Nabila is bold, playful, modern, and multi-purpose typeface that combines brush lettering with natural handwriting. It is suitable for logo, packaging, headline, poster, t-shirt, etc. With 350 glyphs and 155 alternatives characters, you can mix and match Nabila to fit your design. The alternative characters divided into several OpenType features such as Ligature, Contextual alternates, stylistic alternates, stylistic sets, and swash. It can be accessed by using OpenType savvy program such as Adobe Illustrator and Adobe InDesign.
OTF + TTF | 1 Font | JPEG Preview | 4.8 Mb RAR
Loopo was created as an experiment with rotating forms. The cut of the stencil shows the rotation and creates a reference to motion throughout the font. Characters are created by manipulating the rotations of the stencil which gives the font a round and fluid look.
OTF | 1 Font | JPEG Preview | 4.3 Mb RAR
Casually is a fun and flowing handwriting script that giving the feel of natural writing and hand-made. You can use it to make an impression in a variety of designs such as invitations, greeting cards, logos, headlines, t-shirts, etc. Casually contains 122 beautiful alternative characters which can be combined to fit your design. The alternate characters divided into several OpenType feature such as Ligature, Stylistic Alternates, Contextual Alternates, and Stylistic Set. You can access all the characters by using OpenType savvy program such as Adobe Illustrator and Adobe InDesign.
OTF + TTF | 2 Fonts | JPEG Preview | 4.23 Mb RAR
Conspired Lovers is based on five years of love-letter writing. A font to capture the intentions of love letters more than any other font.Нов did the Project start? In the last five years I wrote love letters with two persons. I became used to the joy of handwriting with ink and nib on fine paper. Through practice a experimentation my style continuously refined. As life moves on, suddenly I found myself with no one to write love letters to. It’s a luxury to have someone to write letters to. Missing the joy of writing and listening to Gregory Porter’s “Be Good”, the decision was made to take this 5 years of writing and make this dance on paper a font. A handwritten typeface for everyone to use.
OTF | 1 Font | JEG Preview | 9.9 Mb RAR
Purista is a strict, orderly typeface based on a well-tried principle of geometric sans serifs from mid-20th century. Its obsession with technological precision makes it perfect for use in corporate systems and visual communications of technocratic businesses. Thanks to its broad range of cuts, it is also ideal for display advertising.
OTF | 10 Fonts | JPEG Preview | 2.9 Mb RAR
Leksa Sans is a humanist sans-serif face with some contrast. The family consists of 14 faces (upright & true italic in seven weights from Extralight to Black). Designed as a sans-serif companion for Leksa, Leksa Sans works perfectly either with it or alone. It is suitable both for text setting and for short inscriptions. One of the main features of the typeface is its professionally-designed Cyrillic which (together with serif companion Leksa) was awarded for excellence in type design at Modern Cyrillic competition in Superfamilies category.
OTF | 14 Fonts | JPEG Preview | 3.2 Mb RAR
The original brief for Vox was a extensive monoline typeface that can be both precise and friendly, yet contain enough choice of seamlessly interchangeable variants for the user to be able to completely transform the personality of the typeface depending on the application. Basically, a sans serif with applications that range from clean and transparent information relay to sleek and angular branding. When the first version of Vox was released in 2007, it became an instant hit with interface designers, product packagers, sports channels, transport engineers and electronics manufacturers. This new version (2013) is the expanded treatment, which is even more dedicated to the original idea of abundant application flexibility. The family was expanded to five weights and two widths, with corresponding italics, for a total of 20 fonts. Each font contains 1240 glyphs. Localization includes Cyrillic and Greek, as well as extended Latin language support. Built-in OpenType features include small caps, caps to small caps, four completely interchangeable sytlistic alternates sets, automatic fractions, six types of figures, ordinals, and meticulous class-based kerning. This kind of typeface malleability is not an easy thing to come by these days. For additional versatility, take a look at Vox Round, the softer, but just as extensive, counterpart to this family.
OTF | 20 Fonts | JPEG Preview | 3.9 Mb RAR
Jongleur is a multifaceted hand-drawn display typeface based on a Maury Nemoy lettering from 1957. Packed with handy OpenType features, the font makes automatic substitutions when you turn on the contextual alternates, creating an interesting hand-lettered feel. If you're in a messy mood, use the stylistic alternates instead! The font also brings an extra set of alternate letterforms you can pick by hand to spice up your compositions. Great choice for titles and small amounts of text, perfect for posters, book covers and a wide range of applications.
