Amelie Briggs

Karlie is a neat combination of a friendly script and a modern all-caps serif in five widths.

The font family is extremely versatile and is perfect for high-end logotypes and magazine headlines, let alone greeting cards, invitations, posters, book covers, ads and the various web and screen usages.

The combination of two different font styles (script and serif) also performs very well on product packaging.

As for the technical side, the Karlie family has extensive language support and includes a handful of ligatures, stylistic sets and swashes that add visual interest to every letter.

We've also included some extras with ready-made words and symbols for more design freedom.

More The Karlie Font Family in a nutshell: - Karlie - a dancing baseline script with connecting letters - Karlie Alt - similar feel to Karlie, but with disconnected letters - Karlie Serif - a set of five serifs with different widths for a different impact - Karlie Extras - a set of additional designs that will add up to the familys charm.

The overall feel of the family is a combination of casual and sophisticated, thus making it perfect for modern-day applications.

Heiders Is a font families including 71 fonts. Heiders Famliy included 4 Sub family - Heiders Script, Heiders Sans, Heiders handmade and Heiders Extras for script and sans version of fonts have a Weight and have a Clean and Rough version with 4 Distressed Alternates.

More Heiders contains some texture options and lots of extras you can create your own way and make it easier for you to create projects and various other design needs.

Meet Mindset, an open-minded versatile hand-drawn family. Its regular and slim cuts, both all-caps-with-alternates for that unique feel, fit countless purposes where a touch of hand-done is welcome.

Theres yet a picture font with plenty of stylish graphic elements for added coolness.

Give it a try and see for yourself. Its all in the mind, y'know.

Born from the intersection of the geometric and grotesque typefaces. Aribau Grotesk combines low contrast and generous width proportions with typical traits of american gothics from the early 20th century, like the counters aperture and a double story g.

Driven by the process, some details that come from the geometric style arose, like the clean-shaped figures and the circular dots that convey a more affable and contemporary look.

Useful links: TT Phobos PDF Type Specimen TT Phobos graphic presentation at Behance TT Phobos is a pliable display serif with a soft and gentle character.

The features of the typeface are the moderate contrast between bold and thin strokes, pliable visual compensators, and the counter-clockwise bend of internal ovals.

In addition to 6 weights and 6 italic, TT Phobos also includes two original decorative fonts, inline and stencil.

More Despite its pliability and display character, TT Phobos is dynamic enough and is well suited for text arrays even in large text blocks.

The serifs of letters are completely asymmetrical and bring in dynamics when reading the text from left to right.

Thanks to the harmonious contrast of black and white forms and internal negative spaces of the letters, as well as its broad letter spacing, the typeface is well read in small sizes.

In this case, the character of the letters is completely preserved, partially thanks to the exaggerated elegant visual compensators.

The ornamental pattern used in TT Phobos Inline varies for capital and lowercase letters.

Capital letters implement a more complex double inline with a rhombic element in the middle, and in the lower case features a simplified form of the inline, made in a single movement.

Thanks to the original cutting, TT Phobos Stencil stands out for its expression, and the rounded cuts add even more visual style to the font.

TT Phobos consists of 14 faces: 6 weights (Light, Regular, DemiBold, Bold, ExtraBold, Black), 6 Italics, inline and stencil.

There are 17 ligatures in TT Phobos, including several Cyrillic ones. The typeface has stylistic alternates, which adds an italic effect to the upright fonts, and a little solemnity of the upright version to the italics.

In addition, we have not forgotten about the old-style figures and other useful OpenType features, such as ordn, sups, sinf, dnom, numr, onum, tnum, pnum, liga, dlig, salt (ss01), frac, case.

Download Codec Cheat Sheets Codec is a geometric sans serif type system, designed by Cosimo Lorenzo Pancini with Francesco Canovaro and Andrea Tartarelli.

Codec provides you with two coherent variant fonts built on the same base skeleton: Codec Cold and Codec Warm.

