1. Gaspo Slab

    Daniel Peralta Casanova (2016)

    Gaspo Slab is a fresh slab serif typeface that features aesthetically pleasing curves, strong serifs, ample counters, humanist proportions and ink traps. The result is a very functional font with a contemporary design and highly readable at small sizes.aspo Slab consists of 7 weights, from Ultra Light to Black, with matching italics. This family comes with a 434-character set that includes European diacritics, tabular figures, alternative characters, numerators and fractions, making it possible to use the font in 128 different languages.he font is well-suited for headlines, medium-length text, magazines, newspapers, advertising, corporate use and product design.
  2. Los Lana Niu

    Bruno Jara and Luciano Vergara (2016)

    Los Lana Niu was designed by Bruno Jara and Luciano Vergara. The typeface is based on Los Lana(2007). Along with the redesign, the font has increased from 1 to 24 different styles. This new version preserves the rustic aesthetics of the original typeface, but it lacks of curves and it visually looks as if it was a nirregular font. Los Lana Niu comes with a wide range of ligatures included in every weight: from Thin to Black. In order to offer a wide array of uses, the typeface has been structured by adding acomplete family of small caps, which makes this font well-suited for headlines, posters, branding and publishing design. Los Lana Niu comprises 3 subfamilies: Los Lana Niu Essential (392 glyphs) – including both regular and alt versions, Los Lana Niu Small Caps (392 glyphs) and Los Lana Niu (820 glyphs), which includes a variety of OpenType features such as stylistic ligatures, contextual alternates and small caps.
  3. Hernandez Niu

    Daniel Hernández and César Araya (2016)

    In the typedesign industry the terms nova´, neue´, next´, new´ are often used to refer to a typeface that has been modified in different ways: redesign, technical readjustments, greater number of characters, etc.At Latinotype we are now starting to use the word niu´ to refer to these kinds of typefaces. Niu is an adaptation of the original word new´, i.e., we have adapted this English word to the phonology and spelling of our own language but keeping the original meaning.Race mixing, diversity, change and adaptation are part of the essence of Latin American culture and, at Latinotype, we are all constantly expressing these elements in everything we do. Latin Power! Hernández Niu was designed by César Araya and Daniel Hernández. The font is based on the design of Hernández Bold: the thickest weight has been adapted to fit small text better. Five new styles have been added, ranging from neutral to more expressive fonts.Hernández Niu is a display slab serif font of thickened serifs, functional expressive ink-traps and true italics. Detailed forms and counterforms allow this typeface to be used in very large sizes.Hernández Niu is well-suited for publishing, small text and headlines. A wide variety of weights make the font a perfect choice for hierarchical type-setting, branding, logotypes, magazines, etc.This font consists of 6 weights, ranging from Extra Light to Heavy, each with matching true italics. Hernández Niu comes with a set of 397 characters, making it possible to use the font in 212 different languages.
  4. Culinary

    Sofía Mohr (2016)

    Culinary is a typographic system inspired by the art of cooking. This family comes with 2 subfamilies: one Regular Family of 4 weights plus a Sans Line font and a set of Borders, and one 4-weight Script Family that also includes Sans Line and Borders. Culinary is well-suited for packaging, restaurant and cafe branding, bakeries, logos, magazines, menus, recipe books, invitations and much more. The OpenType features allow access to a wide set of characters, including ligatures, swashes, endings, initial and terminal forms, and lots of alternates.
  5. Cover Sans

    Jorge Cisterna (2016)

    Cover Sans is a humanist geometric typeface with an orthogonal structure, which provides stability when composing a text. Open shapes and low x-height give this font balance and make it look like an air-breathing typeface. 
Cover Sans is a stable and strong condensed font that works well for magazines and publishing. The strong personality of its alternative characters gives the font a modern and elegant style, which makes it ideal for use on annual reports as well as on business logotypes.
  6. Trend

    Daniel Hernández, Paula Nazal Selaive (2013)

    Trend , Trend Hand Made and Trend Rough is a font made of layers, taking as a basis a sans and a slab font.It is the result of observation, search and study of the last global trends. Trend tries to capture the aesthetics of fashion or even fashion itself, integrating elements of a very popular and current trend.It is a typeface designed to be used without need to add anything external to it, because it has all components required for this.Trend is trending.
  7. Boho

    Guisela Mendoza (2015)

    Boho is inspired by a bohemian girl who is a free soul and creative spirit. She is a city girl, but she loves spending a lot of time outdoors and being close to nature. She loves art and going to the antiques and organic food markets. She is a wild and free spirit who knows no bounds.Boho is Coto Mendoza´s first Script font family, which is based on gestual calligraphy with Cola pen. A first exposure to gestual strokes applied to font design can be seen in her previous work, Macarons.Boho consists of 4 subfamilies: Script, Line, Sans and Serif. Each subfamily comes in 4 weights: Regular, Bold, Italic and Bold Italic. Script and Line versions include a teardrop terminal variant. Dingbats and ornaments are also included.
  8. Revista

    Paula Nazal Selaive, Marcelo Quiroz, Daniel Hernández (2015)

    Revista is a typographic system that brings together all the features to undertake any fashion magazine-oriented project. The font harmoniously blends different styles into a single big family, which consists of a Didone uppercase and small caps family—including 4 variants ranging from a monolinear Thin to Black with matching italics—and an Inline Black variant that works as a decorative alternative to the Didone fonts. Revista Stencil, one of its versions, comes with the same number of variants.Revista also comes with a Script Family that includes 5 weights, ranging from Thin (monolinear) to Black, contrasting in a tidily untidy way with many ligatures and alternates. You can choose between using stylistic alternates—if you want to give your designs a different untidy look, in the style of the modern calligraphy—or switching between different options if you are looking for a hand-written style. We highly recommend using the default contextual alternates and discretionary ligatures in order to take more advantage of this great font family.Revista includes 2 sets of dingbats, varying from zodiac signs symbols to technology symbols, and complementary ornaments in 3 different weights: Thin (monolinear), Regular and Black.All these features make Revista an ideal typeface for users to design to their liking!Photo by Fervent-adepte-de-la-mode
  9. Texta

    Daniel Hernández, Miguel Hernández (2014)

    Texta. A Sans for All.Through studying humanists models from Edward Johnston to Adrian Frutiger and the Gothic Alphabet made by sign painters comes Texta, a contemporary, rational, transparent and useful Sans to compose all kind of texts. We incorporated an Alt version that replaces lower cases like a-g-y with geometric constructions to get more versatility in neutral compositions. Designed by Daniel Hernández Sánchez and Miguel Hernández Montoya ©2014.
  10. Titular

    Latinotype Team (2015)

    Titular is a condensed Sans Serif typeface that works well with headings, subheadings, newspapers, magazines as well as with logotypes, brands and posters. This typeface revives the spirit of old Woodtypes, but adding a contemporary flavour and Latin American seasoning. The family comes with 2 subfamilies: one regular and one alternative. Just like many of our faces, every subfamily includes 7 weights plus italics.Titular is a Latinotype´s typeface designed by Bruno Jara, and produced and supervised by Latinotype Team. Latinotype Team comprises: Luciano Vergara, Daniel Hernández, Bruno Jara, César Araya and Rodrigo Fuenzalida.
  11. Corporative Sans Rounded

    Latinotype Team (2016)

    Corporative Sans Rounded is the rounded version of Corporative Sans. Its curved terminals provide it with a marked personality and distinctive traits, but turn it into a friendly face at the same time. The font works well at both display and small sizes. Corporative Sans Rounded is the perfect choice for logotypes, posters, signs, branding, packaging and so on! 
Corporative Sans Rounded comes with Latinotype´s standard set of 350 characters, making it possible to use the font in 128 different languages. 
Corporative Sans Rounded provides users with a wide range of characters, weights and widths for every project. By combining different variants, designers can achieve the best results. 
The family consists of 32 fonts: a basic family that includes 8 weights plus italics and an alternative family of 8 weights with matching italics as well.Corporative Sans Rounded was created by Latinotype Team and developed by Elizabeth Hernández and Rodrigo Fuenzalida, under the supervision of Luciano Vergara and Daniel Hernández.
  12. Romeo

    Paula N Selaive (2012)

    Romeo is a perfect couple of Julieta , they are a condensed, unicase family full of swashy love.Inspired by romanticism, Romeo is a charming and versatile typeface. By alternating uppercase and lowercase, and mixing them with alternate characters, ligatures, swashes and endings, you obtain endless possibilities of composition, with 810 glyphs available in the Pro font. In case you don´t need all these alternatives, there is also an Essential version consisting of 247 characters. In addition, Romeo has an affordable set of ornaments, connectors and catchwords to complete this attractive display system..Designed by Paula Nazal Selaive.
  13. Ride My Bike

    Guisela Mendoza (2012)

    Ride my bike is a fresh handmade typeface, inspired by street style and the new culture that moves pedaling around the city.Perfect for use in headlines, brands and fashion photography compose alternative, thanks to its leading characters, terminals, alternate characters and ligatures that you can find in Pro version. This version contains more than 600 glyphs.It also has 91 dingbats, very fun to compliment and accentuate the design handmade.If you do not want to ride as fast you can find a version without OpenType features - Essential.Come! get on it, and let´s go to ride my bike. Photography by Seba Sanchez. Designed by Guisela Mendoza.
  14. Andes Condensed

    Daniel Hernández (2012)

    Andes, designed by Daniel Hernández, is a display typeface that has neo-humanist characteristics
  15. Kahlo

    Luciano Vergara (2012)

    Kahlo is a latin style hipster typography, to is a formal and elegant option for designers. Is a font with four weights and italics, initial capital letters, have some alternate characters and ending.Is a typeface best suitable for magazine headlines, posters, logos, cosmetics packaging, advertising etc.Photography by Damien Vignaux (www.elroy.fr) Designed by Luciano Vergara.
  16. Antartida Rounded

    Luciano Vergara (2012)

    Antartida is a sans serif typeface, while it is monolinear simple structure give it a kind of neutral feeling, is functional, clean and minimal. Is a family of 8 fonts, 4 weights and italics. This typeface contains alternate glyphs that help to emphasize text or headlines.
  17. Andes Italic

    Daniel Hernández (2012)

    Andes, designed by Daniel Hernández, is a display typeface that has neo-humanist characteristics
  18. Andes

    Daniel Hernández (2011)

    Andes, designed by Daniel Hernández, is a display typeface that has neo-humanist characteristics
  19. Julieta

    Paula N Selaive (2012)

    Julieta is a condensed, unicase typeface full of swashy love.Inspired by romanticism, Julieta is a charming and versatile typeface. By alternating uppercase and lowercase, and mixing them with alternate characters, ligatures, swashes and endings, you obtain endless possibilities of composition, with 810 glyphs available in the Pro font. In addition, Julieta has an affordable set of ornaments, connectors and catchwords to complete this attractive display system.Designed by Paula Nazal Selaive.
  20. Magallanes

    Daniel Hernández (2012)

    Say hello to the new Magallanes Family, a contemporary neo-humanist sans serif font designed by Daniel Hernández. Its strokes and terminals are related to the calligraphic strokes from humanist typefaces. It comes with 8 styles, from Ultra Light to Black, each with its true italics. Every weight comes with alternative glyphs for a more dynamic use. Magallanes is the perfect titling font to complement text faces in magazines, logotypes, etc.
  21. Comalle

    Juan Pablo De Gregorio (2012)

    Comalle is an organic typeface that rescues some elements of handwritten script, but its stroke does not necessarily answer to a literal calligraphy structure.So Comalle could produce a powerful impact on the page, it was designed with thicker strokes than its counter forms. The objective is that the black of the letter fills the page and causes a fastest visual impact than typographies that balance blacks and whites.One of the most important tasks of the Comalle design was to think of how to handle the unequal percentages of blacks and whites in the typeface. The peculiar thing, is that the precision work of the letter does not make the blacks, but the whites; this is the reason why in one first instance it was very valid to start off designing in a very gross way, nevertheless, the majority energies are put in the details of the design of counter space.From the drained filling concept of forms Comalle was born, a typeface that pretends to enchant with its delicate counter space design and to impact with the heavy outlines which compose its form.
  22. Pantano Pro

    Luciano Vergara and LCF (2012)

    Pantano is a handmade grunge typeface inspired by the rustic style of Amazonia. This update adds more diacritics, alternate characters and more ligatures give a sensual and naturalistic touch to the written word. Designed by Luciano Vergara and LCF.
  23. Dans Le Jardin

    Guisela Mendoza (2012)

    Dans Le Jardin is a continuation of Dan Le Cuisine dingbat. Their wild and crazy curves give a very special vintage language. Can be used to create patterns or compositions for posters,websites, etc..
  24. Ragazza

    Guille Vizzari (2012)

    Ragazza Script isn´t just another display typeface. It honors the greatest handwriting skills but in a different way. Although It doesn´t represent any traditional calligraphy style, it is still part of that expressive world.With more than 1000 glyphs, and taking advantage of the Opentype features, Ragazza is full of personality. When in use, it gives a feel very close to ornamental Copperplate mixed with some kind of modern high-contrast typeface. Lots of alternates, swashes and initial capitals are the spine of this face, assuring almost infinite combination possibilities.The early forms that would eventually lead to what Ragazza is today, began as a college project –around 2006– in the context of the Hyperfuente´ exercise developed during Typography 2, chair E. Longinotti, at the University of Buenos Aires. But that seed would never stop growing. Since then a lot of work had been made to take that initial project to a professional quality level.Ragazza Script is perfect for headlines and short phrases. It is the brand new modern script, designed by Guille Vizzari and published by Latinotype.
  25. Bosque

    Paula N. Selaive and Daniel Hernández (2012)

    Bosque is a typeface designed by Paula Nazal and Daniel Hernandez. It belongs to handmade style, it´s rough and raw with soft edges.It has 6 variants: Normal, Wood, Shadow, Wood Shadow, Dingbats y Shadow One, this gives great versatility. It possess a wide set of characters, ligatures and some alternates.
  26. Antartida

    Luciano Vergara (2012)

    Antartida is a sans serif typeface, while it is monolinear simple structure give it a kind of neutral feeling, is functional, clean and minimal. Is a family of 8 fonts, 4 weights and italics. This typeface contains alternate glyphs that help to emphasize text or headlines.
  27. Indigena

    Guisela Mendoza (2011)

    Mapuche means man of the land and the culture of a people originating in South America.In June, between 21 and 24 is we tripantu, the Mapuche New Year is celebrated in the southern winter solstice with a magical rite in the middle of nature.Abel is a dingbat that reinterprets the artistic expression of the Mapuche people in Chile, rescuing the handmade stroke they embodied to textiles and pottery, this time in a fresh way to use contemporary patterns.
  28. Elemental Sans Pro

    Francisco Galvez (2011)

    Elemental is a font created in 1997 and launched in 2001. It is a Sans Serif of humanist type and its principal characteristic is a hybrid between different form of calligraphic outlines.In 2010 it was redesigned for Chile´s bicentenary in Opentype version and an improved italic. It is offered in eight weights: Light, Regular, Bold and Extrabold and small capitals for each one of them.
  29. Bock

    Jorge Cisterna (2011)

    Is a recreational typography. Created from experimentation of the Slab Serif style with asymmetric lines. Bock is compact and stable, although having the quality of breaking the typographic rhythm, to benefit its use in short words as logotypes and lowering of text in editorials and publicity. The Fat variable was devised as an extension of the Bock concept, deleting the inner and outer space that surrounds a letter, creating a font with much weight and attitude.
  30. Dulce

    Paula N Selaive (2011)

    Dulce is a swash typeface with an elegant and romantic touch. It is thin, but it becomes thick where two terminals meet and it also has swelling at terminals. Its wide range of ligatures makes it a versatile typeface, suitable for headlines and short phrases. You will see all of these ligatures on the screen, enabling “standard ligatures” and “discretionary ligatures” options. Ornaments are also included, which can be very useful for designing. Dulce is ideal for magazines, logotypes, advertising, etc. Use it for whatever you want and enjoy!.
  31. Printa

    Guisela Mendoza (2011)

    It is inspired by mandalic structures. Its visual language is based on misregister and flaws in textiles printed by serigraph technique in the 70s.This typeface allows you to combine two characters (front/uppercase; back/lowercase) into a single one to create print repeat patterns. This way you can get many different combinations. Printa is ideal for those who seek handmade designs.
  32. Sanchez

    Daniel Hernández (2011)

    Sánchez is the Latinotype´s first display type family. It is a serif typeface belonging to the classification slab serif, or Egyptian, that bears a strong resemblance to the iconic Rockwell, but with rounded edges— offering contrast and balance to the square structure. Sánchez comprises 12 variants, ranging from extra light to black, each of the same x-height. Regular and italic variants are available for free.
  33. Los Lana Pro

    Luciano Vergara (2011)

    Los Lana Pro is a handmade display typeface. Unlike other font families, this type has not a modular structure, that is, each character has been individually designed. The coherence of structure elements across different characters is given by irregular strokes. This curveless typeface is perceived as being curved because of its straight lines, which form different-size angles.
  34. Selaive

    Paula Nazal (2011)

