Based on lettering with a sharp pen, Gangfield features a rather solid character and a measured rhythm. This is named after my nephew who has an optimistic and disciplined style. Gangfield is available in upright variants, with regular, italic and bold weights. Gangfield's bright and cheerful energy shines through either in the form of short blocks of text, or enhanced on display sizes with over 1,100 wildcards and swashes that vary in size and complexity. Gangfield includes 134 alternates with various variations plus several variants of ligatures which make it ideal for special dates such as weddings and parties.

Adrian Frutiger designed Egyptienne F for the Deberny & Peignot Foundry in 1956. This was the first of several Egyptians designed by Frutiger, see also Glypha and Serifa. “Egyptian” or “Egyptienne” is a typographic designation for roman typefaces with slab (or square or rectangular) shaped serifs; and those that have bracketing between main stroke and serifs (like this one) are known as “Clarendon-style Egyptians”. Egyptienne F has a medium x-height and excellent character spacing for setting text in small point sizes. Legible, flexible, and neutral in appearance, Egyptienne F is a good choice for books, magazines, and on-screen presentations.

3 robbers is not a typeface family, only a collective name for three typefaces with the looks of handtexted characters: Kasper, Jesper and Jonatan. There are some common traits between them, but they are three individuals. As the three terrible" robbers in the Swedish writer Lennart Hellsing's Kamomillastad - the ones who borrowed their names to the typefaces - are three individuals. They always appear in the same order: first Kasper, then Jesper and last Jonatan. Swedish children love to sing about them and are not at all scared of them. All three robbers were released in 1995.

Acherus Feral is sharpened version of Acherus Grotesque. In this new version all sharp edges are flattened and rounded corners are sharpened. Alternative character "G" and optional "t" character have been added. Some of the characters like "A,K,M,N,Q,R,V,W,Z,v,w,z" have been changed completely for the stability of the typeface, in this way it looks more confident and serious. As you can see on the banners, Feral is excellent choice for many platform needs. For further information please check the pdf specimens. Behance Pdf Specimen (White) Pdf Specimen (Black)

Roscha is a fully reconsidered high contrast transitional serif, which is perfectly adapted to modern realities and requirements. When starting this project, we wanted to try to draw a modern serif with the precisely verified shapes, high contrast and detailed elaboration of each character. Roscha is perfect for use in magazines, in the fashion industry, in the branding of premium goods and services. Roscha is quite versatile and suitable for use both in headings and in text arrays. In addition, we have done manual hinting in the typeface, and now it can be used with a clear conscience in the web and applications.

I've been obsessed with type since I was very young, says designer Pelle Piano. “In fact, when I was ten, I used to sneak into stores who sold Letraset sheets, and I actually stole their catalog with all the typefaces. They were perfect good-night stories for me - alphabet after alphabet!” In ITC Lingo, Piano tried out the effect of taking a very rigid underlying letter shape and representing it with “really sloppy outlines.” The underlying form is a condensed Bodoni-like alphabet, with high contrast between thick and thin strokes, but the effect of Lingo is sketchy and informal.

A neo-brutalist variable typeface conceived with flexible proportions and a singular heavy weight, including the oblique. Useful for any quirky display uses. Designed with extra-wide contrasting shapes, as a result of an extreme simplification of traditional typographic letterforms, “Moai” has a variable width that adapts to your needs, pushing for maximum readability. It's perfect for logos, headlines, posters, art projects, social media, visual identity, corporate image, film posters, music cover art, and books. Specifications: - Files included: Moai Variable including obliques - Multi-language support (Central, Eastern, Western European languages) - OpenType Features Thanks for viewing, Unio.

