Rima Matveyeva

Acris Serif is the rich and gracefull font designed in two weights for expressive and luxury projects.

If it's had gender, it would be a woman — beautiful but with character like rose with thorns.

Acris Serif is very good looking in Big Tittles, Magazine design, Branding, Logotypes, Posters, Wedding invitations, romantic cards and others.

This typeface comes with special features like Stylistic Alternates and Discretionary Ligatures.

The easiest way you can get Alternates is to add for example number 2, 3 or 4 after character. For this option be sure that bottom named Standard Ligatures is activated in Opentype panel.

Multilingual Support

Acris support Western European characters and works with following languages: English, Danish, Dutch, Estonian, Faroese, Filipino, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Norwegian, Polish, Portuguese, Spanish, Swedish, Turkish.

Suprapower™SE is a wide typeface for poster, packaging, headline, and titles. It is an update to the Suprapower™ typeface.

Clarks is a modular typeface built from a work by Lygia Clark, one of the giants of Brazilian postwar art. 

Packed in a font equipped with clever OpenType programming, there are at least 7 different designs for each letter, thus allowing, or rather, proposing, boldly unconventional compositions. 

The font is programmed to cycle all these different lettershapes, avoiding repetition. The user can also manually pick up preferred forms in a glyph palette. There are choices to both keep and to defy readability and it's almost hypnotic, to play with these.

Lygia Clark used to invite viewers to touch her works and so we did with her 'Planes in Modulated Surface no. 4', from 1957: we fragment it and turned and inverted and recombined it. Now we return it as audacious typography and invite you to put it to work in your designs. Keep it bold and have fun! Cheers!

Seductive Height has been realised

Seductive Height is sans serif font. It is unic font. all Character have hight stem. That make this font look simple but elegant. Seductive Family has 10 font style with different wieght. you also will get lowercase, uppercase, number, function, multilingual, and some alternate. Suitable for many project (formal or informal).  

Features

Lowercase/Uppercase/ Numbers & Punctuation / Extensive Language Support/Alternate

Texto is a synonym of SMS (Short Message Service) in french. As a SMS that you would send or receive from a friend, this typeface is friendly, warm and informal. It is a humanist sans-serif typeface that comes in 9 weights to meet all needs.

Oliver Serif, clean, contemporary and sophisticated. It is available in 3 distinctive weights-Regular, Bold and Ultra with matching italics. Oliver Serif is a fine choice for a variety of uses ranging from body text to bold dynamic headlines and branding applications. A perfect choice for both digital and print.

Typefire is perfectly suited for editorial design, branding, magazines, logos, headings and more.

Typefire OpenType features list: aalt, kern, locl, subs, sinf, sups, numr, dnom, frac, ordn, calt and etc

Amount of glyphs included 456

Latin Plus languages supported 94%

Latin Plus diacritics included 88%

source: underware

Say hello to Qene-G Typeface,

Qene-G is based on a problem that often occurs when I design, which is to combining typefaces in typographic art. I am pretty sure you also in this problem, so Qene-G Typeface comes to solve the problem.

Qene-G is a complete package consisting of serif fonts and signature scripts. A careful approach makes this font give a luxurious and elegant taste to your project. Smooth curves, some flowy terminals, and flirty tails will make your project looks unique. The handmade signature combination emphasizes the style that you create in the natural beauty atmosphere.

Qene-G consists of 5 families, they are Qene-G-Regular, Qene-G-Regular Italic, Qene-G-Outline, Qene-G-Outline Italic, and Qene-G-Script. You will get all caps letters with 2 styles that you can access via uppercase and lowercase buttons, charming script fonts, and tons of ligatures and stylistic alternates. Complete with Unicode and PUA which allows you to access all features without graphic design software. Your project will travel around the world with 131 languages ​​of this font.

Qene-G is a strikingly versatile font, It is a bold choice for branding projects, fashion magazine imagery, social media text overlays, posters, website headers, and more. Let's start creating stand out designs with this font.

Cheers!

Zin Display is a contemporary typeface designed for various situations of typographic usage. Characteristic feature is a large x-height and balance between neutral construction of letters (strictly vertical axis), dynamic open forms (opened terminals) and sharp instrokes, outstrokes and serifs. Another typical feature is a visually narrower connection between stems and strokes.

   The complete font family consist of three width proportions (Normal, Condensed and Extended). Every sub-family has 5 weights, ranging from Light to Black with matching Italics.

   Zin Display can be effectively used especially for display typesetting but works for longer text as well. It can be used especialy in magazine layouts and editorial design, as well in advertising typography, orientation systems, corporate identities and many other situations.

   Zin Display is a member of the Zin super family, which also includes Zin Sans, Zin Slab and Zin Serif fonts.

BallPill — a trapless typeface in 5 weights

language: all latin glyphs

A mix of Renaissance & tropical atmosphere

Basco is an exploration of the Renaissance style, a period in which letterforms were informed primarily by hand writing. It is clearly a contemporary interpretation of calligraphic shapes forms.

