Georgia Carne

Corsair is a rugged font with a handcrafted touch. Familiar and easy to work with, it has a worn-in feel that slots right into your typographic toolkit like you’ve known it all along. Originally commissioned by Best Made Co., its functional beauty was made to mimic the idiosyncrasies of handwriting. Naturally randomised letterforms lend it authenticity, while weathered edges and subtle variations add a rustic charm. The effect is an honest, approachable, and organic look that’s careful, but that doesn’t overthink it. Goes well with packaging, branding, and product lookbooks alike. Tastes slightly smoky. Gets even better with age.

Karimun is a modern display serif font with beautiful alternate characters and also ligature which makes it easy for you to create a logo for your personal branding and your business beautifully. Karimun is perfect for many different projects such as logos and branding, invitations, stationery, wedding invite designs, social media posts, advertisements, printed quotes, product packaging, product designs, labels, photography, watermark, special events and more. I highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor / application. We hope you enjoy the font and have fun! Thank You.

Troy is a pair of related sans and serif titling fonts. Each version is available in a single weight. The fonts’ lowercase letters all take the form of small capitals. Particularly the serif font – simply called Troy – is reminiscent of inscriptional letterforms. This tip of the hat to the very origins of our Roman capital letters gives the typeface an immediate feeling of formality and solemnity. Troy Sans, while sharing Troy’s proportions, feels more contemporary – although its letters would not be out of place on an inscription, either. Each of the fonts contain several alternate letterforms. In Troy, some of the alternate letters contain a mystical feeling; in Troy Sans, the same alternates look almost medieval, particularly ‘A’, ‘E’, ‘G’, ‘a’, ‘e’, and ‘g’. Other alternate characters are more sober versions of the default letterforms: in their default state, for instance, the ‘O’, ‘Q’, ‘o’, and ‘q’ each have a dot inside of their counters. The alternate versions of those letters are dotless. There are three versions of the ampersand in each font, too, as well as eighteen ligatures. Included among those are ligatures like ‘LI’ and ‘CO’, where the second letter is cradled inside of the counter of the first, as well as doubled letters like ‘NN’, ‘OO’, and ‘TT’ that were found in Ancient Roman inscriptions. The Troy fonts were designed by Ilya Naumoff, a graphic and typeface designer in Paris.

TG Praktikal is new modern geometrics sans with 8 styles & 1 variable font. Inspired by geometrics and gothic typefaces like Bell Centinel, Whitney and Metric, with an additional touch of monospace characters. That makes that TG Praktikal has a unique character set and fit perfectly for body text. Coupled with 3 flavors that can provide different impressions, including approximately 90 multilingual with various OpenType features.

Archeron Pro is a modern serif font family with 18 fonts ranging from light to Heavy with the corresponding italics. This new font family revisits the neo-classical style of highly contrasted serifs and brings a resolutely contemporary touch to graphic or editorial projects. Archeron Pro has also been designed with high-contrast character ratios and a high x-height to give sentences more rhythm and legibility to long texts for on-screen display or printed materials. The italic styles of this family of characters are voluntarily removed from the calligraphic style to bring modernity to the italicized style, thus giving more of a typographic style. With these features, Archeron Pro is an elegant and contemporary serif specially adapted for modern communication as well as complex typographic projects. Archeron Pro also has a complete set of real small capitals with a little more tension than uppercase and generous proportions to give more emphasis to the texts you want to highlight. In terms of features, Archeron Pro is equipped with professional features such as case sensitivity, alternative glyphs, F-ligatures, circled numbers, localized letters, ordinals, or “Pro Kerning” with more than 5,000 pairs of glyphs which brings more clarity when reading long paragraphs. Archeron Pro also has a complete set of proportional and tabular numbers, fractions, and circled numbers for complex realizations such as tables or numerical lists.

