Mary Bacon

Ordax is a condensed display sans-serif type family. Simple, clean and modern, it was designed to assert reliability and gravitas to the content.

It is particularly suitable for projects that demand simplicity and space economy.

Details include four weights with matching italics, 447 characters and the Opentype features.

URW Geometric is a sans serif typeface inspired by the German geometric typefaces of the 1920s but designed for modern usability.

The character shapes have optimized proportions and an improved balance, the x-height is increased, ascenders and descenders are decreased.

These design characteristics increase the usability and legibility tremendously. Accordingly to the URW Geometric, Boutros Fonts designed the URW Geometric Arabic. 10 weights, which harmonize perfectly with the Latin ones, were created from Thin to Black.

Zierde is a take on early advertising, small-copy grotesks of the late 19th/early 20th century, and is largely inspired by Miller & Richards own range of Grotesques.

More importantly, Zierde is accompanied by a large set of ornaments (+200) which hark back to the look-and-feel of the early-modernist arts and crafts movement.

The ornaments in, and presentation of, Zierde owe much credit to J.G Schelter & Gieseckes 1913 type specimen book Die Zierde. The strong functional uppercase sans-serifs alongside luscious, beautiful patterns in Die Zierde make for beautiful combinations.

This early-modernist use of grotesk alongside ornament looks bizarre in the eyes of us used to seeing sans-serifs in more formal, sterile settings.

The face itself retains some historical flourishes such as the eccentric leaning angle of the italics, the long cross-bar on the G, the gammy-leg of the R, a strange ampersand and some irregular terminals across the weights.

Zierde is display face meant for headlines, titles, short-copy, labels and logos.

It comes in caps and small caps, Latin and Cyrillic.

As long as uniqueness is the main goal among the type designers, our goal in this project was to be far away from that uniqueness, build it with typography standards & holding with the type axioms since the beginning appearance of modern typography.

After more than 600 hours of working on create, produce & release the whole typeface family.

MB Grotesk is a flawless branching from the Original Grotesque category characterized by its 351 standard glyphs structures, combined geometric rules with grotesque type theories.

More MB Grotesk has 7 weights & their italics. And it supports many languages, starts from Western European until the Eastern & Cyrillic.

Other than that we looking for extending that version to present you condensed, extended & Arabic versions as soon as possible.

Tyrium is the font pack. The Normal font combines with the alternate character font to make each word unique. Then add the Splatters font as your tagline and the ideal logo! Whats include: - Tyrium (.

ttf & .otf) Includes opentype features. - Splatters (.ttf & .otf) Perfectly combine with Tyrium to create cool - typography or logo design. - Includes a range of multilingual support.

Bison is a strong Fontfamily and sophisticated sans serif. Inspired by the animal, its sturdy uncompromising style is felt through the controlled letterforms and modern touches.

A balance of hard lines and smooth curves. Each font in the family can stand on its own, dynamic and authoritative in their own right.

Bison includes ten all-caps fonts: Four weights, two outlines, six italics. More Bison Bold - Bold and commanding Bison Demibold - The persuasive middleweight Bison Regular - A sturdy midground between light and bolds Bison Light - Quiet but confident Bison Outline (Thick and Thin) - Edgy and engaging --- FEATURES Four weights / Italics / Outlines / Numbers & Punctuation / Extensive Language Support USE Bison works great in any branding, logos, magazines, films.

The different weights give you full range to explore a whole host of applications, while the outlined fonts give a real modern feel to any project.

First designed in the early 1800s, Walbaum never achieved the audience or acclaim it deserved despite its easy elegance, and sophisticated persona.

Its been fully restored for this expansive family, which includes 32 weights including ornaments and two decorative cuts.

More Walbaum offers the kind of warmth thats missing from comparable typefaces such as Bodoni or Didot, feeling effortlessly approachable and legible.

Monotype team Carl Crossgrove, Charles Nix and Juan Villanueva have adhered to designer Justus Erich Walbaums original intentions, also incorporating work by the designers son into some of its more extreme display weights pushing the possibilities of Walbaum without compromising on its spirit.

Text weights work well for the demands of digital environments, while decorative and display weights offer more dramatic, sculptural forms.

