Bauhaus Geometric, economical, functional... The good, wholesome, modernist values that once fired up the tutors and students of the Bauhaus became the inspiration for FS Dillon after an exploration of the work of the pre-war art and design powerhouse in the Fontsmith studio. The font combines simplicity and directness with a characteristic Fontsmith warmth. Letterforms are compact, with a generous x-height, and built for maximum clarity and impact. The Bauhaus sought beauty through function. FS Dillon achieves it. Made for TV The weights of fonts for TV sometimes have to be adjusted so as not to “blow” on-screen. FS Dillon was originally drawn for the on-screen presentation branding of Film Four, whose primary colour was red. Black type on a red background looks heavier than white, so Dillon needed two weights that would allow white and black type to be used together, looking balanced and equal. Type design is an organic process. Years after developing FS Dillon, we revisited it, redrawing elements and adding italics to maintain consistency. Olympic You don’t get a much higher confirmation of the functional fitness of a typeface than to have it selected to guide visitors around an Olympic complex. FS Dillon was selected as the font for signage at some of the key venues at the London 2012 Olympic Park, helping to get spectators, athletes and officials from all over the world to their seats and starting blocks on time.

A set of plastic pin-back letters served as the model for Monthly Meeting JNL. Pin-back letters were primarily used on cork bulletin boards for changeable notices and announcements.

Basque is a delicate nineteenth-century upright typeface of angular appearance, reminiscent of Black Letter scripts. The letterforms of the Basque font do not flow, but are made up of straight lines joined to form a rigid shape.

True Rose is a decorative serif family. It contains seven weights from thin to black. Vintage retro style combined with simple Victorian ornaments makes the lettering look neat and clean, perfect for your heading, title, or branding projects.

Introducing Losta Bonita A modern, vintage, and retro serif family. Consists of 9 weights from thin to black and variable format. The stylistic alternates allow many different unique shapes that give your lettering idea a well-looking look.

No Help is an all caps display font that comes with a scary-dark-black-halloween style. suitable for tshirt, branding, social media, and so on. contains standard English letters, numbers, punctuation, and several accents that support multilingualism.

Zawlbuk is a type inspired by Blackletter (sometimes black letter), also known as Gothic script, Gothic minuscule, or Textura. The Letters are drawn using a flat nib pen on a paper, scanned and drawn into a vector format.

Black Ornaments is a family of ornament/dingbat fonts, inspired by the CalligraphiaLatina font series. Is excellent for use in editorial works of art and publishing, as the cover of books, headpieces, packaging, magazines and many other solutions.

Dirndle is a unique and modern family of sans-serif fonts. Feragie has 9 families, starting from the small thin to the largest black. This typeface is versatile and can be used successfully in magazines, posters, branding, websites,

Tenebrous is modern family of Display sans serif fonts. Koumon has 9 families font, starting from the small thin to the largest black. This typeface is versatile and can be used successfully in magazines, posters, branding, websites, etc.

True Sage is a pretty decorative serif family. Contains Eight weights from thin to black. Vintage retro style dressed with pretty swirly alternates makes the lettering look pretty and unique, perfect for your heading, title, or branding projects.

Skizzors is a family designed by Ethan Dunham created by cutting letters out of paper. The fonts have an irregular edge but are clean and legible. The bold version is almost black and complements the regular version nicely.

Feragie is a unique and modern family of sans-serif fonts. Feragie has 9 families, starting from the small thin to the largest black. This typeface is versatile and can be used successfully in magazines, posters, branding, websites,

Oksana Text is the demure version of Oksana, with shorted serifs, higher contrast, more slender proportions. In six weights from Thin to Black and with the real italic, this typeface is suitable for longer text with rich typography.

Oksana Text is the demure version of Oksana, with shorted serifs, higher contrast, more slender proportions. In six weights from Thin to Black and with the real italic, this typeface is suitable for longer text with rich typography.

Karnchang is a versatile sans-serif typeface that offers a range of 90 styles, spanning from thin to black in weight and condensed to expanded in width. Its adaptability makes it well-suited for a variety of purposes.

This sanserif has 18 faces from Light to the Black Italic. Conqueror Sans keeps the vigorous design peculiar to all members of this family, but at the same time it is more neutral, than its having serifs relatives.

Signage JNL shows the heavy influence of the perennial favorite Futura Black with a couple of minor changes here and there. The design was inspired by a set of British brass stencils for sale in an online auction.

