Amelie Briggs

Anteb font family is one of those large and useful families that you really cant miss if you are looking for typeface combining originality and legibility.

Anteb is one of these a sans serif with modern look designed very smart with rounded corner.

It is developed in 10 separate weights ranging from Thin to ExtraBlack, each coming with Alternate version, which is well suited for a variety of typographic applications such as headlines and small texts.

The Anteb font family supports multiple languages and is available as both webfont and desktop font.

Antipol is a Sans Serif design that reverses the conventions of a regular Latin Sans Serif.

With a weight emphasis on the horizontals and its vertical terminals Antipol radiates a 1970s charisma known from the like of Antique Olive.

Its modern and avantgardistic attributes are most pronounced in the Hairline weight, where ultra thin lines meet distinctive arrowhead-corners.

This particular weight is meant for display settings, think full-page magazine titles or posters.

More Antipol Wide and Antipol Extended are a generous statement for graphic design with enough space to let the type breathe: art catalogs, lead texts, invitations, letterheads or brand identity.

Any style comes with a wide range of OpenType features that goes beyond a standard display font: Small Caps, Proportional and Tabular Oldstyle Figures and Lining Figures, Fractions, and much more.

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.

Rileno Sans is sharp with geometric forms and strong personality. It is constructed in a geometric manner and inspired by the constructivist typefaces of the 1920s with a humanistic quality.

It comes in 6 weights, 6 uprights and their matching italics. Rileno Sans is equipped with opentype features like Alternate charates, Fractions, Monospace Numbers, Superscript/subscript, Arrow, Roman Numbers, Ligatures and More.

Vin (translated from Ukrainian as he) is a superfamily consisting of three robust typefaces with pronounced vertical stems and rounded corners.

All three typefaces feature very large x-height for even more expression and assertiveness.

Vin Sans Pro is a quite narrow rigid sans-serif typeface with extra-large x-height and rounded corners.

It is perfect for any kind of short copy with lots of attention guaranteed.

Be sure to check other two typefaces of Vin superfamily: Vin Slab Pro and Vin Mono Pro.

Joane mixes the elegancy of French didones, calligraphic endings and glyphic serifs, thus its features convey a warm unique style.

Moreover, its curves have been beautifully designed, and it also comes with both and engraved and deco versions, which add more versatility to the way it can be used.

Joanes is perfectly suited for magazines, branding, advertising, labels, web and packaging.

Joane is my first typeface that is world-wide published. To achieve this goal, I received essential help of W team and friends. I personally want to say thanks to Diego Aravena for the patience, good will and learning; for the friendship and support to Franco Jonas and Raúl Meza.

Because of their help I could find the treasures at the end of the process.

Ale Navarro

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.

Pietro Aretino (1492 1556) Was an Italian author, playwright, poet, satirist and blackmailer, who wielded influence on contemporary art and politics.

The most vigorous and versatile vernacular writer of the 16th century He was a very versatile writer, famous for his Lascivious Sonnets which caused great scandal at the time but also for his satirical verses, addressed to all the powerful people in Italy, without forgetting the many plays that he wrote for the theatre.

Part of the charm of his letters is that through them you may know the whole of Venetian society from the top to the bottom.

The little-known church of San Luca in Venice (in St Marks district) has been a place of pilgrimage for centuries for people who are decidedly not devout: journalists, writers, free thinkers.

In 1556 Pietro Aretino, a unique character of the Italian and Venetian Renaissance period was buried there.

Such strong of personality, has contributed to generate the powerful wind of change that emerged from the italian renaissance.

We have inspired on that talent searching for a new sight the famous Venetian typefaces.

Probably looking for more vigour and contemporary digital style. This typeface is slightly condensed, lighter and has more contrast between the thick and thin letter-strokes, it has concave bracketed serif.

Their ascender and descenders strokes are very shorts. Aretino family is completed by four weigh: Regular, SemiBold, Bold and ExtraBold, while Italics has three weighs.

These fonts came with a full OpenType features and CE languages.

Originally designed in 1928, Plak is something of a lost gem in the type world. Despite being drawn by Futura creator Paul Renner, it never achieved the same popularity and spent decades lacking a much-needed digital revival.

Monotype designers Linda Hintz and Toshi Omagari have taken its existing three weights and, after extensive research into the original wood type, extended them into the vast Neue Plak family.

More The typeface is available in 60 weights that stay true to Renners intentions, and offer the same blend of quirky details and German stiffness as Hintz describes it.