    Selaive is a geometric typeface that has an air of rebelliousness. The thick and thin versions give you the chance to play a coquettish and seductive game. Its flourishes make it a very dynamic typeface when composing a text, ideal for those who want to add a personal and glamorous touch to their compositions. Selaive is an excellent choice for fashion magazines, logotypes and shops. Languages include: Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Romanian and Pan Africa Latin. Programed by Daniel Hernández
  35. Guadalupe

    Daniel Hernandez (2011)

    Guadalupe, from the family of classic Didots. Is a high performance font, with a great set of alternates and swashes. Carefully refined in details, specially suited for fashion magazines, logotypes and luxury contexts. With a range of two different terminal versions: Regular a classic roman typeface and Gota mucho more expresive for word setting.
  36. Dans Le Cuisine

    Guisela Mendoza (2011)

    Wild curves, flavors and experimentation, this is Dans Le Cuisine a set inspired by the recipes magazines of the 60s in Chile.
  37. Merced

    Daniel Hernández (2011)

    A fresh, curly and delicious sans serif. Designed by Daniel Hernandez, Merced is a sans serif font that can be given different uses for its wide variety of alternate types. Its main virtue is the endless number of possibilities that the font gives to write a word, text or paragraph. Languages include: Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Romanian, Pan African Latin.
  38. Patagon

    Latinotype Team (2011)

    Patagon is a Contemporary Woodtype Sans typeface specially designed for fresh, high impact sentences with a mix flavoured features. Its upper case opentype ornamental alternates gliphs provides great elegant textures adding versatility to his 3 weights family: condensed, regular and extended. Mix them up to get really cool designs!
  39. Pincoya Black PRO

    Daniel Hernandez (2011)

    Pincoya Black Pro is a font based on the lettering of a poster from the Spanish Civil War and complemented with graphics developed in the Chilean Popular Unity during the seventies. Pincoya has a lot of alternate characters in Opentype format that provide multiple options when composing a text. It is an ideal source for high impact sentences for logotypes, magazine layouts, poster designs, etc. Languages include: Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Romanian, Pan African Latin.
  40. Regia Sans Pro

    Luciano Vergara (2011)

    Regia Sans is a typeface that began in 2008, in Concepción, Chile, and was first released for sale to see Latinotype. Is a very thin and condensed font with a modular design. It is recommended for short texts, in logos, magazines, posters, etc. This new version includes more than 1,300 characters in Opentype format, many ligatures (including diacritical marks and numbers), two groups of alternate characters, and some swash characters. Languages include: Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Romanian, Pan African Latin.
  41. Fidel Black

    Luciano Vergara (2011)

    Fidel Black Essential is a heavily weighted, condensed, sans-serif typeface with a large x-height. Ideal for short, high-impact headlines, its design is inspired by Russian Constructivism and old Cuban communist posters. Variants include Fidel Black, Fidel Black Italic and Fidel Black Stencil. Fidel Black Essential is an excellent choice for headlines, subheadings, posters and logotypes. Languages: Basic Latin, Euro, Mac OS Roman.
  42. Sana Sans

    Felipe Sanzana (2016)

    Sana Sans is a humanist functional typeface with a modern feel. It is intended to be a face well-suited for multiple purposes, especially in publishing. Sana Sans looks perfectly legible and clean in long texts, and neat and simple in headlines. Thanks to its versatility, this font is also ideal for both screen and print usage. Sana Sans consists of 32 styles and 8 weights—ranging from Thin to Heavy—italics, small caps and an alternative family. Sana Sans was designed by Felipe Sanzana, under the supervision of Latinotype Team.
  43. Decour Soft

    Jorge Cisterna (2015)

    Decour Soft is the rounded-edged version of Decour. It is a slab serif humanist low contrast typeface. The overall design also features strong curves, making it a very friendly face. The font retains the original elegant features of Decour—based on Art Deco design—such as high contrast between upper and lower case characters.Decour Soft is a suitable font for logotypes and packaging. Its design also allows it to be used with certain elegance in book titles and magazines subheadings.
  44. Corporative Soft

    Latinotype Team (2015)

    Corporative Soft is the slightly rounded-edged version of Corporative. This font has a marked personality and distinctive traits, which makes it suitable to be used at large text sizes. At the same time, the smooth transition from straight to curved lines gives the font a more friendly feel. This display typeface is the perfect choice for logos, posters, signs, branding, packaging and so on!Corporative Soft comes with Latinotype´s standard set of 350 characters, making it possible to use the font in 128 different languages.Corporative Soft provides users with a wide range of characters, weights and widths for every project. By combining different variants, designers can achieve the best results.The family consists of 64 fonts: a basic family that includes 8 weights plus italics, an alternative family of 8 weights with matching italics and 2 condensed families, one regular and one alternative, both with italics. Corporative Soft was created by LatinotypeTeam and developed by Javier Quintana, Eli Hernández and Rodrigo Fuenzalida, under the supervision of Luciano Vergara and Daniel Hernández.
  45. Brocha

    Jorge Cisterna (2015)

    I made the first sketches for Brocha when I first visited Easter Island in 2011. I took inspiration from pre-Columbian art for suchsketches, but I must say that they were kind of rough and clumsy; it was an experimental, but limited-use typeface. It took a long time, but thanks to my learning about type design gained over the years, I have finally been able to resume my project. I have made sure to preserve the Latin American spirit of my original designs in order to give my final typeface an expressive handmade highly humanist look.Brocha is a display sans with friendly design ideal for high-impact headlines, logotypes or use on cookies packaging designs. Brocha consists of 2 subfamilies: one basic and one alternative. Each subfamily comes in 8 weights plus italics. The Alt version is highly recommended for those art directors who look for more varied fonts when designing.
  46. Triump Rough

    Enrique Hernandez (2015)

    The Triump Rough typeface comes with 2 different subfamilies: Blur, a soft, delicate font with a vintage and hipster feel that gives your design a breath of fresh air; and Rock, a strong, hard font in upper and lower case well-suited for high-impact headlines. This version provides a wide variety of OpenType features, such as ligatures, alternates and catchwords as well as a series of ornaments and extras, which help give your artwork a different look!
  47. Corporative Sans

    Latinotype Team (2015)

    Corporative Sans typeface is developed by Latinotype Team.Corporative Sans is the new version of Corporative. This font has a marked personality and distinctive traits, what makes it suitable to be used at large text sizes. Since it is a condensed font, it can also be used in smaller sizes.Corporative comes with the Latinotype´s standard set of 350 characters, making it possible to use the font in 128 different languages.Corporative provides users with a wide range of characters, weights and widths for every project. By combining different variants, designers can achieve the best results.The family consists of 64 fonts: a basic family that includes 8 weights plus italics, an alternative family of 8 weights with matching italics and 2 condensed families, one regular and one alternative, both with italics.Latinotype has added new faces to its team. Latinotype Team now comprises: Rodrigo Fuenzalida, César Araya, Bruno Jara, Luciano Vergara and Daniel Hernández. Corporative was created by Latinotype Team and developed by Javier Quintana, Rodrigo Fuenzalida and César Araya, under the supervision of ciano Vergara and Daniel Hernández.
  48. Blanc

    Jorge Cisterna (2015)

    Blanc is a functional humanist sans typeface with a marked personality and great style that make it ideal for use in headlines. Blanc is an ode to neutrality: a geometric face characterised by low contrast between thick and thin strokes with calligraphic features that emphasise specific glyphs. Blanc comes with 8 weights and an inline version that make it well-suited for headings and subheadings, corporate designs, advertising, publishing, etc.
  49. Corporative

    Latinotype Team (2015)

    The first typeface developed by Latinotype Team.Corporative is a semi serif font that has a marked personality and distinctive traits, what makes it suitable to be used at large text sizes.Since it is a condensed font, it can also be used in smaller sizes.Corporative and Corporative Sans come with the Latinotype´s standard set of 350 characters, making it possible to use the font in 128 different languages.Corporative provides users with a wide range of characters, weights and widths for every project. By combining different variants,designers can achieve the best results. The family consists of 64 fonts: a basic family that includes 8 weights plus italics, an alternative family of 8 weights with matching italics and 2 condensed families, one regular and one alternative, both with italics.Latinotype has added new faces to its team. Latinotype Team nowcomprises: Javier Quintana, César Araya, Bruno Jara, Luciano Vergara and DanielHernández. Corporative was created by Latinotype Team and developed by Javier Quintana and César Araya, under the supervision of Luciano Vergara, Miguel Hernández and Daniel Hernández.
  50. Decour

    Jorge Cisterna (2015)

    Decour is a Slab Serif typeface that features low contrast between thick and thin strokes and whose proportions were based on those of Art Deco design. A big height difference between lower case and upper case letters makes Decour a very expressive font and well-suited for headings and subheadings. Its versatility also allows it to be used in other ways, such as publishing and retailing.
  51. GoGipsy

    Guisela Mendoza (2015)

    GoGipsy is a script font based on Coto Mendoza´s modern calligraphy works created with the technical assistance of Luciano Vergara. GoGipsy is inspired by a magical journey—full of love, art and nature—through the Mexican Caribbean. GoGipsy tries to capture such incredible blend through gestures and calligraphy strokes, conveying freedom, expressiveness, strength and spontaneity. The family consists of four versions: regular, italic, drop and italic drop plus a set of ornaments based on the visual appealing Mexican textile art and embroidery full of colour and beauty. GoGipsy´s baseline emphasises movement and rhythm. Have fun with OpenType features, swashes, ligatures and a wide array of initials.Go Gipsy! Each journey, new inspiration...
  52. Beauchef

    Juan Pablo De Gregorio (2015)

    Beauchef is a sans serif typeface originally created to meet the needs of Centro de Modelamiento Matemático de la Universidad de Chile (University of Chile Center for Mathematical Modeling). Beauchef is a typeface with rough strokes that features subtle optical compensation and does not strictly follow the laws of perception. This typeface might not be too cheerful, but shows a very particular idiosyncrasy of form. Beauchef is as tough as advanced mathematics; however, it is as legible and exact as numbers themselves. This is an avant-garde typeface that resembles the development of mathematics, but at the same time it is as conservative, calm and respectful as clients who require its services. Beauchef is so astonishing as mathematical formulas that mathematicians work with, but at the same time it is as humble as resulting figures.
  53. Nordikka

    Luciano Vergara (2015)

    Nordikka is a 10-style sans-serif simple pure typeface designed by Luciano Vergara. Nordikka is a condensed font with a large x-height and straight terminals well-suited for headlines and short texts. A good option for clean and visually appealing designs.Nordikka is inspired by Scandinavian culture and its globally recognised design, which is characterised by pure, clean and clear forms. The final stage of the design process was completed in Olinda, Brazil, which inspired some of the words in the font specimens, allowing for reflecting an image of people´s daily habits and customs.
  54. Texta Narrow

    Daniel Hernández, Miguel Hernández (2015)

    Texta Narrow.
  55. Grota Sans Rounded

    Eli Hernández, Daniel Hernández (2015)

    Grota is back in its new Sans and Rounded versions. The complete family consists of 40 fonts, 10 different weights, cursives and an alt version.Grota Sans Rounded, designed by Eli Hernández and Daniel Hernández, is a grotesque font with Latin spirit. This type accompanies Grota Sans and Grota Unicase. It´s ideal for logos, brands, books, headlines, etc.
  56. Tita Script

    Sandra Biondi, Daniel Hernández (2015)

    Tita is dedicated to my grandmother Hebe, witty and arrabalera 1. The font is inspired by Milonga 2 music and the fileteado porteño 3. I picture it at The Moulin Rouge, sparkling, provocative, loving. It evokes Tita Merello and my grandmum singing her music. Tita is Argentinean to its very core. A font to shout goal and dulce de leche 4 with passion! Its curves originate from polirhythmic calligraphy, which I learnt from my mentor Silvia Cordero Vega. Tita is a pedigree script that is based on hand lettering and Sandra Biondi´s calligraphy works. Font digitalisation by Daniel Hernández. Edited by Javier Quintana / Programmed by Manuel Corradine.1- A person from the arrabal (a working class neighborhood on the outskirts of the city of Buenos Aires).2- Musical genre originated in the Río de la Plata areas.of Argentina and Uruguay.3- Decorative hand lettering and artistic style that is frequently spotted in Buenos Aires.4- Sweet milk sauce.
  57. Clasica Sans

    Enrique Hernandez (2015)

    Clasic Sans is a fresh and contemporary typeface family. Consisting of 7 standard fonts and 7 italic fonts, it is perfect for all kinds of editorial and print designs. Clasic Sans covers a lot of weights, working well into paragraphs of small and large text sizes. Independent of its use, size or alignment, this family maintains a solid appearance, product of its balanced contrast. In short, it is a font based on classical proportions, but with a fresh and contemporary look. Ideal for the most versatile designs.
  58. Dsert

    Diego Aravena Silo (2014)

    D Sert—based on the Pirata typeface—is inspired by 70s Chilean constructivist design and the political propaganda posters artwork of La Unidad Popular (Chilean political coalition). D Sert is the result of the combination of the Chilean graphic art revival with new trends, such as the handmade movement and super font families.The super family comprises 47 weights and comes with two versions: D Sert and D Sert Alt, plus extras. Diagonal strokes are significantly different between the two versions: diagonals of the Alt version are much more logical than the diagonals of the normal version. Another difference is the bowls of the capitals: in the D Sert version, they slightly project above the cap height, making it a more daring version and bringing it closer to calligraphy; contrarily, in the Alt version, bowls do not project above the cap height, which makes it a more tidy font. This way, the combination of the two versions and extras provides the user with the freedom to create any kind of artwork.
  59. Arquitecta Standard

    Daniel Hernández, Miguel Hernández (2014)

    Arquitecta Standard.
  60. Arquitecta Office

    Daniel Hernández, Miguel Hernández (2014)

    We have adapted the version of our Arquitecta font for use in Microsoft Office™. It only has 4 variants: regular, italic, bold and bold italic. Font weights have been named in a way that can be clearly shown up in the font list in Office™ programs for the sake of a good hierarchy (the bold variant is quite bold and does not look the same as the original font).
  61. Trend Rough

    Daniel Hernández, Paula Nazal Selaive (2014)

    Trend , Trend Hand Made and Trend Rough is a font made of layers, taking as a basis a sans and a slab font.It is the result of observation, search and study of the last global trends. Trend tries to capture the aesthetics of fashion or even fashion itself, integrating elements of a very popular and current trend.It is a typeface designed to be used without need to add anything external to it, because it has all components required for this.Trend is trending.
  62. Triump

    Enrique Hernandez (2014)

    The typeface family Triump is a simple sans serif with 6 weights from Thin, ideal for use as an epigraph, to Black for head titles of special impact. Excellent for applying in graphic design as logos, trademarks, posters, editorial and web design. Inspired by the classic types of the late twentieth century with rounded corners that give the typography a smooth appearance with rounded ends, with a horizontal stroke that exceeds the vertical in the letters A, E, F, H, J and K which gives a distinct personality.Triump comes with a Black weight in normal and italic Line both upper and lowercase letters, especially to give a vintage look to the designs.
  63. Infamy

    Santiago Sancha (2014)

    Infamy is a display typeface inspired by graffiti and street art, featuring the bubble letter´ style of writing which was very popular among subway and suburban graffiti artists in the early days of American graffiti. This font recovers graffiti horizontal alignment, tight tracking and colourful lettering. The OpenType version includes many different ligatures which provide multiple options when composing a text. Multiple layers make Infamy a bright, shaded and colourful font, allowing you to dress up your writing. This font incorporates a pictorial rendering of character faces (instead of small caps), capturing the essence of the graffiti: the childish´ and the irresponsible´, which is present in the experimental side of the typeface.
  64. Nido

    Sofia Mohr (2014)

    Nido is a cute and funny childish typeface, designed for logos, book titles, invitations, birthday cards, flyers, posters, advertising, etc. It comprises 5 styles: black, white, black italic, white italic and dingbats, which can be used nicely together.Nido is a new design by Sofía Mohr. See also Café Brasil http://www.myfonts.com/fonts/sofia-mohr/cafe-brasil/
  65. Lettre

    Pablo Sinn (2014)

    Lettre is a geometric serif font designed by Pablo Sinn. Thanks to its imperfections, this font looks like it is hand-lettered. Lettre brings back nostalgic feelings of mechanical typewriter characters and recovers the essence of the rustic and natural, what makes it a very modern typeface.
  66. Estandar Rounded

    Luciano Vergara (2014)

    Estandar Rounded is a retro and vintage wayfinding sans serif font, inspired by old signals in central park and Europe. It is a Condensed sans with their tall x-height. The family has 6 Weights, italics and dingbats. It is an extension of Estandar font.
  67. Via Sans

    Daniel Peralta (2014)

    Via sans is a font inspired by classics like Steile Futura and Din 1451, with neo-humanist characteristics. It was designed as a font for fast reading from a distance, which saves horizontal space in the text composition, making it a very good alternative when composing long phrases in reduced spaces, with high readability in various sizes due to its ample counters. With round corners that reduce the irradiation that reflective materials in signs produce.This family is composed by 8 fonts, 4 weight variations and 4 inclination variations, which include European accents marks, ligatures, fractions, ordinals and tabular numbers, in addition to a pictogram set that complement applications for wayfinding and maps.
  68. Grota Sans

