Clavo is a multipurpose font family. Its warmth comes from subtle details, classical proportions and traditional forms, while harmonious structure prevents distraction while reading. This makes Clavo a universal typeface. In all sizes, from caption to display. The family consists of ten weights. They were not created in a linear way. The steps between the weights were adjusted carefully to avoid a mechanical graduation, in favor of optical harmony. Clavo covers all latin languages. It contains a wide set of numerals, small capitals, fractions and other OpenType goodies. And of course every weight comes with matching italics.
OTF | 20 Fonts | JPEG Preview | 10.5 Mb RAR
Maracay is a tropical typeface that works for texts or headlines, mainly as a display font and designed to work in layers of overlapping texts. Maracay is a unique design with nine fonts based creating a particular style of design and the combination of a couple different looks can be obtained eighteen. Thanks to the versatility of coloring matter, together form a coherent and attractive ideal for a variety of different projects such as invitations, menus, magazines, brochures, packaging, design, etc. Maracay provides alternate characters, swash, ligatures, icons, ordinals and fractions. Maracay has 4 shape styles : Regular Maracay base as essential as Tooled variations of brightness or wood with the appearance of a WoodType vintage wooden texture . Inner font as serves as Light or inner contour of the foregoing. Follow three fonts contouring as Outline, Shape and Umbra as a 3D projection. For decorative purposes Shape that there is a textured lines or Half as a split in the top half letter. Maracay has been carefully studied to provide the best combinations of the most of pairs and trios of glyphos avoiding undesirable extensions between ornate characters through its Opentype programming.
OTF | 9 Fonts | JPEG Preview | 28.4 Mb RAR
Boxed typography is a new and extensive 18 weight typeface, brightly conceived and designed to look good on small screen devices, but offering also enlightened looks on paper. The semi-modular geometric font shapes seek to be fully responsive to the grid of screen«s pixels to deliver a crisp, fluid reading rate. Due to its extensive range of weights and subtle difference in thickness, compensating for the stain of characters between different CSS styles is really easy. It offers an extensive set of Latin characters, even the Cyrillic.
OTF | 18 Fonts | JPEG Preview | 4.8 Mb RAR
Recta was one of Aldo Novarese’s earliest contributions to the massive surge of the European sans serif genre that was booming in the middle of the 20th century. Initially published just one year after Neue Haas Grotesk came out of Switzerland and Univers out of France, and at a time when Akzidenz Grotesk and DIN were riding high in Germany and Gill Sans was making waves in Great Britain, it was intended to compete with all of those foundry faces, and later came to be known as the “Italian Helvetica”. It maintains traditional simplicity as its high point of functionality, while showing minimal infusion of humanistic traits. It shows that the construct of the grotesk does not have to be rigid, and can indeed have a touch of Italian flair. While the original Recta family lacked a proper suite of weights and widths, this digital version comes in five weights, corresponding italics, four condensed fonts, and small caps in four weights. It also includes a wide-ranging character set for extended Latin language support.
TTF | 18 Fonts | JPEG Preview | 5.3 Mb RAR
We are proud to announce the release of Centrale Sans Rounded, the rounded addition to Centrale Sans family. With Centrale Sans Rounded we've tried to make a difference - good looking typeface at a reasonable and affordable price. It comes in six weights plus their matching italics and the proper amount of OpenType features and glyphs.
OTF | 13 Fonts | JPEG Preview | 4.9 Mb RAR
In 2008 TypeTogether released the Bree typeface, a sleek sans serif that quickly became a favorite among brand and editorial designers. Bree Serif follows the same theme as its predecessor. It is a young and energetic upright italic that approaches readers with hip and somewhat elegant charm. It has a range of styles that can perform as counterparts to the original Bree fonts. At the same time though they bring a whole range of new and individual features that make Bree Serif a separate type family in its own right. The characters in Bree Serif maintain the original flavour of handwriting, but have a more subtle appearance to support optimal editorial usage. The slabby nature of its shapes, particularly in the heavier weights, makes for a strong impression. Some of the characteristic features of its sans serif cousin are present in Bree Serif too, such as the single-story ‘a’, the cursive ‘e’ and the rhythmical ‘k’ and ‘y’. Alternate letters of these are also available when a more neutral look is desired. Bree Serif offers a mixture of fluid and attractive forms that convey a contemporary and vivid aspect.
OTF | 12 Fonts | JPEG Preview | 4.8 Mb RAR
Amelia is a geometric sans, but it keeps the softness of humanistic strokes. The contrast and the different styles allow Amelia to work as a text or display font. Also it incorporates an Up version, calligraphic features that add a touch of informality.
