Rohn is a modern squarish typefamily with a large x-height. Its letterforms are based on the shape of square with rounded corners. With particular details and large x- height, it is more legible at small sizes both on screen and paper. It has seven weights from Thin to Black with corresponding oblique styles and each weight includes ligatures, fractions, old style numbers, case-sensitive forms and more. Rohn is ideally suited for branding, logo, packaging, magazine, poster and editorial design.

Circling Vultures is an old west slab serif font offered in degrees of aging; Circling Vultures BB is clean, with sharp edges and lines, Circling Vultures Decay BB has rounded corners and distressed lines, Circling Vultures Rot BB is the most worn out option in the set, with flecks of missing "ink" apparent. Each option comes with two variants; a standard upper/lowercase, and an option with smaller caps in the lowercase keys for a total of six fonts in the set.

Mohn is a sans serif font that draws inspiration from the Bauhaus movement, characterized by its geometric shapes and neo-grotesque elements. With its clear and legible forms, Mohn works as a body copy font, or blow it up larger for headlines to really see its gently rounded corner details which bring a personal and contemporary touch to any design project. Available in 7 weights with italics for each, a variety of accented glyphs, ligatures, and extra stylistic alts on select letters.

Zuume Soft is a high-impact, condensed sans serif family with a soft touch. A sister to Zuume, this version features round corners for a friendlier appearance. The lighter weights give a sharp, technical feel while the bold, blacker weights can be tightly spaced and stacked for a strong visual punch. The notched and extended ink traps add both function and aesthetic interest. The strong and sturdy design makes it ideal for eye-catching headlines, branding, packaging, sports, logos, and more.

The idea started with the 1934 sheet music of “Mazurka Amabile”. Its hand drawn title had most of the letters rendered in a rectangular shape [‘square’ in the sign trade] that featured rounded corners and terminals made by the shape of the lettering pen nib. A few letters were rounder in design than others, so those were scrapped in favor of a more consistent character shape throughout the font. Pen Nib Square JNL is available in both regular and oblique versions.

Byte 105 is a modular font, resulting from experiments in creating a practical, legible font from a minimum set of geometric components on a uniform grid. It has full upper and lower case character sets and includes all accented characters for Western and Central European languages. It's available in three styles – 105, 205 and 305. Each style has different corners, 105 is square, 205 is bevelled and 305 is round. Each style is available in three weights, Light, Medium and Bold.

This is a well-built, functional (all caps) typeface, which is very modern in character. The use of diagonal corners in this angular typeface is inspired by the pennant numbers on British Royal Navy warships, which adds an military quality to this typeface. The gaps, which form the Stencil divisions, follow pre-established horizontal and vertical lines, they help to achieve both geometric and proportional harmony. The direction of the gaps is always at a right angle to the stroke.

Aquate Script is a professional brush script typeface. It displays a fast but confident movement, with bold curves contrasting sharp corners. With it's multiple alternate alphabets, it is greatly adaptable and really gives a logo or headline the impression of being a custom, hand-painted type. The font supports all European and Latin based languages, as well as all characters you'll ever need. In additional to stylistic and contextual alternates, the typeface contains ligatures and a full set of swash glyphs.

Minimo Font Family comes in 4 weights; Normals and Obliques. To have an eye-pleasing view, the corners are rounded and the lowercases are made smaller than the standard. With its soft structure, it is aimed to be legible even in the small sizes and also to be suitable for usage as webfont and application font. Moreover, with this font family, you can create eye-pleasing, cute and also nice works such as posters, printings, t-shirts, adds, magazines etc.

Config Rounded is a condensed geometric sans with rounded corners. Config’s sibling, this typeface was influenced by geometric sans with circular forms on the tops and bottoms of characters, but the proportions have been condensed by incorporating straight sides for a design that is efficient yet friendly. Use it for a subtle softness that still looks modern and strong. With 10 weights, there are options to fit the need—black and thin for extreme uses and intermediates for more common needs.