Coralis Elegant serif with a creative atmosphere and perfect shape, inspired by today's beautiful Display serifs. thick, balanced and varied, born for luxury and beauty. In my example I show how this script can be used. It's great for logotypes, branding, wedding invitations, romantic cards, retro labels, packaging, name spelling and more. Coralis Elegant comes with beautiful uppercase and lowercase letters, numbers, and punctuation. In addition to the main character set, there are many alternative characters, start and end sweeps. . Multilingual. . SWASH. . Ligature. . Style Set. If you have any questions please feel free to contact me! Thank You,

Citrine is a study in curves, based upon word-processing and in-game text. A tall lowercase makes for easy reading, curved joints give it friendliness, and broad spacing delivers distinctive all-caps treatments. Here’s a downloadable PDF specimen. Citrine’s basic idea began as “a Havelock for reading.” Essential geometry delivers a sense of harmony, and forms sit broadly next to each other to be easily read, even onscreen and very small. Citrine includes case-sensitive alternate shapes for smooth all-caps typesetting, small caps, and a wide range of diacritics to cover a multitude of latin-based languages.

Fatum™ is a new original ultrablack slab serif typeface that was initiated by the impression of the TDC 2011 exhibition. Redundant stem thickness and closed character shapes make a feeling that counterspaces are the narrow slits cut in massive character bodies. Fatum can be used in large sizes in placards, playbills, in the headings of magazines, newspapers and Web-pages, as initials in book setting, for typographic illustrations and compositions. Ultrablack weight also gives a possibility to insert pictures, ornaments or other decorations into the contours of letters. This typeface was designed by Sveta Morozova and released by ParaType in 2013.

HS Almisk Serif is a display typeface. It can be used for titles and graphic projects, which support Arabic and. It has been created based on modern kufi style. It enjoys flexibility between sharp and curved lines in the structure of characters. This supports with a beautiful appearance and wonderful geometric structure. It based on HS Almisk typeface with a serif on some of its characters. (5) Weights has been created for this typeface between the Light weight and Black weight. This typeface with its diversity of (5) weights is intended to be an attempt for a good addition to Arabic typography.

Britti Sans is a modern grotesque typeface that has geometric details and deep roots in industrial design principles. Its opentype features (alternate characters, localised characters, multilingual characters) give it greater versatility allowing it to adapt to a wide range of contexts. Among its features are contextual alternates, uppercase and lowercase localized Sharp S, numerators and denominators, a wide range of currency symbols including the Bitcoin symbol, emojis and icons, proportional and tabular numbers, fractions and circled numbers. The family has 7 styles + italics and a two-axis variable cut. Any suggestion to continue improving Britti Sans will be welcome.

Jozef is a serif typeface family with modern character and a firm voice. It is equally suited to setting text on screen and in print. With eight weights, matching italics, and decorative capitals it offers a plentiful typographic range, and provides language support for extended latin. The sharp serifs equip this typeface with a strong tone and clear legibility, while the italics offer a softer but equally solid appearance. Opentype features, number sets and a wide range of typographic characters make this a resourceful text typeface. Jozef was designed by Johannes Neumeier and published through Underscore in 2018.

Mello is a bold, easy going Grotesque. It was designed for display, branding, advertising, packaging or anywhere a strong but friendly voice is needed. Mello features soft curves and rounded corners; set in 4 widths and 8 weights. The character set is robust, covering extended Latin. The default forms are contemporary with alternates including: single-story a, two-story g, rounded top A, traditional G, rounded leg R, rounded K, and rounded form y in both uppercase and lowercase, all separated into individual style sets for control and customization. A set of icons rounds out the character set, with hand signs and shapes.

Tide Sans’ fresh, carefree, look makes you almost forget that you’re staring at a monitor and not on the beach. When Tide Sans is not surfing, you’ll find it at community college parties, giving free henna tattoos, or tossing a Frisbee to the dachshund next door. The Tide Sans family includes beautiful italics and an equally affable condensed set. Tide Sans does the work for you by providing a ridiculously large stylistic alternates set, fine tuned small caps, and a whole beach of alternate (amper)sands to feel between your toes. Also check out its kid brother, Tide Sans Condensed.

Stradivari is a romantic, classic and elegant serif. It was created based on the decorative forms of the Stradivarius “General Dupont” violin. During the Baroque era, this type of shape with a gouty ending was common. It can be found in many areas like architecture, sculpture, and even in the design of contemporary lyrics. This typeface can be applied to editorial design, branding, product packaging, magazine headers, or simply as a text overlay to any background image. It is advisable to use this typeface in display proportions (+24pt). It supports multilingual texts, such as English, Italian, Norwegian, Swedish, German, French, Danish, and Portuguese.

