Eingrantch Monospaced is a monospaced sans serif based typeface, inspired by an old Continental typewriter in sans serif version. Available in 7 weights from thin to black. Well suited for modern logotypes, branding, editorial design as well as web and screen design.

Nünooska is a sans serif type designed by Luke Turvey in 2014. The minimalist charm of Nünooska offers a soft unique style while remaining legible and clean. This rounded geometric sans serif is designed to look excellent for display or printed publication.

The hand lettered title on the sheet music for 1917's "If They'd Never Take You from Me" was the basis for the Art Nouveau sans design of Nouveau Romance JNL. This elegant sans serif is available in both regular and oblique versions.

Fontazia Mazzo features a unique assortment of floral bouquets in abstract vases. A modern addition to any interior design layout or for any project where flowers say just the right thing! Like other type, these dingbats can easily be integrated into any text document or graphic program.

Galileo, a vintage font family made by brush. Each letter that has been hand drawn and then scanned, which makes the font unique and special. Galileo contains 4 styles and can be used for headlines, t-shirts, logos and posters. Appreciate this project and follow us :)

First introduced by the American Type Founders Company in 1906, Railroad Gothic was the quintessential typographic expression of turn-of-the-century industrial spirit—bold and brash in tone, and a little rough around the edges. A favorite for the plain speak of big headlines, Railroad Gothic quickly gained popularity among printers. Its condensed but robust forms were likely a source of inspiration for later families of industrial sans serifs. The design feels like a cleaned-up version of some earlier Victorian gothics, notable for their uneven proportions and awkward letterforms. ATF offered a number of sizes of Railroad Gothic as metal type, with cuts varying in design considerably from size to size. Creating this new digital version involved interpreting the characteristics of different sizes and making some aesthetic choices: where to retain the design’s familiar unstudied gawkiness, and where to make improvements. The new ATF® Railroad Gothic features a measured, harmonious interpretation of the original, and has been extended with four new weights (each bolder than the last). The heaviest weights are carefully designed to keep counters open, no matter how dense the overall effect may be, maintaining legibility at any display size. This contemporary rendition of a historic American design boasts a full Latin character set, including glyphs undreamed-of in the heyday of railroads.

Finador Slab is a soft slab-serif family. It has a strong character and can be used for a lot of cases, especially for editorial, branding, packaging and logos. The Slab version is based on the Finador Sans version. It matches perfectly and can be used easily together. The Finador Slab family includes 8 weights, from thin to heavy + their matching italics. With 900+ glyphs per style it supports over 200+ latin based languages, includes an extended currency symbol set and a lot of Open Type Features like small caps, ligatures, fractions, alternates and many more. The lightest and boldest weights are good for display usage, while the middle weights can be also used for body text. Finador Slab supports almost every of your needs. It meets all the requirements to become your next favorite workhorse family. So just give it a try. The Medium weight is for free.

Introducing Algha Beauty Sans Serif Font. Algha inspired from cottagecore which prioritizes beauty and elegance. Algha has an obtuse angle which means that beauty is not confined to the point of view. Algha is suitable for your needs that require beauty. Algha can be worn simply or with ornaments. What's The Feature ? - 3 Stylistic Alternate Set - Stylistic Ligature - Smooth Corner - Multilingual Support - Separate Alternate Files - Opentype Support Need to test words in this font? Just type the box below, and see what it looks like - For more information on accessing alternative flying machines, you can see this link (http://adobe.ly/1m1fn4Y) - If you want to use this font on canva, you can see the tutorial in this link (https://www.youtube.com/watch?v=Rwhf1O3Dv78&ab_channel=tomcunningham) Feel free to message me if you have any question. Thanks, stay safe and healthy, and have a nice day.

A professional-looking original typeface that can be used in resumes, curriculum vitae, business communications, and e-mails, this font contains the subliminal message "hire me" embedded into each of its characters. Use it in your resume, cover letter, and written communications with a potential boss, hiring manager, recruiter, Human Resources department, or anyone who may have a say in the decision to employ you. In this tough job market, you can use every advantage you can get. If you would like a high-quality TrueType font with a subliminal message of your own choosing, contact celebrityfontz@yahoo.com for more information.

Spective is a unique and stylish Display serif font that is absolutely perfect for editorial headlines. Her natural, bold and slender figure is perfect for posters, t-shirts, and magazine and movie covers. This calm and bold typeface is a content creator's best friend. Hope you enjoy this font!

