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A Category Fonts

font family from Type-Ø-Tones, added today

Arboria™

Arboria has been a long-term project. Starting with the commission of a custom ‘architect’ font, this typeface has been changing over the years to its current form, which is its public debut. The source is named after the capital of planet Mongo, a futuristic city with art decó influences in their buildings.


Arboria maintains that tension but is influenced by all elements of concern to his author. The result is a hybrid Grotesque with nods to the XXII century. Arboria family consists of six weights and matching italics, aside from many characters (it covers Latin and CE languages), the wide range OpenType features allows Arboria to perform great as a text and as a display typeface. Please check the ‘Read me’ file for more specifications.

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font family from Art. Lebedev Studio, added February 27th

ALS Schlange Sans

Schlange is a rich typeface with rounded terminals. The family includes five sans serifs and five slab serifs in weights from ultra liight to bold. Schlange’s personality is determined by an open aperture


and quite large lower case characters in comparison with the upper case set.


Schlange’s personality is open and friendly, giving a text it’s used for a soft, warm appeal. Schlange


will work well as a display type (think titles, short magazine call-outs, ad banners, and such), but it’s


not a good choice for extensive bodies of academic text. Available in numerous weights, the typeface provides rich opportunities for mixing and matching and is great for typographic compositions.


These qualities make Schlange a dream type for a packaging designer. It will feel at home in design


for cosmetics or sweets, postcards, children’s books and menus.

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font family from Art. Lebedev Studio, added February 27th

ALS Schlange Slab

Schlange is a rich typeface with rounded terminals. The family includes five sans serifs and five slab serifs in weights from ultra liight to bold. Schlange’s personality is determined by an open aperture


and quite large lower case characters in comparison with the upper case set.


Schlange’s personality is open and friendly, giving a text it’s used for a soft, warm appeal. Schlange


will work well as a display type (think titles, short magazine call-outs, ad banners, and such), but it’s


not a good choice for extensive bodies of academic text. Available in numerous weights, the typeface provides rich opportunities for mixing and matching and is great for typographic compositions.


These qualities make Schlange a dream type for a packaging designer. It will feel at home in design


for cosmetics or sweets, postcards, children’s books and menus.

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font family from Artist of Design, added February 27th

AZ Storm

AZ Storm was inspired from old '70’s skateboard logo.


This font was designed for use as a fun bold headline.

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font family from SIAS, added February 25th

Arthur Ornaments™

Arthur Ornaments offer a range of about 70 unique ornaments and pictographs in the sophisticated style of the Art Deco era: lavish floral compositions and leaves, borderpieces and geometric elements – and a stunning set of period lifestyle, sports and travel pics. Arthur Ornaments lend a breath of elegance and exclusivity to your designs. Arthur Ornaments is the perfect compagnon to all fonts of the Arthur Sans and Arthur Cabinet font series.

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font family from SIAS, added February 25th

Arthur Cabinet™

The Arthur Cabinet font family offers a most particular range of seven fancy ornamental fonts in the spirit of the Art Deco era. These fonts celebrate the age of elegance, stylishness and refinement to its very best. They give you a unique tool for exquisite designs.

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font family from SIAS, added February 25th

Arthur Sans™

Arthur Sans is a new font design in the spirit of the Art Deco era, the age of elegance, stylishness and refinement.

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font family from Studio K, added February 25th

Aspidistra

Aspidistra is a modern vintage typeface; which is to say a Studio K original with a period feel. It has a strong Art Nouveau influence (a distant cousin of Arnold Bocklin), but like most of my productions it’s more of a happy accident than a design choice: it evolved out of a fairly aimless doodle on a scratch pad (see gallery image). Why Aspidistra? In the first half of the last century an Aspidistra was a must have accessory of the aspiring middle classes (see George Orwells’ Keep the Aspidistra Flying), and to my mind this font evokes the chintzy charm of that era.

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font family from Device, added February 25th

Armstrong

A geometric linking script that uses OpenType programming to replace beginning and ending characters with uniquely designed variants. Plus swashes and ligatures.

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font family from GRIN3 (Nowak), added February 23rd

Astalamet Pro

Astalamet Pro is a new, completely redesigned and improved version of my font AstalametPure,


which was released for the first time in 2001.


Language support includes Western, Central and Eastern European character sets, as well as Baltic


and Turkish languages.

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