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Clara is a set of alphabets of interconnected serif and sans serif fonts. The connection is not only in the intensity of the strokes, i.e. in the identical brightness of the typesetting, but also in the drawing principles of both alphabets. The typeface aims to offer a sense of calmness for a reader even in smaller scales of the typesetting. In large scales it builds on the purity of the image without additional decorations. The Clara system includes maximum equipment of a Latin font from Thin to Black in all versions of marking fonts, italics, capital letters and four kinds of numbers. The typeface allows typesetting of the vast majority of cultural languages of the world.
This font is closely based on classical proportions, with flared terminals. Small Capitals are 7/8 the size of the capitals
Yes, you're right. Blauhaus should have been ‘Blaues Haus’, as that is the proper way of saying Blue House in German. But hey, Blauhaus sounds much better and in writing, it is quite similar to Bauhaus.
Blauhaus is a stylish, rounded sans serif font, modeled after some early 20th century German typefaces. It is easy on the eye and it will certainly give your work a sophisticated punch. Comes with a classy collection of diacritics.
Artemis Sans is the beautiful Greek sister of Arthur Sans. Enjoy the unique grace of the eternal Greek capitals alphabet in a new fashion! For any mixed-language setting, Artemis Sans matches the proportions of Arthus Sans Semibold or Arthur Cabinet Tabac, it harmonizes perfectly with any other font of the Arthur series.
Director is a minimal display family from ITF for the Latin script. Across each of the family’s five fonts, all of the horizontal strokes share a consistent thickness, while the vertical strokes grow thicker with each new weight. So the Regular’s strokes are almost monolinear, but the Heavy weight has stroke contrast that is very severe. No matter how heavy you set Director, however, your text will retain a simple, squared appearance.
Sufferin' Succotash, was that five minutes already?! Seemed to us like that lunatic cartoon went by faster than a roadrunner being pursued by a wily coyote or a hare brained bunny dodging short sighted hunters during wabbit season. Adorn your favorite duck, pig, cat, tweeting bird or skunk with the warming strains of our merry melody font or it'll be all over for all you folks.
Kapelka New is a soft and friendly display face based on the principles of writing with a soft pointed brush. Kapelka is suitable for packaging design, children’s books headlines and any other domestic and informal purposes. The typeface was designed by Zakhar Yaschin and released by ParaType in 2015. Inspired by the sweetie paper and soft pointed brush writing Zahar Yaschin designed the first version of Kapelka in 2001. It wasn’t on the shelf all these years and even served some time as a corporate identity of “Domashniy” TV channel. But with the benefit of hindsight the author decided to improve, modernize and extend Kapelka. The result was even better than you would expect. The font became even more soft and gentle and also gained some inward nobility due to more evident calligraphic base.
Quick Response JNL is a technology-inspired set of novelty letters (A to Z only) emulating the digital “quick response codes” used for storing data retrievable by today’s smart phones.
Bietka is a high quality squarish display font - geometric, modernist and playful at the same time.
It supports multiple languages, as well as open type features, alternate styles, lining, old style, proportional and tabular figures, fractions, ordinals, subscript and superscript, arrows, symbols and special characters.
A vast array of 39 expertly-drawn decorative vector panels in the form of a single font. Each letter generates a different panel so you can simply insert your own text for a quick design your clients will love.
Ask any typical New Yorker about subway directions and they'll tell you to take the “uptown line”, “downtown line” or "cross-town line".
A very heavy headline only typeface which should be typeset at rather large type sizes due to its fine counters.
It’s the ideal typeface for building a brick-wall out of letters.
Surprise is in the details, so play it loud and big! It’s fun.
This classic typeface is based upon a poster printed with large wooden letters. The all caps font is perfect for large headlines with a handmade touch. Missing letters have been added. There are altogether five fonts: the regular »Fatone A«, the extra bold »Fatone B«, an outline version named »Fatone C«, the »Fatone D« providing a shadowed version and the striped »Fatone E«. The different versions of the letters can be placed on top of each other (to use the multilayer options of this font make sure that your layout program is switched to metrical kerning).
Bungehuis font was modeled on the lettering found on an Amsterdam art deco building from 1931. This building on the Spuistraat, also called “Het Bungehuis”, used to house offices, but is now part of the University of Amsterdam. In 2015 it had its brief moment of fame, when students, demanding more democracy at the University, occupied it.
Bungehuis is a heavy art deco font and would look great on posters and in headlines. It comes with a rather democratic range of diacritics.
Firme is a very personal take on the geometric typefaces, and it’s specially suited for corporate and editorial projects, with several stylistic alternates and discretionary ligatures, for improved typographic flexibility.