Friends is a complete and contemporary language system for postmodern graphics. Inspired by the idea of making new art and graphic design keeping in mind new ways of visual language like emojis as a formal way of communication and contemporary graphic arts. Friends is perfect for web design, postmodern arts, book design, posters, editorial design, branding, advertising, headlines, and short texts. Friends includes 14 style typeface plus italics, icons, emojis, arrows, ligatures, fractions, special numbers, etc.

With three different widths in six weights, Bridge Head has the perfect voice for stunning titles. A solo career in posters, banners and logos doesn’t stop Bridge Head from rocking in concert: each of her 18 display styles can work together with Bridge Text to tell stories and build complex typographic ensembles in editorial and corporate design. Where other display typefaces let their thin strokes fade away, Bridge Head keeps the volume and emphasises her wedge serifs and curvy detailing. A large x-height brings out her distinctions, like the four-cornered counter shapes, the voluminous terminals and the monolinear lines that connect her thick strokes and help give Bridge her graphic image. A type system flexible enough to bridge print publishing to digital media, with a kickass K and rebellious R, Bridge Head can shout out loud and make a design that can take her intensity unmistakable and independent of slick conventions. With hands-on OpenType features like small caps and case-sensitive punctuation and more than 800 glyphs, Bridge can fulfill your every display need. Adobe Latin 3 (and beyond) encoding gives a wide range of Latin language support and additional helpful symbols like the charming manicules and dingbats complete a rich typographic palette. Bridge’s ideas and foundations began during TypeMedia 2018 in The Hague as a master project under the supervision of Erik van Blokland, Paul van der Laan, and Peter Verheul. Thank you!

Quenbach is a classy and geometric font family that includes 36 weights. Especially, this Font family has elaborated the Kerning Process to be useful in Editorial Design. It also supports Cyrillic Basic Charset and OpenType Features including Small Caps. Basically, the glyphs were geometrically designed, and some glyphs were customized to improve readability. Of these fonts, the thin weight font is designed to be thinner than the other products. This thinnest stroke can be useful in editorial design. And Qunbach Condensed Font Family will be used more accurately for editorial and web designer's needs.

Motiraw is contemporary sans-serif typeface made up of 28 fonts across 7 weights with normal and alternate options. It’s a unique and modern sans typeface, which is well suited for a variety of typographic applications such as headlines and small texts. Motiraw font family supports multiple languages and is available as both webfont and desktop font.

Passenger Sans is a large family designed for editorial projects. You can build great design systems using just its fonts, or you could combine them with two related ITF families: Passenger Serif and Passenger Display. Passenger Sans’s letterforms have compact proportions; their apertures are small. In the upright fonts, all strokes end at horizontal or vertical angles. Long passages of text set in the typeface are comfortable to read. Passenger Sans’s fonts have are proportionally-spaced lining figures as the default numerals, but with OpenType features, oldstyle figures and tabular figures are also available. In the upright fonts, the ‘a’ and the ‘g’ are double-storied, while in the italics they’re single-storied – the ‘opposite’ version is always available as an OpenType alternate. Fonts have alternate forms of ‘Q’ and the ampersand (&) as well.

-OC Format Sans is the third incarnation of this geometric grotesk sans serif which fuses the style of Futura with the rhythm and proportions of Akzidenz. It comes in two styles, standard and a new Print family where crisp sharp edges have been made blunt in reference to the ink spread that occurs when printing on uncoated paper stock. It can give digital media a softer more approachable analog aesthetic. Typical of both grotesk and geometric styles the design has an even weight with minimal stroke contrast and the slanted form is an oblique rather than a true italic. The default double-story ‘a’ and ‘g’ give an academic touch, the single story versions of Set 1 are more friendly and approachable while Set 2 changes the look into something more scientific. Made with tireless attention to detail and kerning it's perfect for logotypes and extensive text, supports multiple languages and comes with a plethora of OpenType features including standard and discretionary ligatures, social icons, symbols, and multiple figure styles including roman numerals.