Ashtone

Ashtone

Ashtone
2 OTF
Ashtone is new font from Rvq Typefoundry, elegant feel character set. To create the beautiful combination, just mix the uppercase and lowercase then mix with the alternative glyphs and playing with swash. The Ashtone script includes a full set of capital and lowercase letters, as well as multi-lingual support, currency figures, numerals, punctuation & some extra glyphs.
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Bergen Sans Font Family

Bergen Sans Font Family

Bergen Sans Font Family
6 OTF
Bergen Sans is a contemporary sans serif font family of 6 fonts. Carrying clean and stylized Scandinavian geometry, partnered with explosive post Bauhaus type aesthetics, Bergen Sans is perfect companion in any designer’s ‘survival’ kit. While being a small font family it has unlimited capabilities and plenty of Open Type features for highly professional use. Bergen Sans also includes Extended Latin, Cyrillic (including Bulgarian alternates) and Greek language support.
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Marianne

Marianne

Marianne
3 TTF
Protest writing (Caps only) made of tape modules joined by drawing a typical notch. 3 styles – Inline, Outline and Solid – each with variants Opentype, many original ligatures (including ‘HTTP’…) and alternative ‘A’ leaning on his right leg, allow many combinations and uses.
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Chronic Font Family

Chronic Font Family

Chronic Font Family
7 TTF
Chronically strong, yet pacific. Chronically bold, yet friendly.
This font was at first inspired by a HAP Grieshaber work and soon incorporated elements from pieces by Willem Sandberg, two astonishing artists who lived through two world wars. They had to struggle for freedom and consistently manifested, with words, works and actions, their absolute love of liberty. Both were chronically free. As this font intends to be.
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Davis Font Family

Davis Font  Family

Davis Font Family
8 TTF
Over the past couple of decades, the many applications that joined print as media requiring design solutions have combined to necessitate a visual evolution that favours controlled optical geometry and careful counter-space consideration over ornamental features traditionally associated with print design. This is now true in corporate, advertising and interface design, and is even spilling over into editorial layouts. Such focus on clarity and precision in modern design environments have brought to light the many issues that riddle classic print faces, and increased the call for new solutions. The reinvigorated type design market responded to the demand, sometimes with original takes that build on the classics, and sometimes with merely subtle differences from the old aesthetics.
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