Qiduwy is a futuristic and stylish font perfect for designing labels, retro, stamps, badges, Oktoberfest posters, packaging, titles, beer, logos, barbershops, whiskeys, tattoos, music, movies, or certificates. This font is perfect for a dark and mysterious look. Bold black lines make this font perfect for a classy and stylish look. The wide, bold typeface gives this font an upscale look. Sharp corners and edges add a touch of class. This is the perfect font for a dark and mysterious look.

Are you a game developer, retro enthusiast or lover of pixel art? Ever had trouble tracking down an 8-bit display font that's classy, coherent and truly complete? This type enthusiast and veteran pixel artist once had the same problem, and cut no corners to solve it. Lost Arcade features four styles, a myriad of special characters, broad language support and an accompanying symbol font with 64 pixel art symbols. For the purists out there, each square is proportional to its neighbor.

Byte 305 is a modular font, resulting from experiments in creating a practical, legible font from a minimum set of geometric components on a uniform grid. It has full upper and lower case character sets and includes all accented characters for Western and Central European languages. It's available in three styles – 105, 205 and 305. Each style has different corners, 105 is square, 205 is bevelled and 305 is round. Each style is available in three weights, Light, Medium and Bold.

The Fuel Extended typefaces are a modern update on the techno sans extended for stronger impact, complete with soft rounded corners as well as decorative inktraps. Stylistic Alternates included within all styles are alternates for the capital B, E, G, and R characters, as well as all of their accented siblings. The Fuel Complete package bundles all of the dynamic styles of the Fuel, Fuel Extended, Fuel Uni, Fuel Uni Extended, and Fuel Script typefaces into one powerhouse of a collection.

It’s stronger than the Thing AND the Hulk! It can bench press 500 pound gorillas and send them scurrying into the corner. RIPPED BAM BOOM is a font that can tear through the alphabet faster than you can say “A to Z” and will work your chest, shoulders and triceps and help YOUR characters gain upper-body strength and muscle mass! Features alternate uppercase characters, Western & Central Europe, Vietnamese & Cyrillic support, Crossbar I Technology™ and 18 Chinese Sound Effects

Toggle is a welcoming font with a charming and friendly demeanour. An all-caps display set with built-in layers of customisability in the form of two different cuts, regular and stencil, Toggle is happy to go along with whatever suits you best. The quirky corners and upbeat details flirt with tradition without conforming to what has been before, giving you confidence in Toggle’s quality type credentials while simultaneously freeing you to use it in a huge variety of situations.

Originally, Viktor Solt-Bittner developed Attorney as a custom font for a law firm, hence its name. Attorney shows a systematic, yet unconventional placing of its serifs, hard corners and a clean design. The typeface was produced by Schriftlabor’s type director, Lisa Schultz. Attorney consists of 7 weights, from Light to Black, each of them accompanied by an italic, totaling in 14 styles. All of them contain several figure sets, small caps and many alternative forms, which are accessible by OpenType features.

🏆 Selected for Tipos Latinos 8. 🏆 Hiii Typography 2018 Merit Award. Rocher was designed while looking for an answer to a simple question: what would a typeface look like if it was made of stone? It certainly would look solid, but did we have to add cracks and rubble so it would resemble rocks? We didn’t think so. We decided to tackle the problem a different way. We added corners where there usually aren’t any and threw some unusual letterforms into the mix. The result is a typeface that feels like stone, but if you look closely there is nothing inherently stony about it. Unexpected corners provide just the right amount of roughness, while unusual letterforms give the text an informal aesthetic, traces of something naive and handmade. A family was born when the sturdy letterforms were turned into a series of playful layers. With 9 fonts in total, Rocher can be mixed and matched to create unique layered compositions that add depth to the layout. We designed Rocher to be used in logotypes, packaging, mobile apps and headlines. We are confident you will find another handful of scenarios where it can shine.