Epoca, designed in 2010, is a classic linear sans for text and display. It has economical proportions, a neutral appearance and a discreet elegance. While sturdy and robust, it is nonetheless a strong workhorse. The slightly angular shape of the round elements results in a quiet flow of the line which enables fatigue-proof reading even with large amounts of text. Epoca comes in eight styles and in OpenType format. All weights contain small caps, standard ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals.

Designed between italic and script styles Airco is a typeface designed between italic and script styles. The letterform finish is rounded. Designed ultra slanted (27°), the shapes evoke a fast and assertive movement. The result is a human typeface, dynamic, that will visually work well in technology and sport, without ever being dry, rigid or dehumanized. The structure of the letters is influenced by Renaissance italics, at the difference that in the case of Airco, the lowercases and capitals are visually homogeneous thanks to the giants lowercases. In fact, the default numerals can be used in capital as well lowercases settings.

The earlier release of Hasan Amal typeface was in 2008. It has introduced modern OpenType Arabic Typeface which combines the features of Kufi and Naskh Style with noticeable both curvy and sharp segments beside the refinements of its letters which made it more readable. Hasan Amal is used in both titles and text in modern graphic and publication projects.It supports Arabic, Persian and Urdu languages and contains three weights: light, regular and bold. HS Amal is an OpenType family with (7) weights, produced to support Arabic, Persian and urdu. It contains many various alternatives and good additions.

John Baskerville spared no effort to create the ultimate typographic book. He prepared deep black inks and smoothed paper to show to full effect the letters that he had John Handy cut from his own brilliant designs, based on a lifetime of calligraphy and stonecutting. Punches and matrices survive at the Cambridge University Press. The present design is an accurate recutting, with particular attention to George W. Jones’ revision from the metal of Baskerville’s English (14pt) roman and italic in 1929 for Linotype & Machinery Ltd; Mergenthaler Linotype imported this design to the USA two years later.

Kinn is an industrial san-serif typeface with an essence of squared structure inspired by a futuristic look. Kinn is robust but portray a friendly touch with a little roundness to its shape, it can also be very formal when it needs to but it is flexible and fun to use at the same time. Its wide proportion makes it ideally suited a wide range of modern applications and variety of usage from heavy display, headlines or even text. Kinn comes in 9 consecutive weights, each weight accompany with italics. Equipped with Alternates, Ligatures and 10 Cryptocurrency signs.

DejaRip is a contemporary, neutral, all-purpose sans-serif. It is modest and inconspicuous thanks to its basic, natural shapes; yet it lends a remarkable sense of clarity and accuracy to the overall design. DejaRip was originally designed for a mobile phone interface. Although it was eventually developed into a much more versatile family, DejaRip remains particularly readable on screen. The DejaRip family is an ideal solution for corporate design. DejaRip’s extended character set includes Unicode Latin Extended A and B, as well as full support of Cyrillic. Small caps for all languages are also included.

Project a powerful image with Sommet. Sommet is a sans-serif with a high-tech web 2.0 feel. The typeface family is a powerful and sharp design that is highly legible onscreen even at small sizes. Sommet features a tall x-height, and its letterforms are compressed, perfect for when layout space is at a premium. Updated in early 2010, the Sommet family now includes six weights and italics for plenty of design options and is suitable for body copy and display text. Be sure to check out Sommet’s companion faces, Sommet Rounded and Sommet Slab.

Buinton is a script typeface with noble and vintage looks. It has serifs at the beginnings of the strokes, swash capitals and formal design. Buinton has lots of alternate characters, swashes and ligatures. It has also a bunch of tails with different shapes and widths to give the vintage logotype or sports look to your design. These alternates makes Buinton very versatile. You can design beautiful, elegant and diverse typographic elements with it. It’s well suited for logos, lettering artwork, t-shirt designs, editorial illustrations to name a few. Buinton is also available in roughed up versions: Buinton Rough

Mynaruse is an elegant and regal roman inscriptional titling family. It has sharp and elongated serifs that give the face extra punch. The face shines in settings that call for elegance and splendor. Mynaruse’s six weights range from a fine, delicate thin to a powerful and solid heavy weight. Mynaruse includes many useful OpenType features, including a set of swash alternates, alternate titling forms, ligatures and miscellaneous alternates. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages.

