Download Magdelin Font Family From Adam Ladd

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Magdelin is a minimal yet warm gothic sans serif typeface consisting of 40 fonts with normal and alternate families. At its core, the design is a gothic sans having simple forms and low contrast, yet it takes some qualities from the humanist class with its calligraphy or cursive-inspired details found in the italics and the bowl shapes of characters like b and d. The weights range from thin to black. The small x-height, longer ascenders and descenders, and semi-condensed proportions give it a bit of a vintage or classic feel while still appearing contemporary and modern in current typographic landscapes. The clean design allows it to be a useful and versatile workhorse family great for branding, packaging, editorial, books, websites, digital, and more. With the alternate family (Magdelin Alt) comes even more calligraphic details by having certain strokes terminate with an angle so it reflects a broad-nib pen drawn at an angle. This increases the overall warmth in appearance. Magdelin has many OpenType features: • Stylistic alternates • Discretionary ligatures • Case-sensitive punctuation for All Caps • Tabular figures • Fractions, numerators, denominators • Superscript, subscript • Slashed zero With over 600 glyphs, this font has extensive Latin language support (100+ Latin languages) for Western, Central, and South Eastern European.

Download Magdelin Font Family From Adam Ladd

[rhysh] Download Orto fonts from LetterPalette

Download Now Server 1 Download Now Server 2 Download Now Server 3 Orto is a type family of sans serif fonts in eight weights. It's a humanist typeface with real cursive, containing both Roman and Italic styles. The letters are designed to look good on screen, they have a bit narrower proportions and simple shapes. Their structure is based on flat horizontal and vertical strokes, which are emphasized wherever possible. That’s where the name comes from: Orto is an abbreviation of the word orthogonal . Thanks to its narrow width, the typeface is less space-consuming and adapts well to the screens of smaller devices. It is legible in small sizes, thanks to the larger x-height. The characteristic details, like bent ends of diagonal strokes, stand out when used in larger sizes. Orto can be used equally good in print and its overall neutral look fits different contexts. However, its character is pretty recognizable. Orto contains Latin and Cyrillic script and covers six codepages: Lat...

[vryqrnzvmy] Download MIR Next Fonts Family From Juliasys

Download MIR Next Fonts Family From Juliasys MIR Next is a growing multi-script type family best described by the terms “humanist–semi–slab-serif”. Its character set contains Latin and Cyrillic, both extended, as well as Greek, covering more than 100 languages. Strong personality along with consistency between language systems were a basic aim when designing the family. As a result MIR has become a great tool for branding and international identities. A wide choice of symbols and numbers makes it also very useful for statistics, texts about mathematics and the sciences. Serious things are best be said in an unpretentious, relaxed way. MIR gives typography exactly that kind of appearance. Its texts emit a sense of authority but stay easily accessible at the same time. MIR’s name comes from the old Russian word Мир meaning both “world” and “peace” – a unity we will hopefully take for granted sometime in the future. Download MIR Next Fonts Fam...

Download Mozsar Font Family From Miklós Ferencz

Download Now Server 1 Download Now Server 2 Download Now Server 3 Mozsár, named after Mozsár Street in the downtown of Budapest (pronounced ‘mo-zhar’, meaning mortar in Hungarian.) Mozsár is a unicase display typeface with constructivist characteristics from the early 20th Century. It uses pure geometric shapes and purposefully departs from strict typographical rules to give a more friendly look. With Mozsár you can create really unique and awesome looking displays, titles and even name plates for your business. It works very well in big size. The central idea behind the design was that two variants of the typeface would randomly alternate as the user types. The typeface uses Contextual Alternates (CALT) created with the OpenType’s semi-random feature to mix the variants. The width and height of the letter shapes are generally equal, but I made some exceptions to lend the type a character of unexpectedness. The curves are identical in both versions of each letter, and the intersecti...

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