Blanchard is a revival and elaborate extension of Muriel, a 1950 metal face made by Joan Trochut-Blanchard for the Fonderie Typographique Française, that was published simultaneously by the Spanish Gans foundry under the name Juventud. Blanchard is a script that embodies the post-war narrow decorative aesthetic that would become the instantly recognizable feature of that era’s design. Its high ascenders corners make it the tuxedo of fonts, with slight and casual angles gradually revealing a trustworthy confidante, and sharp corners signaling a most expressive ally. Font. James Font. This digital version updates the original metal shapes to work within today’s design tools and designer needs. Some of the questionable metal shapes were optimized, plenty of alternates were added, and as many as five ending forms were built for most lowercase letters. Overall, this is one of the most useful packages for book cover, magazine and packaging design. Blanchard is available in all popular formats. Blanchard Pro combines all five fonts into a single one that makes use of OpenType’s cross-platform compatibility and programs that support OT’s fine typography features, like recent versions of Adobe InDesign and QuarkXpress.

Controlled casualness is the watchword in this new handwriting script from the prolific young French designer Éric de Berranger, who also designed the sans serif type family ITC Octone. ITC Berranger Hand has its roots in chancery calligraphy, yet its surface looks like contemporary informal lettering that was written quickly with a felt-tip pen on slightly absorbent paper. The counters of some letters appear to almost fill in from ink spread, yet Berranger Hand is admirably readable at small sizes. The capital letters are restrained, without swashes, so they can be used together in all-caps combinations.

In its characteristics Xtra Sans is a combination of modern grotesks/grotesques and traditional calligraphy. Its upright and compact letterforms generate a sturdy effect as in the early 20th century grotesks Nobel, Kabel or Erbar. On the contrary, dynamic inside forms (counters) give the characters a fluent appearance. As a result, Xtra Sans stands out in large size, while remaining highly legible in small and long text. In 2007 Xtra Sans received a Certificate of Excellence in Type Design from Type Directors Club, New York. In 2002, still unpublished, it was awarded a bronze prize at the Morisawa Awards, Tokyo.

Medina Gothic is a three-weight sans serif inspired by Latin American moderne. It was designed in response to the 2002, Altos de Chavon design conference in The Dominican Republic, which celebrated utilitarian driven gestures in graphic design. "There’s a rigor to Medina Gothic that takes care of all sorts of tenets of a hard-working, highly legible, objective font. But at the same time, it’s human. All the curved terminals and open counter forms make for a sort of kindness. For all the discipline, it doesn’t sacrifice its friendliness." – William Morrisey, Professor of Typography, Parsons The New School for Design.

Gramma is a compact sans with big x-height, a robust and balanced typeface that work well both for headlines and main bodies of text. The initial constructions, assembled from a few well-defined geometric modules, were later polished into more organic forms; the letters’ arches are quite squared, and the counters and other internal negative spaces push outward, creating a tension that balances the forms’ compression. Gramma’s most evident characteristic is its “bird-beak” terminals (present in many letters, including the c, e, f, s...) that replicate the unconnected junctures between stem and curve, visible in the a,b,d,g,h.

Grimmig draws inspiration from solid and angular blackletter shapes and the idea of cutting letters out of paper. The interaction between curves, sharp edges, and partially unconventional serif placement makes it an excellent typeface for impactful headlines. The vivid details fade into the background in smaller sizes and provide an enjoyable reading experience for continuous text. Open counters and a large x-height contribute to Grimmig’s legibility in text sizes. It was developed as part of the MA Typeface Design in the University of Reading but had started before as a graduation project for Tamara Pilz.

Iwan Zaza is a high-contrast modern Arabic typeface designed by Ahmed Zaza. The design is inspired by the Kufi calligraphic style and influenced by the Naskh style. Iwan balances classic and contemporary tastes with wide open counters and short ascenders and descenders that minimize the hight. And has a high - contrast between the vertical and the horizontal to line up in harmony with Latin. And openType alternates and ligatures set. This makes it suitable for branding, editorial, packaging and advertising. Iwan features five weights from Light to Black, and supports OpenType features for Arabic, and has a wide glyph set.