In Codec Cold terminals are always cut parallel or perpendicular to the baseline, emphasizing geometry and giving the typeface a more constructed look.

In Codec Warm, on the contrary, open diagonal cuts and two-storey letterforms give the typeface a slightly more humanist look and a gentler, warmer text feeling.

More Both Codec Cold and Codec Warm come with a wide range of glyphs for language coverage, including cyrillic and greek alphabets, and of open type features, including small caps, positional numerals and swash forms.

Codec typefaces also include over a hundred variant ligature and alternate glyphs.

These glyphs, usually available as discretionary ligatures, have been made permanently active in the two Codec Logo subfamilies, designed for display use and logo design, and thus available with a bolder weight range and tighter metrics.

Codec Logo Cold makes the cold geometry alive with funky ligatures, while Codec Logo Warm randomly stretches characters: both allow for quick, unexpected solutions in logo design and display type treatment.

Hope Sans takes the jaunty style of 1950s and 60s lettering and melds it with the jubilant 1970s swashes of Bookman.

The result is a sans serif family that is lively, inviting and deeply customizable.

Its basic sans serif forms create engaging text, while a roaring collection of swash designs, alternate characters and ligatures make it a natural for attention-grabbing display typography.

More The middle weights of the family are easy on the eyes and shine at smaller sizes and in blocks of text copy.

Their friendly vibe also translates well to web and interactive design projects.

Spacing is open, counters are large and Hope Sans range of six weights can provide just the right design for virtually any need.

Headlines, subheads, banners and navigational links are naturals for its lightest and boldest weights either with, or without, the swash letters.

Hope Sans is a paint box, says its designer, Charles Nix. In its basic form, its a sturdy grotesque, capable of setting text in a cool and relaxed way.

But a bit of accenting with the alternate forms easily creates an entirely different mood and meaning.

And for those that are willing to really mix with it, the variety of alternate characters can build truly unique typographic statements.

Looking at some specimen books of printing types of late nineteenth century, I found many ornamented capitals for headings among the typefaces.

Most of them showed a flourish like a tuscan serif - a characteristic trait of a peculiar capital lettering made with brush.

Dress is the result of the mash up between that influence and the Didone style - perfect for display.

To decorate, to adorn, to dress a design piece is the intention of this family, adapted to the twenty-first century.

The font should embellish book covers, publications, packagings, movie posters, greeting cards, stationery, among other uses.

Additionally, Dress matches very well with Limon Script. More Started up by the authors hand, Dress is a professional work, accurate, well spaced, with ligatures and alternates for uppercases, initials, endings and figures.

Each variable contains more than 1200 glyphs with plenty of OpenType features and extensive Western, Central and Eastern European language support.

The characters of the shades, inlines and outlines were not automatically made.

Instead, they were drawn one by one in order to take care of every detail, even the change of pressure of the hairlines.

The main member of this family is the Base font which can be used alone or decorated with the layers: Shade One or Shade Two, Inline One or Inline Two and Outline.

In this way, experienced designers will create their own combinations. On the other hand, there are multi-layered fonts that make Dress easier to use: Dress Combo One to Five.

Additionally, Dress Deco adorns the beginning and the ending of the words (1) while the Ornaments decorates the whole design.

The family package contains all this thirteen options. Lets Dress your work! (1) Take a look at the Instructions on the Gallery Section.

Tara is a family of serif fonts designed for immersive reading. Its design considers a tall x-height, balanced with high contrast letter-forms and wedge-shaped serifs that propose an elegant character functional at reading sizes.

The axis of stress running through the letters is almost vertical; however, Tara is inspired by oldstyle typefaces, characterized by their use of diagonal axes.

The family includes four weights that range from Regular through Bold with matching italics.

Many of Taras lowercase letters retain calligraphic traces in their details, such as the terminal on the upright lowercase a and the ear of the g.

The italics contain a few dozen swash alternates, for use in headlines, titles as well as logo designs.

All of the fonts include small caps, 14 f-ligatures, and case-sensitive punctuation.

