of complexity and intrigue. The interplay of these luminous lines creates a visual spectacle, captivating the viewer's gaze and drawing them into a world of electrifying typography. Inspired by the vibrant glow of neon signs, Modern Neon exudes a futuristic energy. The font's luminosity casts a vivid hue, evoking a sense of innovation and modernity. Each letter pulsates with an otherworldly glow, creating a striking visual impact that cannot be ignored. Each letter of this font has been meticulously crafted to strike a balance between legibility and decorative intricacy. The interconnected lines add depth and movement to the characters, enhancing the overall composition without compromising readability. The result is a font that exudes creativity and boldness while ensuring your message remains clear and impactful. You can also enjoy the various features available in this font. Enjoy the various features available in this font. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations The strong and bold strokes demand attention, making this font perfect for headlines, titles, and impactful statements. Whether you're creating posters, branding materials, digital artwork, or anything in between, this font will add a daring and captivating element. It particularly shines in applications related to technology, gaming, fashion, and futuristic themes. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Introducing Astro, a charming serif font designed to bring an elegant and classic touch to your designs. Crafted with meticulous attention to detail and inspired by mid-millennium Serifs, Astro seamlessly blends traditional sophistication with contemporary elements, making it suitable for a variety of design projects, both print and digital. Enchanting Letter Shape Designs: Astro exudes charm with its letter design that is heavily inspired by the mid-millennium Serifs often found in European and American designs. Each letter is carefully carved to create a charming and luxurious impression. Unique Alternative Glyphs: Astro is not just a font; it is a standout typographic masterpiece. By offering several unique alternative glyphs, such as the letters a, g, and k, Astro gives designers the freedom to express their creativity in a unique and personal way. Mid-Millennium Serif Elegance: Astro features smooth lines and proportions, creating an elegant impression characteristic of mid-millennium Serifs. This design provides a timeless classic touch making it suitable for a variety of design needs, including books, magazines, posters and other printed materials. Ease Readability: While the Astro exudes striking elegance, its design also prioritizes readability and comfort. Each letter is created with balanced proportions and optimal contrast, ensuring text appears clear and easy to read, whether on a large or small scale. Flexible Use: Astro is designed to provide flexible use across a variety of design platforms. From the logo design to the magazine layout, Astro adapts beautifully, maintaining a consistent feel that enhances the aesthetic quality of the design. European and American inspiration: Astro creates a bridge between European and American typographic styles, combining the best elements of both traditions. This makes it the perfect choice for projects that combine elements from both continents. Astro is more than just a font, it is an artistic statement that leaves an unforgettable impression on any design project. Suitable for designers who appreciate classic beauty and modern uniqueness, Astro brings a special and charming feel to every character it creates.

Looking for a unique display typeface that will set your designs apart? Look no further than Acroyear! This quirky font is based on a soft, capsule shape that is sure to catch the eye of anyone who sees it. And while it can be used horizontally, it truly shines when placed on an upward incline. Whether you’re designing a poster, logo, or website, Acroyear is the perfect font to add a touch of personality to your work. Its soft curves and playful vibe make it perfect for anything from children’s books to edgy fashion campaigns. But don’t just take our word for it—give Acroyear a try for yourself and see how it can elevate your designs to the next level. With its unique style and endless versatility, this font is sure to become a staple in your toolkit in no time. So why wait? Try Acroyear today and see the difference it can make! Most Latin-based European, Greek, and some Cyrillic-based 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, Bulgarian, 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, Greek, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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), Ukrainian, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Lapture is based on the Leipziger Antiqua by Albert Kapr, released in 1971 by the East German foundry Typoart. It has been extended and carefully redesigned by Tim Ahrens in 2002-05. The strong calligraphic characteristics are a result of the design process: "The size of the counters and the width of individual characters at small optical sizes were analysed with a steel pen while the letter shapes were designed in larger size with a specially trimmed reed pen. Sometimes the hand is more innovative than the head alone," says Kapr. A unique feature of this font is the introduction of gothic shapes into a latin typeface. "The basic concept is to string together narrow white hexagons as counters and inter-letter spaces, defined by vertical stems and triangular serifs. The interior spaces are at least as important as the strokes that make up the characters." Lapture is an ideal choice if a reference to gothic style is desired, as true black letter types are often too eye-catching and not as legible as latin fonts for unfamiliar readers. "The last few years have seen a number of very elegant typefaces based on the mellow and feminine renaissance model. However, sometimes we require a font that is strong and robust, harmonic yet rigid," says designer Tim Ahrens. JAF Lapture is provided in OpenType format. Each font contains more than 600 glyphs, including true small caps, nine sorts of figures, contextual and stylistic alternates and accented characters. This means that you only need to purchase one font whereas in other families you would have to buy two or three fonts in order to get the same. Technically, they follow the Adobe Pro fonts and provide the same glyph set and OpenType functionality. JAF Lapture Basic is provided in OpenType format. Each font contains the standard sets of both MacOS and Windows. In contrast to JAF Lapture they do not provide any advanced OpenType features and no extended glyph set.