Iconic Conjuring memories of chunky typefaces from the late-60s and early-70s, and named after the world’s greatest footballer of that and probably any other era, FS Pele is one of a set of Fontsmith fonts designed specifically for headlines and other prominent applications. “We wanted to create fonts that could be integral to the design of posters, album covers and magazines,” says Jason Smith. Welcome to FS Pele, iconic, like its namesake (though, perhaps, a little less nimble). Big Pele, little Pele There was only one Pele. But there are two sizes of FS Pele. FS Pele One, with the finer counters and details, adds considerable weight and style at large sizes, especially in big block headlines on posters. FS Pele Two’s thicker “slots” make it a better choice for smaller-sized text. A load of blocks FS Pele began as an exercise by Phil Garnham in turning squares into legible letters, via the least means necessary. The idea extended his ideas about logo-making, and the search for a stamp-like brand mark that lends authority, stability and instant identification. “The thought that the type was a 2D/3D jigsaw of slotted, architectural pieces was almost an after-thought. I wanted to create a strong, stacking, block aesthetic for the most contemporary poster design. “At the time there were a lot of designers creating their own versions of the same thing but I wanted to take the blocker forms to the next step, and infer a more legible text without sacrificing the idea.”

Iconic Conjuring memories of chunky typefaces from the late-60s and early-70s, and named after the world’s greatest footballer of that and probably any other era, FS Pele is one of a set of Fontsmith fonts designed specifically for headlines and other prominent applications. “We wanted to create fonts that could be integral to the design of posters, album covers and magazines,” says Jason Smith. Welcome to FS Pele, iconic, like its namesake (though, perhaps, a little less nimble). Big Pele, little Pele There was only one Pele. But there are two sizes of FS Pele. FS Pele One, with the finer counters and details, adds considerable weight and style at large sizes, especially in big block headlines on posters. FS Pele Two’s thicker “slots” make it a better choice for smaller-sized text. A load of blocks FS Pele began as an exercise by Phil Garnham in turning squares into legible letters, via the least means necessary. The idea extended his ideas about logo-making, and the search for a stamp-like brand mark that lends authority, stability and instant identification. “The thought that the type was a 2D/3D jigsaw of slotted, architectural pieces was almost an after-thought. I wanted to create a strong, stacking, block aesthetic for the most contemporary poster design. “At the time there were a lot of designers creating their own versions of the same thing but I wanted to take the blocker forms to the next step, and infer a more legible text without sacrificing the idea.”

Rickslord is an uppercase display font that transports you back in the early 20th century. Some characters show high contrast between thick and thin strokes, creating a dramatic visual impact, while others maintain a more consistent weight for a balanced appearance. This blend of contrasts adds an unexpected dynamic quality to the text, making every word a work of art. Beautiful ornaments are included as a bonus. Rickslord fits in headlines, logos, branding materials, and many more.

Introducing a retro condensed font called "Marxis". Best font to use as a headline to bring back the propaganda era inspired by Soviet posters, movie titles and book covers. The letterforms are straight and condensed and come in 2 styles: uppercase and small caps with the ligatures. This font will suited well for titles, poster design, web design, branding and packaging works, illustrations, badges and other typography works. Thank you, I hope you like it as I do!

True North is back but now in a distressed version and new styles! True North Textures is a vintage typeface with 18 fonts and a monoline script. True North Textures comes with distressed labels, extras and free banners. Extras include wild animals, catchwords, numbers, mountains, symbols, tools, leaves and trees. True North Textures is a headline font with alternate capitals. Combine all 18 styles with the script, banners, labels and extras and you get a wonderful distressed vintage design.

Kickers is a mix of vintage look and serif styles. The combination of beautiful letter and vintage style serif makes Kickers a versatile that can be used in many different themes of design projects. Available in two styles regular and outline are suitable and ready to be used together for your next design! Kickers is well-suited for advertising, magazine, branding, logotypes, packaging, titles, headlines and editorial design. It was definitely fun putting together these laid back vintage vibes.

Geometric shapes are the building blocks the construct these 2 fonts.

Densa font family has been designed for Graviton Font Foundry by Pablo Balcells in 2020. It is a condensed sans serif typeface with some unconventional display endings. Its condensed design makes it very effective for space economizing and its display features make it a very interesting option for display usages such as logos, packaging and posters. It has been conceived to be most suitable for headlines and short length text blocks. Densa consists of 8 styles. Each containing small caps and glyph coverage for several languages.

Tecnica font family has been designed for Graviton Font Foundry by Pablo Balcells. It is a modular, geometric, sans serif typeface with a slightly condensed design and subtle rounded angles. It has been conceived to be most suitable for all sized headlines, as well as short and middle length text blocks. The standard styles give texts a classic appearence while alternate styles give texts a playfull one. Tecnica consists of 4 styles, 2 weights plus alternates, each containing small caps and glyph coverage for several languages.