Although appearing at first as a no-nonsense bold titling face, Gordon actually offers a much greater complexity through the addition of a wide range of special superscript ornaments. This adds an element of spice and depth to the face, creating a wide variation of creative typographic possibilities.

Emphasis is the work of lettering artist Martin Wait. Its eye-catching double line effect highlights any display in an authoritative, contemporary style. Emphasis is an all caps alphabet which offers an alternative to conventional brush lettering styles, giving a casual yet robust look wherever it is used.

In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design of a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for books. A number of parameters needed to be considered, including the pressure of the printing presses and the quality of the thin newspaper ink that would have smothered any delicate strokes. Rough drafts of type designs for the competition were submitted by Vratislav Hejzl, Stanislav Marso, Frantisek Novak, Frantisek Panek, Jiri Petr, Jindrich Posekany, and the team of Stanislav Duda, Karel Misek and Josef Tyfa. The committee published its comments and corrections of the designs, and asked the designers to draw the final drafts. The winner was unambiguous — the members of the committee unanimously agreed to award Stanislav Marso’s design the first prize. His typeface was cast by Grafotechna (a state-owned enterprise) for setting with line-composing machines and also in larger sizes for hand-setting. Regular, bold, and bold condensed cuts were produced, and the face was named Public. In 2003 we decided to digitise the typeface. Drawings of the regular and italic cuts at the size of approximatively 3,5 cicero (43 pt) were used as templates for scanning. Those originals covered the complete set of caps except for the U, the lowercase, numerals, and sloped ampersand. The bold and condensed bold cuts were found in an original specimen book of the Rude Pravo newspaper printing press. These specimens included a dot, acute, colon, semicolon, hyphens, exclamation and question marks, asterisk, parentheses, square brackets, cross, section sign, and ampersand. After the regular cut was drafted, we began to modify it. All the uppercase letters were fine-tuned, the crossbar of the A was raised, E, F, and H were narrowed, L and R were significantly broadened, and the angle of the leg and arm of the K were adjusted. The vertex of the M now rests on the baseline, making the glyph broader. The apex of the N is narrower, resulting in a more regular glyph. The tail of Q was made more decorative; the uppercase S lost its implied serifs. The lowercase ascenders and descenders were slightly extended. Corrections on the lower case a were more significant, its waist being lowered in order to improve its colour and light. The top of the f was redrawn, the loop of lowercase g now has a squarer character. The diagonals of the lowercase k were harmonised with the uppercase K. The t has a more open and longer terminal, and the tail of the y matches its overall construction. Numerals are generally better proportioned. Italics have been thoroughly redrawn, and in general their slope is lessened by approximatively 2–3 degrees. The italic upper case is more consistent with the regular cut. Unlike the original, the tail of the K is not curved, and the Z is not calligraphic. The italic lower case is even further removed from the original. This concerns specifically the bottom finials of the c and e, the top of the f, the descender of the j, the serif of the k, a heavier ear on the r, a more open t, a broader v and w, a different x, and, again, a non-calligraphic z. Originally the bold cut conformed even more to the superellipse shape than the regular one, since all the glyphs had to be fitted to the same width. We have redrawn the bold cut to provide a better match with the regular. This means its shapes have become generally broader, also noticeably darker. Medium and Semibold weights were also interpolated, with a colour similar to the original bold cut. The condensed variants’ width is 85 percent of the original. The design of the Bold Condensed weights was optimised for the setting of headlines, while the lighter ones are suited for normal condensed settings. All the OpenType fonts include small caps, numerals, fractions, ligatures, and expert glyphs, conforming to the Suitcase Standard set. Over half a century of consistent quality ensures perfect legibility even in adverse printing conditions and on poor quality paper. RePublic is an exquisite newspaper and magazine type, which is equally well suited as a contemporary book face.

An early gothic heavy sans serif font, largely for display.

Jamboks is a grafitti and comic-inspired sans serif font.

Clean, modern san-serif font for display and text application.

Pergamon is a sans serif decorative typeface published by SoftMaker.