Sans or serif? Square or rounded? Calligraphic or geometric? Conglomerate is both all and none of these things — a subtle yet unorthodox blend of typographic traits resulting in a clean, unique, and versatile font family with large, open counters for legibility in text yet crisp, sharp details that sparkle at display sizes. Conglomerate is sturdy but never stiff, crisp but never stark — perfect for projects that require a more contemporary feel than either a traditional serif or geometric sans might bring. Conglomerate received a PRINT Magazine Best in Class award, and was one of Typographica’s Favorite Typefaces of 2016.

Gaspo Slab is a fresh slab serif typeface that features esthetically 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. Gaspo 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. The font is well-suited for headlines, medium-length text, magazines, newspapers, advertising, corporate use and product design.

Disco lives on in the alphabet stylings of Reardon AOE. From its uber-fat letterforms to its hole punched counters, Reardon AOE started as a digitization of a film typeface called Joyce Black by LetterGraphics. This flashback typestyle was taken from its limited A-Z and numerals set and fleshed out to include an expanded language glyph set. Reardon AOE finds itself thrown into a late 70’s-early 80’s flashback frame of mind, appealing to all of the disco and video game typography of that time, ready to throw down the vibe for your designs.

Grimmig draws inspiration from solid and angular blackletter shapes and the idea of cutting letters out of paper. The interaction between curves, sharp edges, and partially unconventional serif placement makes it an excellent typeface for impactful headlines. The vivid details fade into the background in smaller sizes and provide an enjoyable reading experience for continuous text. Open counters and a large x-height contribute to Grimmig’s legibility in text sizes. It was developed as part of the MA Typeface Design in the University of Reading but had started before as a graduation project for Tamara Pilz.

www.Stat-Type.com Complementary Type Family Stat Text Pro Stat Display Pro is an information design sans serif type family legible in circumstances of low visibility. Its large character set with multiple weights is defined by optimal size ratio, distinctive letter shapes, wide aperture and balanced counters. Stat Display Pro remains legible in unfavorable circumstances of distance, size, movement and similar. It contains nearly 700 glyphs, including diacritics, ligatures, small caps, old–style figures, arrows and more. This enables it to achieve wide language support. It consists of four main (Light, Regular, Medium, Bold) and four secondary, negative weights (Light Negative, Regular Negative, Medium Negative, Bold Negative) which are accompanied by their corresponding obliques. Stat Display Pro type family has higher than average x height (72% of cap height) which is accompanied by matching ascender and descender size ratios. With its distinctive letter shape detail it minimizes the possibility of letter shape confusion, while optimizing legibility with wide aperture and balanced counters. Its main intended use is information design, where it, with its characteristics, meets the requirements of wayfinding, infographics, table setting and much, much more. The development of the type family was based on research in legibility to achieve highly legible letter shapes, while not diminishing their visual character. A detailed description of Stat Pro type family is available at Stat-Type.com where a DEMO font can be downloaded.

Halfroy is our answer to generic geometric sans trends exploding nowadays who creates sameness. Halfroy brings new sans perspectives by combining rounded and sharp edges to create delicate sans fonts. See the difference by looking at counter-shapes compared to outline, insides counter shapes you will sees a sharp edges while round but not geometrical on outlines. Halfroy gives your project unique visual impact whatever your design project is, but we recommend using thin, semibold to Fat as display then light and regular. Halfroy taken inspirations not from looking at other sans typeface, but its design inspirations comes from observing a land contour and geographical statistics in our city, Kota Batu. We found that our city geographic consist of steep slope like waves with sharp peaks and surrounded by small and third highest mountains peak on our country. From then on we begin visualize and applied on few letters. Take a look on our 'O', 'f', 's' letters, its like a stone carved letters. Its hard edges and soft edges outline clearly draws from our inspiration source. Even Halfroy looks stony, hard as individual letters, we treat this type with humanist approach in mind. Therefore you can sense a friendly yet casuals of typical sans serif fonts when it grouped together to form a words or sentences. We hope Halfroy will gives your design project a unique on its own.