Naftera font family has been designed for Graviton Font Foundry by Pablo Balcells in 2019. It is a mechanical, geometric sans serif typeface with display swashed characters and soft rounded endings that provide a strong but refined aesthetic. Naftera has been conceived to be most suitable for logos, headlines and display design pieces as well as short length text blocks. Naftera consists of 10 styles, 8 of which containing small caps and huge glyph coverage for several languages. The 2 Stencil styles are free.

Bullish is a clean, contemporary, geometric font family. There are 12 fonts in the Bullish family, Light, Medium and Bold. Each with a lower case, small caps, lower case oblique and small caps oblique. The small caps versions have small caps in place of the lower case alphabets. The lower case and small caps versions have the same uppercase alphabet, numbers, punctuation, symbols and miscellaneous characters. The Bullish fonts are ideal for headlines, titles, branding, small blocks of text or wherever a fresh font is desirable.

The font was intended primarily to have a stronger body. It has a simple geometrical surface. This font has a strong personality, that makes it perfect for use in headline sizes but means it also works gracefully within text blocks. Finalists Round Slab is carefully crafted and a unique slab serif. Use for websites, print, motion graphics, logo design, packaging design, t-shirts and more. **UPDATES:** -16 Agust 2021: New version 2.0 Variable Font -28 January 2022: Some bug fixes You can enjoy using it.

Hadriel is a beautiful light handwritten font with a unique feel and looks stunning. This fantastic handwritten font is best suited for headlines of all sizes, as well as for blocks of text. Whether it’s for web, print, moving images, or anything else. It will add a luxury spark to any design project! This font is PUA encoded which means you can access all of the amazing glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures.

Rossika is a four-style typeface designed by Oleg Karpinsky in 2002-2004 for the ParaType company. The general design and some letterforms were borrowed from antique Russian typefaces of XV-XVIII centuries. For example, the upper Cyrillic N has a diagonal stem, a tail of Ц character is attached in the center unlike major contemporary designs. Some characters have alternatives. There are several Latin and Cyrillic ligatures. Rossika is intended for logos, headlines and short text blocks: posters, calendars, post cards, diplomas, certificates and the like.

Sovba is an amiable rounded sans-serif inspired by handwriting. Sovba is useful for a look that is uniquely casual, fresh and smooth. Sovba simplifies character forms down to their basic characteristics, and has a strong, silky smooth forward motion. Sovba includes more traditional optional alternates for a number of characters, including the ëEí and ëF,í OpenType alternate characters, old style figures and small caps. Sovba is a fine choice when you require a versatile upright oblique for logotypes, headlines or short blocks of text.

Monospaced black slab-serif without any philosophy or idea, it doesn't pretend to be anything sophisticated, it is as simple as chewing gum or a can of soda. Simple and angry typeface Ivan has a lively friend — Juan typeface.

Oboni, how are you. I am fine, thank you! This little song is what you will hear in Ghana and Togo. The white people are called Oboni and the black people are the Amebo. We'll bring both cultures together!

Monospaced black slab-serif without any philosophy or idea, it doesn't pretend to be anything sophisticated, it is as simple as chewing gum or a can of soda. Simple and lively typeface Juan has a ascetic friend — Ivan typeface.

Basalt is a hard, black volcanic rock with less than about 52 weight percent silica. Because of basalt's low silica content, it has a low viscosity (resistance to flow). Basalt is erupted at temperatures between 1100 to 1250° C.

The Yorkten family of fonts is back with another satisfying addition to its clean style. The rhythmic, new Yorkten Slab expands Yorkten’s basic, contemporary form of geometric and simple lines and adds a level of self-confidence and elegance to your work. Slab's basic structure is compact. It’s more condensed than most slabs, so you can save space yet still have clear, consistent readability. The added serifs create a fresh text color, too, that syncs well with the new font’s inherited features. Like its predecessor, Yorkten Slab offers its natural, simple structure with more than fifty fonts in the family and three different widths - extended, normal or condensed. Each group has eight weights from a lean thin to tough looking black, giving Yorkten Slab plenty of bragging rights among its peers. And like Yorkten, too, Yorkten Slab’s greatest value is the ability of its members to work easily and well together and with a variety of other fonts. Yorkten Slab ensures that you have the necessary tools for any challenge. In combination with its superior functionality and excellent readability, this versatile font can be effectively used for many print and screen operations: e-books, applications, headlines, banners, posters and websites to name a few options. Don’t wait any longer. Start tapping the possibilities that Yorkten Slab offers your work.

Carnac, a minimalistic monoline face follows the same linear structure as its earlier released, rounded counterpart Carnas. Carnac, however, appears crisp and fresh because of its squared edges and angular contours. It is a clean, contemporary face with a wide range of styles from Thin to Black. Designed to be ideal for shorter and longer text applications and also for headlines and signage. The Carnac family consists of 16 styles and is well suited for ambitious typography. It comes in OpenType format with extended language support. All weights contain ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and matching arrows.