Microbrew is a versatile retro display family with 14 individual styles, plus retro banners, ornaments, and symbols. It’s a nice mix between wood type poster style, and vintage letterpress. The more detailed styles work well at large sizes, and the cleaner styles add legibility at smaller sizes. Microbrew is an all caps display font, but the lowercase act as alternates. For super-easy alternates, just mix uppercase and lowercase letters. To add to the realism, Microbrew includes double-letter ligatures. Microbrew also includes a set of extremely intentional ornaments and symbols. Designed to give a vintage feel, the ornaments and symbols compliment Microbrew nicely to round off the family. The ornaments also include catchwords, old style numbers, and lots of retro symbols.
Don't let the name fool you, Microbrew is very versatile and works great for almost any subject matter, including weddings, birthdays, restaurants, coffee shops, music, and many more. Opentype features include automatic fractions, subscript numbers, superscript numbers, and double-letter ligatures.
OTF | 16 Fonts | JPEG Preview | 11.9 Mb RAR
Centar Sans is a simple, modern, universal, powerful, invisible but not characterless, sans serif family. The family is designed for identities & corporate projects. Its wide range of styles covers lots of possibilities of use, from headlines to texts. It supports a lot of languages including cyrillic and comes along with 19 OpenType features - Small Caps, ligatures, alternates and many more.
OTF | 16 Fonts | JPEG Preview | 3.9 Mb RAR
Creation of this typeface for titling, display, and logos was inspired by my exploration and drawing of forms found in nature. Refined, quiet and elegant, yet quirky enough to employ slim filaments that somehow are not faint of heart, Mandevilla is named for the verdant tropical vine. The sturdy plant has firm footing in the soil, then climbs, curving around trees, stretching toward the light, bridging earth and sky. Mandevilla began as a sans-serif, but its footing, in the form of tiny round lachrymal terminals, roots it and transforms it into a semi-serif. From there the tendrils spiral—especially in the uppercase letters, with their echoes of nautilus shells we held to our ears to hear the ocean—and embrace slender, airy ascenders that tenderly but determinedly rise heavenward. As I sketched, I played with curliques, beginning with the uppercase A. My process usually begins with lowercase letters, but I was fascinated by the spirals and the references to nature, and how that swirl swept around the A, B, and Q, giving each a delicately different personality, within a softly stated whole. The sweep of my pencil both interrupted and completed the diagonal stems of the A and the K, and this idiosyncrasy intrigued me. How would this theme work its way through the alphabet? When I was finished, I sensed spun sugar, or the vines of a delicate plant—and thus its name, Mandevilla. From there, I moved to the lowercase letters, and sought simplicity to balance the embellishments in the uppercase letters. Round, open, friendly, warm, with just a whisper of the Art Deco period, they soften the more ornate letters yet confer a touch of clarity. Born as sans-serif shapes, their terminals now carry a hint of drops of dew, shifting them to semi-serifs. Alternates are included to allow for versatility, so each design has your unique twist. While the Mandevilla default is decorative, the titling set is unadorned and non-stylized, yet still capturing the airiness of the typeface. Access them in the Open Type panel as Titling Alternates, as seen in the User’s Guide. They’re useful in some larger text settings or simply if the design calls for a more standard look. Also included are a 3/4 size set, listed and found as small caps. Small caps are typically the size of a lowercase letter, but these 3/4 caps are about 80% of the height of the uppercase letters. They are useful for all uppercase settings—used together, they maintain a sense of a word shape because they are smaller and less ornamented than the initial cap and are serif-free. A set of swashes offers both upper and lowercase variations, with an especially rich selection for each lowercase letter. Mandevilla includes a downloadable User’s Guide (available for download from the ‘Gallery’ tab), 950 glyphs, and 210 alternates, including sets of uppercase and lowercase letters (both swash and standard—the standard are listed in the User’s Guide as “Titling Alternates”), and 3/4 uppercase alternates listed as “small caps.” Thirty-eight ornaments complete the package. May your type rise up to meet you as you work!
