Eldwin is a spirited connected script type family with a friendly demeanor. With two styles of script and capitals designed to complement the other, they combine playfulness with functionality which allows it to perform best in display and headline situations
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
ELSORA a new set type family of 6 different style Fonts designed, clean, texture, outline and italic. will perfect for many projects: Vintage, rustic, headlines, titles, magazines headings, logo, advertising, posters, quotes, web layouts, invitations, packaging design, books, branding, and
Vikive is a family of Sans Serif fonts, better known in its origins as “Gothic” in America or “Grotesque” in Europe. Some authors divide them into three categories: Grotesque, Geometric and Humanistic. Probably, it can be defined that Vikive has
Liliana is a geometrical typeface, born throughout comprehensive formal studies while testing new ways of displaying certain words and sentences. The essential structure of Liliana is very conservative: It can look similar to other geometrical typographies, however, it has unique features
Joane Stencil is Joane’s fearless sequel. Mixes the elegancy of French didones, calligraphic endings, glyphic serifs and the split of the Stencil is treated very carefully. Thus its features convey a warm unique style. Moreover, it has powerful OpenType features
Sextan serif is a typographic family with 10 styles designed for editorial, corporate, advertising or web use. The excellent readability allows the use in long texts, the coherence of forms make these fonts have a great personality. The fonts have
Inspired by some handwritten letter forms, the drawings and designs finally became an entire font. It is an ideal companion to create diplomas, certificates and any other vintage projects. Take advantage of the long s which can be reached when
A Geometric Sans-Serif typeface, a perfect blend of elegant, minimal and premium design aesthetics at it’s level best. A perfect typeface for logotypes, headlines, branding, marketing graphics, corporate identities, all web & print purposes. Visia comes with 18 fonts in
Kappa Vol.2 is the serif version of our popular Kappa. Just as Kappa sans, this font has a slight narrowed structure and a prominent ascender height, therefore this font is suitable for a large range of platforms. Moreover, due to
Gardenia is a grotesk sans-serif. It comes in 9 weights with matching italics. It was designed by Salvador Rodríguez in 2015/2016. It is characterized by legibility in the medium sizes, black and thin weights are great performers in display sizes.
Brightwell is a sans-serif typeface consisting of 6 upright weights and 6 italics. Initially following the grotesque-geometric forms popular during the 1920’s, Brightwell’s structure has evolved into a different one, with narrower and more organic proportions, increased contrast and smaller
Brushzilla is a handmade brush font with a bite: it feeds off the creative energy from the depths of your mind and transforms it into something outstanding. Work with it, not against it. Ride the wave and let it take
Asthoria is a bold sans serif family with solid clean, rough, trace and outline files. Asthoria is simple but significant and defined by its crisp edges and modern touches. It is designed for optimal legibility. An all-caps sans-serif, Asthoria makes
Bitumen is a sticky, black, and highly viscous liquid form of petroleum. When I created this font, it reminded me a bit of asphalt, hence the name. Bitumen is a handmade font based on Schmallfette Grotesk by Walter Haettenschweiler and
Alliance contains 28 weights, 14 uprights, matching italics and contains over 592 glyphs with extensive Western, Central and Eastern European language support. Inspired by Industrial era types from the end of the 19th century, Alliance attempts to follow traditions of
This 1897 Schelter & Giesecke in-house design was carefully redrawn, extended and redesigned for modern usage. It is a remarkable font for book covers, film and video titles, ads and much more. Published by RMU TypedesignDownload Aldo Manuzio
Fibra One looks like a “soft” version of the Fibra font, but it is actually more than that—the second part of its name suggests that it is a reinterpretation of the original typeface. While this new version maintains the overall