Claudia Toosey

Operetta is a neo-didone display font family inspired on Bodoni, Didot (early 18th century) and Walbaum (19th century). Despite of this heritage, Operetta’s design meets contemporary taste and typesetting needs.

Five optical sizes give you control over the font’s readability on different sizes. Eight weights from Extra Light to Extra Bold let you set your tone: from delicate to exuberant.

Operetta’s generous character set and opentype features let you meet the most demanding layout needs. And don’t forget swashes, arrows and other extra glyphs (911 per style)!

The number displayed in the font family name represents the minimal size (in points) the style should be used in print design. In web design you should multiply the minimum value by 3/2 for a retina screen; multiply by 2 for a 72 dpi screen. Of course its rendering depends on the printing support, screen resolution, hinting support, etc. Therefore, take it as a suggestion or a starting point; make your own trials.

Perfect for branding, weddings, presentations, posters, social media, product design, advertising.

HM Lemonade Font includes over 50 ligatures to make everything look totally hand-done.

WHAT YOU GET :
HM Lemonade Script
OTF + TTF files
Upper + Lowercase Letters w/ alternates
Numbers + Punctuation
Languages Support
50+ ligatures

Inspired by the grotesque fonts of the 19th century, Parkson is a tall sans serif typeface of 7 weights along with italic and several outline versions. The contemporary typeface aims to be one of the world’s best condensed collection of fonts. Designed for optimum legibility, its clean, geometric look is perfect for logotypes, headers, titles and brochures.

Victorian Orchid is a gorgeous vintage flower.

Victorian Orchid is a beautiful, organic serif font family available for both text and display.
Its bizarre serifs for A and other diagonal letterforms came from decorative types and letterings in old Victorian era.
These unusual serifs support and enhance the horizontal flow of the eyes and vertical alignments.
Very eye-catching lowercase g also came from the Victorian era and this is one of the most dramatic letterform of this font.
Lowercase such like n and d also have horizontal serifs which designed in the same theory.

Victorian Orchid is somewhat organic, humanistic and soft-impression font like Transitional Serif as typified by Times New Roman.
But at the same time, this font has horizontal serif and vertical stressed letterform like Modern Serif. They make this font sharp, handsome and neat.
In addition, Victorian Orchid has low contrast and the serifs are not too flat and not too coved. By them, Victorian Orchid create strong and casual impression like Slab Serif fonts.

Victorian Orchid family consist of 5 weights from Light to Bold including about 500 glyphs, international accented letters, some OpenType features.
Italics are “True” italics which designed very carefully to match Romans.

Westmount is a geometric grotesque sans font that is both versatile and contemporary. The wide spacing between letters gives your text room to breathe and have the perfect amount of presence and balance. The strong capital letters are perfect for clean layouts and timeless branding. Try using Westmount Outline for a clean classic look.

Option is a modern condensed sans serif. Inspired by geometric architectural fonts. But despite the geometric construction every single letter was build based on optical evaluation. This approach makes Option more organic and lively in a text line. Option was created for wide spaces. Condensed and thin, but extremely sweeping vertically font makes your massage elegance and strong. The font functions great in many sizes and surroundings.
The family comes in one weights plus italics. Creating of bold weight is underway. Options supports Cyrillic as well.

STROM is а modern sans serif font with minimalistic and geometric characters. The rounded corners give the typeface a friendly look, yet it retains a professional quality.
The attention to detail paid during its development means that this typeface offers a vast range of design possibilities – and helps users create eye-catching designs. The different font styles are built on the same foundation, so they can be mixed and matched while maintaining a harmonious look.

The simple, clean lines make it noticeable and ideally suited in display settings, advertising, packaging, logo, branding, poster, billboards, film, television, web, screen and print design.

Jano Sans™ Std is a neo humanist sans serif that was initially created to be used as a text and display typeface in brand communication. The result is a type family with a relatable character and a collaborative profile. Designed with elegant forms, low contrast and a geometric feel, Jano Sans™ Std is a highly legible typeface suited for any text application and typographic reproduction.

The techie personality and simple outlines makes Jano Sans™ Std an excellent choice for a wide range of applications, such as branding, editorial, web and broadcast.

Jano Sans™ Std is a simplified version of Jano Sans™ Pro for users who require a font with fewer features and a reduced language support. It has 18 styles and it covers 145+ languages, supporting Latin based languages that includes all Western, Central-European and Eastern-European languages. If you need to use Cyrillic and Greek writing systems as well as a huge set of Opentype features, please check out Jano Sans™ Pro.

Jano Sans™ Pro is a neo humanist sans serif that was initially created to be used as a text and display typeface in brand communication. The result is a type family with a relatable character and a collaborative profile. Designed with elegant forms, low contrast and a geometric feel, Jano Sans™ Pro is a highly legible typeface suited for any text application and typographic reproduction.