Introducing Addlethorpe, the sleek and sophisticated three-layer metal typeface that will elevate your designs to the next level. With its unique combination of foreground, fill, and background layers, Addlethorpe offers endless possibilities for customization and creativity. Whether you’re designing for print or digital, Addlethorpe has you covered. The foreground layer, Addlethorpe 1, is perfect for use on light backgrounds, offering intricate detail that will catch the eye and draw the viewer in. But why stop there? Addlethorpe 2 is the perfect fill layer, allowing you to add color and depth to your elevated letters. And don’t forget about Addlethorpe 3, the rectangular background layer that fills in the blanks and ties your design together. With its clean lines and bold presence, Addlethorpe 3 is the perfect finishing touch. But Addlethorpe is more than just a pretty face. OpenType-aware programs allow for the use of lining or old-style numerals, while letter pair ligatures break up the monotony of repeated letters. And with Addlethorpe Web, you can enjoy all of this beauty and versatility with faster load times and simpler forms. So what are you waiting for? Give your designs the edge they deserve with Addlethorpe. Just be patient with your application – with all this detail and customization, it’s worth taking the time to get it right. Some Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aymara, Basque, Bemba, Bikol, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Galician, Genoese, German, Guadeloupean Creole, Haitian Creole, Hiligaynon, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Kikongo, Kinyarwanda, Kirundi, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Papiamento, Piedmontese, Portuguese, Quechua, Rarotongan, Romansh, Sango, Saramaccan, Sardinian, Scottish Gaelic, Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tetum, Tshiluba, Tsonga, Tswana, Tumbuka, Uzbek (Latin), Venetian, Võro, Walloon, Waray-Waray, Wayuu, Xhosa, Yapese, Zapotec Zulu and Zuni.

ZX Spectrum In 1982, a home computer came on the market that would launch the UK IT industry. The ZX Spectrum sold five million units and spawned thousands of software titles. It was the must-have gadget for every teen. FS Sinclair is inspired by the memory of Sir Clive Sinclair’s greatest creation: the experience of entering its clunky command codes and reading its simple, grid-placed type. Smart, switched-on, great in text and display, FS Sinclair is a modern grid-based font, drawn with the Spectrum in mind and brought to life by well thought-out design. Formula Having completed the font for Channel 4’s brand update, the Fontsmith team defined the formula for its next font: the creative essence of the C4 work but with more structural discipline, more rigid form and a little more seriousness. The new font wouldn’t look self-consciously retro but it would reference the past and, it was hoped, influence the future. Readability Like the ZX Spectrum, it took a while for the new font to do exactly what it was meant to do. Many of the early concepts by Phil Garnham and Jason Smith were too jagged – the result of an awareness of getting too close to existing fonts of the same ilk, such as Wim Crouwel’s Gridnik. Eventually, FS Sinclair evolved into a more readable, functional grid-based type design that answered Phil and Jason’s original, self-set brief. Idiosyncratic There’s a technological, systems feel to FS Sinclair but ultimately, humans are in charge. The lowercase “a”, “n”, “m” and “r” have clean-cut “ears”, and the square-ish design is softened by round joins on the inside of the letterforms. The idiosyncratic design of letters such as “g”, “j”, “k”, “v”, “w” and “y” bring the design up to date. This is a modular font with character, and a range of weights that allow varied application.

Discover the mesmerizing power of Korataki—the ultimate contemporary font that pays tribute to the iconic ultramodern style of the 1970s classic, China/Chimes. With its simplistic yet striking industrial design, Korataki captures the essence of a bygone era while simultaneously bringing it into the modern age. The beauty of this font lies in its ability to communicate with unparalleled clarity and precision, evoking a sense of wonder and intrigue in the mind of the beholder. Whether you’re looking to make a bold statement or convey a subtle message, Korataki has got you covered. With seven distinct weights and accompanying italics, as well as OpenType alternates for A, G, Q, and 4, this font is fully customizable to suit your every need. Let Korataki guide you on a journey of creativity and self-expression. With its wide industrial design and timeless aesthetic, it’s sure to make a lasting impression on anyone who beholds it. Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, 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, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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, Ukrainian, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.