OTF | 3 Fonts | JPEG Preview | 9.4 Mb RAR
Zona Pro is a geometric sans-serif type family of 8 styles plus matching italics, designed by Kostas Bartsokas in 2013/14. It draws inspiration from 1920’s geometric style faces, having clean and highly readable shapes, and mixes it up in the heavier weights with a slight variance in the stroke widths, lending it a grotesque-ish unique and distinctive look. Zona Pro is multifunctional and versatile. With its modern yet elegant form it performs amazingly in display sizes and headlines. At the same time its really tall x-height makes Zona Pro equally suited for editorials and shorter lines of text in smaller sizes (magazines, newspapers). Zona Pro supports Greek, Western, Central and Eastern European languages, ligatures and special characters.
OTF | 16 Fonts | JPEG Preview | 4 Mb RAR
When downloading New Modern you will also receive illustrator files containing each character which will come in handy for large layout work. Fine pieces of creative talent come in the form of Sawdust: a mix of one part Rob Gonzalez and one part Jonathan Quainton and based in the achingly creative Hoxton area of London town. With four eyes for impeccable detail and quality of finish, a thing of true beauty in the printed form, this duo, as the same suggests, are ones to watch – highly flammable in a creative sense.
OTF | 1 Font | 2 AI Files | + JPEG Preview | 4.7 Mb RAR
Uninsta is a neutral sans serif font family intended for use across a variety of modern applications in both digital and print media. Geometric letter forms are combined with subtle humanist touches to create a legible, low contrast typeface with great personality. Details include 9 harmonised weights with true italics, over 490 characters, alternative lowercase ‘a’ and uppercase ‘Q’ with associated accents, manually edited kerning and Opentype features.
OTF | 18 Fonts | JPEG Preview | 5.2 Mb RAR
Ivory is inspired by a beautiful typeface used in an illustrated compendium about pomology from 1882. We separated the elegant “Swashes” from the letters – use it together with “NoSwashes” to get two-colored initials. Please note that the kerning of NoSwashes works only together with Swashes. To achieve the two tone effect shown in the samples, you need to use an application that supports layers. For example, Adobe Illustrator, Adobe InDesign, Adobe PhotoShop, CorelDRAW, and Quark. Some of the preview images where made by Arina Karen Renata Palilingan.
OTF | 3 Fonts | JPEG Preview | 4.2 Mb RAR
Samo Sans Pro is a contemporary sans-serif typeface with a slight contrast of strokes, balancing between technical design and dynamic feeling. The Pro Version is based on the Samo Sans basic typeface, and it is extended by more styles, more glyphs, and other features required for professional typesetting. Beside the complete set of Latin, Samo Sans Pro includes Cyrillic and Greek glyphs as well. Each font includes alternate glyphs, small capitals, standard and discretionary ligatures, oldstyle/lining and tabular numerals, fractions, superiors/inferiors figures, set of arrows, dingbats and a wide range of typographic options applied by the Opentype features. The complete typeface family consists of 16 styles in 8 weights and their Italics. The type has a reduced height of caps and numerals and it has an optimal x-height, which makes it suitable for the typesetting of more extensive texts. It can be effectively applied in corporate identities or in a display typesetting.
OTF | 16 Fonts | JPEG Preview | 4.9 Mb RAR
CA Viva Las Vegas is a fine light bulb font inspired by signage of concert halls of the 70s when Elvis was playing in Las Vegas. Two different styles (NIGHT and DAY) and 4 weights (Ultra Light, Thin, Light, Regular) based on a layered system give endless design possibilities by using combinations of fonts and colors. CA Viva Las Vegas has an extensive character-set including Russian Cyrillic plus the Turkish Lira sign. It’s best used in big font sizes.