XXII Geom and its slab-serific XXII Geom Slab are modern geometric type systems designed with focus on functionality & legibility and with an eye on the old masters. Their well balanced low contrast letter shapes come with a tall x-height. The italics are designed with a little more curvy approach what brings up a different individual character fitting perfect to the straighter forms of the uprights. With its large range of Opentype features it is designed to fulfill the needs your content deserves (Smallcaps, Case Sensitives, Ligatures…) as well as serving your individual taste (Stylistic alternates & Sets). More information on Behance.

Kaarna is a rough hand drawn sans serif. The underlying shapes and structure are designed in the style of modern sans serifs which are made livelier by the hand drawn look. The condensed proportions make it especially suitable for use in large headlines and to achieve maximum impact. The hand drawn texture becomes clearly visible in big sizes and quiets down when used small. This allows you to use Kaarna for both headlines and short to medium length texts, ensuring visually unified typography. Because of its design and large character set, Kaarna is well suited for branding, advertising, packaging and editorial use.

Timernis is humanist multilingual contrast sans serif available in eight weights from thin to black. All caps have this super elegant, classic proportions old school look and is based on 1940 stone engraving commemorative plaque. The engraving itself boasted sophisticated clean look and was a joy to look at. All caps: Would suit display usage such as: signage, titles, headers, engravings, high end packaging. Do try putting space between the letters in your selected word for suave and chic feel. Expanded round shapes are prevalent in lowercase, which is legible in small sizes and pleasant to the eye.

RAMS is a Sans Serif type family of four weights with matching italics. The typeface’s design was influenced by the geometric style of Sans Serif faces of the 30s. The letter shapes – based on geometric forms – have been optically corrected for better legibility, thus enabling geometric concepts to be adapted by typographic tradition. While the typeface is intended for use in display sizes, it is also quite legible in text and is well suited for editorials. Rams is released in OpenType format with extended support for most Latin languages and includes some opentype features – proportional/tabular figures, slashed zero, ligatures, fractions...

Grotesk Polski FA developed in 1998-2006, was inspired by the Polish eminent pre-WWII text typeface - Antykwa Półtawskiego. Adam Półtawski designing his antiqua had took into consideration the special qualities of Polish language. He designed unique letters: k, w, y, z and R, K, Y. Another unique element of his typeface was polygonal dot. Grotesk Polski keeps all that shapes and goes further. It is a contemporary sans serif in four cuts: Regular, Italic, Bold and Stencil. The proportions of the typeface were rebalanced to give it a neo-grotesque form with a Polish twist.

Praho Pro is a part of Warsaw Types – a project based on Warsaw’s local typographic heritage. The project, presented at the Museum of Praga, is a collaboration of 12 young Polish typographers. Praho Pro is a multilingual family inspired by the unique, historical character of Praga district of Poland's capital - Warsaw. High contrast, thin serifs, sharp terminals and large x-height are key features for distinctive headlines. The whole family consist of 9 weights and real italics, small caps, superscript and subscript letters, oldstyle, tabular figures and fractions. It covers latin and cyrillic script. Every weight has almost 2000 glyphs.

Lark is a modern calligraphic sans inspired by a rich history of broad-edge and translation contrast calligraphy. By combining its sharp geometry with flared curves, Lark exhibits a nice warmth as a display face. Lark was initially conceived as a final project as part of the Type@Cooper West Extended Program's post-graduate certificate program in typeface design, so its journey has benefitted from routine feedback from experienced typeface designers. Comes in Bold, Medium, Regular, and Light weights for both roman and italic, and supports multiple languages including Danish, Dutch, English, French, German, Italian, Portuguese, Spanish, Swedish, and more.