    Eli Hernández, Daniel Hernández (2014)

    Grota is back in its new Sans and Rounded versions. The complete family consists of 40 fonts, 10 different weights, cursives and an alt version.Grota Sans Rounded, designed by Eli Hernández and Daniel Hernández, is a grotesque font with Latin spirit. This type accompanies Grota Sans and Grota Unicase. It´s ideal for logos, brands, books, headlines, etc.
  69. Andes Rounded

    Daniel Hernández (2014)

    Andes Rounded, designed by Daniel Hernández, is a display typeface that has neo-humanist characteristics. Its different terminals, among other elements, give it a look of mixed typography.Andes is a typeface with 10 Upright weights, 10 Italics and Condensed versions, ranging from Ultra Light to Black, each of the same x-height. This typeface contains additional italic glyphs (a, y, z, g) that help to emphasise text or words. Andes is based on the design of Merced and both of them share several features.This type is well-suited for use in retail, magazines, logotypes, books, etc.
  70. Zennat Pro

    Diego Aravena Silo (2014)

    This font is inspired by the compact, high-impact design aesthetic of the 1990s in Chile, which was defined by the use of very heavy fonts to create eye-catching graphic pieces. With this idea in mind, Zennat Pro was born, a “semi-slab serif” that takes advantage of OpenType features which rotate in alternate characters to best fit the design. Zennat pro comes in 10 weights, and is ideal for magazine design, motion graphics, trademarks, logos, posters, etc. ...
  71. Macarons

    Guisela Mendoza (2014)

    The Macarons font family consists of a monoline version, regular and bold weights, and a set of gestural catchwords, which reflects the use of the ruling pen as a freestyle tool. Ornaments and dingbats are also included.Macarons is a display type based on the classic Garamond typeface. It´s inspired by the foodie culture and the slow food movement, which began as a rebellion against fast food and has now grown to a global scale. Every day, thousands of people around the world take pictures of their food, look for new recipes to try and recover old ones, enjoy wine-pairing, and value locally produced food. Macarons is a fresh and spontaneous looking typeface that has been designed by Coto Mendoza, who also has developed a hand-made product line (Ride my Bike, Ride my Bike Serif, Four Seasons, D.I.Y. Time, Dans le Cuisine and In a Jar). This font is not constructed out of modules: each character is drawn by hand. Macarons is ideal for cookbooks, menus, liquor bottle labels, food packaging, wedding invitations, greeting cards, tea boxes, food blogs, small shops, cupcake bakeries and so on. Try! A freshly-baked homemade macaron!
  72. Clasica Slab

    Enrique Hernandez (2014)

    The font family “Clasica” is ideal to cover every design need. Excellent for titles, paragraphs, magazines, books, editorials and logos.The particularity and identity of this font is found in the thinness of its vertical strokes and symmetrical serif.Inspired by the “Optima” font but with a serif that gives a different and new feel. “Clasica” counts with glyphs for the letters: a, e, f, g, r and y. This font family comes with 9 different weights with their respective italics.
  73. Newslab

    Daniel Hernández (2014)

    Newslab is a slab serif font – designed by Daniel Hernández – which is the result of the combination of three different typefaces: Andes, Sánchez and Roble. Harmony among every feature of the typefaces makes Newslab a neutral but imposing font.The Newslab font family consists of 16 variants and 8 weights, with italics. Well-suited for editorial projects, logotypes, posters, etc. Regular and italic variants are available for free.
  74. DSari

    Diego Aravena Silo (2014)

    It is inspired by the friendliness and cordiality of neo-humanist typefaces with a mix of rounded shapes, some apexed characters, and a little bit of black. Although it follows the ductus, D Sari is also a daring font with less pointed shapes, as is the case with regular neo-humanist typefaces.D Sari has 22 variants, which make it a very dynamic typeface. Well-suited for highlighting lettering, magazines, motion graphics, advertising, logotypes, signs, etc.
  75. Consuelo

    Eli Hernández (2014)

    Consuelo a font inspired by brush strokes. The family consists of a set of 4 variants, with their respective italics, plus a set of ornaments that will give the designer multiple choices when composing texts.Consuelo is ideal to be used in decorative titles, short phrases, magazines, logotypes and advertising.
  76. D.I.Y. Time

    Guisela Mendoza, Luciano Vergara (2014)

    D.I.Y. Time is a hand drawn type system designed by Luciano and Coto inspired by the DIY philosophy which has been transformed into a whole global counterculture movement, identifying the new generations that reprice the handwork, paying attention to quality, processes and materials used in the manufacture of goods and objects, food, clothing, furniture etc. This beautiful philosophy inspires us every day. Is present in our homes, in our lifestyle and this time we have given him way through a typeface family that mixes different styles but integrates them through language handmade. The result is a typeface based on hand lettering drawing with different brushes and pens on paper. With versions ranging from organic proposals as DIY time hand to other based on the classic proportions of Gill as DIY time sans. To accompany a set of compound words designed on the needs of small farmers and a set of ornaments illustrated, everything you need to begin to make your own.
  77. Showcase

    Daniel Hernández, Paula Nazal Selaive (2014)

    Showcase, the new typeface of Daniel Hernandez and Paula Nazal is a handmade font consisting of a set of types that are composed of four styles, one script, one sans, a slab, sans mini and finally a set of ornaments and dingbats, all made to work together in the same language. It´s inspired by a pen that writes different typefaces and ornaments, and casually reaches into a harmonious family. Showcase is very easy to use and allows great versatility, can be used both in a magazine as a restaurant, through windows, cafes, and really anyway you can think of! Photography by Mauro Andrés
  78. Ride my Bike Serif

    Guisela Mendoza (2014)

    Ride my bike Serif is a new version of successful handmade typeface Ride My Bike designed by Coto Mendoza. Inspired by street style and the new culture that moves pedaling around the city. Perfect for use in headlines, brands and fashion photography compose alternative, thanks to its leading characters, terminals, alternate characters and ligatures that you can find in the Pro version. This time with serif.The Ornaments´ font in this family has 121 dingbats, very fun to compliment and accentuate the handmade design.If you do not want to ride so fast, you can find a version without OpenType features - Essential.Come! Get on it and let´s go ride my bike!.Photography by Nico Alari.
  79. Australis Pro Swash

    Francisco Galvez (2014)

    Australis Swash is a new variant that adds to the family of Australis Pro and it brings a touch of whimsy and mannerism to the shape of the cursive letters. Its purpose is purely playful because Australis Swash has some useful Opentype features as standard ligatures, discretionary ligatures and contextual alternates to use them in headlines or as a base for brands and lettering in general. Designed by Francisco Gálvez Pizarro in 2013.
  80. Schwager Sans

    Luciano Vergara (2014)

    Schwager sans is the new version of Schwager. This time with a fresher taste, retaining the same principles of structure, geometry and modernist aesthetics in a contemporary reinterpretation. Designed especially for use in titles, reveals concepts associated with masculinity, technology or sports, perfect for application in cover design, logos, web.
  81. Arquitecta

    Daniel Hernández, Miguel Hernández (2014)

    Arquitecta. The humanist typography as a rational project.Since the experimentation from the Bauhaus through modern sans history we looked for a new mix to construct a rational geometric typeface with humanist proportions suitable for text layout and continuous reading.Inspired by American and European hand lettering from the first half of the past century, Arquitecta finds his own space as a great alternative for paragraphs in front of classics like Futura, Kabel or Avant Garde.The family contains 8 upright romans and 8 italics with the following features:- European accents, Old Style Numbers, Numerators and Fractions.- Ink traps to avoid press impressing spots and hinting optimized.- Small X-height with accentuated ascenders and descenders. Designed by Daniel Hernández Sánchez y Miguel Hernández Montoya between the months of August and December of 2013.
  82. Estandar

    Luciano Vergara (2013)

    Estandar is a retro and vintage wayfinding sans serif font, inspired by old signal in central park and Europe.
  83. Grota Rounded

    Eli Hernández, Daniel Hernández (2013)

    Grota Rounded is a very expressive font, has a gestural character inspired by the hand lettering .Grota Rounded is grotesque, unicase and exceptional. It has six weights ranging from thin to black with their italics.It is ideal for logos, brands, magazines, headlines, books. etc.
  84. Roble

    Daniel Hernández (2013)

    Roble is a Slab Serif Font, from a mix between Andes and Sanchez, following a harmony with both fonts one sans and one serif with a fresh and dynamic result.Roble is a family of 16 display fonts 8 weights plus italics.
  85. Roble Alt

    Daniel Hernández (2013)

    Roble Alt is a variation of Roble. It is a Slab Serif Font, from a mix between Andes and Sanchez, following an harmony with both fonts one sans and one serif with a fresh and dynamic result.Roble Alt is a family of 16 display fonts 8 weights plus italics.
  86. Santis

    Enrique Hernandez (2013)

    Santis is a multiface type, special for logos, brands, magazines and editorial world.Especially for setting trends in fashion and design.The particularity of this font is that you can easily read it, even when applying swash type letters. It is a Didot based font. Santis versatility can harmoniously display a word or phrase.Santis has 1017 glyphs with alternate characters, numbers and ligatures ornaments specially created for a better design.For best results use with Open Type.Designed by Enrique Hernandez with technical support of Daniel Hernández.
  87. Dulce Pro

    Paula Nazal Selaive (2013)

    Dulce pro (improved and changed version of Dulce), is a swash typeface, monoline elongated teardrop terminals. This romantic and thin font has certain characteristics of a script, without turning it, which gives a sophisticated and elegant.Dulce pro, has initial capital letters with swashes and final in lowercase. To make it a more complete typeface we have added italics and ornaments also make any design, a very welcome time to design, among its ornaments can find hearts, a flower, banners, various frameworks to mix, among others.
  88. Magallanes Condensed

    Daniel Hernández (2013)

    Say hello to the new Magallanes Condensed Family, a contemporary neo-humanist sans serif font designed by Daniel Hernández. Its strokes and terminals are related to the calligraphic strokes from humanist typefaces. It comes with 8 styles, from Ultra Light to Black, each with its true italics. Every weight comes with alternative glyphs for a more dynamic use. Magallanes is the perfect titling font to complement text faces in magazines, logotypes, etc.Languages supported include Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Romanian, Pan African Latin.
  89. In a Jar

    Guisela Mendoza (2013)

    In a Jar is a display typeface based in hand lettering. Inspired by the grandmother´s kitchen, its colors, forms, smells and the new way for rescue this old things.Designed for use in short text and big sizes is perfect for brand design, headlines, labels, greetings cards and all kind of things related to kitchen and foods.In a Jar is a sweet little family that include alternates, compounds words, ligatures plus a serie of dingbats and ornaments very cute to compliment and accentuate the handmade design. Try and enjoy all fun in a jar!.Designed by Coto Mendoza with technical support of Luciano Vergara.
  90. Grota

    Eli Hernández, Daniel Hernández (2013)

    Grota is a very expressive font, has a gestural character inspired by the hand lettering .Grota is grotesque, unicase and exceptional. It has six weights ranging from thin to black with their italics.It is ideal for logos, brands, magazines, headlines, books. etc.Photography by Matías Troncoso
  91. Four Seasons

    Guisela Mendoza, Luciano Vergara (2013)

    Four seasons is a display handwritten typeface inspired by nature and its changes in summer, spring, fall and winter. Designed by Coto Mendoza and Luciano Vergara between winter 2010 and 2013.Its true handmade stroke can achieves real lettering, perfect for use in photographic and illustrative compositions.It has an extensive character set of opentype programming including: titlings, endings, initials, swashes, ligatures, alternates besides a cute set of ornaments, dingbats and words all based on the shoots, branches, leaves and flowers of the forest in the four seasons.
  92. Kahlo Rounded

    Luciano Vergara (2013)

    Kahlo Rounded is a new version that plays hipster style with a Latin flavor. It was inspired by the strong influence of Mexican decorative elements as you can see in the set of ornaments and patterns. Kahlo Rounded has four weights and italics, initial capital letters, some alternate characters and ending. It works well for magazine headlines, posters, logos, cosmetics packaging, advertising etc. Salud!.Languages include: Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Romanian and Pan Africa Latin.
  93. Courtney

    Eli Hernández (2013)

    Courtney is a display font, unicase, with thick and irregular strokes. It contains a varied set of ligatures that makes Courtney a very dynamic font, ideal for short texts, magazines, logos, etc. It also possesses a large amount of connectors like for example: and, the, by, among other, designed to complement the font.
  94. Sanchez Slab

    Daniel Hernández (2013)

    Sánchez, designed by Daniel Hernández, is a serif typeface belonging to the classification slab serif, or Egyptian, that bears a strong resemblance to the iconic Rockwell. Offering contrast and balance to the square structure, Sánchez Slab is a new version, more robust with straight edges, that give greater character and power.Sanchez Slab comprises 12 variants, ranging from extra light to black, each of the same x-height. Regular and Italic variants are available for free.
  95. Trend Hand Made

    Daniel Hernández, Paula Nazal Selaive (2013)

    Trend and Trend Hand Made is a font made of layers, taking as a basis a sans and a slab font.It is the result of observation, search and study of the last global trends. Trend tries to capture the aesthetics of fashion or even fashion itself, integrating elements of a very popular and current trend.It is a typeface designed to be used without need to add anything external to it, because it has all components required for this.Trend is trending.
  96. Dans Le Toilette

    Guisela Mendoza (2013)

    Dans le toilette is a fun dingbat inspired by things that happen fast in the bathroom every morning. You can use them on posters, covers, patterns, brands and all kind of image with a vintage touch. Dans le toilette is part of the dingbats series designed by Coto Mendoza including Dans le cuisine, Dans le jardin and Dans le Noël. Make your day with a fun morning Dans le toilette!
  97. Love Story

    Guisela Mendoza, Luciano Vergara (2013)

    Love story is a display hairline typeface for use in big sizes and short texts. It´s inspired by different kinds of love and specially designed for Valentine´s day. Its soft curves and sweet style give it a lovely personality.Designed by Luciano Vergara and his wife Guisela Mendoza who has been studying ornaments since 2007 and has done her best for each project. You can see in her dingbats specially Printa and Abel designed for generate patterns. Now she integrated her passion to the ornament in a clean set which includes dingbats, ornaments and patterns. Luciano Vergara has designed very strong fonts with a particular work in the lines study and close to the geometry since 2005, getting a structure style, you can see in his fonts specially Regia and Kahlo. Now he integrated his study of lines, in a hairline font delicate, continuos and beautiful.In this story both designers have been merged their worlds creating a gorgeous product.This is a romantic type story, a love story.
  98. Australis Pro

    Francisco Galvez (2012)

    Australis is a hybrid roman font that won first prize in the Morisawa International Type Design Competition in 2002. After 10 years the family is finally complete and its release coincides with the reopening of the competition in 2012, in Japan.Designed by Francisco Gálvez Pizarro.
  99. Dans Le Noël

    Guisela Mendoza (2012)

    Dans Le Noël is a Christmas dingbat. Perfect for use as ornament greeting cards, patterns, posters, websites and visual compositions that need Christmas show in a language full of personality, inspired by vintage illustrations.Dans Le Noël is part of the serie Dans, with Dans Le Cuisine and Dans Le Jardin. You can combine them as you like. Enjoy!
  100. Schwager

    Luciano Vergara (2012)

    Schwager is a steampunk slab serif typeface with an industrial accent in a contemporary tone.Its strong structure and male, makes it ideal for titles, headlines and brands of male lifestyle, technology and trend.This typeface contains alternate glyphs that help to emphasize text or headlines.Photography by Damien Vignaux (www.elroy.fr)
  101. Sanchez Condensed

    Daniel Hernández (2012)

    Sánchez, designed by Daniel Hernández, is a serif typeface belonging to the classification slab serif, or Egyptian, that bears a strong resemblance to the iconic Rockwell, but with rounded edges— offering contrast and balance to the square structure.Sánchez and Sánchez Condensed comprises 12 variants, ranging from extra light to black, each of the same x-height. Regular and Italic variants are available for free.
  102. Queulat

    Jorge Cisterna (2016)
  103. Bowie

    Latinotype Team, Bercz Team (2016)

    The name of this typeface comes from the surname of James (Jim) Bowie, American pioneer and inventor of the famous Bowie knife. This is exactly what inspired English rockstar David Jones to change his stage name to David Bowie. Bowie is the new font by Bercz and Latinotype Team. The typeface is a type system that reflects a strong personality, an urban feel and an unprejudiced style. Bowie is well-suited for publishing projects, branding and packaging. This fontfamily is composed of three sections: a group of sharp-shaped uppercase fonts (small caps and all caps) in 4 weights, each with matching regular/back slant italics, providing users with 12 different styles for multiple combinations; a set of script catchwords and an eclectic set of dingbats, that which communicates blue-sky thinking and feel of the project. Bowie —a collaborative project between Bercz and Latinotype Team—was developed by Leonidas Loyola, Valentina Vega, Rodrigo Fuenzalida, César Araya and Bruno Jara, under the supervision of Dany Berczeller, Daniel Hernández and Luciano Vergara.. Bowie consists of 5 weights, ranging from Thin to Black, and comes with a 439-character set that supports 206 languages.
  104. Branding

    Alfonso García, Latinotype Team (2016)

    Branding, especially designed for meeting contemporary aesthetic and functional needs, is the interpretation of a modern typeface from the designer’s own perspective. This typeface encapsulates a wide range of nuances and combines, seemingly, opposite elements such as technology and friendly rounded shapes. In addition, alternative characters make Branding an ideal tool for both graphics designers and art directors. Branding is a sans-serif spurless typeface with a medium-large x-height, slightly wider horizontal proportions, straight curves and convex terminals. This font is well-suited for logotypes, isotypes, short text, etc. Branding comes in 7 weights—ranging from Thin to Black—with matching italics and includes a set of 544 characters that supports 128 different languages. European accents, old style numbers and multiple alternates are also included.

