Lavinia is the new hand lettered script font, full of fun calligraphy with 962 characters and a host of specials features that will allow you to add more personality and originality to your work. Lavinia is a seamlessly connecting alphabet. Using OpenType contextual, stylistics alternatives, swatches each lowercase has the minimum ten versions and each capital letter two variants. Also, Lavinia comes with a custom set of standard and discretionary ligatures, lots of goodies ornaments and flourishes, catchwords, tails, words with stylistics alternates, special double letters ligatures. This lovely font has an extended character set to support Central and Eastern as well as Western European languages. Mix and match them for a custom look! You can quickly change the appearance of your design. It’s like getting a lot of fonts for one! Lavinia is perfect for logos, advertising, announcement, invites, thank you’s and correspondence, for packaging, and to create all yours fun and moderns designs you want. There are plenty of options to allow you to create something unique and special. Test it, you will not regret! Have fun with it!
OTF | 1 Font | JPEG Preview | 6.8 Mb RAR
Inspired by Argentina and its culture, Alejandro Paul’s Candy Script captures the country’s spirit. It comes from the tradition of window sign painting, but its thick hand-brushed characters, with alternates for almost every upper and lowercase letter, have a personality all their own. Tons of OpenType alternates included, over 600 characters in all.
OTF | 1 Font | JPEG Preview | 7.1 Mb RAR
Let Bronze Script take you back. Back to the golden age of vintage when hand drawn scripts appeared in every form of publication. A different time when everything moved slower, lettering was done with expertise, and every detail awarded care and attention. In our age of cold digital creations, you can rest assured that Bronze Script will give you that tailor made flare only a nostalgic font can offer.
OTF | 1 Font | JPEG Preview | 1.3 Mb RAR
The 225 glyphs that make “Spina Typeface” are the result of experience with hundreds of drawings, sketches and digital test in seeking to achieve a typeface that represented the fluides of the script’s and elegance of the modern Roman. Thereby, based on this principle and a unique style, a infinitely versatile typeface was designed that evokes both the beauty and finesse of the plants as power its thorns and its deadly poison.
TTF | 1 Font | JPEG Preview | 4.3 Mb RAR
Lulo from Yellow Design Studio is a textured, retro, amazingly 3-dimensional font family. Endless effects can be created by adding different colors to each of the 5 stackable layers. Lulo is all-caps, and has subtle texture variation between the upper and lowercase characters so duplicate distressing in double-letters can be avoided. Other features include regular and bold weights, high-resolution texture that looks great even at large sizes, and extensive language support. Because of its complex outlines, Lulo may process slowly in some applications.
OTF + 10 Fonts | JPEG Preview | 17.9 Mb RAR
Verna is a versatile contemporary font. Verna has a set of automatic ligatures, discretionary ligatures, swash initials and a selection of ornaments that you can easily access in any Opentype savvy program. Ornaments are placed in stylistic set 1 letters a-z but you'll also find them from the glyph panel.
OTF | 1 Font | JPEG Preiew | 4.4 Mb RAR
Burgues Script is an ode to the late 19th century American calligrapher Louis Madarasz, whose legendary pen has inspired schools of penmanship for over 100 years. His talent has caused some people to call him “the most skillful penman the world has ever known.” I use the word ‘ode’ in a colloquially ambitious manner. If I was an actual poet, my words would be about things I desire but cannot attain, objects of utter beauty that make me wallow in humility, or people of enormous talent who look down at me from the clouds of genius. But I don’t write poems. My work consists of letters drawn to fit together, that become an element of someone’s visual poetry. I am the poet’s assistant, so to speak. Once in a while, the assistant persists on what the subject of the poem will be. And occasionally, the poet gives in to the persistence. I hope you, visual poet, find my persistence justified in this case.
OTF | 1 Font | JPEG Preview | 6 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
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
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
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
DIN Text Universal is the most advanced DIN superfamily ever. It combines the powerful DIN Text Pro with DIN Text Arabic bringing the number of glyphs to 3320 per font. In fact, this set of fonts contains the most complete and powerful array of arabic features commercially available. It supports all variations of the Arabic script such as Persian, Urdu and Pashto. It is also enhanced with 30 advanced opentype features and kerning for all languages. The four major scripts Latin, Arabic, Cyrillic and Greek are now matched across the design of the whole family, respecting at the same time each one’s modern cultural identity. With its vast array of weights, the extended support for numerous languages, its careful and detailed design, it will prove to be extremely valuable for many complex corporate projects and corporations which operate internationally.
OTF | 8 Fonts | JPEG Preview | 4.1 Mb RAR
This is a complex typographic system which includes three different but complementary styles so far: Slab, italic and script, with nine weights each one; plus three sets of ornamental fonts: labels, negative labels and ornaments. The soul of the family is a slab feeling applied judiciously to the italic and script styles to make it coherent with the whole system.
Each style has three sets of figures: Proportional lining, tabular lining and old style. You can mix the three styles in a single piece to obtain more expressive results without worring about the uniformity and complementing the design by using the ornamental sets.
OTF | 30 Fonts | JPEG Preview | 12 Mb RAR
- Axia is a robust sans serif of concise letter forms. It comes in ten weights from Light to Black with extended language support, a host of OpenType features including Small Caps, multiple figure styles, and more. Each, the roman and italic weights harmonize perfectly in line width. Text set in Light or Black results in the same fit. Stencil display weights with a unique aesthetic and perfect for captivating type sizes add further distinctive options to the typographic palette. The stencil display weights consist of abstract floating parts that seduce the eye and form nicely proportioned type when united. Originally designed for the Rice University School of Architecture in 2011, this contemporary sans found some inspiration in the TwinCities™ typeface family created by Sibylle Hagmann for the University of Minnesota in 2003. Orchestrated from scratch, the inner arched strokes off the stem on the lowercases ‘n’ or ‘d’, for example, progressively open the letter forms and express conceptual clarity throughout the system. A feature doing double duty that contributes to great legibility in the heavier weights and attributes to the versatility of individual weights.
10 OTF | JPEG Preview | 4.2 Mb RAR
OTF | 9.61 MB
A funny look with the spirit of the radio’s golden age, RadioTime is a typeface based on the handwritten alphabets of the ’30, ’40 and ’50.RadioTime comes with two styles: Regular and Tooled, in standards connected letters to imitated continuos handwritting and it’s provided with specials characters like swash, terminals, lower case numbers as well as an unlinked set of characters. RadioTime comes also with a wide kind of icons and ornaments. All this features provides the Word with the fun spirit and speed of those times of bustle. Radio Time was a winner in “Tipos Latinos 2010”, The Fourth Biennial of Latin-American Typography. RadioTime Icons offers a thorough and well drawn vintage collection of 63 icons that tells the story of the glory days of radio, charts, dials, automobiles, airplanes and people who set the mood of those days.
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.
OTF | 12 Fonts | JPEG Preview | 3.9 Mb RAR
This font has been especially designed for Mostardesign Studio by Olivier Gourvat. Created in 2010, this font family has been designed to serve sectors like financial services, modern industries, business and many more activities who needs a modern aspect in their communication. Its square proportions make the design very readable at a wide range of sizes. Shapes give the face a unique futuristic look and is a very practical choice for modern headlines, branding, text and web fonts work. The family contains also an alternative set with simplified letters designed especially for text and a unique stylistic set for titles and branding. UNicod Sans is available in 5 weights with corresponding italics and 2 styles.
TTF | 18 Fonts | JPEG Preview | 4.8 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, finesse, 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 differ 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 | 10 Fonts | JPEG Preview | 5.5 Mb RAR