Adelante is a multi-purpose elegant font I designed in order to create a simple and basic typeface that can be used in many different projects.

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though, in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from ultra light to heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time.

Retiro is a daring interpretation of Spanish typography. Severe, austere and yet, full of life, Retiro is a vernacular version of Castilian and Andalusian in a typical Didot. Named after a lovely park in Madrid, Retiro started life as a a bespoke typeface designed to give a unique voice to the magazine Madriz. In 2006, the founder of Madriz was looking for a Didot for his new magazine. The Didot is the archetypal typeface used in high-end magazines. Retiro, based on Ambroise is a synthesis of these high contrast styles mixed with an Hispanic mind. Result is then, after 2-3 years of work, a typeface with countless variations – Retiro in 2009 included 470 glyphs – to establish typographic shades adapted to different sections and pages of the Madriz.

With the aim to be the leader in sustainable transport, Scania builds its business while creating value for customers, employees and society. Delivering customised heavy trucks, buses, engines and services, focus is always on efficient, low-carbon solutions that enhance customer profitability. With design direction by Brand Union Stockholm we have developed a wide type family with 8 styles and updated the classic word mark.

Toy Cartoon font is a simple playful cartoon font. An excellent choice for birthday cards, invitations and party posters. Best for children related goods and designs.

A handcrafted modern sans serif font. Perfect for all purposes. Pairs well with script fonts.

Pally is a highly-informal sans serif design. Its three weights were designed by Jean-Baptiste Morizot. Pally’s letterforms are all a bit wobbly; the angles of many letters’ strokes are atypical – just look at the capital ‘A’ – and the left and right-hand-sides of many letters are not the same size or height (e.g., the lowercase ‘a’ and ‘n’). As a result, Pally has a lot more character than most sans serif typefaces. It could be an excellent choice for headlines or signage in children’s services projects, like family centers, pediatricians’ offices, primary schools, etc. Once you begin to understand the different rhythm that Pally offers, its underlying typographic sophistication becomes clear. The ascenders of the lowercase letters, rise above the heights of capital letters and numerals. The lowercase alphabet includes a double-storey ‘a’, a single-storey ‘g’, and a Jensonian ‘e’, with a diagonal stroke in its middle-section. Each Pally weight has been drawn in a more-or-less monolinear fashion. In the fonts’ extended character sets, there is plenty of space between each letter and diacritics that come on top of it.

Author is a family of humanist sans serif fonts. They are optimised for use in modern publications – hence the the name ‘Author.’ Its letterforms are slightly expanded, which gives the counterforms inside of them enough space to breathe, thus increasing their legibility and helps with their on-screen rendering, too. Author’s family includes six weights, ranging from Extralight through Bold. Each weight has an upright and an italic font on offer. The uppercase letters are virtually monolinear in appearance; however, several of the lowercase letters have visible stroke contrast. The tops of Author’s strokes terminate in diagonal cuts; these are reminiscent of the broad-pen that would be used to write the humanist letterforms the typeface is based on. In Author’s upright fonts, the lowercase ‘a’ and ‘g’ are double-storied; there is a single-storey ‘g’ in the fonts as an OpenType alternate. In the italic fonts, the ‘a’ and the ‘g’ are both single-storied. The ascenders of Author’s lowercase letters a slightly taller than the tops of the capitals. The family’s fonts include both lining and oldstyle figures; in both versions, the ‘3’ has a flat top. Author comes from Satya Rajpurohit, the founder of Fontstore.

Bega is a simplified sans serif typeface. Formal reduction plays a strong role in its design. This is most visible in its ‘spurlessness.’ The visible strokes (or spurs) have been eliminated from the letterforms that would typically feature them. The lack of spurs in Bega is most-clearly visible when you look at the top-left corners of letters like ‘m’, ‘n’, and ‘r’. The Bega family includes eight weights, which range from Thin through Black. Each weight has two fonts on offer: An upright font, and an italic. Bega’s italics are obliques; their letterforms are slanted. The strokes of Bega’s letterforms all appear to be monolinear; that doesn’t mean that Bega is without contrast, however. Thanks to the family’s large number of weights – eight really is a lot – you can combine two or more of them with each other to create headlines that exhibit quite a bit of contrast! Each of Bega’s fonts includes a full range of numerators and denominators, to use when typesetting fractions, etc. The font’s numerals are proportional lining figures; these have the same height as Bega’s uppercase letters. The lowercase letters’ ascenders are tall, and they rise up above the tops of the capital letters and numerals. Bega’s friendly look makes it an ideal choice for use in corporate communication design. The typeface was designed by Sabina Chipar? and Diana Ovezea.

Meet Paramaribo, a hand lettered, cute and decorative font. Paramaribo family includes two fonts with stylistic substitutions and 28 ligatures. Perfect for designing ads, logos, prints, social media texts, blogs, wedding branding, quotes and so much more. Stylistic substitutions (those cute swashed end/beginning letters) are controlled by switching on/off OpenType feature as well as being accessible through glyphs panel in Adobe apps. Really very easy to use!