OTF | 1 Font | JPEG Preview | 3.1 Mb RAR
Be connected. Create ribbons of flowing text with Aya Script Ribbons. Warm, cheerful and handlettered in pen & ink, Aya Script Ribbons is an OpenType font with a healthy collection of alternates & ligatures. The ribbons automatically connect and mirror each other upon entry & exit or you may select individual ribbons segments to create a random look. Be free. Use Aya Script when your words need to stand alone. Aya Script is a friendly opentype font handlettered in pen & ink with a healthy collection of alternates & ligatures. She’s easy to read and loves stationery, books and logos.
OTF | 2 Fonts | JPEG Preview | 2.7 Mb RAR
The objective of this project was to design a new typeface series for Grazia magazine. First published in 2010, Regal was later revamped and redesigned for commercial use, evolving into a type system with five related superfamilies. According to the brief, this typeface had to be elegant, luxurious, sexy, vibrant, reflect the female sensitivity and take into consideration a modern woman who is more proud, more connected, more spontaneous, open-minded and eager to try a whole host of new products and services. Targeting this consumption-wise and well-educated woman, required a typeface that is not strictly based on classic forms, but incorporates several distinct elements that express a modern woman’s personality and the products she consumes. In that respect, a whole series of 5 related superfamilies was designed, which not only emphasize femininity but also reflect both the romantic as well as the dynamic side of the female personality. For that matter, elegant curvy details were introduced in order to create a link to the female figure; teardrop terminals which reflect a woman’s sensitivity; pronounced quirks on upper and lower arms for her eyelashes; high-contrast, sharp corners at thinning terminals for her high heels; alternate glyphs for the woman who prefers to express her individuality -rather than slavishly follow trends- by using various accessories which can dramatically change her appearance; elegant endings and long curves to reflect her predisposition to dream; bell-shaped serifs with an inward rather than outward direction which recall streamlined seventies fashion. This series of typefaces is diverse in its construction as it consists of five related superfamilies i.e. text, display, ?nesse, swash and stencil. There is a variety of weights which range from regular to ultra black for each one of the five families. These families share common attributes but they di?er in content according to each one’s usage. The whole superfamily type system is comprised of 47 weights with an average of 898 glyphs per weight. It supports simultaneously Latin, Cyrillic and Greek and comes with many alternate glyphs.
OTF | 6 Fonts | JPEG Preview | 4.9 Mb RAR
A versatile casual typeface - designed initially for using in a recipe book as casual comments - Its actually very versatile, and can be used in a variety of project styles where a quick relaxed hand written type is needed. Fun, bouncy,quirky and casual - with 24 extra glyphs to enhance your designs :)
OTF | 2 Fonts | JPEG Preview | 4.7 Mb RAR
The typeface was designed at ParaType (ParaGraph) in 1989-2004 by Vladimir Yefimov and Olga Chaeva. A spin-off from Encyclopedia-4 type family of the Polygraphmash type design bureau (1987, Vladimir Yefimov and Isay Slutsker). Inspired by Helvetica (Neue Haas Grotesk) of Haas typefoundry, 1957 by Eduard Hoffman and Max Miedinger. Based on the 19th century Grotesque designs, Helvetica brought a new level of mathematical accuracy to the sans serif category. Widely used for many applications, from magazines and books to advertising and headlines. Four basic styles of Pragmatica were developed in 1989 by Vladimir Yefimov. Eight additional styles were developed in 2003 by Olga Chaeva. Condensed styles were developed in 1993-2004 by Vladimir Yefimov, Alexander Tarbeev and Manvel Shmavonyan, with participation of Dmitry Kirsanov. Extended styles were developed in 2004 by Olga Chaeva and Manvel Shmavonyan.
OTF | 44 Fonts | JPEG Preview | 6.7 Mb RAR
Tuesnight feels like party! Inspired by movie posters from the sixties but with a quite contemporary accent, this is a lively face, packed with lots of alternates and interlocking pairs. There are also swashes to this side, swashes to that side, stylistic alternates... A zip-zap guide: typing upper- or lower-keys you get different lettershapes. Turn on the Contextual Alternates to get instant cycling of these. For accessing the interlock pairs,click on Standard Ligatures. Or just dive into a glyphs palette and pick up your choices.Tuesnight feels like party, and you're sure invited! Have fun!
OTF | 1 Font | JPEG Preview | 3.4 Mb RAR
Marian imagines the classics of the typographic canon reinvented for the contemporary world: Garamond, Granjon, van den Keere, Kiš, Fleischmann, Fournier, Baskerville, Bodoni and Austin restyled and revived. These aren’t strict revivals, for they are not accurate recreations, nor are they interpretations per se. Instead they reduce the historical models to their basic skeletal forms. Nine serrifed typefaces and one Blackletter reduced to their basic structure. This reduction strips them to their core, whilst at the same time retaining the life and spirit of the letters.
