Mary Bacon

A tasty typeface inspired on the classic ads poster with a funny touch of handmade strokes.

Ideal for food ads with a traditional feeling. it tinny body es great for ue it on packaging like a secondary font, to fill descriptions or, editorial desing too in short bullets text.

Katana is 21st-century script typeface that thrives with energy. Its stylised letterforms feature a strong slant: about 40°, or more than twice the amount of slant found in a typical italic font.

Katanas angularity expresses an aura that combines the small refined details of calligraphy with the vibrancy of large-format graffiti lettering.

Unusual for a script typeface, Katana has multiple weights available; there are five in the family, and they range from Light through Bold.

As one shuffles from each weight to the next, the level of stroke contrast increases.

While Katanas Light weight is monolinear, the Bold weight has extremely hight contrast between its thick and thin strokes, which dials up the fonts dynamic-feeling even more.

The heavier weights clearly look like their letterforms have been written with broad pens or brushes, and the heaviest font looks like a techno-style design crossed with the work of a traditional sign-painter.

Each member of the Katana family has lining figures as its fonts default numeral style, but there are also oldstyle figures available through an OpenType feature.

Plus, each font includes about 26 alternate glyphs, substituted into the text whenever the contextual alternates feature is active.

Katana is a great addition to an editorial designers toolkit. It comes from Parimal Parmar, a designer in Ahmedabad/India.

UMBA Sans is a contemporary typeface designed by Anita Jürgeleit. The wide shaped curves show a new aesthetic appeal in an unexpected pleasant way. Umba Sans fulfills your corporate design needs as well as your editorial demands and helps to push your design to the next level.

Thirty styles from thin to bold and matching italics - as well as small caps and alternates - help you create a contemporary design.

Umba Sans provides a wide range of variations. Your design may have many faces but it all matches together. More Separate styles for alternate and small caps will show up in your font menu, making sure that you stay aware of the wide range of possibilities your new favourite typeface provides.

Want to know more? Lets get in touch! INSTAGRAM @anitajuergeleit +++ FACEBOOK AnitaJuergeleitTypefaces +++ TWITTER AnitaJott

Believer is a letter with original handwriting style, nice applied in various products. Complete with multilingual characters, ligature, alternate and contextual alternate. It is suitable for quote, clothing design, vintage logo, label, poster, packaging design and other designs.

File Include : Believer.otf . Believer.ttf . Believer Rough.otf . Believer Rough.ttf . Features (PUA Encoded) More UPPERCASE. LOWERCASE. MULTILINGUAL. PUNCTUATION & SYMBOL. STYLISTIC SET. LIGATURE. CONTEXTUAL ALTERNATES. I hope you enjoy and thank you.

Calps Sans is a variant of the original Calps typeface. Import to be more corporate, Calps Sans family use flat corners instead of rounded corners (Calps).

Calps Sans is a prominent, eye-catching and unique typeface. It comes with 9 weights and Slim version in order to suit for a multifunctional usage, especially for cooperative work, such as website, magazine, editorial, publishing , as well as packaging.

Manifest is a geometric type family that based on the principles of simplicity, modernity and functionality.

With low-contrast design approach, it performs excellently in any project from print to digital.

It comes in five weights with an extended character set includes 240+ glyphs per typeface, supports Western and some Central European languages.

Monopola is a casual script font inspired by pop cultures and urban fashion. This font is great for your next creative project such as Logotype, printed quotes, invitations, cards, product packaging, headers, Letterhead, Poster, Apparel Design, Label, and etc.

Monopola comes with uppercase, lowercase, numerals, punctuations and so many variations on each character include OpenType alternates, and common ligatures to let you customize your designs.

The Enagol Math family consists of 4 weight plus True italics. It is a typeface with rounded Slab-Serif of Semi-Condensed proportions. I have composed all the proportions of the character based on a study of mathematical proportions related to the golden sequences of Perrin, Lucas and Fibonacci.

From an initial matrix of golden proportions applied in the letters H for capital letters and n for lowercase letters, calculated for the versions of the extremes of the Light and Bold type, below I do the whole calculation of proportions using my formula of three axes and by interpolation I generate the intermediate versions Regular and Medium.

For the Italic versions I have drawn a complete set of lowercase letters that give these fonts an aspect close to the Italic writing.

In these versions I have also applied many optical corrections to balance the deformations created in many curves by the mere inclination of the letters, which in the case of this type is 11°.

Manifest is a geometric type family that based on the principles of simplicity, modernity and functionality.

With low-contrast design approach, it performs excellently in any project from print to digital.

It comes in five weights with an extended character set includes 240+ glyphs per typeface, supports Western and some Central European languages.

Query was born out of that lineage of experimentation and developing a voice within type. I wanted this typeface to have a strong personality but also give room for legibility.

The typeface was inspired from people like Karl Heinz, to Hamiltons Class L fonts, and even civil rights posters from 1968.

My original intent was to make a single font that transformed the spirit of woodtype, but done in my voice today.

A college compared it to a modern Trade Gothic, which I never envisioned, but feel it is an accurate observation.

More As I continued to refine the work, I made sure that the personality, tone and voice was still there but also refining it so that when used, it was legible but still unique to anything I have seen.

I included over 400 glyphs that support many languages and also included three levels of stylistic sets for extra use and style.

Query is as fun to use as it is to look at.

Bonny is a family of decorative serif fonts, designed for display typography. The letterforms are very condensed. They also contain a lot of stroke-contrast. Bonnys thin strokes often terminate in flourishes; these flourishes pair well with the typefaces serifs, which are both thin and short.

Bonnys uppercase letters are very top-heavy; the upper halves of B, E, F, H, K, M, R, S, and X are so large that they look almost like caricatures.

This feature is carried over the some of the lowercase letters, too. For example, Bonnys a, c, f, g, k, r, s, t, y, and z are all extravagant and lovely.

The v and w have calligraphic flourishes on their right-hand sides; similar expressions appear throughout rest of the the typeface, too.

Each font includes 13 f-ligatures. An alternate j may be automatically substituted into text, via the Contextual Alternates feature, preventing collisions with glyphs coming before it.

The fonts numerals are oldstyle figures, which match the rhythm of the lowercase letters.

From the Polish type designer Barbara Bigosinska, Bonny is an excellent choice for use on greeting cards and in packaging design.

Its fonts should be set in large point sizes, so that its details have enough space to really shine.

Neptune is a large family of geometric sans serif fonts. Its designer Gaetan Baehr has created 12 styles: six different weights, ranging from Extralight to Extrabold.

Each has an upright and an oblique font on offer. Letters in all of Neptunes weights are drawn with virtually mono-linear strokes. Its lowercase letters have a tall x-height, but still leave enough room for the fonts diacritical marks.

These are actually quite large; theyll always be noticed, even in small sizes.

Neptunes a and g both have single-storey forms. The dots on the i, j, and diacritics are round, as are the punctuation marks, too. Despite being a geometric sans, Neptune features letters that break away somewhat from what previous fonts in that style have offered.

The Qs tail has been simplified into a short, vertical stroke. The strokes on both the S and the s terminate in vertical cuts, instead of having horizontal or diagonal terminals.

The lowercase k and t each have traits that come from our alphabets handwritten origins.

These details give text set in Neptune a different feeling from other geometric sans serifs.

Neptune is an excellent choice for both corporate design and editorial design projects, both because of its range of weights as well as its legibility in text.

Fopo is display font family that is perfect for poster, and other commercial work. Alternates glyphs ; A, H, K, R, a, g, k, m, n, r, u and w