Duran is a strong, versatile geometric sans with industrial quality. Inspired by technical style letterforms with simple construction, the typeface is useful in both large format and body text. Its compact lateral shape helps save space across layouts and is good to go across a wide range of modern applications. Details include seven weights with matching italics and over 670 characters per style. Opentype features consist of eight variations of numerals, including inferiors, superiors, fractions, case figures and circled figures. Additional features include case-sensitive forms, stylistic alternates, ligatures, game symbols, arrows and language support covering Western, South and Central Europe.

Chipperly is a brand new face inspired by the art of the Edwardian poster, especially travel posters. It’s good for clear ad legible headings which need a gentle and unobtrusive period touch, and is the latest is Greater Albion’s line of faces to explore the ‘small capitals’ idea. In its regular weight, Chipperly’s glyphs are semi-shaded within an outer outline giving a distinctive look, while the Heavy weight maintains the separate outline but is completely filled. The Light form is an outline alone. All forms unite period elegance with the modern need for clear readiility.

Don’t let the name “Trippy Hippie JNL” fool you. Although the type design fits well with the 1960s-70s hippie movement and the “love generation”, the design is actually straight out of a page from a vintage German lettering textbook entitled “50 Alphabete fur Technikur und Fachschulen” (loosely translated to “50 Alphabets for Technicians and Specialized Schools”). The novelty, free form shapes and stroke weights of this hand lettered alphabet fits well in creating 1920s period pieces or for designing a retro-inspired rock and roll concert poster. Trippy Hippie JNL is available in both regular and oblique versions.

Quiet Sans is a super geometric sans-serif family for text designed by Ryoichi Tsunekawa and the whole family consists of 6 weights from ExtraLight to ExtraBold and their matching Italics. The basic concept of this family is not only to make crisp, sharp and strong impact by geometric letter form but also to be legible and readable even on small size screen by their sophisticated design. Quiet Sans supports almost all European languages: Western, Central, South Eastern Europeans and afrikaans. And proportional figures, superior figures, inferior figures, denominators, numerators, fractions, ordinals and case-sensitive-forms can be accessed by using OpenType features.

Foro was designed in 2012 to be a slab serif with an appealing flow, warm, and less harsh than many slab serifs. It evinces an attachment to humanistic shapes, models and proportions. Foro’s demonstrated strength renders it excellent for texts, and its clear and distinct details are an advantage in display sizes. Foro comes in 16 styles and in OpenType format. All weights contain standard ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and arrows. Foro supports Western European, Central and Eastern European languages.

Cavita Rounded typeface is a mix between both grotesque and calligraphic models: regulars have a rough grotesque spirit, while the italics where inspired in calligraphic gestures. All of these details are reinforced with an inverted modulation (horizontals strokes are thicker than usual). The italics seem to move away from the traditional concept of type system, but work very well alongside. This typeface has very particular shapes and rhythm, itís different and identifiable from the rest, making it a very good option to use on any piece of design. Cavita Rounded is designed as an upgrade Cavita.

Centim is contemporary sans with sharp top endings of stems that give a bit technical charm to typeface. With a squarish look, it can be used widely in all modern publications or become a part of an corporate identity. In smaller sizes, Centim offers good readability due to its simple and good balanced lines. Centim is available in Regular and Bold weights, as an ideal high-contrasted combination where all characteristics of the typeface are purely effective. Centim is the archaic Serbian word for Centimeter, a word that was mostly used in tailoring during XIX and XX century.

Cerulea is a unicase from the world of the sky. Drawing inspirations from Art Nouveau, Classical Roman, and Uncial styles, Cerulea's wide, spacious bowls, sharp points, and subtle wandering curves evoke airiness, flight, and fantasy. Seven weights, and true italics for each, range from zephyrous to thunderous. Vary the mood every time you choose between the serious capital form of a letter, the more fanciful lowercase form, or another variant in the stylistic sets. The more than 800 glyphs cover pan-European Latin, Greek, Cyrillic, fractions, circled numbers, planet and zodiac symbols, card suits, chess pieces, ornaments, and more.