  105. Corporative Sans Rounded Condensed

    Latinotype Team (2016)

    Corporative Sans Rounded Condensed is the narrowed version of Corporative Sans Rounded that offers high performance when using for text, what makes it the perfect match for Andes Rounded http://www.myfonts.com/fonts/latinotype/andes-rounded/ The font works well at both display and small sizes. Corporative Sans Rounded Condensed is the perfect choice for logotypes, posters, signs, branding, packaging and so on! Corporative Sans Rounded Condensed comes with Latinotype’s standard set of 350 characters, making it possible to use the font in 128 different languages. Corporative Sans Rounded Condensed provides users with a wide range of characters and weights for every project. By combining different variants, designers can achieve the best results. The family consists of 32 fonts: a basic family that includes 8 weights plus italics and an alternative family of 8 weights with matching italics as well. Corporative Sans Rounded Condensed was created by Latinotype Team and developed by Elizabeth Hernández and Rodrigo Fuenzalida, under the supervision of Luciano Vergara and Daniel Hernández.
  106. Camila

    Paula Nazal Selaive (2016)

    Camila is a delicate and smooth Didone typeface designed by Paula Nazal. The family is inspired by concepts such as elegance, simplicity, femininity, and primarily based on Coco Chanel. A remarkable feature of this font is that it lacks of teardrop terminals, characteristic of Didone typefaces. This font of thin serifs and soft finishes also includes italics, strengthening the concept of its design. A great variety of shapes makes Camila an ideal font for both display and small sizes. Camila is the perfect choice for branding and publishing projects. This font family comes in 7 weights, ranging from Thin to Black, each with matching italics and includes a set of 426 characters that support 206 different languages.
  107. Fondue

    Jorge Alberto Martínez, Latinotype Team (2016)

    Fondue is a type family of eclectic shapes, inspired by Art Deco designs, in particular, the lettering used by the Mexican cartoonist Ernesto “El Chango” Cabral on almost the entire publication Revista de Revistas (“Magazine of Magazines”). Far from being a copy, Fondue expects to be an adaptation of the thinking of that time to be used in contemporary context. Fondue has a cursive ductus, wide horizontal proportion and large x-height. Its friendly consistent rhythm makes it ideal for medium-sized text, headlines, branding, and so on. The family comes in 6 weights, from Thin, which reminds of the cartoonist’s loose strokes, to Ultra Bold, the version with powerful and unique voice. Fondue has a set of 496 characters that support 207 different languages. OpenType features include standard and discretionary ligatures as well as stylistic alternates.
  108. Latina

    Rodrigo Fuenzalida, Latinotype Team (2016)

    Latina is our first humanist typeface designed for use in continuous text. This font is based on calligraphy, but calligraphic features have been changed in order to make Latina a more neutral font. This prevents readers from losing their focus when reading continuous text. On the other hand, these same features get highlighted when using the font for headlines or display text. This 11-weight family includes italics and small caps, and supports 219 different languages as well as several sets of figures. Latina is the perfect choice for publishing design (books and magazines), branding and advertising.

  109. Bach

    Mendoza Vergara (2016)

    We have grown a new flower in our Garden, but this time, in a more emotional way, capturing its vibrations and using them to create a fresh handmade typeface: ‘Bach’, a display type system inspired by the new lifestyle trends that look to go back to basics and increase the value of old natural healing methods. Bach comes in two styles: a 6-weight Serif font in regular and italic versions, and a 2-weight Script in regular and bold versions. Ornaments are also included! Bach Script is based on the calligraphic catchwords set (handcrafted with brush pen) and the Serif version of the Garden typeface. This font is the perfect choice for labelling, packaging, illustrated books and posters. Go back to nature and feel the vibration again, this time with Bach! Bach is a Mendoza Vergara Studio design with the collaboration of Cecilia Mendoza in digital editing, under the supervision of Luciano Vergara and Coto Mendoza.

  110. Bikini Season

    Mendoza Vergara (2016)

    Summer has come! Boho girl is going on her beach vacation. Relaxed, spontaneous, feminine, irreverent, though. Like a girl with a Gipsy soul, she just grabs her Bikini and turns away! This is the new font duo by the couple Coto and Luciano. Bikini includes a sans version, based on the proportion and structure of Roman capitals, but with a contemporary flavor and a clean style that give the typeface a chic touch. The other version of this font duo is a modern calligraphy script of handmade style. The mix is just perfect: opposites attract creating a very interesting counterpoint. Can you guess who is the designer behind each style? This font duo is intended to be used for posters, labelling or branding. The sans and script styles add visual hierarchy when composing text. Feel the fresh free spirit of its OpenType features and ornaments! Please see User Guide Every season is Bikini season!
  111. Pret A Porter

    Juan Pablo De Gregorio (2016)

    Prêt-à-porter is a project developed as part of a series of type experiments appearing on the blog ‘Letritas’. Prêt-à-porter is a very expressive friendly font with a handwritten look, smooth curves and strong identity. Its counterforms make it a carefree, wild, cheerful, light and highly readable typeface. This type system consists of two Script families—Contrast and Linear—and a Slab family. The Contrast set works as a complement, providing more elegance and formal refinement. Both Linear and Contrast come in 5 weights plus Ornaments, which can be used as initial and terminal forms since they have been designed for connecting with each letter. Linear and Contrast families include ligatures and the whole font family supports 208 different languages.
  112. Basic Sans

    Daniel Hernández (2016)

    A family of Grotesque features with a functional, neutral and seeming clean style that looks to keep a neutral (or basic) appearance on paper, but including lots of details that give it a unique personality. Basic Sans is a sans-serif typeface well-suited for publishing projects, medium-sized text, branding, posters, headlines and more! This font family comes in 7 weights—ranging from Thin to Black—plus matching italics and has a set of 416 characters that support 206 different languages.
  113. Assemblage

    Latinotype Team (2016)

    Designed by Daniel Hernández, Alfonso García, Bruno Jara Ahumada and Luciano Vergara. Assemblage is a typeface-inspired by Roman square capitals-that comes in 6 different weights and ranging from Thin to Black. The background of the typeface makes it well-suited for branding, short text, titles and complex compositions, thanks to its italic version. Contrary to some conservative fonts, Assemblage includes an italic version with a look based on Elzeverian and Dutch Barroque typefaces, what gives the font an extra dash of elegance, resulting in a very enjoyable design. The family was specially created for labelling wine bottles and general packaging. Assemblage is a font collection consisting of a Sans Serif plus an Italic version of classic features. The family comes in 6 weights and includes ligatures, caps and small caps plus 3 sets of smaller small caps for different kinds of composition. The Italic version-with strong decorative features-comes with swashes. Assemblage also includes a set of dingbats, especially designed for packaging as well as for publishing or branding. The Sans contains 979 characters and the Italic version 620 characters. Assemblage supports 212 different languages and its OpenType features include ligatures, semi oldstyle figures, 3 sets of ornamental small caps (in the Sans version), swashes, ending forms and alternates in the Italic version.
  114. Matcha

    Guisela Mendoza, Luciano Vergara (2016)

    We decided to explore the concept of fitness, but from a more natural perspective. With so many people drinking detox drinks and eating raw food, we were inspired to create a font that mixes the ‘strength’ of sports and the organic nature of natural products. The result is ‘Matcha’: a strong and energetic typeface that also flows at the same time. Matcha consists of a stable, very friendly Slab face and a calligraphy Script with a handmade style: spontaneous and fickle with some reverse-contrast alternative characters. Can you guess who is the designer behind each style? The duo contains OpenType features and is perfect for labeling natural products, cookbooks, magazine photography, fashion & beauty magazines covers, health & fitness publications, and more. For both print and digital communication. Matcha: the new black coffee!
  115. Isidora

    Enrique Hernández V. (2016)

    Isidora is a modern geometric font based on the classic typefaces of the early 21st Century yet with a contemporary and functional touch. In spite of its strong and rational structure, the font also looks friendly and expressive, thanks to its rounded terminals. In addition, its diagonal terminal cuts give it a softer and more rounded appearance. Isidora consists of two 7-weight subfamilies: one (more classic) Regular and one Alternative (more contemporary and display). Both subfamilies come in italic version, giving a total of 28 fonts. Isidora is the perfect font for headlines, logotypes, branding, packaging, publishing and web use. The family contains a set of 438 characters—supporting 207 different languages—and also includes an alternative character set, which allows for more versatility when composing text.

  116. Queulat Condensed

    Jorge Cisterna (2016)

    This font is the condensed version of Queulat, but keeping the same features as the original typeface. Queulat Cnd is a hybrid typeface that combines different styles, reflecting charm, freshness and, especially, a strong personality. Since it is a condensed font, it is well-suited for publishing and subheadings. The font is inspired by Modern and Grotesk styles. The former is shown in some characteristic features such as teardrop terminals, which give the typeface an attractive unique look, making it an ideal choice for logotypes and labelling. The latter, with its rationality, makes Queulat Cnd a stable and strong face for headings and subheadings. The combination of styles can be clearly seen by comparing the Regular with the Alt version. The Regular version is more simple than the Alt one. Differently, the alternative version possesses more features of the Modern style, like teardrop terminals in ‘k’ and ‘v’.
  117. Basic Sans Narrow

    Daniel Hernández (2016)

    Basic Sans Narrow is a narrower version of Basic Sans. It is a family of Grotesque features with a functional, neutral and seeming clean style that looks to keep a neutral (or basic) appearance on paper, but including lots of details that give it a unique personality. Basic Sans Narrow is a sans-serif typeface well-suited for publishing projects, medium-sized text, branding, posters, headlines and more! This font family comes in 7 weights—ranging from Thin to Black—plus matching italics and it has a set of 416 characters that support 206 different languages.
  118. Gabriela Stencil

    Antonio Mejía (2016)

    Gabriela Stencil is a classic font family with a unique character designed by Antonio Mejía Lechuga in collaboration with Latinotype Team. This font, well-suited for headlines, has features that emphasise its modern and elegant personality, inspired by the style of the 19th Century Didone typefaces.
  119. Taberna

    Jorge Cisterna, Rodrigo Fuenzalida (2016)

    Taberna is a type system that provides a wide range of choices for any design project. The typeface comes in Sans and Serif layered versions plus a monolinear Script font. Taberna is the result of having explored design trends in bar signage, liquor packaging and street wear. Taberna is a funny display font with a Sans version—that provides a more clean and simple design—and a Serif one, which gives text a more distinctive and sombre personality. The Script version matches perfectly with the heavy Caps of the typeface. Taberna is a very versatile font well-suited for headlines, posters, logotypes, etc.
  120. Touch Me

    Coto Mendoza, Luciano Vergara (2016)

    Touch Me is a Script hand-drawn style typeface—designed by Coto Mendoza—resulting from polyrhythmic exploration, sign deconstruction and altered calligraphic contrast plays with watercolour brush. Coto has been using these experimental calligraphy techniques when creating the catchwords for Macarons, the Boho Family, Bikini Season Script and Matcha Script and so forth. Touch Me was inspired by a character in a story written by Coto while attending a literary workshop with Ina Groovie in Santiago de Chile. The character is a tribal girl who lives on an island in the Caribbean. She is heir of ancestral knowledge and possesses wild beauty, very passionate and sensual: intense, strong and free. These features are reflected in the polyrhythm of the typeface’s curves: an irregular baseline, variable x-height, different lengths of initial and terminal strokes (that sometimes expand and sometimes shrink) and amount of brush pressure that generates changes in contrast within the characters. This way, when composing, signs with stroke contrast randomly alternate with monolinear ones and with signs of altered contrast, thanks to the typeface’s OpenType programming. The family, with more than 3,000 glyphs, provides a number of alternative characters, swashes, ligatures, initial and terminal forms, in short, a vast ocean of choices! Touch Me is a spontaneous typeface with a fresh and unique personality. It is the perfect choice for short text in both print and digital formats. The family comes with a Script Regular version and a seductive Script Drop that you will enjoy a lot! The Extras set includes some catchwords, dingbats and ornaments that allows for endless composition options. The family also comes with a Caps version —designed by Luciano Vergara—in 2 styles: a funny and big-headed condensed Sans Grotesk display of inverted vertical proportion plus a Grotesk, neutral and slightly expressive Petite. Both versions, available in 6 weights, have been especially designed to create hierarchies when composing. This allows for balance between strokes of different weight when it comes to the Sans and Script fonts. Come and dare yourself! Touch Me! Thanks Alisa for sharing your amazing and beautiful picture with us.
  121. Oceanshore

    Pablo Moreno (2016)

    Oceanshore is a modern display sans typeface with stencil characteristics and based on geometric shapes. That when combined gives the font a retro-futuristic look and makes it ideal for big and catchy editorial headlines. The family includes 6 styles, from Thin to Bold, each of them in a wide variety of alternates and ligatures that provides the users with a number of choices when composing. Each font comprises more than 550 characters and supports over 200 Latin languages. Seashore is well-suited for headlines, short text, posters, flyers and so on. Tags:geometric, title, display, stencil, modern, contemporary, branding, clean, clean, design, logotype, latinotype, magazines, sans, ligatures, alternates, advertising
  122. Kawak

    Javier Viramontes (2016)

    Kawak is a sans inspired by Mayan glyphs from the Tzolk'in ritual cycle. Kawak marries modernist typographic tradition with Pre-Hispanic formalism, creating a perfect blend between cleanliness, readability, objectivity, and the Mayan super-ellipse. Kawak was designed by Javier Viramontes during the [email protected], Extended Program under the careful guidance of Jesse Reagan and an amazing repertoire of visiting critics. The project was finalized by Alfonso Garcia and the Latinotype team. Kawak contains 454 characters and can support 128 languages through Latinotype’s standard set. The family consists of 5 weights and 5 italics. Kawak’s clean yet unique character, and features like fractions, old style and tabular figures, make it an ideal choice for a wide number of print and branding applications.

  123. Hogar

    Sofía Mohr (2016)

    This font is the result of merging my architecture background and my love for typography, which inspired me to create a system of fonts based on interior architecture design, furniture design and, especially, the love I feel for my home. The system comes with a monolinear style in sans and script versions, each including 5 weights, that share similar proportions, weight interpolation and terminals. Hogar is basically a sans with script gestures and a script with sans shapes. In order to make the system more complete, I included an italic version, also in 5 weights, which represents a transition between both main styles. Additionally, I developed a set of monolinear dingbats including some furniture designs by well-known architects. The family supports more than 200 Latin derived languages.

  124. Queulat Soft

    Jorge Cisterna (2016)

    The font is the soft version of the Queulat basic and condensed families, but keeping the same features as the original typeface. Queulat Soft is a hybrid font that combines different styles, reflecting charm, freshness and, especially, a strong personality. The font is inspired by Modern and Grotesk styles. The former is shown in some characteristic features such as teardrop terminals, which give the typeface an attractive unique look, making it an ideal choice for logotypes and labelling. The latter, with its rationality, makes Queulat Soft a stable and strong face for headings and subheadings. The combination of styles can be clearly seen by comparing the Regular with the Alt version. The Regular version is more simple than the Alt one. Differently, the alternative version possesses more features of the Modern style, like teardrop terminals in ‘k’ and ‘v’.

  125. Antonietta

    Mauricio Astete Brito (2016)

    Antonietta is Mauricio Astete Brito's first typeface, which is inspired by the eccentricity of the rococo style and Queen Marie Antoinette's wild personality. This project, supervised by Latinotype Team, was born from the idea of turning lettering into a digital typeface. Antonietta is based on the Copperplate style and inspired by the works of, among others, Hermann Zapf, Ricardo Rousselot and Herb Lubalin. The font comes in the following variants: Antonietta Script, Antonietta Caps, Antonietta Caps Illuminated, Antonietta Caps Shadow, Antonietta Caps Inline and Antonietta Ornaments. Antonietta Script is characterised by a big x-height, condensed proportions, and short ascenders and descenders, which can be modified by using the contextual alternates included in the set. Antonietta Caps, a companion font to the Script, is an all-caps typeface with rational structure and high contrast between thin and thick strokes. Antonietta is a 7-weight typeface well-suited for logotypes, labelling, headlines and short text. The Script variant contains a set of 878 characters that provide a wide range of contextual alternates to fit any project. The typeface also comes with an 'Ornaments' variant, which includes dingbats, borders and catchwords that complement the rest of the fonts.