The serifs are subtly asymmetrical. Slightly curved arches on the n, m and u are noticeable, creating an interesting tension in the text. Bruno Mello’s distinctive style is most obvious in his mastery of super fluid curves. It is a result of his extensive exploration of calligraphic forms, their tensions and dynamics, mixing angularities with curves. The roman weights include alternate swashes, as well as initial and terminal glyphs. The italics, based on chancellery script, feature simple stroke endings, most visible on the s and c.

➼ Basco minisite

A robust oldstyle, an elegant slab, 8 styles

Geneo, created by Stéphane Elbaz, is a synthesis of historic and present-day visions of typography, a slab serif constructed on an oblique axis. Its subtle contrast evokes both Renaissance elegance and the robustness of the Egyptian typefaces that were in vogue during the 19th century. Geneo falls halfway between the classic styles of Garamond and Transitionnals, with aspects of contemporary slab serifs like Rockwell, Boton, as well a bit informal. From this blend of styles and genres, it emerges with a singular identity perfectly suited for modern illustrations of quality, savoir-faire, and culture.

Geneo’s limited contrast has been carefully crafted to make the font adaptable for use as both text and headlines, as well as for small-print elements like footnotes, appendices, and captions. The variety and precision of certain weights, like Regular, allow minute adjustments of the font color in text compositions. This flexibility is especially useful for displaying on devices with high pixel densities such as the latest iPhone or iPad, on which text may appear too thin.

Flexibility and sturdiness

The sturdiness of Geneo makes it a perfect choice for posters, logos, print and any project that requires finesse and sophistication. It provides alternate versions of some letters such as g and a to give you the flexibility you need for your typographic projects. Geneo pairs perfectly with contemporary typeface genre.

Geneo, a new typeface designed by Stéphane Elbaz

Tokyo TDC 2014

Type Directors Club 2009

Designed between italic and script styles

Airco is a typeface designed between italic and script styles. The letterform finish is rounded. Designed ultra slanted (27°), the shapes evoke a fast and assertive movement. The result is a human typeface, dynamic, that will visually work well in technology and sport, without ever being dry, rigid or dehumanized. The structure of the letters is influenced by Renaissance italics, at the difference that in the case of Airco, the lowercases and capitals are visually homogeneous thanks to the giants lowercases. In fact, the default numerals can be used in capital as well lowercases settings.

Between geometry & shapes inspired by nature, in 4 fonts

Audace was born as a response to a simple brief: how to visually express human interaction and technology with abstract forms? The starting point is a humanistic sanserif, to which are added external references: design pieces, furniture, buildings. Architects shape our world with the intention to reconnect nature, human and address a perfect functionality. Not so far to typeface design which combines a personal vision and ensures good legibility in a certain context.

Audace — like the works of those artists, designers, architects — is clearly influenced by the tension of the line, the play with negative space, the dynamics, the surprise, the nature that will influence the shapes of the letters. So if a v is asymmetrical, and the y based on similar asymmetry but in reverse, these two shapes help to distinguish from one to the other. This is a consequence of the influence of forms from design and art in the design of the Audace. And this small example illustrates the confrontations of the designer’s influences: the search for the most unique shapes, but without compromising on function: to be read, to be legible, even at very small size in the worst conditions.

Audace, between geometry and shapes inspired by nature

Forestland simplifies elegance into one truly outstanding handwritten font. It maintains its classy calligraphic influences while feeling contemporary and fresh. This versatility will appeal to a wide range of crafty ideas, from letterheads and titles, to stationery.

Tabularasa is a modern grotesque typeface with an organic aesthetic. It is very legible in small sizes and full of refined details in display sizes.

Furthermore, it features a whole set of stylistic alternates that offer additional approaches for its usage.

Redriver is a postmodern font in a futuristic graphic style, mixing characteristics from postmodern, contemporary and even older design styles. Redriver's strength will be the soul of your graphic designs.

Redriver is perfect for futuristic and postmodern graphic art, editorial design, posters, t-shirts, book covers, headlines, advertising, branding, movies titling, and more. Redriver can be used for both short or long text in your designs and comes in 3 styles: thin, regular, and bold.

Dolphins is a unique serif font family consisting of 16 styles. It is equipped with alternative decorative letters to be able to handle most typographic applications ranging from branding to body copying with various weights and inherent readability.

Complete with decorative letters, it will be perfect and will look luxurious for many projects such as fashion, magazines, logos, branding, photography, invitations, quotes, blog headings, posters, advertisements, postcards, and more.

Thrifty is a clean, contemporary typeface family created for branding and communication design. With a narrow form and clear letter forms, this family is both suited for display and title settings while equally remaining legible in smaller point sizes. 

Through it’s nine weights and accompanying italics plus a large glyph set that covers the majority of Latin based languages, Thrifty aims to offer a versatile and functional design. Thanks to the implementation of OpenType features, this family includes different sets of numerals, from tabular, hanging or scientific, it equally includes ligatures and free form fractions. Each weight equally offers a complete set of arrows and 99 different pictograms focused on themes of mobility and transport. 

Mori Gothic is a versatile and sophisticated sans serif inspired by the Contemporary Japanese design, best suited for editorial, graphic design and branding.

From extra light to bold, it was designed with plenty of open type features, including stylistic sets with circled and squared numbers, subscript and superscript numbers, symbols and punctuations (some of them Japanese), graphic and mathematical symbols and many alternates.