Abiah Sans Serif Typeface is a minimal sans serif font, which contains 5 weights and It features unique and modern sans serif look and feel. Perfect for gorgeous logos, titles, web layouts and branding. It looks gorgeous in all caps with a wide-set spacing if you want to try a classy look, or beautiful on its own in capital and lowercase letters for something completely timeless. Included Features: Font Weight: Regular, Thin, Light, Bold and Distorted

Filine Qiqah heavy sans serif font. With bold stroke, fun character with a bit of ligatures. To give you an extra creative work. Filine Qiqah heavy sans serif font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with script. Make a stunning work with Filine Qiqah heavy sans serif font. Cheers, Maulana Creative

Level is a spurless sans serif family that takes a more calligraphic approach to the popular square sans. The subtle swelling and shrinking in the strokes of the curves and terminals contrast with the slight squared corners for a sans family that straddles the line between machine-made and human-crafted. Generous spacing and simple, narrow construction make for airy text that still conserves real estate on the page. Three weights include italics and small-caps + old-style numbers.

Pema – a contemporary Tibetan sans serif encoded in the Unicode standard. This is the first Tibetan typeface influenced by western sans serif fonts. It was designed especially to match multilingual purposes. The rather calligraphic Tibetan scripts did not match with the design aesthetics of western and Indian fonts and so I came up with the idea to design a “modern” Tibetan sans serif. Pema comes in two weights, Regular and Bold, each equipped with almost 1.300 glyphs.

Tactic Round is the softer cousin to Tactic Sans. Seven weights times three widths, all with italics, means that Tactic Round has forty-two options to make every design accomplish its mission. From technology to sports, posters to email blasts, Tactic Sans works for almost any project. Tactic Sans supports extended Latin alphabets as well as Cyrillic alphabets. Opentype accessories include: Alternate Characters, Tabular Lining Figures, Ligatures (including symbol ligatures), Numerators (including $¢£€¥ƒ#%) Denominators Superscript & Subscript, Fractions and more!

Athlete is a highly legible, geometric text and display font. Inspired by classic sans-serifs Futura and Gill Sans, this elegantly minimal typeface blends traits of these twentieth century classics and is available in a comprehensive family of six weights. It includes old style non-aligning (lower case) numbers, both proportional and tabular, as well as accented characters for Central European languages. A versatile, contemporary sans-serif, Athlete is suitable for more-or-less any text or display purpose.

Centima Pro is an enhance development of Centima – a geometric Sans Serif typeface, released back in 2011. Centima Pro family consists of two sub-families Sans and Serif fonts. Centima Sans – an upgraded version of Centima, with careful refinements to glyph shapes and extension of glyph amounts, which enabled support of Cyrillic languages. A new extended sub-family Centima Serif have been added to the Centima Pro family. This typeface is released in OpenType format with some OpenType features.

Black Forest is a beautiful high fashion font duo that makes for gorgeous logos, posters, wedding invitations, blog posts, social media, and more!I love using them together with layer masks in Photoshop, so it looks like the script is running through the lines of the sans. The sans looks stunning. Black Forest Script includes ligatures to make everything look totally hand-done, and alternates for each letter. What Includes: Black Forest Script OTF Black Forest Sans OTF Thanks

• Composed of 3 sets: Normal, Compact, Expanded. • Consisting of 3 distinct optical sizes: Display and Text, Expanded. • Comprises 102 fonts • Support for 28 languages: Afrikaans Albanian Catalan Croatian Czech Danish Dutch English Estonian Finnish French German Hungarian Icelandic Italian Latvian Lithuanian Maltese Norwegian Polish Portugese Romanian SlovakSlovenian Spanisch Swedish Turkish Zulu Swedish Turkish Zulu • Contains OpenType features with alternates or substitutes • Tabular Figures • Ordinal numbers • 74 icons (It will keep updating.) • 72 graphic patterns for designer (It will keep updating.) • 28 brand symbols (It will keep updating.) • 27 arrows glyphs • 0-99 line circled glyphs • 0-99 solid circled glyphs • A-Z line circled glyphs • A-Z solid circled glyphs Halenoir is a modern sans serif with a geometric touch that support for 28 languages. It comes in 10 weights, 102 uprights and its matching outlines, Obliques, pattern, so you can use them to your heart’s content, in each of which there are more than 801+ glyphs. Halenoir is composed of 3 types: Original, Compact, Expanded, and each is designed to be suitable for mobile, graphic, and editorial design. Halenoir comprises 102 fonts, consisting of three distinct optical sizes: Display and Text. Each one has been carefully tailored to the demands of its size. The larger Display versions are drawn to show off the subtlety of Halenoir and spaced with headlines in mind, while the Text sizes focus on legibility, using robust strokes and comfortably loose spaces. In the typeface, each weight includes extended language support, fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for branding, web, signage, corporate as well as for editorial design. documents and folders, mobile interface. Useful links: Gravitica PDF Type Guide and Specimen (You can know how to use icons and arrows, other glyphs.)