  126. Hogar Slab

    Sofía Mohr (2016)

    Hogar Slab, based on the Hogar typeface, is the result of combining a script and a slab serif into a single type system. The system has a monolinear style composed of a slab serif and a script slab serif version that share similar proportions, weight interpolations and details. Hogar Slab is basically a slab serif with script gestures and a script with slab serif shapes. In order to make the system more complete, I included an italic version, which represents a transition between both main styles. Additionally, I developed a set of patterns including some furniture designs by well-known architects.

  127. Snatch

    Bercz Design Studio, Daniel Hernández, Luciano Vergara, Latinotype Team (2016)

    Snatch is a dynamic and expressive type system designed for impassioned and unprejudiced creative directors who look to combine the rough with the sexy. The font is well-suited for publishing projects, branding and packaging. Snatch is composed of three sections: a group of sharp-shaped uppercase fonts (small caps and all caps) in 5 weights, a set of script catchwords and eclectic sets of dingbats and flags that communicate the blue-sky thinking and feel of the project. Snatch—a collaborative project between Bercz and Latinotype Team—is the wild, condensed sister of Bowie and it was developed by Valentina Vega, Rodrigo Fuenzalida and César Araya, under the supervision of Dany Berczeller, Daniel Hernández y Luciano Vergara. The family consists of 5 weights, ranging from Thin to Black, and comes with a 679-character set that supports 206 languages.
  128. Basic Sans Cnd

    Daniel Hernández (2016)

    Basic Sans Cnd: A new sans. Designed by Daniel Hernández Basic Sans Cnd is a narrower version of Basic Sans. It is a family of Grotesque features with a functional, neutral and seeming clean style that looks to keep a neutral (or basic) appearance on paper, but including lots of details that give it a unique personality. Basic Sans Cnd is a sans-serif typeface well-suited for publishing projects, medium-sized text, branding, posters, headlines and more! This font family comes in 7 weights—ranging from Thin to Black—plus matching italics and it has a set of 416 characters that support 206 different languages.
  129. Pantano

    LCF (2011)

    Pantano is a handmade grunge typeface inspired by the rustic style of Amazonia. Alternate characters and ligatures give a sensual and naturalistic touch to the written word. Photography by Damien Vignaux (www.elroy.fr)
  130. Fierro

    Jko Contreras (2011)

    Fierro is a heavy-geometric-retrofuturistic typographic construction that, without any curves, still retains good legibility. The font was designed for both use in large sizes and designs with character that look to create a strong visual block.
  131. Muralista

    Jorge Cisterna (2011)

    This typeface is inspired by 60s and 70s Chilean murals and posters artwork. On the walls, big and heavy letterforms were presented pictorially for political propaganda. Muralista is a low contrast condensed typeface, similar to classic forms of the early nineteenth century humanist grotesque. The sinuous, rounded and asymmetric terminations remind us the artist’s brush strokes. This typeface is ideal for editorial sentences and logo designs. Designed by Jorge Cisterna.
  132. Moderna

    Mendoza Vergara (2013)

    Moderna is a sans serif family inspired by the simplicity of Modernism. Its construction–neutral and clean–is well-suited for short text, headlines, logotypes and branding. The font comes in 16 styles and includes a unicase version, alternate characters, arrows and labels.
  133. Handy Cut

    Paty Bean (2013)

    Handy Cut is an experimental project inspired by paper cutting only using fingers. This font was designed by Paty Bean in a farm in southern Chile. Handy Cut includes dingbats and alternate characters to play in expressive and irregular short texts.
  134. Pasarela

    Mendoza Vergara (2013)

    The street is the new runway. Pasarela is a display typeface inspired by the new culture of fashion in the streets. A global phenomenon across continents, travelling through social networks, fashion bloggers and street style. Everything is possible, everything is combined. The new culture of fashion is eclectic with hints of each culture at miles away. The complexity generated by the start page of this mix styles is solved perfectly with his neutral and clean tone, streamlined structure and thin strokes. It has been designed in two weights plus a set of borders that can generate graphic compositions for application in blogs, magazines, posters and TV. No one needs to be a fashion victim to cross the pasarela.
  135. Moderna Condensed

    Mendoza Vergara (2013)

    Moderna Condensed is a simple and neutral modern condensed sans-serif font well-suited for short text, headlines, logotypes, posters and branding. Moderna Condensed comes with 16 weights and includes a unicase version, alternate characters, arrows and labels.
  136. Darwin

    Mendoza Vergara (2014)

    Darwin font family is an eclectic assembly of grotesque, geometric and humanistic styles. This 20-font family comes with 2 subfamilies: one Normal Family of 10 fonts and one 10-font Alt Family. Darwin is well-suited for headlines, short text, posters and logotypes.
  137. Garden

    Mendoza Vergara (2014)

    Last year, we visited Brazil and we were totally captivated by its cheerful and warm people. Its wild nature is absolutely amazing and very noticeable in textile printing as well as in floral design. That was precisely what inspired us to create some ornaments and dingbats, which we then turned into a single typographic work. The resulting typeface was called Garden, a serif display handmade font with a playful and spontaneous feel. The Garden family offers a font with a set of original “catchwords” (‘Garden Catchwords’, based on brush calligraphy), floral dingbats and botanical ornaments. Please be aware, “Garden Catchwords” is a ‘Catchwords’ font, and does not offer standard AlphaNumeric characters. The OpenType version provides a wide range of creative options. Garden is well-suited for text composition, posters, headlines, label design and handmade-style items. Garden is inspiration, nature and joy!
  138. Darwin Office

    Mendoza Vergara (2014)

    We have adapted our Darwin font for use in Microsoft Office. This version includes 4 variants: regular, italic, bold and bold italic. Font weights have been named in a way that can be clearly shown up in the font menu in Office programs for the sake of a good hierarchy (the bold variant is quite bold and does not look the same as the original font).
  139. Styling

    Mendoza Vergara (2015)

    Styling is a simple, light, sans-serif typeface inspired on old cars and planes with an aerodynamic shape. The font comes in 5 weights plus italics. Styling and Styling Alt families offer professionals a wide range of creative options. Styling was created in 2014, while its designer was 30,000 feet in the air and the plane was flying over some Latin America cities. A flight full of flavours and shapes. This typeface is the result of anxiety and speed. Keep on rollin’ and fly high with Styling!
  140. Trenda

    Daniel Hernández, Paula Nazal Selaive (2017)

    Designed by Daniel Hernández and Paula Nazal. Corrections and review by Alfonso García and Rodrigo Fuenzalida. Trenda is a geometric sans-serif typeface based on the uppercase of Trend—a Latinotype font, released in 2013, that was very well received. This new typeface comes with a wider character set that offers a complete family of uppercase and lowercase in different weights. Trenda is a versatile easy-to-use functional display font with a strong personality, especially its uppercase, which makes the designer’s work easier. Trenda’s lightest and heaviest variants are ideal for display use while its middle weights work well with short and mid-length texts. This typeface has been designed especially for corporate projects, logotypes and publishing. Trenda comes in 8 weights, ranging from Thin to Heavy, and includes matching italics as well as small caps and alternates. The family contains a 634-character set that supports 206 different languages.
  141. Niemeyer

    Luciano Vergara (2017)

    Oscar Niemeyer is one of the greatest architects of our time—his unique way of mixing straight lines and abstract curves gives rise to an unmistakable and characteristic style. This typeface is my own tribute to Brazilian architect Oscar Niemeyer. The design process started when my wife and I visited Brazil while she was running a series of workshops on calligraphy. In my spare time, I would walk through the streets of beautiful cities like Rio de Janeiro or São Paulo, enjoying the local architecture and urban life. I had also the opportunity to attend to some of the workshops during which I was able to observe the organic of calligraphy and people. Then, I started to draw some shapes that reflected everything about this beautiful place: Niemeyer’s architecture and work and, in his own words ‘the curves on the body of the beloved woman’. This versatile typefaces comes in 8 weights with matching italics, alternative characters, oldstyle figures and much more! Niemeyer is well-suited for logotypes, advertising, publishing, branding and corporate use. Special thanks to everyone in the Latinotype Team (especially to César Araya) for their support, help with corrections and digital editing.
  142. Darwin Pro

    Luciano Vergara (2017)

    Darwin Pro, the sequel to Darwin, is ready to leave port and start new adventures. The font was redrawn, the language support was extended and a new set of figures was added. Darwin Pro comes in 7 weights plus italics and includes alternative characters available as an OpenType feature as well as oldstyle figures, numerators and denominators.
  143. Javiera

    Enrique Hernández (2017)

    Javiera is a geometric sans-serif typeface with humanist attributes. One of its main features is its small x-height, which makes ascenders and descenders look longer. The contrast gives the font a more stylised look, typical of humanist fonts. Curves and rounded terminals make Javiera a smooth, friendly and versatile typeface, well-suited for branding, magazines and publishing projects. User can take more advantage of the versatility of the font by enabling alternative characters included in the set. Javiera comes in 6 styles—from Thin to Black—plus matching italics, giving a total of 12 fonts. The font’s extreme weights are perfect for display use. Javiera family contains a set of more than 400 characters and supports over 200 different languages.
  144. Estampa Script

    Sofia Mohr (2017)

    Estampa Script is a 5-weight script typeface, designed by Sofia Mohr, with high contrast between thick and thin strokes, and teardrop terminals that remind us of Didone typefaces. These elements are the main feature of the font and give it a very strong character. Estampa Script is well-suited for clothing, interior design, branding, packaging, advertising and publishing design.
  145. Atlan

    Jorge Cisterna, Daniel Hernández (2017)

    Atlan—a Latin ’spin-off’ of classic geometric sans typefaces.
  146. Rawson

    Alfonso García, Latinotype Team (2017)

    Designed by Alfonso García and Latinotype Team. Rawson is inspired by early humanist sans-serif English typefaces. We have added a bit of Johnston, a bit of Gill and a lot of Latinotype to the font. Rawson is an elegant font—but definitely not a black tie one—with the strength of a geometric sans but as friendly as a humanist typeface. This mixture, though not capricious, gives the font a ‘classic’ personality and a modern look at the same time. Rawson is a typeface with a large x-height, open counterforms and classical ductus. The font is well-suited for branding, signage, packaging and short text. Rawson has a 778-character set that supports 219 languages and includes alternative characters, discretionary ligatures, small caps, a variety of figures and fractions—a wide range of typographic tools to meet different design needs.
  147. Latina Essential

    Rodrigo Fuenzalida, Daniel Hernández, Luciano Vergara, Latinotype Team (2017)

    Latina Essential is a humanist typeface designed for use in continuous text. The font comes in 4 weights with matching (true) italics. Latina Essential is well-suited for publishing design, books, magazines, branding and advertising.
  148. Lota Grotesque

    Daniel Hernández (2017)

    Lota Grotesque was designed by Daniel Hernández with the collaboration of Rodrigo Fuenzalida and Latinotype Team in digital editing. The family comes in 7 weights with matching italics and includes alternative versions that provide high versatility and functionality. The whole font family is composed of 4 subfamilies that share exactly the same number of characters and styles but with differences in programming and default characters. Lota Grotesque contains a 760-character set that supports 219 languages and includes alternative characters, discretionary ligatures, small caps, and a variety of figures and fractions—a wide range of typographic tools to meet different design needs.
  149. Sanchez Niu

    Daniel Hernández (2017)

    Sánchez Niu is a redesign of Sánchez—one of the first font families by Latinotype designed in 2011. This new version includes improvements that make it work well with longer text. Such improvements have not had a major effect on the look of the font, though. We have adjusted the original proportions and added a number of new characters as well as OpenType features such as small caps, oldstyle figures, tabular numbers and stylistic alternates. Sánchez Niu contains a set of 720 characters that support 219 languages. The font is well-suited for long text, headlines and logotypes, and it has been optimised for web usage. Sánchez Niu comes with two free fonts—Regular and Regular Italic! Corrections, digital editing and review by César Araya, Rodrigo Fuenzalida and Alfonso García.

  150. (2017)
  151. Catrina

    Eli Hernández (2017)

    Catrina, designed by Eli Hernández, is an expressive typeface whose curves and straight lines meet each other in harmonious synchrony. Catrina comes in 6 weights, ranging from Thin to Black, plus a Handmade version and includes Dingbats and Catchwords which make it the perfect choice for packaging, branding, titles and advertising.
  152. Weekly

    Jorge Cisterna (2017)

    Weekly: a slab serif that wants to be a sans. The font was created under the premise that it can be used as a sans: a fresh design without that retro feel typical of slab fonts. As a result, we developed an Egyptienne font—more simple compared to others of its kind, a feature that gives it its unique personality. Weekly was based on fonts with humanist proportions, such as ‘Oficina’ and ‘Caecilia’, both created in the ’90s. Typefaces like these give designers the possibility to use them in books or magazines, in contrast to geometric slab fonts or early 20th century fat faces, which are mainly used for advertising or display text. Another feature that reminds us of humanist sans fonts is the small difference between x-height and cap-height. Some characters in Weekly like ‘a’ or ‘g’ lack serifs and some like ‘c’ or ’s’ have short serifs, giving it a semi-serif air. Weekly comes in both light and heavy weights. The heavier ones bear resemblance to Egyptienne slab serif typefaces with strong personality. These variants are ideal for use in posters and big, powerful headings.
  153. Weekly Free

    Jorge Cisterna (2017)

    Weekly: a slab serif that wants to be a sans. The font was created under the premise that it can be used as a sans: a fresh design without that retro feel typical of slab fonts. As a result, we developed an Egyptienne font—more simple compared to others of its kind, a feature that gives it its unique personality. We have created a special 2-weight version for you to enjoy. Just suscribe to our newsletter and download it for free!
  154. Hawking

    Dani M. Senso (2017)

    Hawking is a slab typeface with slightly squarish shapes and a rational, modern look. The font has a minimal modulation, generous counterforms and relatively large x-height with lowercase ascenders extending above the cap-height for more legibility. Serifs are composed of curved and straight lines, which give the font a robust appearance and strong personality. Hawking was specially designed for use in scientific publications (hence its name), but it can also be used with other type of continuous text, such as journalistic, technical or literary texts. Its heavier weights make it also well-suited for any display use (e.g. headlines) Hawking comes in 8 styles: 4 weights plus matching true italics. The font also includes ligatures, proportional oldstyle figures, and tabular and lining figures. The family comes with the Latinotype’s standard character set that supports 213 different languages.
  155. Nizzoli

    Luciano Vergara (2017)

    This typeface is a tribute to well-known Italian designer Marcello Nizzoli. Nizzoli is a modern sans serif font that offers a wide range of alternatives—a workhorse type well suited for headlines, posters, corporate identity and advertising campaigns. This modular design is based on geometric shapes and combines straight lines with rounded corners. The whole family is composed of four 7-weight subfamilies: one normal and one alternative plus rounded versions. Each subfamily includes matching italics. This typeface is my own interpretation of those curves and shapes found in Marcello Nizzoli’s designs.
  156. Isidora Sans

    Enrique Hernández V. (2017)

    Isidora Sans is a new version of the bestselling font Isidora (released a year ago). The absence of terminals gives this new typeface a cleaner and more geometric look, keeping the essence and structure of the classic sans fonts of the early 20th Century yet with a fresh, clean and contemporary appearance. Isidora Sans consists of two subfamilies of 7 weights, ranging from Thin to Black, with matching italics, giving a total of 28 fonts. Isidora Sans is the perfect font for publishing, titles, books, magazines and corporate design. Its Alt version is ideal for logotypes, branding, packaging, and use on web and Tv. The family contains a set of 416 characters supporting 207 different languages.
  157. Informative

    Sergio Ramírez, César Araya, Latinotype Team (2017)

    Informative is a typeface consisting of a whole family of sans fonts and a collection of thematic pictograms. This combination of two different types of communication reflects the current need for using text and images as means of conveying information in a complementary way. The family comes with a text version of 7 weights (with matching italics)—Thin, Light, Regular, Medium, SemiBold, Bold and Black, and includes 7 thematic icons sets which allude to elements related to alimentation, city, energy, people, politics, sports and work. Each set contains 88 glyphs and includes both outline and black versions. The text font contains a set of 423 glyphs that support 207 different languages. Informative is a clean, simple and versatile typeface well-suited for a wide range of graphic design and visual communication projects. This font has especially been designed for infographics, maps and digital applications.
  158. Boston

    Daniel Hernández, Paula Nazal (2017)

    Designed by Daniel Hernández and Paula Nazal. Digital editing by Elizabeth Hernández. Corrections and review by Alfonso García and Rodrigo Fuenzalida. Boston is a slightly rounded-edged typeface, which is inspired by ‘Trenda’—a geometric sans serif based on the uppercase of ’Trend’ (a Latinotype font, released in 2013, that was very well received). This new typeface comes with a wider character set that offers a complete family of uppercase and lowercase in different weights. Boston is a versatile easy-to-use functional display font with a strong personality, especially its uppercase, which makes the designer’s work easier. Boston’s lightest and heaviest variants are ideal for display use while its middle weights work well with short and mid-length texts. This typeface has been designed especially for corporate projects, logotypes and publishing. Boston comes in 8 weights, ranging from Thin to Heavy, and includes matching italics as well as small caps and alternates. The family contains a 634-character set that supports 206 different languages.
  159. Aromática

