Eugene Panina

Download Now Server 1 Download Now Server 3 Download Now Server 2 To mortise is “to join or fasten securely.” Created by an aspiring furniture-maker and an ageing typographer, Mortise is a solidly constructed new slab serif, and marks Signal’s first collaboration with outside designers. A generous x-height, open counters, wide proportions, and monoline strokes make it readable and practical, while the long, slightly curved vertical serifs give it a raffish, mustache-twirling air. The X-Light is neat and refined and holds the page nicely; the middle weights are sturdy and direct; and the broad, blocky serifs on the X-Bold are exuberant and perhaps a bit rowdy. Available in six carefully crafted weights, Mortise is both a fresh new face and a versatile addition to the venerable slab serif genre. Download Mortise Font Family From Signal

Download Now Server 1 Download Now Server 3 Download Now Server 2 Ardentia is a serif typeface, supporting a wide range of Latin based languages and Greek (see TechSpecs). Ardentia was created inspired by most serif text font used in book printing. Smooth curves help the flow for long text reading. Ardentia is designed with medium contrast in order to have all parts of the letter’s shape well printable in book size printing, for high or low resolution printers, high or low paper quality. Other than book printing, the medium contrast also gives good visibility in display thanks to its clearness. Thus, Ardentia will work well for both printing and display, webpage or electronic/digital display. Ardentia consist of 4 weights: Light, Regular, Semi-bold and Bold, plus matching italics. The thickness of the lowercases (vertical stem) of the regular f

Download Now Server 1 Download Now Server 3 Download Now Server 2 I started to work at the Bernhard Studio in 1952 to 1959 in New York. I helped with some type designs and many other projects, this two tiered signature was added on all of Bernhard’s art that was produced in the past and in his later years. In the 50’s I thought Bernhard’s Gothic face was quite a bit outdated but as you may know it has become one of todays most used faces. His signature is based on his Bernhard Gothic Font. With todays computer technology I have digitized the caps and added lower case glyphs with lower ascenders and other slight changes. Download Bernhard Signature Font Family From Jonahfonts

Download Now Server 1 Download Now Server 3 Download Now Server 2 Rigidica is a strict geometric type family. Often basic geometry is lost in the stroke contrast of a letter. This type family is an attempt to retain this basic geometry even within the stoke contrast of a letter. Download Rigidica Font Family From Ryan Williamson

Download Now Server 1 Download Now Server 3 Download Now Server 2 Designed by Gunnar Vilhjálmsson and Kalapi Gajjar, the Linotype Gujarati™ typeface family refreshes the pivotal Gujarati typefaces developed in 1983. The family’s five weights are considered a traditional design, and are optimized for setting lengthy text copy for print projects or on-screen imaging. While faithful to the original design, Linotype Gujarati introduces many design improvements, additional weights, and an extended character set. Download Linotype Gujarati Font Family From Monotype

Download Now Server 1 Download Now Server 3 Download Now Server 2 Century Schoolbook Pro is a serif typeface published by SoftMaker. Download Century Schoolbook Pro Font Family From SoftMaker

Download Now Server 1 Download Now Server 3 Download Now Server 2 Century PS Pro is a serif typeface published by SoftMaker. Download Century PS Pro Font Family From SoftMaker

Download Now Server 1 Download Now Server 3 Download Now Server 2 Alias Vertical is a sans serif typeface with a vertical cut-off point for letter endings. The vertical cut-offs bend round characters (b, c, o, etc) into a squarish, high-shouldered shape, suggesting Roger Excoffon’s Antique Olive. In mid-weights, the typeface mixes Antique Olive with typefaces such as Gill or Johnston, for example the shape of the t, the l borrowing Johnston’s flick. Vertical has the same minimal difference in weight between verticals and horizontals as Gill and Johnston, and the same sharp connection point where curves meet straight lines. Like Antique Olive, Vertical has a narrow connection point here, adding contrast and definition. The overall effect feels austere at lighter weights and strident a