TTF | 8 Fonts | JPEG Preview | 7.8 Mb RAR
Geometria is a new geometric sans serif. It consists of 16 fonts - eight weights with matching italics. The font includes multiple sets of figures and currency signs, alternate glyphs, a variety of experimental ligatures, and punctuation marks for the two cases. The 815 glyphs support 71 languages. Although geometric Sans Serifs have been in vogue for nearly a century, they have never been as ubiquitous. It is not improbable that the old adage would be phrased: "When in doubt, set it in geometric sans", had it been composed today. Have we not had enough? We think, not. Postmodern times demand a variety of expressions. The vision behind Geometria was to revisit the perennial favourite to lend subtle individuality to its tried and true forms. Geometria stands out in the crowd of similar fonts thanks to its complicated nature. It combines dynamic elements with a certain degree of stability. A slightly higher waistline of the capitals contributes to their distinctive appearance. If the upper case refers to the American grotesques of the 19th century, the lower case tends toward the forms of the Renaissance in its proportions. Geometria is a typeface of clean shapes that is well-suited for continuous reading, and it sets remarkably well. At the same time, it can be friendly, even flirtatious. Its distinct personality combines seeming opposites. At times it may appear serious, at times playful. On occasion, it may be deliberate, other times dynamic. It could seem rigid, then elegant. It is a typeface that could be perceived either as cutting-edge, or as nostalgic. A careful and discerning typographer will bring out and emphasize those aspects of its multifaceted personality that are needed to solve the problem at hand. Granshan 2013 award.
OTF | 16 Fonts | JPEG Preview | 8.9 Mb RAR
Al Fresco is a breezy, light, yet expressive typeface perfect for packaging products and titling work that calls for a youthful, delectable flair. Its elegance carries a subtle earthiness; its beauty is unconventional, both stylish and exuberant. Al Fresco is made even more versatile when titling is activated (in the OpenType palette), served along with swash forms, contextual alternates, and ornaments to sweeten this tasty typeface. As with my other type designs, Al Fresco doesn’t live in isolation, but evokes a special ambience, era, or lifestyle—in this case, an enviably carefree, chic, and organically trendsetting life, authentic and true to oneself and simply delicious. Naturally, each designer who uses my work filters it through their unique interpretation, imbuing the fonts with a wonderful array of results such as those found on menus, food packaging, branding for light colognes, or young, hip, clothing boutiques. Al Fresco was born in my imagination as an emblem of dining outside at twilight under twinkling lights, laughing warmly with friends, sipping signature cocktails and eating tapas—each bite dripping with intense flavor. In the workday setting, Al Fresco represents a style that is pretty but not dressy: swishy bright flowery skirts and cute little flats. “Business casual,” not cubicle prisoner. After all, Al Fresco comes from the 18th century Italian “in the fresh air.” For those who are familiar with my Hummingbird typeface, Al Fresco has a more loose and unrestrained feel. I created it using faster strokes, and was unconcerned with convention. After the complexity of my Charcuteries family of typefaces, I longed for simplicity. I returned to simple tools: little felt brush pens with fixed tips, fun to use for practicing lettering. To loosen up after hours of intense design, I wanted to play with forms and tools that were refreshing and clean. Starting with the word “Irresistible,” I began filling pages with letters and words. While I usually start with lowercase letters, my initial focus with Al Fresco’s shape began with strong uppercase letters that set the tone for what I then realized would be my next typeface. While lowercase letters are used more frequently, making Al Fresco’s uppercase letters the focal point added an opportunity for variety and an unconventionality—it can’t really be attributed to any one style. That, in turn, colored the lowercase letters, allowing some “fresh air” into the design. Each word in a type specimen is distinctly different from the words alongside it. Each is a little bit unexpected. Al Fresco makes ample use of Open Type features. If you activate titling, the loops have been removed from the lowercase ascenders and descenders, giving the typeface a cleaner aesthetic and more contemporary feel. This feature provides you with fonts that are almost a style within a style. 157 lowercase swash forms, 46 ligatures (most of which are purely decorative rather than functional), and 16 ornaments are the cherry on top—or in the case of Al Fresco, the marinated Spanish olive in your martini. As often discovered in my work, there are always more treasures in the package. In this case, two additional sets of uppercase letters are included. When contextual alternates are activated, you’ll find that ending strokes have been minimized. (Software often turns these on by default.) This additional feature offers a more natural look, adding a slight randomness or quirkiness—a special touch that reveals the warmth and uniqueness of the human hand and mind.