    Sofia Mohr (2017)

    Aromática—designed by Sofia Mohr—is a rounded typeface with a simple and clean look that reminds us of those strokes found in handwriting while providing functionality and readability. Aromática consists of 7 fonts: a monolinear Script, a Sans-serif of 5 weights, ranging from Extra Light to Bold, and a Patterns font, inspired by aromatic herbs and spices, which is the perfect companion to the Script and Sans faces. Aromática was specially designed for branding and packaging, but it may also be used for headlines, publishing and advertising. The family comes with a character set that supports 207 different languages.
  160. Fibra

    Jorge Cisterna (2017)

    The font is actually not a revival of ‘Avant Garde’—by Herb Lubalin—but it takes its spirit. Fibra is a geometric sans serif, yet without the typical structural strictness of these kind of fonts, that represents experimental type design. This can be seen in the contrast between curves and straight lines in some characters such as ’n’ and ‘h’ unlike rounded ones such as ‘a’ and ‘d’; details of some display characters (e.g. three upper terminals in ‘W’ and projection off the stem in ‘A’); and exaggerated terminal in ‘R’. All these features give Fibra a strong personality—a sans serif typeface that ‘gives you the chills’. Fibra was specially designed for display use. The font has a very generous x-height that allows for use in corporate text, thanks to its good readability. Fibra comes with 2 subfamilies—a more ’normal’ Basic family, with a smaller amount of stylistic features, for use in subheadings or any other type of text that requires formality, and an Alt family that shows off the true potential of the font, making it the perfect choice for magazine headlines, posters and logotypes.
  161. Los Niches

    Juan Pablo de Gregorio (2012)

    Los Niches is a stylized sans serif typeface that combines modern, monoline characters with strokes and loops reminiscent of manuscript lettering. With a consistant, harmonious style Los Niches takes on a youthful flair when presented in bright colors, but is elegant and contemporary when dressed all in black. The flexible personality of Los Niches makes it ideal for catalogs, magazines or product packaging.
  162. Diploma Script

    Marcelo Quiroz (2017)

    Diploma Script was born from merging classic calligraphy and contemporary tools. The Copperplate style, which served as baseline for the development of the font, mixes harmoniously with brush pen drawing techniques that give Diploma Script a modern touch. The typeface provides elegance and legibility, while preserving characteristic shapes and strokes from the Copperplate style. Diploma Script covers a wide range of uses ranging from titles, logotypes, invitation cards, certificates and labels to small-sized texts. The family comes with initial, medial and terminal alternates that allow user to emphasize specific words. Figures, fractions and symbols are also included. Diploma Script includes a set containing more than 900 characters that support over 200 different languages.
  163. Autor

    Luis Bandovas (2017)

    Autor is a medium-contrast sans serif font with a dynamic stroke modulation. Its clean look and angled terminals give your designs a ‘sharp’ and contemporary feel. Autor Family comes in 7 weights, ranging from Thin to Black, with matching italics, resulting in a total of 14 styles. Autor is well-suited for editorial design, body text in books and magazines, headers and titles. It can also be used—as a display font—for logotypes, branding, advertising and publishing. The font includes a character set containing more than 400 glyphs that support over 200 languages.

  164. Forjada

    Raúl Israel (2017)

    Forjada—designed by Raúl Israel—is a monolinear, rounded and condensed typeface, belonging to the slab serif classification, inspired by wrought iron window and door grills on facades of historic buildings in America and Europe. Forjada is a rigid yet softly curved font with exquisite ornaments and optimized for great legibility. Forjada Family comes in 3 weights—Light, Regular and Bold—with matching italics and includes alternate swash caps and ligatures plus Ornaments and Catchwords sets that provide a wide range of choices for creating the most beautiful designs. The font character set supports 212 languages. Forjada is well-suited for branding, packaging, food & drinks menus, wedding invitations, party invitations, guidebooks to old cities or any glamorous design you want to add a fresh and modern touch to!

  165. Emy Slab

    Enrique Hernández V. (2018)

    Emy Slab is a slab serif based on the classical proportions of Egyptian typefaces but with soft terminals that give the font a more friendly and modern look. Emy Slab consists of two subfamilies of 7 weights, ranging from Thin to Black with matching italics, resulting in a total of 28 fonts. The standard version is ideal for editorial design, tiles, books, magazines, corporate design and all types of publications. The Alt version—due to its display features, asymmetric shapes and contemporary appearance—is well suited for logotypes, branding, packaging, and use on web and Tv. Emy Slab contains a set of 440 characters that support 208 different languages.
  166. Antartida Essential

    Luciano Vergara (2012)

    Antartida Essential is a minimal sans serif typeface. While its simple monolinear structure gives it a kind of neutral feeling, it is functional and clean. It is a essential family of 4 fonts, 2 weights and italics. This typeface no contains alternate glyphs and add only Windows 1252 Character set (219 Glyphs).
  167. Antartida Rounded Essential

    Luciano Vergara (2013)

    Antartida Rounded Essential is a sans serif with rounded terminals. Its simple, kind of neutral feeling is functional, clean and minimal; its rounded terminals make it friendly and warm. It is a family of 4 fonts: 2 weights and their italics.
  168. Magallanes Essential

    Daniel Hernández (2012)

    Magallanes Essential a contemporary neo-humanist sans serif font designed by Daniel Hernández. Its strokes and terminals are related to the calligraphic strokes from humanist typefaces. Every weight comes with alternative glyphs for a more dynamic use. Magallanes is the perfect titling font to complement text faces in magazines, logotypes, etc. It is a essential family of 8 fonts, 4 weights and italics. This typeface no contains alternate glyphs and add only Windows 1252 Character set (219 Glyphs).
  169. Internacional

    Luciano Vergara (2018)

    Internacional, inspired by the International Style, is a Latin American-flavored neo-grotesque sans serif typeface made with organic ingredients and sweetened with organic sugar and chocolate. Internacional is well-suited for corporate identity, branding, publishing projects, logotypes, magazines and advertising. Its large x-height and small difference between x-height and cap-height make it a high-impact font, ideal for powerful headings, while providing legibility. Internacional was designed for use with short and mid-length paragraphs that require a balanced type color. Internacional is an extended width font with rounded forms and angled terminal ends, in characters such as "c" or "a", which make it suitable for use in advertising and branding. The proportional relation in height between uppercase and lowercase letters may be useful when composing text in German language. The Internacional font family comes in 7 weights with matching italics and includes an alternative version, with the same number of styles, yet it tastes differently. Special thanks to everyone in the Latinotype Team (especially to Rodrigo Fuenzalida) for their support, help with corrections and digital editing.
  170. Stgotic

    Daniel Hernández (2006)

    Stgotic, designed in 2006, was the first digital font designed by Daniel Hernández. It is a blackletter typeface designed for low resolution screen devices. Stgotic was designed to be seen at 8 pts (and multiples of 8). In the year 2006, it was recognized as the best screen font by the TipoGráfica magazine in the context of the Bienal de Letras Latinas.
  171. Save the Date

    Daniel Hernández, Paula Nazal (2018)

    A wedding begins long before the I Dos on the big day—everyone works together throughout the process to make sure that everything happens as planned: details, color combinations, decorations, the way we convey the magic of the visual elements and deliver our message of love. Through this beautiful font, we would like to deliver to you that very message, you make it your own and express yourself in your own way—through the perfect invitation on your wedding day. No matter how sweet or wild your invitation looks, try to be yourself. Save the Date is a font collection consisting of 9 styles and 4 variants: Script, Sans, Serif and Small. The font set is intended to provide users with a wide range of choices for any design project. Save the Date was designed by Paula Nazal and Daniel Hernández. Digital editing by Rodrigo Fuenzalida. Photos by Mónica Muñoz. Mónica specializes in wedding photography. You can find more of her work here: www.thewildbrides.com
  172. Fibra One

    Jorge Cisterna (2018)

    Fibra One looks like a "soft" version of the Fibra font, but it is actually more than that—the second part of its name suggests that it is a reinterpretation of the original typeface. While this new version maintains the overall structure of Fibra and influence of the Avant Garde font, its shapes are different from those found in its predecessor—Fibra One features both soft corners and smooth transition between curved and straight sections. This gives the font a more dynamic and playful personality. Fibra One keeps the original contrast between curves and straight lines in glyphs such as ’n’ and ‘h’ (not found in rounded glyphs such as ‘a’ and ‘d’); details of display characters (e.g. three upper terminals in ‘W’ and projection off the stem in ‘A’); and exaggerated terminal in ‘R’. All these features give Fibra One a strong personality—a typeface that ‘gives you the chills’. Fibra One was specially designed for display use. The font has a very generous x-height that allows for use in corporate text, thanks to its good readability. Fibra One comes with 2 subfamilies—a more ’normal’ Basic family, with a smaller amount of stylistic features, for use in subheadings or any other type of text that requires formality, and an Alt family that shows off the true potential of the font, making it the perfect choice for magazine headlines, posters and logotypes.
  173. Igna Sans

    Daniel Peralta (2018)

    Igna Sans is a humanist functional typeface, with a contemporary style, designed to be used in a wide variety of applications such as advertising, corporate projects, branding and retail product design. The font is highly legible when used in a large body of text and well-suited for headings, display use and short text. Its angled strokes and rounded forms give it a smooth feel and make it look friendly and expressive. The Igna Sans family comes in 7 weights, ranging from Extra Light to Black, with matching italics plus alternative glyphs. The font contains a 430-character set that supports 206 different languages
  174. Peckham

    Daniel Hernández (2018)

    Peckham, designed by Daniel Hernández, is a contemporary and versatile slab serif of 8 weights (and matching italics)—ranging from an elegant Thin to a heavy Black—with strong serifs that give it a playful look while preserving the overall geometric structure of the font. Peckham comes with the standard Latinotype set of 395 glyphs resulting in a language support for 94% of the languages using the Latin alphabet. The font also includes stylistic alternates (A, R, Y, a) which provides extra versatility. The name of the font reminds us of the city that witnessed the birth of Vincent Figgins (1766). Figgins became known as the type designer who first included slab serif fonts in a commercial catalog. Peckham pays homage to classic typefaces yet looks very contemporary. Digital editing and corrections by Alfonso García.
  175. Latinotype Dingbats & Ornaments Free Pack

    Bercz Design Studio, Latinotype Team, Luciano Vergara, Daniel Hernández, Paula Nazal, Enrique Hernández (2018)

    Hello Everyone! As a token of our appreciation, we are giving away this pack of Rock-themed dingbats and ornaments from five different fonts: Kahlo Rounded, Snatch, Bowie, Triump Rough and Trend. Enjoy!
  176. Lumiere

    Jorge Cisterna, Bruno Jara (2018)

    The main source of inspiration for this project was Herb Lubalins Serif Gothic font. This and other fonts of similar style provided the basis for developing a unique display typeface with a strong personality yet neutral enough to be used in a variety of applications. In order to make the font more versatile, we included a number of layered fonts, like inline and shadow styles, which, along with the core styles, provide users with a wide range of choices for any design project. The Lumiere Family comes in 14 styles and includes 2 different variants: multi-layered fonts that make Lumiere easier to use and single layer fonts which allow experimented designers to create their own combinations. Lumiere is highly influenced by retro designs but it features a modern and simplified style that brings great value to your design work. The font is well suited for album covers, movie posters and book cover designs, among other uses.
  177. Juana

    Eli Hernández (2020)

    Juana is the result of a journey to self-discovery and part of a continuous exploration process. The font, based on Jazmín https://www.myfonts.com/fonts/latinotype/jazmin/ typeface, features a more developed design while still maintaining the essence of the original version. The extreme contrast between thick and thin strokes gives Juana a harmonic and stylish look. It comes in 8 weights with matching italics and includes an alternate version. The whole character set supports over 200 Latin-based languages. Juana is perfectly suited for editorial design, branding, magazines, logos, headings and more.

  178. Couturier

    Diego Maldonado (2018)

    Couturier font is all about haute couture: classy ready-to-use characters for each project, perfectly drawn curved shapes and well-balanced counterforms. Elegantly embroidered ligatures, alternative glyphs and beautiful swashes give the font an extremely elegant look. Couturier comes in 4 weights, ranging from Regular to Black, with matching italics, resulting in a total of 8 fonts that help you achieve a strong composition in your publishing projects. Its true italics with a humanist feel give each design a chic personality. The font contains a set of more than 1,200 characters that support over 200 languages.
  179. Darwin Rounded

    Luciano Vergara (2018)

    Darwin Rounded, the resequel to Darwin, is ready for sea and new adventures! A new fresh design with an updated language support and different sets of figures. Darwin Rounded comprises 3 subfamilies: Darwin Rounded Pro, Darwin Rounded Essential and Darwin Rounded Alt Essential. The font includes alternative characters available as an OpenType feature as well as Oldstyle figures, numerators and denominators. Special thanks to Eli Hernández for her help with digital editing.

  180. Mohr

    Sofia Mohr (2018)

    Mohr is a neutral, versatile and contemporary font based on some characteristics found in humanist sans-serif typefaces. Mohrs features, together with its design characteristics, make suitable for a wide range of applications, from display use to small text. The Mohr family comes in three versions: normal, alt and italic, each with 9 font weights, from Thin to Heavy, resulting in a total of 27 fonts. Mohr also includes initial and terminal swashes in most of the uppercase and lowercase characters. This gives the font a unique personality and provides a greater range of uses such as branding and packaging.
  181. Rita

    Daniel Hernández, Rodrigo Fuenzalida (2018)

    The publication of this more mature design is the result of a previous 1-style project which was developed in 2010. Rita, the new design, has increased from one single style to a full font family, with a strong personality, ideal for short text for high impact designs. Rita is a slab serif typeface that offers a wide range of weights and widths—from a thin, ultra condensed font to a heavy variant for poster design. Its variety of weights and widths allows users to create a number of different compositions such as titles and text for impact or high impact graphics. Rita comes in 10 styles and includes a set of 400 characters that support over 200 languages. Rita was designed by Daniel Hernández with the collaboration of Rodrigo Fuenzalida.
  182. Recoleta

    Jorge Cisterna (2018)

    Just like Grandma recipe, Recoleta combines a variety of ingredients—from various popular 1970s typefaces—such as soft and gentle shapes in Cooper or fluid, angled strokes in Windsor—mixed into one single design that features familiar yet fresh, modern flavors. Its variety of weights provides a range of choices that will help you find the best typographic color for your project. Lighter weights are well-suited for body text while heavier ones are ideal for high impact designs. The available stylistic alternates offer a number of different characters that give your logo or business card a unique look.
  183. Blauth

    Sofia Mohr (2018)

    Blauth—a versatile and contemporary sans serif typeface—comes in 8 weights, ranging from Thin to Black, with matching italics and contains a set of alternate characters. Its small x-height gives it an elegant feel that reminds us of classic typefaces. Blauth is well-suited to continuous text and its uppercase set is ideal for high-impact headlines while its softened corners give your designs a warm and contemporary look.
  184. Resort

    Mendoza Vergara (2018)

    This font collection includes a contemporary casual Script typeface and a sophisticated all caps Sans that features high contrast between thick and thin strokes. When used together, these fonts offer high versatility—perfect for magazines, blogs, mockups, use with social networking sites, logos and headlines as well as greeting cards, invitations, book covers, posters, and web and on-screen use. Resort is a font collection consisting of 12 styles and 3 variants: Script, Sans and Ornaments. The font set is intended to provide users with a wide range of choices for any design project. The collection comes with a relaxing Script of 5 weights and a classic 6-weight Sans, and includes lively floral ornaments. Resort evokes the feeling of relaxing barefoot walks along the beach while enjoying the sunset and a refreshing cocktail. Resort was designed by Guisela "Coto" Mendoza and Luciano Vergara. Special thanks to everyone in the Latinotype Team, especially to Rodrigo Fuenzalida, for their support and help with digital editing. Photos courtesy of Sarah Loven—a popular beauty, travel and lifestyle blogger http://www.readygypsetgo.com/
  185. Mohr Rounded

    Sofia Mohr (2018)

    Mohr Rounded—the new version of the original Mohr typeface—features curved and softer terminals which make the font look more organic, warm and friendly. The Mohr Rounded family comes in three versions: normal, alt and italic, each with 9 weights, from Thin to Heavy, resulting in a total of 27 styles. The versatility of the font makes it suitable for a wide range of applications, from small text to high-impact headlines. Mohr Rounded also includes initial and terminal swashes in most of the uppercase and lowercase characters. This provides a greater range of uses such as branding, packaging and identity design.
  186. Multiple

    Alfonso García (2018)