OTF | 16 Fonts | JPEG Preview | 10.9 Mb RAR
Inspired by Edward Johnston's type for the London Underground and Eric Gill's Gill Sans®, Camphor™ is also informed by the European sans serifs typified by Adrian Frutiger. However, Camphor copies neither. It is narrower than Johnston's type and eschews the idiosyncrasies of Gill Sans, making for clean and cool, modern sans serif that lends itself to everything from branding and wayfinding to advertising and editorial design. Nick Job says I wanted to draw a modern, uncluttered sans serif family with classical proportions, unashamedly English but with fewer idiosyncrasies than its influential forerunners. And he succeeds. Despite it lack of embellishments, Camphor resists the sterility of other faces designed on the same premise. It is a lean, self assured, legible, and versatile type, coming in six weights, from thin to heavy, all with companion italics, small caps, alternates, and broad language support.
OTF | 12 Fonts | JPEG Preview | 4.7 Mb RAR
PF Champion Script Pro is perhaps the most advanced and powerful calligraphic family ever made. It received an award for Excellence in Type Design from the International Type Design Competition ‘Modern Cyrillic 2009’ which was held in Moscow. Most recently, it received another award from the 3rd International Eastern Type Design Competition - Granshan Awards 2010. This typeface was first presented in June 2007 at the 3rd International Conference on Typography and Visual Communication (ICTVC) and was met with rave reviews. It is based mainly on the manuscripts of the 18th century English calligrapher Joseph Champion. Developed over a period of two and a half years, each one of the 2 weights is loaded with 4300 glyphs(!), offering simultaneous support for all European languages based on the Latin, Greek and Cyrillic scripts. Furthermore, a wide selection of alternate forms and ligatures is included for all languages, in order to accommodate diverse design aesthetics. These alternates are either applied automatically through an advanced programming scheme, or manually through several OpenType features. An attempt was made to design a contemporary script typeface with classic roots, by following certain guidelines, i.e. lowercase characters were designed so they are less inclined, have a higher x-height and are less condensed than the original. Several characters were stripped-off their connecting lines in order to enhance legibility. Four sets of alternate swashed capitals as well as a plethora of ornaments and frames (117) was included. Small caps and their alternate forms were designed to replace the capitals which disrupt the flow of text within a sentence with their extravagant swashes. All characters were carefully designed with the proper weight in order to sustain harsh printing conditions (on special papers), a situation which affects mainly the light connecting parts of calligraphic typefaces. Finally, it was programmed in such a way as to preserve handwriting qualities, by designing an extensive array of ligatures and alternate glyphs in all languages, never before released or incorporated within the same font.
OTF | 2 Fonts | JPEG Preview | 5.3 Mb RAR
Slim Tony is a delicious script font. Tony is a distant relative of Mishka but much bolder and more extravagant. Slim Tony works superbly for custom headlines and logotypes. Turn on Swash, Stylistic or Contextual Alternates for some serious extra kick. Activate small caps for clear capital letters designed to work perfectly with the script. Slim Tony’s ornaments is a set of over one hundred swooshes, swashes, ornaments and pictograms.
OTF | 3 Fonts | JPEG Preview | 5.7 Mb RAR
The new Solomon Sans type family includes 14 unique design styles. The font family is characterized by excellent legibility, well-finished geometric designs, optimized kerning etc. Solomon Sans is most suitable for headlines of all sizes, as well as for text blocks that come in both maximum and minimum variations. The font styles are suitable for any type of graphic design - web, print, motion graphics, etc, and perfect for t-shirts and items like posters and logos.
OTF | 14 Fonts | JPEG Preview | 4.6 Mb RAR
Following the success of the Ashemore family, is became clear that a rounded version of Ashemore would be a great addition to the product line that would allow designers even more design choices. Ashemore Softened’s rounder forms compliment the face well as the original font eschewed straight lines. The rounded terminators give the face a sense of friendliness that is unsurpassed. The distinct and flamboyant style of Art Nouveau and the Arts and Crafts style remain, but the blunted terminators give the face a more technological and contemporary look and feel. The Ashemore Softened family has a full range of six weights from thin to black and includes condensed and extended options for a total of 36 fonts. The typeface also includes some unique OpenType alternates that make the superfamily even more versatile. Ashemore Softened is equipped for complex professional typography, including alternates, small caps and many alternate characters. The face also has a number of numeral sets, including tabular figures, fractions, old-style, lining figures and superiors and inferiors. OpenType-capable applications such as Quark or the Adobe Suite can take full advantage of automatic ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Ashemore Softened also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Ashemore Softened supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. The original Ashemore was designed by Jeremy Dooley with production assistance from Lucas Azevedo and Marcelo Magalhaes.
OTF | 36 Fonts | JPEG Preview | 9.3 Mb RAR