Because we know that you will never get tired of using them and that you will always need a new tool for Identity Design, we created Identa. Conceived to translate corporate and humanist ideals in its typographic form, it seeks a dialogue between neutrality and contemporaneity. With a pragmatic attention to functionality that does not forget aesthetics. It is a Sans serif model, accessible and well-founded. All-terrain, workhorse that seeks to be reliable and durable. It solves any type of content with efficiency, intelligence and professionalism. Its clean forms and x-height make it a very competent face for both short identifiers and long text bodies, ideal for display use where legibility and personality must match new design needs within a company. It is available in eight styles, ranging from its White version to the darker Vantablack, each optimally set with its respective italic variables, and a Dingbats font designed to solve everyday cases. Each font contains 737 glyphs, macro and micro aesthetic details inspired by current visual communication systems and trends. The dingbats font includes 303 signs and is a set of icons and symbols that can be used in multiple environments, both for print and digital media. This typeface family seeks to meet the needs of brand designers looking to create an assertive appearance, whatever the case. It is a solid and self-confident typeface, without appearing overly constructed; on the contrary, its nuance makes it look fresh.

AllSmiles is a sunny little face in which all the letters smile at you. It can be used in notes and cards of congratulation or in celebrating good-news announcements. In the update of 2011, emoticons were added in the appropriate unicode slots (unicode 1F601 to 1F640 slots). For the sad version, see BringInTheFrowns, and if you only want to proclaim a little joyfulness, you can temper the feelings with a plain version of the typeface, FebDrei.

Berona Stripes font family is a variable geometric sans serif based on the solid version of Berona family. A variable geometric sans serif with a modern display purpose. The dynamic sharp edges makes it ideal to be used in a medium and big scale.

Merge Pro is a soft family of sans, available in 2 weights with character sets for Cyrillic and Greek. Readable at small sizes, it sets open and wide. At display sizes, the softness makes for a friendlier, more casual alternative to other rounded sans.

Aldersgate was designed as a comfortable, easy-to-read sans serif alternative font for a series of retirement community brochures. It was intended to compliment existing sans serif fonts for subheads and captions and is ideal when a conservative but subtly different font is needed.

OKABA a sans serif typeface full of personality and taste. A display typeface at its core, complete with several ligatures and alternatives for capital letters. With a clean, minimal, and modern sans typeface. Look elegant by using ligatures for your magazine, brochure and editorial layouts.

Although a sans serif, Colosseum owes its style to the original Trajan Roman form. Borrowing some characteristics from Friz Quadrata, in its san serif form it is more adaptable to text usage whilst still having a modern and original look which works well in headlines.

Kensington started life as a sans serif based loosely on the strokes and weights of Garamond but, inevitably, influences of Gill Sans crept in, creating an interesting mix. The single weight is excellent for titling and works as a body font in reasonably small quantities.

Introducing a vintage font Simply Royal. This typeface has a victorian medieval look. It's an all caps typeface with decorative classic style. Simply royal has three layer fonts for more conenient recoloring. Thank you and have a nice day!

Chico was by designed by Javier Mariscal and Josema Urós specifically for the final roll of credits in the animated film Chico y Rita. The goal was to design a typeface with a good readability but that conveyed a strong script character and, in some way, tuned to the style of line used throughout the film. Using a modular sans-serif as a template, Javier Mariscal reinterpreted the forms freely, while maintaining gridlike proportions. Chico can be useful for comic-book lettering, editorial work and display applications.

Typek is a sans serif typeface for the lovers of minimal design and great curves. Typek outlines' professional shapes are perfect for large display usage.. Perfect for branding, posters, web and publications. The idea is to treat the letters' stroke create absorbing and interlaced shape. The design of small interfering in letters' construction makes Typek unique. Typek contains uppercase, diacritics and digits. The Typek Family is in two versions: Regular and Outline. Outline version can be an interesting addition and decoration for the Regular version.