    As its name suggests, Multiple is a family with multiple font styles. The idea that sums up the concept behind the typeface is workhorse—the challenge was to develop a useful font fit for any scenario and suitable to any design needs: editorial design, packaging, branding, screen use, etc. Multiple features soft, rounded shapes and large counterforms which make it well-suited for both text and display usage. The proportions are based on classic typefaces yet its design was specially created to provide a high degree of versatility. Multiple contains different stylistic sets whose variety of glyphs provides a wide range of choices for any design project. Partly humanist and partly grotesque, Multiple comes with a number of font variants that will help you choose the style will best meet your needs. The font also includes a serif version with the same number of variants as its sans counterpart. The sans version includes 4 stylistic sets while its slab companion comes with 3 sets, both available as separate alt family packages (ideal for those seeking ready-to-use alternate glyph sets). These alternate characters are also available as OpenType features in the regular versions. Multiple comes in 5 weights—ranging from Extra Light to Bold—with matching italics, and contains a 395-character set that supports 207 different languages. Multiple: one font, multiple faces.
  187. Monroe

    Daniel Hernández (2018)

    Monroe was designed in 2010 and then in 2013 fonts designer decided to stop selling it. Eight years after its released, Monroe returns in a new and upgraded version—with an improved drawing and spacing—which includes more weights as well as alternate glyphs. Each font style has 819 glyphs and the whole set contains 394 characters which support 207 Latin-based languages. Monroe also includes 5 stylistic sets that offer a wide range of signs, swashes and discretionary ligatures—all specially made to add esthetic value to your designs. The family comes in 5 weights: Thin, Ultra Light, Light, Regular and Bold. Monroe was designed by Daniel Hernández with the collaboration of Alfonso García.
  188. Cagliari

    Jorge Cisterna (2018)

    An elegant, stylish and easy-to-use typeface. Just as a nice hat makes you look good, Cagliari brings beauty to your designs—through the traditional flavor of Didone faces, and the simplicity of Modern and neo-Grotesk fonts. The font is based on the "Queulat" design yet features a higher contrast, between thick and thin strokes, which makes it look simple and suitable for a wider range of uses. Due to an abrupt contrast in stroke weight, Cagliari is more noticeable on terminals and teardrop terminals compared to Queulat. The Neogrotesk-style shapes add a minimalist touch to the font with thoughtful attention to detail. Cagliari is the ideal choice for fashion magazines, Italian-author books and logotypes for prestigious brands.
  189. Couturier Poster

    Diego Maldonado (2019)

    Elegance flows through Couturier Poster soul. The new cousin of early launched Couturier, brings higher contrast and an extended family, perfect for big sizes. Inspired by the didones from the 18th century, its design its heavily influenced by contemporary ideas this makes it suitable to use for almost anything you can think of. Equipped with swashes, ligatures, small caps and alternates, this typography is very versatile and allows you to set a big range of compositions with discretion or personality. Couturier Poster comes in six weights and matching true italics, from thin to black. It is a good choice to pair with Couturier for smaller sizes and Couturier Poster for the big titles. It has a set of 1248 characters that cover more than 200 languages derived from latin.
  190. Versus

    Marcelo Moya (2019)

    A unicase typeface inspired by Latin American wrestling. Versus is a type system designed for use with short and block text. The font, based on well-known typefaces found on boxing posters, combines Latin American elements and wrestling; it is this mixture of widths and weights and different styles which helps give your designs a unique flavour and personality. Versus is a unicase sans serif font well-suited for display use; its orthogonal terminals and short ascenders and descenders make it ideal for block of texts. By mixing different weights, you can have a wide range of design options—short text, isolated words, logos, titles, branding design, posters, etc. The Versus family comes in 9 weights—from a lightweight and condensed Extra Light to an expanded and heavy Ultra. Its character set supports over 200 different languages. The font also includes a large number of stylistic alternates and a complete ligature set which give your compositions a strong identity and personality.

  191. Majora

    Luis Bandovas (2019)

    Majora is a slab serif typeface which derives its name from a Portuguese historical toy manufacturer. The font comes in 8 styles, ranging from a delicate Thin to a robust Black, with matching italics and an upright version of stencil fonts, resulting in a total of 24 weights. Majora is well-suited to a wide range of design projects which include packaging, editorial design, screen use, etc. Its humanistic features and moderate contrast between thick and thin strokes make it also suitable for long block of texts while having a high degree of legibility. The font includes a set of alternate glyphs which help give your compositions a different and unique look. The Stencil version was specially designed for use in signage, packaging, titles and headings. Majora contains a set of 520 characters that support over 200 Latin-based languages.
  192. Isidora Soft

    Enrique Hernández V. (2019)

    Isidora Soft is a new version of Isidora—a 2016 MyFonts Bestseller. Its rounded, soft terminals give it a friendly and expressive look, and its modern and contemporary style, small x-height and classic proportions make it an excellent choice for headlines, logotypes, branding, books, magazines, motion graphics, and use on web and Tv. Isidora Soft consists of two 7-weight versions: one regular and one alternative which is more expressive and playful compared to its counterpart. Both versions include matching italics, resulting in a total of 28 styles. Isidora Soft contains a set of 452 characters that support over 200 Latin-based languages.
  193. Cookery

    Sofia Mohr (2019)

    Cookery is a contemporary, friendly and authentic hand-drawn brush pen typeface with irregular baseline. It is well-suited to display use for book covers, logotypes, packaging, restaurant menus, invitation cards and advertising, among other uses. Get the most out of Cookery 613-character set by activating OpenType features including letters having the capability to automatically adjust between connected and disconnected forms, alternates, swashes, initial/terminal forms, old style figures, etc. All these alternatives provide a wide range of possibilities to give your compositions a natural, playful and unique look.
  194. Breton

    Daniel Hernández, Rodrigo Fuenzalida (2019)

    Breton has a strong personality and it is an ideal face for headings and branding design. Its most noticeable characteristic is a great difference of proportions between rounded characters (like "o", "c" or "e") and non-rounded ones (like "n", "m" or "z"). By combining them, you will be able to give your compositions a very unique rhythm. Each font style comprises 417 characters, which support more than 200 Latin-based languages, as you would expect from Latinotype fonts. Breton comes in 10 styles, from Hair to Black, and includes matching italics. Breton was designed by Daniel Hernández and Rodrigo Fuenzalida.
  195. Gabriela

    Antonio Mejía Lechuga (2019)

    The Gabriela project is of great importance to us since it is the first font published by Latinotype México which is our brand-new sister foundry in Mexico. Gabriela, yet more versatile, share all of its DNA with Gabriela Stencil. The font is an excellent choice for short and medium-length text. Gabriela is a Didone typeface well-suited to classy branding and editorial designs. Its alternate version includes swashes and more than 300 glyphs and 75 ligatures, allowing for more stylized designs. It may look different from its "regular" counterpart, but the essence of both is the same. Gabriela comes in 9 styles, ranging from Thin to Black, and includes matching true italics. Each font weight has an average of 750 characters which support more than 200 Latin-based languages.
  196. Galería

    Bruno Jara (2019)

    Galería is a monoline slab serif typeface inspired by world contemporary art gallery buildings, museums and cultural centers where organic forms and straight lines predominate. Galería combines functionality of a slab serif with the distinctive appearance of monospaced fonts—exaggerated serifs, wide proportions, distinguishing characters, contrasting geometric shapes and lengthened terminals. This combination resulted in a dynamic and pregnant typeface, yet legible and functional, well-suited to museographic and editorial projects, corporate use, and strong brand identity design such as posters, logotypes and packaging. Galería consists of a standard and an alternative version, each in 8 weights—ranging from Thin to Black—with matching italics. The font also includes OpenType features, like discretionary ligatures, and the whole 464-character set supports more than 200 Latin-based languages.
  197. Emperatriz

    Sandra García (2019)

    Emperatriz—with deep roots in the Roman tradition—is an elegant font and, above all, firmly situated in the present, featuring monumental forms and a classical design yet with a contemporary twist. It is a refreshing, clean, modern display font, perfect for the editorial design of magazines and catalogs, for the creation of titles and short texts, on book covers and large format publications, or as part of a corporate identity, logos, packaging and labels. Every variant in the family has generous counter forms, with ligatures and alternative capitals (Q, R, P, O), as well as oldstyle and Roman numerals, manicules, and monetary and mathematical symbols, providing a complete set with language support for more than 200 Latin script languages.
  198. Moderna Sans

    Luciano Vergara, Alfonso García (2019)

    Moderna Sans, a modern sans serif inspired by the American culture, is a clean and contemporary interpretation of American Gothic typefaces like Alternate Gothic. Moderna Sans comes in 5 weights, with matching italics, and 3 widths: condensed, standard and extended. The font character set supports over 200 Latin-based languages. Moderna Sans is an excellent choice for branding and corporate design and a versatile 3-width workhorse suitable for newspaper or magazine headlines and subheadings.
  199. Monckeberg

    Enrique Hernández V. (2019)

    Monckeberg is an expressive font with a strong personality which is based on 15th century classic Venetian typefaces. High contrast between thin and thick strokes, calligraphic features and diagonal stress are its most striking characteristics. Monckeberg is ideal for short text and paragraphs, and specially designed for logos, branding, editorial design and web use. Monckeberg consists of 2 subfamilies of 9 weights, from Thin to Heavy, with matching italics, resulting in a total of 36 fonts. The basic family is classic and elegant while the alternative version allows for greater design freedom. Monckeberg contains 511 characters that support over 200 Latin-based languages.
  200. Andes Neue

    Daniel Hernández (2019)

    Unlike its predecessor, Andes Neue contains a larger character set of 759 glyphs which support 219 Latin-based languages from 212 countries. The font comes in 4 variants that provide a wide stylistic range. Andes Neue is the most similar to the original Andes design. The Alt1 character set bears some similarity to the old Andes (yet cleaner); Alt2 uses the alternates in the font as default glyphs; and Alt3 is a mixture of the other three variants that offers a balanced set of characters. Andes Neue also includes new accents and glyphs for a wider language support, and a set of small caps (in each variant). All of these features give the font a strong personality that helps make text look more appealing. Andes Neue varied weights work well with both short and mid-length text sections, providing a wide range of choices for any design project.
  201. Aalto Sans

    Luciano Vergara (2019)

    Aalto Sans, a modular Humanist-flavored sans serif typeface, is ideal for corporate use, and brand and corporate identity design. The font performs well for mid-length text. Aalto Sans is a neutral and clean font but it has friendly and modern design characteristics. Aalto Sans comes in 8 weights with matching italics and the whole family is composed of 3 subfamilies: Pro, Essential and Alt Essential, resulting in a total of 48 different styles. The Pro version includes a Latin Extended character set and OpenType features—stylistic alternates, small caps, case-sensitive forms, proportional and tabular figures, currency symbols, etc. The Essential and Alt Essential versions are well-suited for both web and corporate use. Thank you for inspiration Alvar Aalto! Special thanks to Alfonso García for his help with digital editing—especially for his contribution to the design of the beautiful italics.
  202. Utily Sans

    Alfonso García, Rodrigo Fuenzalida, Latinotype Team (2019)

    Utily Sans emerges from the question- what would the world be like if Paul Renner had had greater inclination towards humanism rather than geometry? Utily Sans glyph proportions and shapes make it suitable for long-form text. This typeface shows geometric simplicity with humanist shapes. It looks like Futura, but has a feel closer to Garamond. Utily Sans is composed of 6 weights with their matching italics, an alternate character set that brings it back to its geometric origin, uppercase discretionary ligatures for expressive titles, as well as small caps, lining figures and old style numbers. These features make the font well-suited for large and small sized compositions, for short or long text. Utily Sans is the first Latinotype font with Cyrillic support, additional to the usual support for over 200 Latin-based languages.
  203. Blackberry

    Jorge Cisterna, Bruno Jara (2019)

    Blackberry is a display family inspired by vintage packaging design, old-fashioned ads and show business marketing campaigns. The font shares common characteristics with Wood Type typefaces such as angular serifs, slightly curved strokes and sharp edges which bring it in tune with contemporary design. Blackberry is a versatile layered-type font system composed of 3D extrusions, shadows, inline and outline styles as well as dingbats and flags. Its character set supports over 200 Latin-based languages. The Blackberry family offers multiple combinations and a variety of choices to provide high-impact graphics including labels, packaging, branding designs, album covers, movie posters, etc.

  204. Branding Super Family

    César Araya, Alfonso García (2019)

    Branding Super Family- A Versatile Typeface for Today's Needs! Branding SF, an extended version of the original Branding design, is a multi-style font suitable for a wide range of applications while still maintaining its essence. In addition to its unique design, Branding SF includes a variety of widths (Branding Compressed is now a reality!) and alternate characters that make it an ideal tool for graphic designers and art directors. Branding Super Family is the perfect choice for logotypes, isotypes, short-form text, etc. Branding SF is a sans-serif spurless typeface with medium to large x-height, rounded shapes and convex terminals. The font comes in 7 weights (ranging from thin to black) and 4 widths (from compressed to standard) with matching italics. Branding SF contains a set of 544 characters with support for 128 different languages and includes OpenType features such as European diacritics and old style figures plus 4 sets of alternates.
  205. Jazmín

    Eli Hernández Sánchez (2019)

    Jazmín is inspired by "Globe Gothic" design yet features different proportions, curves, serif shapes and contrast, which give it a classy, playful and a more contemporary look. The family comes in two versions: an elegant font of 8 weights-ranging from Thin to Black-with matching italics, and an alternate, more playful counterpart with the same number of weights and italics. The whole Jazmín set contains 566 characters which support over 200 Latin-based languages. Jazmín is ideal for magazines, short text, logos, branding design, packaging and advertising.
  206. Biennale

    Daniel Hernández (2019)

    Biennale is a geometric typeface with a strong character and a large x-height which make it an excellent choice for a wide range of applications, such as headlines or branding. Although common in style, Biennale distinctive details and color on the page allow users to create really unique designs. The font comes in 11 weights, from Hair to Heavy, and includes matching italics. As you would expect from Latinotype, this typeface comes with a standard set of 417 characters that support over 200 Latin-based languages.
  207. Goldplay

    Enrique Hernández V. (2019)

    Goldplay is based on Isidora Sans design yet features rounded shapes. Its rounded, soft terminals give it a friendly and expressive look, and its modern and contemporary style as well as its classic proportions make it an excellent choice for headlines, logotypes, branding, books, magazines, motion graphics, and use on web and Tv. One of its key features is a large x-height which make it look elegant and classy. Goldplay comes in 2 versions—each in 7 weights, from Thin to Black, and matching italics, resulting in a total of 28 fonts. The standard sans serif version—fresh, clean and contemporary—is a perfect choice for editorial and corporate design, headlines, books, magazines or any other piece of graphic design. The Alt semi-serif display version—more expressive and modern—is ideal for logotypes, branding, packaging, and use on web and Tv. Goldplay contains a set of 540 characters that support over 200 Latin-based languages.
  208. Spirits

    Alfonso García (2019)

    Spirits design was initially based on Hermann Ihlenburgs Schoeffer Old Style from the 1912 ATF catalog. Soft is the closest version to the printed original typeface. Neutral, with more formal serifs, is ideal for editorial design, for example newspaper headlines. Sharp, more contemporary, is the best choice for meeting todays design needs. Condensed proportions and large x-height, features found in the original font, make Spirits ideally suited for headlines and branding design. As you would expect from Latinotype, this font comes with a standard character set that supports over 200 languages. Each version includes its own alternates and comes in 4 weights, ranging from Light to Black, resulting in a total of 12 font styles.
  209. Olivetta

    Alfonso García (2019)

    Olivetta—an ironic sans. Its name is inspired by Antique Olive typeface. These two fonts share a few common design features but Olivetta is more in tune with the spontaneous, ironic style of today's typefaces. Olivetta illustrates the power of words as images. The high contrast between thick and thin strokes of the lowercase letterforms gives visual strength to the font. The stroke contrast increases as the weights get heavier. Olivetta comes in 10 weights with matching italics and each style contains more than 400 glyphs which include alternates. The lightest weights work well in subtle headlines while the heaviest ones are perfect for posters, short texts, branding and editorial design. The intermediate weights are ideal for continuous reading.
  210. Trust Sans

    Antonio Mejía (2019)

    Empathic • Contemporary • Versatile • Corporate A typeface specially designed for corporate identity. Trust Sans is a friendly typeface, with a flowing ductus and humanist features, specially created to help designers face everyday challenges. This font comes in a variety of weights—perfectly suited to establishing an effective typographic hierarchy—and contains an extensive character set, including small caps, different figure styles, case-sensitive forms, contextual and discretionary ligatures, etc. The family glyph set supports over 200 Latin-based languages. Trust Sans is composed of two complementary sub-families: a standard, formal font and an alternative, more casual, version. Each family comes in 6 weights, from Thin to Black, with matching true italics. All these characteristics make it an ideal typeface for a range of applications such as editorial design, immersive text, corporate identity, branding or packaging.
  211. Majora Pro

    Luis Bandovas (2019)

    Majora Pro is a slab serif typeface which derives its name from a Portuguese historical toy manufacturer. The font comes in 8 styles, ranging from a delicate Thin to a robust Black, with matching italics and an upright version of stencil fonts, resulting in a total of 24 weights. Majora Pro is well-suited to a wide range of design projects which include packaging, editorial design, screen use, etc. Its humanistic features and moderate contrast between thick and thin strokes make it also suitable for long block of texts while having a high degree of legibility. The font includes a set of alternate glyphs which help give your compositions a different and unique look. The Stencil version was specially designed for use in signage, packaging, titles and headings. Majora Pro contains an extensive set of 750 characters (including small caps, different figure styles, etc.) that support over 200 Latin-based languages.
  212. Moranga