Unusually, the family also includes a generous range of ornaments. From massive billboards, to micro-type on e-readers, Walbaum has it covered. The family is available as OpenType OTF font format, and includes over 600 glyphs with OpenType typographic features including small capitals, old style and lining figures, proportional and tabular figures, fractions and ligatures.

A user guide is available in PDF format from the gallery view. It gives an overview of the optical sizing available and provides a keyboard guide for the ornaments.

Total 18 styles, support extended latin and cyrillic. DN pro is geometric and modern sans serif. Has a features small caps, case-sensitive, standard/discretionary ligatures, numeral set and more.

Alternates character : Stylistic alt : @ set 01 : A, Y, a, y set 02 : A, Y, a, y set 03 : A, W set 04 : C, W, c, w set 05 : C, V, c set 06 : E, v, e set 07 : G, e, g set 08 : G, i set 09 : K, , k, , set 10 : M, m, l set 11 : M, n, r set 12 : Q, r set 13 : S, s set 14 : T, u set 15 : T set 16 : , set 17 : , set 18 : , set 19 : ,

Conseil Font Family comes in four styles, You can create unique and great designs with its classy, legible, elegant look and most preferred rough, shadow, outline and clean styles.

It would be a perfect choice for designing posters, affiches, logos, invitation cards, t-shirt and magazine prints, eye-pleasing typographic designs and made its way into advertisements because of its ease of recognition.

The typeface that became Quair was originally planned as an extension of our Oban typeface.

As it developed it became different enough to be a stand-alone, but connected typeface.

Quair mixes typographic and graphic reference points, most notably from market-stall trader lettering and from Thorowgood and Scotch nineteenth-century typefaces.

Quair isnt an updating or redrawing of these. It adds different ideas to make a distinctive, separate-looking typeface. More The lettering by Market stall traders to advertise their products has immediacy and economy, but is expressive and surprising.

Letter shapes that look drawn but have a feeling of being written in quite a simple, unfussy way.

Shapes are big, decorative but unrefined, Quairs lettershapes have this idea of being reduced.

They are minimal, in that they lack subtlety, but are characterful and individual.

Round and Triangle serif options highlight this idea of the letters as graphic shapes, and offer a difference in emphasis between curvy and angular.

Like Oban, Quair takes inspiration from the Thorowgood, nineteenth century headline typefaces.

These have striking and idiosyncratic drawing, with exuberent, bold letter shapes.

As with the market trader lettering their character and individuality is expressed through an economy of drawing, and the impact of the high contrast between thick and thin.

Quairs character shapes have something of the sparse, rigorous quality of Scotch typefaces.

Scotch typefaces are known for their utility aesthetic. Quair has something of this, but typographic nuance has been reduced with a simplified, graphic shape.

Modulation has been replaced with binary thick/thin. An angular, basic and inelegant look, but functional and useable.

Inspired by old school sign painting techniques, Grand is a display condensed sans serif that isn't shy to put its foot down.

Its verticality and bulky curves combined with its sharp angular connections between the bowls and stems give Grand a distinctive look and feel.

It comes in 12 styles (6 weights and accompanying italics), and supports over 200 languages.

Grand Regular and Grand Italic are both available for free (personal and commercial use).

Petunia Monogram is a beautiful extension to Eliza Gwendalyns Petunia font family, originally published by Great Lakes Lettering! The letter forms in this uppercase-only font are angelic and more refined, with sweeping, elegantly thin swashes and flourishes.

Petunia Monogram contains three variations of each uppercase letter, a larger version and two smaller ones, each with different swash flourishes.

With the help of the OpenType ligature feature, you can create beautiful three-letter monograms.

There are also 20 whimsical crest graphics and flourishes that you can use to build single letter crests.

Petunia Monogram is perfect for wedding and personal stationary, invitations, and much more! More See our "How-To" poster to learn how easy it is to make beautiful monograms and initialed crests!

Its one of the OSAMA modern Arabic fonts, a spontaneous free line characterized by beauty and speed of reading.

To be used in advertisements, writing titles, magazines, cartoons, films, serials, comics and plays.

(Arabic - Farsi - Urdu - Latin)