BC Away is a display typeface. It has emerged from the idea of drawing letterforms with a single-line path. Thanks to this idea, the characters are designed out of standard and conventional forms. Character designs are a combination of sharp corners and smooth curves, at the same time keeping readability. Some parts have been left blank in accordance with the letter forms. The name 'Away' represents these blanks. Also, the word 'a way' refers to the design of letterforms using a single-way.

The Fuel Uni typefaces are a modern update on the techno sans, adding further versatility with unicase design complete with soft rounded corners as well as decorative inktraps. Stylistic Alternates included within all styles are alternates for the capital B, E, and R, as well as lowercase g characters, as well as all of their accented siblings. The Fuel Complete package bundles all of the dynamic styles of the Fuel, Fuel Extended, Fuel Uni, Fuel Uni Extended, and Fuel Script typefaces into one powerhouse of a collection.

HK Modular stands out as a versatile and adaptable typeface that finds its strength in serving as an impactful display, title, or poster font. Its design allows for effective use in spanning entire pages, highlighting article titles, and designing logos. With a regular cut and rounded-corner design, HK Modular strikes a harmonious balance between sleekness and approachability. This dual nature of the typeface allows it to seamlessly blend sharp, defined edges with a touch of softness, making it suitable for a wide range of design contexts.

PM Orchid is a soft, flowing Art Nouveau typeface with tons of ligatures and alternates. It comes in two handy styles - clean and printed. PM Orchid Clean has sharp, clean edges with slightly rounded corners. It is designed to be used with projects that require a clean edge like wedding invitations and modern layouts. PM Orchid Printed has the feeling of vintage letterpress printing. It's slightly rough distressed edges allow it to fit in with vintage style designs that have more tactile design elements.

Bhiver is a san serif font with an angled and curved style in every corner, we made it with a display style that is perfect for making product packaging such as: Coffee Packaging, Ice Cream Packaging, Beauty Packaging, and for Brochures, Templates, Social Media Post, and etc. Bhiver is also equipped with Swash which you can access according to what we have provided, form sentences as you like by combining Swashes to make it look more attractive like the example that I have previewed.

Sobek, the Egyptian crocodile god, comes to life in this font as a striking and impressive set of characters. Somewhat alien and dangerous, Sobek uses sharp corners, excessive lines and geometrically circular curves to create a font that looks both organic and crafted at the same time. Use Sobek when you want your words to stand out from the crowd, and convey the feeling of something Other. Sobek even has support for numerous languages, so you can create interesting forms in many different dialects.

Causten Round is a geometric sans serif font family with round corners and maintains rationality in designing each form. With use the sharpness of the eyes, and remain logical, so that balance is maintained in each form. So, it will get a clean, neat, and perfect shape. Causten Round is a rounded version of Causten Causten Round comes with 9 weights and a matching oblique, making it 18 styles. It makes it perfect for all creative projects. Also, some alternative glyphs will be an attractive choice.

Telephone Extended is a geometric semi-slab family with block serifs positioned to assist wordflow. The typeface evolved from an italic wordmark designed in 1966 for the British GPO by the Banks & Miles agency to publicize all-figure telephone dialling (all-number calling), and the new fonts retain that italic spirit, even in the upright romans. The squarish glyphs, with a mix of rounded and angular corners, have a post-modern feel suggesting technological advance, innovation and vitality. A normal width family, Telephone, is also available.

Telephone is a geometric semi-slab family with block serifs positioned to assist wordflow. The typeface evolved from an italic wordmark designed in 1966 for the British GPO by the Banks & Miles agency to publicize all-figure telephone dialling (all-number calling), and the new fonts retain that italic spirit, even in the upright romans. The squarish glyphs, with a mix of rounded and angular corners, have a post-modern feel suggesting technological advance, innovation and vitality. A wide version, Telephone Extended, is also available.