Inspired by the grotesque fonts of the 19th century, Parkson is a tall sans serif typeface of 7 weights along with italic and several outline versions. The contemporary typeface aims to be one of the world’s best condensed collection of fonts. Designed for optimum legibility, its clean, geometric look is perfect for logotypes, headers, titles and brochures.
Westmount is a geometric grotesque sans font that is both versatile and contemporary. The wide spacing between letters gives your text room to breathe and have the perfect amount of presence and balance. The strong capital letters are perfect for clean layouts and timeless branding. Try using Westmount Outline for a clean classic look.
André Simard designed Bronsimard, a font inspired by Henri-Paul Bronsard’s Kébek 101, designed in 1972 and used to create the logo and headlines of the daily newspaper Le Jour, founded in 1978. After all these years, Bronsard contacted his former student to propose a creative venture focused on drawing a variant of Kébek 101 from ideas contained in his research efforts. Simard adapted Kébek 101 to create Bronsimard, a fine blend of character and harmony which we hope will give free rein to your creativity. The final result is a vertically elongated font with very sharp contrasts, somewhat reminiscent of Bodoni and Didot.
Figuera Variable is inspired on a Serif victorian style of typefaces. With a different width and weight you can make your design more fluid just only use a single family fonts.
It’s a brand new fonts comes with a new variable features.
Variable that makes you create a custom width and weight aside in the available font files.
There are some limitations on the use of the new variable features because of the software compatibility. It needs Adobe CC 2018 and later. But it’s great for creating webfonts using the variable.
Introducing Lansdowne, vintage all-caps typeface. Perfect blend between clean and vintage themed typework, inspired by the old advertisement letters. Lansdowne’s 470+ glyphs give you strong, sharp, yet clean feels without sacrificing its vintage/classic touch. Mouse-crafted with passion to quench your drought of versatile classic typeface.
Introducing Stoic, a bold, full-featured script font with tons of OpenType features. With its smooth connections and considerable charm, Stoic is perfect for logos, wedding invitations, stationery design, branding projects, photo overlays, editorial features, and more.
Stoic comes with more than 550 glyphs! Specific OpenType features include contextual alternates, stylistic alternates, initial and final forms, multiple alternate glyphs for many letters (accessed through the glyphs panel), multilingual support (including multiple currency symbols), three ampersands, 101 standard and discretionary ligatures, and standard numbers.
The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (To access these awesome features in Microsoft Word, you'll need to get comfortable with the advanced tab of Word’s font menu.)
A set of typeface that combine detail features from different style of serif typeface originally designed for screen use.
KAPITAL is an elegant, geometric uppercase sans. It is available in standard and stencil style across four weights – light | regular | medium | demi – covering 346 glyphs.
It is based on the capital character set from a previous release – Basik. Continuing the clean, geometric aesthetics, KAPITAL was refined further to create a more minimal style. This enabled the characters to discreetly perform their role – to simply convey the message of the writer without distraction.
To achieve this, special attention was applied to the form consistency of the glyphs across the weights and negative space throughout. In many typefaces as the weight is increased the form and style can deviate significantly from the original design. With regards to negative space – although inevitable – wherever possible key letterforms were adjusted to alleviate this.
Phiz is a diverse suite of 27 decorative fonts based on Figgins Sans Extra Bold.
Classic (9 fonts), Rounded (7 fonts), Rough (4 fonts) and Particles (7 fonts).
The Rough and Particles styles emerge as a unique niche—neither imitating distressed printing (e.g. the “rusty” look), nor casual, hand-drawn styles. These type designs are conceived and executed as complex algorithmically-generated graphic procedures, in which repetitive elements have been artfully applied to the Sans capitals, and manually nuanced. As such they also differ substantially from textured glyph shapes that have been cut out from larger pattern fields, for the constituent particles are disposed in relation to the specific shape of each character they define.
The caps-with-small-caps format was chosen for two reasons. Firstly, titling display usage is predominantly capitals, and secondly, rather like optical scaling, having the same resolution of texture available in two different “sizes” (upper and lower case) should prove useful in the hierarchy of page layout—not primarily for setting upper and lower case text as caps-with-small-capitals, although this is of course an option. All figures and major symbols (punctuation and currency) are provided in both cap and small cap height.
An elegant, stylish and easy-to-use typeface.
Just as a nice hat makes you look good, Cagliari brings beauty to your designs—through the traditional flavor of Didone faces, and the simplicity of Modern and neo-Grotesk fonts.
The font is based on the “Queulat” design yet features a higher contrast, between thick and thin strokes, which makes it look simple and suitable for a wider range of uses. Due to an abrupt contrast in stroke weight, Cagliari is more noticeable on terminals and teardrop terminals compared to Queulat. The Neogrotesk-style shapes add a minimalist touch to the font with thoughtful attention to detail.
Cagliari is the ideal choice for fashion magazines, Italian-author books and logotypes for prestigious brands.
Nomada Incise is a sans serif with flared stems. As such, it belongs to a genre that lies slightly off the beaten track, with a strong focus on handcrafted forms. Reminiscent of engraved letters, Nomada Incise is a solid choice for conveying a solemn atmosphere. It has quite a bit of contrast, with an oblique axis, which is discernible even in the lightest weights. Unlike the other families, Nomada Incise features diagonal stroke endings. The sharply tapering strokes, the accentuated vertices and the diamond-shaped dots enforce the impression of letters cut in stone.
Nautica Line is a new version of Nautica font. This fonts family contains 10 fonts, made by different weight of lines.
The Features of this fonts are: Contextual Alternates, Standart ligatures, Stylistic Alternates and Stylistic sets.
Worthington Arcade is a classically-proportioned capitals-only type incorporating a selection of ligatures and alternates.
It loosely resembles the hand-painted architectural lettering of the 30s to the 50s, exemplified by the likes of Percy Smith’s interior signage for the BBC or George Mansell’s lettering for the University of London and the signs found on London’s bridges. However, rather than a slavish copy of any historical model, it is more an examination and evocation of certain idiosyncratic quirks of civic lettering of the period, and an attempt to create a peculiarly English titling typeface.
The round letters, for example the O, Q and C, are wider than the perfect circle usually found in such designs, while the straight-sided characters, usually drawn on a square, are narrower. This lends the whole a subtle elegance that is also emphasized by the raised crossbars on the H, E and F and extended lower leg of the E.
Includes old-style numerals.