The default numeral style is set at proportional oldstyle figures with tabular and lining figures available as OpenType alternates.

A full-range of numerators and denominators for fraction-typesetting has been included for its compatibility with a widespread range of contents.

With letter-forms quite comfortable to read, Taras language support covers an extended Latin character-set and is an excellent choice for editorial projects across print media.

Tara was designed by Tania Alvarez Zaldivar, a type and graphic designer from Mexico, and a graduate of the Type & Media program at the Royal Academy of Arts (KABK) in The Hague.

The Cannon family is the result of combining the clean aesthetics from a classic sans neo-grotesque with a touch of a geometric design.

The result is a simple but dynamic typeface with retro and technological airs.

Cannon is ideal for robust advertising, bold brand identities and packaging, also suitable for high impact headlines and short texts.

This type family consists of 36 variants and 9 weights (thin, extra light, light, regular, book, medium, bold, extra bold, black), matching italics for all weights and widths, matching small caps for all weights and widths, alternate characters and extended language support.

We are proud to introduce: Cannon.

Useful links: TT Severs PDF Type Specimen TT Severs graphic presentation at Behance TT Severs is a geometric grotesque with emphasized elements of internal brackets.

A distinctive feature of TT Severs is the unusual form of internal ovals, which refers us to the style of traditional Arabic writing.

TT Severs has a strong character and is great for use in high tech (IT), the web, in robotics, computer games, and sports.

More TT Severs is a 2-in-1 font family. In a large body size, it works great as a display font, creating a distinctive character for logos and headings.

At the same time, when TT Severs is used in a small body size or in large text arrays, the fonts peculiarities of bracket construction fade, and it perfectly functions as a text font, thanks to both the low contrast between vertical and horizontal strokes and the detailed logic of interaction of black and white letter elements.

The font family TT Severs includes 18 fonts, each of which consists of 558 glyphs.

The family has standard and discrete ligatures, which include experimental ligatures for the Cyrillic alphabet.

In addition, TT Severs can be made a little more humanistit is enough to turn on stylistic alternates, and due to them the font takes the form of a humanist grotesque, which refers us to traditional broad nib writing.

As part of the font family, you will also find old-style figures and a large number of OT features such as case, ordn, sups, sinf, dnom, numr, onum, tnum, pnum, liga, dlig, salt (ss01), frac.

BF Konkret Grotesk Pro, designed by Guido Schneider, is a contemporary grotesque with a straightforward style but a very individual touch.

Inspired by classic grotesque typefaces, Konkret Grotesk Pro impresses with its unique character and rhythm: Its elegant and edgy, flexible and forceful.

The Pro family supports up to 220 Latin-based languages. Each of the 16 fonts contains more than 1500 glyphs, including small caps, 7 figure sets, fractions, many ligatures, currency symbols, alternates, special characters and other useful symbols.

11 style sets give you the option to individualize and adjust the typeface to the requirement of your design, without changing the general visual feeling.

In this way you can also switch the simply slanted styled Italic into a real Italic.

More BF Konkret Grotesk Pro is a typeface family that can adapt to many requirements without losing its character and expression.

The range of 8 weights provides all possibilities. Due to the lovingly designed details, Konkret Grotesk Pro works both in small sizes as well as in display applications.

Thus, Konkret Grotesk Pro is ideally suited for contemporary and demanding typographic tasks, both in the fields of editorial design, branding, posters and advertising.

(The new Pro edition is the extended and optimized version of the previous BF Konkret Grotesk.

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You can Download All 36 Demo Fonts The Lexis font family is a sans serif super family consisting of two sub-families - Lextis & Lexis Alt.

While the first one follows the humanist model, its alternative version Lexis Alt dives way deeper into the geometric aesthetic.

Its simple yet versatile, packing great amount of well balanced weights, extensive character set and numerous Opentype features.

The Lexis typefamily comes in 9 weights plus their italics, two distinctive styles and support for over 200 languages.