Halfway between nineteenth century display wood letters and the American grotesk sans-serif of the early twentieth, we can find Ultramarina, a display font for use in large body headlines, which show its power of attraction to quality food, the country’s legume, and gentlemen with a mustache and apron.
OTF | 1 Fonts | JPEG Preview | 4.1 Mb RAR
Tenshu is a display typeface. It could easely work for signage & print as well as for web design & motion graphics. Tenshu comes in OpenType format, and also covers Cyrillic language.
OTF | 1 Font | JPEG Preview | 2.3 Mb RAR
Signo is a dynamic sans serif with reverse contrast, designed for editorial and branding. Signo is a charismatic typeface for headlines, but its tall x-height and open counters also make it perform well in small sizes, resulting in a versatile typeface across weights. The cursive italics are a good complement to the roman fonts and will add variety and warmth to the page. The Signo family comes in six weights, from Thin to Bold, and includes two weights for text: the Book and the Regular.
OTF | 12 Fonts | JPEG Preview | 4.1 Mb RAR
Cirque is a lively Western/Circus/Victorian/Whatever font—it'll fit in wherever you want to stick it to old Tschichold and make something cool instead. Mix up caps and lower case for curious results.
TTF | 1 Font | JPEG Preview | 4.5 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
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 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
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
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