Jano Sans™ Pro has 18 styles and its a workhorse type system. It covers 290+ languages, including Extended Latin, Cyrillic and Greek writing systems. With over 1800 glyphs per style, its Opentype features include alternative shapes, small caps, standard and discretionary ligatures, localized forms in Latin and Cyrillic, case sensitive forms, numerators and denominators, proportional and tabular figures, slashed zero, fractions and more.

The techie personality and the huge set of features and glyphs makes Jano Sans™ Pro an excellent choice for a wide range of applications, such as branding, editorial, web and broadcast.

Incompleeta is a modern sans serif, display font. Removing structural elements from some of the characters results in some really interesting word forms. Incompleeta is a graphic designer’s best friend. It’s great for branding, headlines, and signage.

Black Stone Marker is a A Display Typeface Family which is suitable for you who needs a typeface for headline, logotype, apparel, invitation, branding, packaging, advertising etc.

Introducing Lansdowne, vintage all-caps typeface. Perfect blend between clean and vintage themed typework, inspired by the old advertisement letters. Lansdowne’s 470+ glyphs give you strong, sharp, yet clean feels without sacrificing its vintage/classic touch. Mouse-crafted with passion to quench your drought of versatile classic typeface.

Croog Pro is an upgraded version of Croog fonts (2009). As its predecessor, the new release is a rounded geometric monoline typeface, but built now in four weights with true italics. One more style has been added - “Black”, for display use. Squarish in proportions, monoline letterforms gain more readability by having short rounded serifs and terminals. The typeface is ideal for use in display sizes, though is quite legible in text.
Croog Pro is released as OpenType fonts with extended glyph amounts, which enabled support of more Latin languages as well as Cyrillic languages, and includes some OpenType features.

Gordita is a minimal sans serif typeface with a geometric foundation that has been built upon with modern details that result in an optically balanced, friendly typeface.

When designing Gordita referring to features in Futura were influential as were the structural and harmonious strokes of Gotham. Forms have been optically compensated to appear natural and purely geometric. Joints are slightly tapered and ink traps feature in heavier weights with the purpose of achieving maximum legibility.

Gordita has been tested in print and on screen in a wide range of point/pixel sizes. The family is equipped with OpenType features including alternate glyphs, fractions, case sensitive forms, small figures, arrows and symbols as well as old style and tabular figures.

Now delivered in 7 weights with matching italics that slant at 15°. The italics are slightly lighter and narrower than the upright versions. The horizontal weighting in the italics have been reduced to compensate for the loss of vertical stroke thickness.

With support for over two hundred languages with an extended Latin and Cyrillic character set, Gordita is ready to be put to work. Designed by Thomas Gillett, metrics and engineering by iKern (Igino Marini).

The family has been recently updated to include two additional weights (Thin & Ultra + their matching italics) as well as slightly opened apertures for better legibility in the heavier weights, new glyphs and more opentype features.

Introducing our foundry with the new Sans Serif typeface, Kommon™Grotesk, a super family with 96 styles. Different width from Extended to Compressed, variety of weights from Thin to Super, made Kommon™Grotesk suitable for multiple usage. The typeface was crafted till clean and simple. It has high ligibility with modern and clear look to be use as text or display font. Kommon™Grotesk is effective displaying on many medias, both print and on screen.

Mirfak™ is a new take on a work from Adrian Frutiger made in 1964. In the first place, it was a specific alphabet made for only one book. Only lowercases, capitals, numbers and a few mathematical signs where created. Covering only English language, used only once and unknown by most, we considered this Slab Serif as an hidden gem that needed a modernization.

Mirfak™ is a result of a project whose goal was to take a beautifully designed Slab Serif and update it so that its technical standards surpass the status quo, leaving us with a truly superior slab serif family. Entirely coded from scratch with Metafont™, this family is not only an update but an expansion of the original concept, covering now most used languages on earth.

Modernized and unique, Mirfak’s 3 weights, light to bold, can give a full range of expression for interfaces and corporate design; in print, on screen and in multiple languages.

KAPITAL is an elegant, geometric uppercase sans. It is available in standard and stencil style across four weights – light | regular | medium | demi – covering 346 glyphs.

It is based on the capital character set from a previous release – Basik. Continuing the clean, geometric aesthetics, KAPITAL was refined further to create a more minimal style. This enabled the characters to discreetly perform their role – to simply convey the message of the writer without distraction.

To achieve this, special attention was applied to the form consistency of the glyphs across the weights and negative space throughout. In many typefaces as the weight is increased the form and style can deviate significantly from the original design. With regards to negative space – although inevitable – wherever possible key letterforms were adjusted to alleviate this.

Galatea is a universal sans serif family – clean and timeless. Both iconic and legible, Galatea is suited to cover many needs from brand identities to editorial design, advertising, logos and beyond. Cyrillic characters are featured and a wide range of languages is supported. 
Open Type features are abundant – from built-in small capitals to various numeral styles (linear and old style; tabular and proportional, subscript and superscript). 

Galatea comes in three widths – each featuring eight weights and corresponding italics.