OTF | 18 Fonts | JPEG Preview | 3 Mb RAR
American type designer Travis Kochel created this pi and symbols FontFont in 2012. The family has 7 weights and was designed to create simple graphs. Primarily suitable for Adobe Creative Suite, FF Chartwell for print uses OpenType ligatures to transform strings of numbers automatically into charts. The data remains in a text box, allowing you to update it easily. Just simply type a series of numbers like: “10+13+37+40”. Turn on ligatures and a graph is created. Turn off ligatures to see the original data. FF Chartwell has received several awards including the CommArts award in 2011, the Letter.2 award in 2011, the Information is Beautiful award in 2012, and the Fast Company Innovation By Design award in 2012.
TTF | 7 Fonts | JPEG Preview | 5.9 Mb RAR
A handmade, Brave New Font.....sketchy, illustrated, and hand-drawn with love. This is more than just a typeface - this is a pack, and it allows you to be even more creative than you would have been with just the font :)
OTF | 1 Font | JPEG Preview | 4 Mb RAR
Everglow is a Script Retro font. a bold, classic,and fun vintage script. With almost 560 glyphs and and 322 alternative characters, contain with opentype features. Stylistic alternates, Ornament, swash and more. can be used for various purposes.such as logos, wedding invitation, t-shirt, letterhead, signage, news, posters, badges etc. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7.
OTF | 1 Font | JPEG Preview | 4 Mb RAR
Clio, Clio XS and Clio Condensed is a big family of 72 fonts. They were designed by Gabriel de Souza in 2012. They are simple and stylish and they have the ideal appearance to your work. Furthermore, features such as italics, obliques, great language support and flexibility.
OTF | 24 Fonts | JPEG Preview | 4.4 Mb RAR
Cinemas from the early 20th century are called “Lichtspiele” in Germany. “Lichtspiele” transports you back to a time where neon lights and marquee letters decorated cinema façades. Of the five styles, three have two versions of italics — the left-leaning italic evokes looking up from lower-left, the right-leaning italic is as if we are looking from lower-right. Display is the basic style, while Neon is inspired by the old neon letters found outside cinemas. Try placing Neon Outline on top of Display or Neon to add another layer to your artwork. Neon 3D is a extruded version of Neon.
The Screen Credits style is based on the notes — producers, cast, crew and so on — on movie posters. Get more out of life, go out to a movie.
OTF | 12 Fonts | JPEG Preview | 7.9 Mb RAR
Adobe Garamond™ was designed by Robert Slimbach in 1989. The roman weights were based on the true Garamond, and the italics on those of punchcutter Robert Granjon. This font has been expanded to include small caps, titling caps, expert fonts, and swash caps, which were typical in the fifteenth and sixteenth centuries.
OTF | 21 Fonts | JPEG Preview | 1.2 Mb RAR
Avenir was designed by Adrian Frutiger and released by Linotype-Hell AG in 1988. The design is based on two earlier sans serif typefaces, Erbar and Futura. Avenir is unusual in that it has weights that are similar, but each is designed for a different purpose. For example, the Light and Book weights are similar, but Book is most appropriate for text blocks while the Light is better for adding a contrasting element (perhaps a heading) to a heavier weight. These weight selections also allow for optimal results under varied printing conditions. Use the bold and extra bold weights of Avenir for emphasis with the light, book, and medium weights.
OTF | 12 Fonts | JPEG Preview | 1 Mb RAR
Matthew Carter designed Bell Centennial in 1978 specifically for AT&T Corporation (the name honors their 100th anniversary) to use in telephone books. Carter developed it to have high legibility at small sizes, and for composition on high-speed, cathode-ray-tube composing machines. (Bell Gothic, the typeface originally designed for telephone books in 1937 and for composition on the hot metal Linotype machines, was no longer usable in the new technology.) Bell Centennial is a sturdy, condensed sans-serif design that achieves great economy of space while being highly legible. Bell Centennial can be used for modern display purposes and, of course, for small print and lists. The Alternate version of Bell Centennial Bold Listing sits on a standard baseline; the original version sits far below the baseline, and cannot mix properly with other fonts on the same line.
OTF | 5 Fonts | JPEG Preview | 1 Mb RAR
Before 1937, telephone books were printed in a variety of typefaces and consequently were often difficult to decipher. Because of his successful work on the legibility problems of newspaper typefaces, Chauncey H. Griffith was hired to develop a typeface that would compact enough to fit large amounts of information on a page while being legible at small sizes even when printed under less than desirable conditions.
OTF | 3 Fonts | JPEG Preview | 1 Mb RAR