The design is an unusual mixture, bringing together a defiant outer appearance thats counteracted by more playful details found in the lowercase r, and the large dots over the is.

Other distinctive details include open or strikethrough counters, and a set of hairline widths that reduce Renners original design to its bare bones.

Neue Plaks display weights are crying out to be used in editorial, on packaging or in logos, while its text weight works well in both print and digital environments.

Rion is a high-contrast modern, or Didone-style font family, with a calligraphic flourish. It is intended for typesetting headlines in editorial design settings, as well as signage, the larger texts in exhibition graphics, or any other place where you need big, elegant-looking type.

Rion takes inspiration both from straight-axis nineteenth century typefaces and pointed-pen calligraphy.

Its letterforms contain a high degree of stroke-contrast; this gives them a look of sophistication.

The family includes six weights, ranging in style from Light through Black. Each weight has both an upright font and an italic on offer. The fonts default numerals are proportionally-spaced oldstyle figures. Lining figures are also available, via an OpenType feature. Rions characters are all a bit condensed; this narrow feeling is especially present in the fonts uppercase letters.

The ascenders of the lowercase letters rise slightly above the tops of the capitals.

In the upright fonts, the a and the g are double-storied. In the italics, they are single-storied. Each font includes small caps, and 13 f-ligatures, too. Special characters in the fonts such as the hashtag and the @-symbol, as well several punctuation marks and mathematical glyphs are drawn with thin, monolinear hairline strokes, allowing them to disappear into the background somewhat, and let the real alphabetic characters shine more prominently.

Rion is the work of Barbara Bigosinska, a Polish type designer living in the Netherlands, who is a graduate of the MA Type & Media programme at the Royal Academy of Art (KABK) in The Hague.

This extensive 60-font type family was inspired by the best (and worst) of 1970s science fiction TV shows and movies.

Verbatim aims to extract the essence of futuristic type from that era, add a dash of modern style and conjure a cinematic typeface for the 21st century.

From the extremes of the thin condensed, all the way through to the black extended, Verbatim has the scope to add drama to your titles and headings, and finesse to your logo and branding projects.

Distinguishing features include a large x-height and open counters that aid legibility.

This typeface crosses a few boundaries of type specification in that it is both rounded and square, it is part geometric in construction with a touch of humanistic flair and stroke contrast giving Verbatim a distinctive and confident air.

More Key features: 6 weights in Roman and Oblique 5 Styles Condensed, Narrow, Regular, Wide, Extended Small Caps and 7 Alternates European Language Support (Latin) 600 glyphs per font.

See more detailed examples at the Verbatim microsite.

Demo is a flat-sided, technoid-style sans serif family. It has ten fonts on offer; thats five different weights, each with a companion italic.

The italics are really obliques, differentiating themselves from texts set with the upright fonts by their slant.

However, rather than calling the italic fonts slanted versions of Demos upright fonts, we should rather say that Demos upright fonts are straightened-up italics.

Much of the letter construction in the Demo typeface is actually italic, meaning that it is inspired by handwriting.

And this despite its being a sans serif with an almost futuristic appearance.

The a and g in Demo are both single-storey, but the combination of curves and corners in these two letters is right out of a 16th-century Italian chancery.

The other notable feature of Demo is the strong mono-linearity present in all ten of the fonts.

Demos letters do not include any visible stroke contrast: Demos lowercase has a very tall x-height, and the capital letters are compact (the lowercases ascender strokes rise above the caps somewhat).

Demo does not need to be restricted to use in display sizes only; its lighter weights may be used to set shorter passages of body copy, too.

Demo was designed by Aarya Purohit and the Indian Type Foundry (ITF).

Axios was designed, on one side, due to its rational intention of searching the beauty on the purity of its forms, assuming the language of the early XX century geometric sanserifs, but its structure foundations are deeply attached into the classic typography; because while its uppercase proportions proceed form the roman canon, its lowercase are constructed following the humanist calligraphy ductus.

This blend produce a typeface of modern, clean and minimalist personality that has implicit, on its core, a classic traditional spirit.

All this gives Axios that form and function balance which allow it freely travel through a diverse range of fields like long text settings, branding or signalling systems with grace and naturality.

More Axios includes an extensive repertoire of ligatures, stylistic alternates, swashes and borders, in a set of more than 1000 glyphs per style with support for over 200 latin languages.