    Sofia Mohr (2020)

    Moranga is a contemporary, serif, retro-style typeface with a strong personality. Its design is a mixture between Café Brasils flowing, organic shapes and elements from 70s popular fonts such as Cooper and Souvenir. Moranga, in 5 weights and matching italics, is the perfect choice for headlines, display use and high-impact or friendly designs. Moranga contains a set of more than 400 characters and supports over 200 Latin-based languages.
  213. Galeana

    Jorge Martinez (2020)

    Galeana is a flat-sided sans serif typeface that features a closed aperture. The font is a reinterpretation of Latin American-flavored typefaces used for European editorial designs such as Plastique and Zembla magazines. This superfamily consists of 4 sub-families: Compressed, Condensed, Standard and Extended. The heaviest and narrowest variants—created at the early stage of the design process—resemble the slender trunks of the Galenas (African tulip trees). The other variants have an extended width, which evokes the broad crown shape of these trees. Galeana comes in 48 styles and contains 417 glyphs that support over 200 Latin-based languages. The font performs well for mid-length text and it is the perfect choice for headlines, editorial design, brand identity design, advertising, social media and use on Tv.
  214. Wright

    Diego Maldonado (2020)

    Wright is a sans-serif geometric typeface inspired by the lettering found on modernist building plans. An elegant small x-height, tall ascenders and wide capital letters make the font look great in titles and short paragraphs. Wright consists of 4 subfamilies, each in 6 weights plus italics—48 fonts in all. Its wide range of alternates and ligatures make it an ideal workhorse suitable for a variety of projects and give your designs a stylish appearance and unique look. As you would expect from Latinotype, this font comes with a standard set of 800 characters and supports over 200 Latin-based languages.
  215. Neogrotesk

    Luciano Vergara (2020)

    Not of the Alps but from Los Andes. It tastes a lot more like wine than cheese. Neogrotesk is a versatile and functional workhorse typeface with a neutral look and Latin flavor. The font includes multiple typographic features such as alternates, ligatures, small caps, case-sensitive punctuation, arrows as well as lining, old style and tabular figures. Neogrotesk is the perfect choice for editorial, corporate and advertising design. This 40-style type comes in 5 weights with matching italics and contains 770 glyphs. The complete set consists of 4 sub-families: Essential, Essential Alt, Pro and Small Caps.
  216. Mixta

    Rodrigo Fuenzalida (2020)

    Mixta is a contemporary sans-serif typeface with characteristic and defined features. This font was inspired by the idea of mixing different types of terminals in order to give the font a singular appearance. Its design is composed of diverse styles such as Didone and contemporary faces. Create unique designs by combining any of the upright weights with matching italics. Mixta includes Cyrillic support, small caps, different types of figures and a wide variety of alternates. Mixta comes with a set of 1,200 characters that support over 200 Latin-based languages. This font was specially designed for branding, advertising, editorial design, and use on Tv and social media.
  217. Aguila

    Sofia Mohr (2020)

    Águila design is based on the combination of straight lines, curves and triangular shapes as well as on Didone typefaces. The font also has semi serifs— a notable characteristic that gives it a singular appearance. Águila was specially designed to be used as a display font for editorial design, packaging, branding, broadcasting purposes and for any project that requires a clean, modern font with a strong character. Águila comes with a set of more than 400 characters that support over 200 Latin-based languages.
  218. Corporative Slab

    César Araya y Latinotype Team (2020)

    This family is the slab serif version of "Corporative". The thick terminals give it a strong personality and distinctive traits. Original main strokes and rounded edges have been kept untouched in order to find a balance between both versions. Corporative Slab is the perfect choice for large-scale display use and it is also suitable for use at small sizes. This font works well for logos, posters, signage, packaging, branding, etc. As you would expect from Latinotype, this typeface comes with a standard set of 350 characters that support over 200 Latin-based languages. Corporative Slab provides users with a wide range of glyphs and weights for every project—from branding and advertising to editorial designs. The family comes in 8 weights plus matching italics.
  219. Magazine Grotesque

    Daniel Hernández (2020)

    Magazine Grotesque is a sans-serif font specially designed for headlines and titles. Its unique features make it different from the traditional Grotesk typefaces. For example, outstroke extending beyond body in a and e letters or closed aperture in c, creating an unusual rhythm. Magazine Grotesque is the perfect choice for logos, titles, headlines and short blocks of text. As you would expect from Latinotype, this face comes with a standard set of 487 characters that support over 200 Latin-based languages.
  220. Emperator

    Marcelo Quiroz (2020)

    Marcelo new typeface "Emperator" —based on his knowledge gained from instruction by master calligraphers— provides a fresh perspective on classic typefaces. Emperator comes in 3 variants that make your designs look elegant, legible and expressive. This font is perfectly suitable for a wide range of applications such as titles, wedding invitations, short text, logos, labels, book covers, posters, packaging, etc. Emperator character set includes small caps (letters, figures and symbols), fractions, stylistic alternates, ligatures, mathematical symbols, etc.— more than 750 glyphs in all, supporting over 200 Latin-based languages.
  221. Árida

    Alfonso García (2020)

    Árida pays homage to the Argentinian city of San Juan, located in the semi-desert Cuyo region, where cacti are abundant; a characteristic feature of arid habitats. Árida, inspired by the vegetation of the place, looks sharp and aggressive at large sizes but it also feels friendly at a smaller scale⁠—portraying the dichotomy between humans and nature. Árida comes in 5 weights, ranging from Regular (with a matching italic) to Black. The Regular variant contains 773 glyphs and its Italic counterpart is composed of 939 glyphs. The font also includes small caps, different styles of figures, ligatures, and stylistic and contextual alternates, among other OpenType features.
  222. Mangueira

    Sofia Mohr (2020)

    Mangueira is a sans-serif geometric typeface that is made up of 2 sub-families: one standard more contemporary family perfectly suited for display use and one alternative version for short blocks of text and more neutral titles. Each subfamily comes in 9 weights and includes swashes, which can be easily accessed from the OpenType menu. One of its main features is the combination of geometric shapes and vertical terminals that resemble Humanist sans typefaces. A generous number of swashes along with unique details in some glyphs such as "g" and "k" make Mangueira a versatile font well-suited for editorial design, branding, packaging, web and broadcast use, etc. Mangueira contains a set of 502 characters, supporting over 200 Latin-based languages.
  223. Spock

    Luciano Vergara, Rodrigo Fuenzalida, César Araya (2020)

    Spock has a neutral and clean structure but as we explore its OpenType features we will begin to discover a rich variety of alternates—even glyphs with pointed ears. All these combined elements provide a wide range of choices to meet different design needs. Each of the 4 sub-families consists of 6 weights and matching italics, making Spock a super family of 48 styles. The Pro family set contains 609 characters and it includes a generous number of alternates. The three other Essential sets are composed of alternative glyphs. Spock is specially suited for advertising as well as editorial and corporate design.
  224. Kenac

    Jorge Cisterna (2020)

    Kenac is an elegant, fresh and modern serif typeface, with unusual yet functional shapes, that combines characteristics of Roman type with elements of calligraphy and Victorian style. Its singular modulation and contrast between thick and thin strokes make it look great in titles. In order to ensure ease of use, the Kenac family includes only 5 weights while its matching italics provide contrast and make the font a harmonic choice for continuous text. Kenac has a unique appearance that makes it ideal for editorial design such as book covers and magazine website headers as well as brand identity design.
  225. Versina

    Dani M. Senso (2020)

    Versina is a display typeface with a unique and expressive yet moderate personality resulted from its organic elegant shapes which are inspired by Spanish transitional typefaces from the 18th century. This font is perfectly suitable for both titles and short text. Versina features a flowing organic stroke and asymmetric bracketed serifs, and its shapes convey rhythm and dynamism. The font has a large x-height and its ascenders are shorter than the cap height, making it look more slender and modern. Calligraphic and crescent-like terminals give the design great formal richness. Versina comes in 5 weights with matching italics plus a set of ornaments, in Regular and Black styles, and also includes old style/lining/tabular figures, fractions, superscripts and subscripts as well as a set of small caps, standard ligatures, historical ligatures, symbols and frames. Versina contains a set of 694 characters that support over 200 Latin-based languages.

  226. Winden

    Enrique Hernández V. (2020)

    Winden is a geometric slab serif typeface based on the bestselling font Isidora and inspired by early 20th century famous classic slab—serif typefaces. Characteristic features such as trapezoid shape serifs give Winden a modern, contemporary touch and the rounded edges of the Alt version make it look unique and special. This font consists of two subfamilies: Winden —classic, simple and functional— and Winden Alt (playful and contemporary), ideal for display use. Each version comes in 7 weights, ranging from Thin to Black, and includes matching italics— 28 fonts in all. Winden is the perfect choice for headlines, logos, branding, packaging, publications and websites. The full set contains 615 characters that support over 200 Latin-based languages.

  227. Facundo

    Daniel Hernández, Paula Nazal (2020)

    Facundo is based on both simple geometric shapes and our hit Trends uppercase glyphs yet subtle nuances make it stand out among its peers. Facundo may look familiar but has a modern and fresh feel, giving your designs a friendly, and at the same time, renewed and singular appearance. Facundo comes in 7 weights, plus matching italics, well—suited to meet any corporate, brand identity or web design needs. The font contains a set of 715 characters which support over 200 languages that use both Cyrillic and Latin scripts. Facundo was designed by Paula Nazal and Daniel Hernández. Digital editing and review by Rodrigo Fuenzalida.

  228. Organetto

    César Araya, Latinotype Team (2020)

    Organetto is a typeface, inspired by the lettering found on Art Deco posters, whose design embraces the latest digital font technology. This versatile font contains multiple widths which make it an ideal solution to fit every design need. In addition to its functional geometric style and different widths, Organetto also includes alternate characters that provide even more design options. All these features make the font a great choice for graphic designers and art directors, logos, wordmarks, short text, etc. Organetto is a sans-serif typeface with modern proportions and straight-edge terminals. It comes in 7 weights, ranging from Hair to Ultrabold, and 7 widths (from Ultra Condensed to Expanded) and contains a set of 397 characters that support 180 different languages. Organetto also includes OpenType features- 3 sets of alternates, catchwords and titling.
  229. Abstract

    Luciano Vergara, Rodrigo Fuenzalida (2020)

    Abstract is a contemporary and eclectic serif typeface inspired by todays life and created in times of pandemic. This family includes a true italic variant —that has its own personality— alternates, lining and old style figures, numerators and denominators & Cyrillic support.
  230. Anguita Sans

    Sofia Mohr (2020)

    Anguita Sans is a condensed sans serif font family of 8 weights with matching italics- 16 styles in all. The font is characterized by rounded terminals, a large x-height and a condensed structure, which allows you to create a good vertical rhythm. Anguita Sans is a stylish and versatile typeface perfectly suitable for a wide range of applications- especially titles and short lines of text, in both print and digital media.
  231. Apparel

    Daniel Hernández, Alfonso García (2020)

    Inspired by the MacFarland series in the 1912 ATF catalog, Apparel is a typeface that shares similar functional characteristics with Times New Roman and Caslon fonts yet it has its own personality: A great choice for high-impact design. Apparel is a contemporary, classy and fresh serif typeface with a laid-back attitude that best suits your design needs. Its medium-large x-height makes it ideal for headlines and brand identity design. Apparel also includes a version, with a greater contrast between thick and thin strokes, for use in even larger sizes. The font comes with italic styles which can be used individually or in combination with the upright variant. Moderately slanted italics are also available as OpenType Stylistic Alternates. Each font style supports more than 200 Latin-based languages, as you would expect from Latinotype fonts. Apparel also includes a basic Cyrillic set, old style & lining figures, fractions and alternates, among other OpenType features.
  232. Aestetico

    Daniel Hernández, Luciano Vergara, Alfonso García (2020)

    This beautiful font explores 3 very individual styles of one typeface. Each style pays homage to classic sans serif typefaces while adding contemporary flair to its characteristics. With both formal and informal styles, Aestetico explores how the shapes and curves of letters change their perception and focus. The informal letters are rounder and more quirky while the formal style utilizes more traditional sans serif letterforms. The whole set (54 styles) consists of 3 sister families, each in 9 weights with matching italics. The 3 variants ensure every design project is covered by Aestetico; its versatile nature is perfect for a huge variety of applications from editorial design to branding, advertising, publications and digital. As you would expect from Latinotype, this font comes with a standard character set (395 glyphs) and supports over 200 languages.

  233. Grobek

    Enrique Hernández V. (2020)

    Grobek is a serif typeface inspired by Garamond and American Typewriter fonts as well as classic 15th century typefaces. Its main features are a diagonal stress and soft curved teardrop shape terminals. Grobek comes in 8 weights, from Thin to Heavy, with matching italics- 32 styles in all. The font consists of 2 subfamilies: the basic family is classic yet contemporary while the alternative version has a stronger personality and allows more design freedom. Grobek is ideal for short text and paragraphs, and specially designed for logos, branding, editorial design and web use. This font contains 576 characters that support over 200 Latin-based languages.
  234. Mixta Ess

    Rodrigo Fuenzalida (2020)

    Mixta Essential is a contemporary sans-serif typeface with characteristic and defined features. This font was inspired by the idea of mixing different types of terminals in order to give the font a singular appearance. Its design is composed of diverse styles such as Didone and classic typefaces as well as current font trends. This new essential version of Mixta does not include Cyrillic support, alternate styles or OpenType features. Mixta Essential, with a basic language support, has been adapted for optimal use on macOS and Windows environments. Mixta Essential was specially designed for branding, advertising, Tv and social media.
  235. Amarela Stencil

    Sofia Mohr (2021)

    Amarela Stencil is a contemporary typeface, specially designed for titles, packaging and branding. Sharp serifs and an extreme stroke contrast give the font a classy look and a strong personality. Amarela Stencil comes in 5 weights, ranging from Ultralight to Black, plus two decorative styles- One and Two. As you would expect from Latinotype, this font comes with a standard character set that supports over 200 languages. Alternates and OpenType features are also included.

  236. Grotesco

    Luciano Vergara (2021)

    This South American grotesk font blends the functionality of an American grotesk typeface with that unique Latino rhythm and flair. Sure it can be quite serious, but more importantly, its two alternate sets allow you to bring flavor to your logos, brands and advertising designs. We would like to especially thank Alfonso García for his help with digital editing, the development of a fresh italic version, as well as the addition of Cyrillic and currency symbols.
  237. Galadali

    Diego Maldonado (2021)

    If you are looking for an elegant typeface, with strong impact and delicate details, then Galadali is the perfect choice for you. With a complete range of resources, like small caps, old-style and lining figures, fractions, superior and inferior letters, figures, and weights from light to heavy, Galadali offers a wide variety of combinations for you to create with. Galadali s multiple alternates and swashes can add extra spice to your designs. A tall condensed typeface specially designed for beautiful titles.
  238. Just Pixo

    Monica Rizzolli, Tony de Marco (2021)

    Inspired by the streets of Brazil, Just Pixo is a display typeface that mimics pixação, Brazilian graffiti. In his book Pixação: São Paulo Signature, François Chastanet says, “This alphabet, with its vertical inscriptions axis, is to be directly classified in the king-size, monumental category; the systematic use of capitals, meticulously aligned and justified, their extreme verticality, are symptomatic of this architectural dimension”. As such, we designed Just Pixo for monumental type sizes and vertical alignments—a family with seven weights, alternate glyphs, multiple ligatures and is provided as a Variable Font too. Unique decorative serif capitals and lowercase sans serif versions make Just Pixo the perfect option for large displays, strong headlines, urban logos, and contemporary concepts. Despite its controversial use on the streets, this often politically charged style will typeface will take your next project to the next level.

  239. Singolare

    Sofia Mohr (2021)

    The singular Singolare! A contemporary geometric sans-serif with angular terminations and amazing X height. This font’s primary characteristic is the difference in styles between weight. As it gains weight, it gains singularity. The variety of weights, styles and layers makes this the perfect font for displays and short texts that need major visual impact. Singolare comes with five weights from Ultralight to Black, each weight with its own stencil version and expressive cuts, as well as four decorative versions: three outline versions and one inline version. They can work alone or layered with the normal black version and the ability to change colors in each layer, thus expanding the possibilities of use. Basically, this is the font of your dreams.

  240. Inter

    Latinotype Team, Alfonso García (2021)

    Imagine a sans Rockwell… Well, we did it. That’s how Inter was born—as a reinterpretation of Rockwell. However, as the process moved forward the font took on its own personality, adapted to current market and needs. Inter is a new geometric sans with an early 20th century smell, soft curves and generous counterforms that give it a fresh look—a friendly font that communicates sincerity. Inter is well-suited for web use, apps, corporate use and short text (publishing). The font contains 439 glyphs—Latinotype’s basic character set plus alternative letters and signs—and supports over 200 languages that use the Latin alphabet.
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