OTF | 1 Font | JPEG Preview | 17.6 Mb RAR
Barbieri is a casual sans type family, based on a German lettering style from the 1960s. The original hand-drawn alphabet was used in a rather peculiar edition of Der Barbier von Bagdad, an opera composed by Peter Cornelius. Our efforts to identify the cover designer have been, so far, unsuccessful. As fans of informal typography and popular lettering styles, we thought these few thin letters deserved a re-incarnation as a complete type family. Andrés Torresi and Marta Sánchez Marco were in charge of the production work. Now Barbieri has 6 weights suitable for packaging, posters, and music covers. It resembles a certain ‘Americana’ spirit, though with a Germanic twist.
OTF | 6 Fonts | 3.7 Mb RAR
Eco Coding is a sans-serif monospaced font, especially designed for programmers. This font is optimized for programming (coding) environment. Eco Coding’s neutral and open shapes will make your eyes comfortable to read any source codes and text on screen. The appearance of Eco Coding is neutral, but it has distinctive shapes enhance legibility and readability on screen.
TTF | 9 Fonts | JPEG Preview | 4.4 Mb RAR
Decima Nova Pro is a geometric sans serif typeface family, built in eight styles. The typeface is ideal for use in display sizes, but also is quite legible in text and is well suited for editorial and brand design. Features include extended language support, small caps, multiple numeral styles, slashed zero, ligatures. Decima Nova Pro is released as font family in OpenType format with a Latin Western 1252, Eastern European 1250, Baltic 1257, Turkish 1254 and Cyrillic 1251 character set.
OTF | 8 Fonts | JPEG Preview | 3.4 Mb RAR
A large and rare undertaking, Charcuterie is a family of ten distinct yet related typefaces, many of which have their own font families, and three decorative/ornamental typefaces. While most of the Charcuterie typefaces are outfitted with a standard character set, Charcuterie Engraved features 135 swash alternates and Charcuterie Cursive boasts 275. Charcuterie Frames offers a broad and endless approach to creating frames of any width, height and style. Featuring 60 corner elements and 20 top, bottom and side pieces along with a detailed User’s Guide in the ‘Gallery’ on how to construct the frames. Charcuterie Catchwords features nine different styles for a total of 82 glyphs. Charcuterie Ornaments is very practical and features 100 glyphs a vast array of arrows, brackets, rules, icons, ribbons and more. This ambitious, yet accessible, set offers a virtually endless series of combinations, allowing each designer to form a tasty platter of ingredients, one that is uniquely theirs, for each project. Used solo or blended with other fonts from this large family, elements of Charcuterie are well suited for headlines, titling, logos, display, packaging, signage, or advertising. Dig deep into each typeface to find a rich set of fonts (the number depending on the typeface), revealing variations upon variations. The word charcuterie means the preparation of meats. Today, it often refers to a wide and varied selection of meats served together, listed as a single, beautiful, and complex menu item. Charcuterie celebrates the personally crafted -- the sense of the human touch giving it a slightly rough edge that only adds to its charm. The ‘roughness’ derives from a slight stressing and small irregularities in some fonts. This bit of unevenness doesn't dominate the look -- it’s simply the personality and humanity of the type designer cooked into the final piece. Charcuterie is an homage to the inventiveness, passion, and care of peasants who proudly handed down recipes through generations. Their humble fare is used by bistro chefs to create masterpieces by ever so slightly transforming the simple into the sumptuous. Similarly, with Charcuterie the designer can employ the handcrafted look of the many letters within these font families to create a project that is jaunty, quirky, and juicy or one that is a gloriously rich and varied feast for the eyes.
OTF | 22 Fonts | JPEG Preview | 29.3 Mb RAR
otf | 20 Fonts | 1.43MB
Core Magic is a slab-serif version of Core Circus which is a layered type family consisting of seven 3D effect layers, eight 2D effect layers and one shadow effect layer. Uppercase and lowercase letters are separated by such features that counters are opened or closed. Core Magic provides other closed counter styles such as numbers with opentype feature (Stylistic Alternatives). Using Core Magic with Core Circus could make your works more charming and special with endless combinations (at least 262,551 kinds). This family is really nice for book titles, headlines, logotypes and any artworks.
ttf, otf | 32 Fonts | 2.75 MB rar
This contemporary typeface is inspired by the neo-humanist and geometric industrial tones presented in late 2000s typefaces.
The font family is also composed of the normal width and display width in order to support different applications in delicate designs.
Eduardo Danilo’s dramatic redesign of El Universal, a leading Mexico City daily, introduced Cyrus Highsmith’s Zocalo. The original text, and display series was tuned for distinct character frequency and repetition when set in Spanish. Nicholas Kis’s oldstyle and Chauncey Griffith’s classic newsface Ionic No. 5 inspired the sturdy text while the “energetic character of Mexico City” influenced the display. Among other uses, Zocalo Text is recommended for Newspaper, Magazine and Custom use. Zocalo Text is provided as premium OpenType fonts with professional OT layout features, including both lining & oldstyle figures and small caps, plus extended language support.
OTF | 12 Fonts | JPEG Preview | 10 Mb RAR
Lytiga Pro is a modern sans-serif typeface with a pronounced techy feel. The family contains 48 fonts: 8 weights from thin to black, 3 widths, and italics. Each font includes a variety of OpenType features: four sets of digits, superior and inferior digits, slashed zero, and a full set of small caps. Rich language support includes all the main Latin-based languages as well as Cyrillic script. The rhythm and character of the typeface makes it suitable for both display and text use.
OTF | 48 Fontrs | JPEG Preview | 4.8 Mb RAR
An industrial strength slab-serif typeface which performs equally well with headlines as well as longer text. It differs from the stiff almost mechanical structure of other slabs, by introducing distinct letterforms in characters like ‘f’, ‘r’ and managing at the same time to combine effectively the typeface’s round parts with deep cuts and sharp inner corners, which add an interesting character to this otherwise contemporary series. PF Synch Pro consists of 4 fonts from black to regular. It is loaded with 3 special OpenType features and offers multilingual support for all European languages including Greek and Cyrillic.
TTF | 4 Fonts | JPEG Preview | 6.3 Mb RAR
In 2004, Frutiger, together with Linotype in-house type designer Akira Kobayashi, reworked the Avenir family to address on-screen display issues. The result was titled Avenir Next. The typeface family was increased to 24 fonts: 6 weights, each with a roman and italic version, in 2 widths: normal and condensed. Frutiger’s numbering system was abandoned in favor of more conventional weight names. The glyph set was expanded to include small caps, old style figures, subscripts and superscripts, ligatures.
OTF | 17 Fonts | JPEG Preview | 4 Mb RAR
The name DIN refers to the Deutsches Institut für Normung (in English, the German Institute for Standardization). The typeface began life as the DIN Institute’s standard no. DIN 1451, published in 1931. It contained several models of standard alphabets for mechanically engraved lettering, hand-lettering, lettering stencils and printing types. These were to be used in the areas of signage, traffic signs, wayfinding, lettering on technical drawings and technical documentation. Rooted in earlier designs for Germany’s railway companies, the alphabets were based on geometric shapes in order to be easily reproducible using compass and ruler. In post-1945 West Germany, the DIN alphabets were widely used, for instance on most road signs. They became available as fonts that were appreciated by designers for their industrial, somewhat quirky and “non-typographic” look and feel. From the 1990s onwards, more refined versions became available for use in book and magazine typography. DIN Next is a typographically corrected and expanded version of this quintessential 20th-century design. DIN Next Rounded is its softer, friendlier version.
OTF | 4 Fonts | JPEG Previe | 3.9 Mb RAR