Meet Pawl, an affordable 48-font squarish sans family with a little grotesque in him! Oh, you may think you’ve got him pegged at first glance, but he’ll surprise you with his versatility. AND he's just been totally refurbished from top to bottom and boy, did he need it! Pawl lives in the same visual landscape as fantastic modular superfamilies like Eurostile, Agency, Geogrotesque, Barlow, and even the great American Gothics. Unlike those faces, though, he's nimble enough to switch between looks effortlessly. Pawl is energetic, aggressive, strident, and structural. Depending on how you use him, his voice can be retro, futuristic, industrial, or sleek. He can be sober or splashy, techy or oldschool. Use his alternate characters and stylistic sets to create looks ranging from Streamline Moderne to Futurism to Brutalism to Swiss. He works from small paragraphs all the way up to monumental signage. This guy is smart and useful, with a lotta looks! How many times have you needed multiple weights, styles, and widths for your hierarchy, but standard type families were either shockingly expensive or couldn't deliver? Pawl delivers. Give him a shot!

Basic Commercial is a font based on historical designs from the hot metal typeface era. It first appeared around 1900, and was created by type designers whose names have not been recorded but whose skills cannot be overlooked. This typeface's design has been popular among groups and movements as diverse as the Bauhaus, Dadaism, and the masters of Swiss/International-Style typography. It influenced for a variety of later grotesque fonts, such as Helvetica and Univers. Basic Commercial was distributed for many years in the United States under the name Standard Series. The typeface worked its way into many aspects of daily life and culture; for instance, it became the face chosen for use in the New York City subway system's signage. The Basic Commercial's font family members have a clear and objective design. Their forms exhibit almost nothing unusual, but remain both lively and legible nonetheless. Perhaps for this reason, Basic Commercial's design has been popular with graphic designers for decades. To read more about the history of typefaces like Basic Commercial, visit our font feature, The Sans Serif Typefaces. In addition several weights of this typefamily are available as soft rounded versions."

Garbata was designed in 2020 by Francesco Canovaro, looking for an approach to sans serif design that ignored the over-exploited grotesque and modernist models. It takes its skeleton from old style typefaces like Windsor or Cooper, keeping the quirky sloped shapes of some letters and adding to the historical smooth shapes a flat brush calligraphic sensibility. The result of these different historical influences is a humble yet distinctive sans serif typeface, developed in a wide range of weights, with finely-tuned differences between the medium, text-oriented cuts (with wider tracking and more regular design) and the more extreme, display-oriented weights. This play on subtlety allows Garbata to be surprising in all uses: humble and readable when set in body text, it shows all its elegant, whimsical qualities in logo design and display use. Equipped with all advanced OpenType features you expect from a production typeface, Garbata comes with an extended character set covering over two hundred languages with latin and Cyrillic glyphs. Designed with an Italian sensibility mixing craftsmanship and artistry, Garbata is ready to help you make your designs timeless, elegant and unusual.

A three-dimensional all-cap font for title use, Thorowgood Sans Shaded was released by the Fann Street Foundry of W. Thorowgood & Co. in 1839. Interestingly, it more closely resembles Figgins' Four-Line Emerald Sans-Serif Shaded of 1833 than Fann Street’s own Grotesque Shaded of 1834 (with light and shadow reversed). The idea of a shaded font is of an outline font whose letters have each been extruded through a die and then viewed from the lower right to reveal the third dimension. That third dimension has also been referred to as a shadow. Vincent Figgins' 1815-release of a shaded serif typeface was the first known of many shaded faces, as the other foundries rushed to bring out their own versions. Thorowgood Sans Shaded may be gainfully used today as a eye-catching headline font, just as it was so popularly used in the early nineteenth century. To assist with the usual all-cap letter-spacing problem, the following pre-kerned pairs are included: AT, AV, AW and AY. Be sure to download the Type Specimen showing the full character set, as well as a sample text. Live large - use it boldly.

It took me 12 years to bring this extensive font family to completion. A lot has been changed, transformed, peeled and developed in all those years. For many of my projects I used it as my quarry and so it might have become something like a synthesis of all my imaginations and experiences. To me »Schnebel Sans« represents the optimal design of a contemporary grotesque that perfectly unites dynamics with statics. For copy text the typefaces are very legible, neutrally and remain in the background, but despite this generate the necessary tension when set as headlines. »Schnebel Sans« is available in 48 different styles. It is available as a Pro Font, containing West, East Greek, and Cyrillic or as the Schnebel Sans ME, also containing Arabic and Hebrew. The scripts include small caps and various figure sets.This big range of styles from Thin to Black and from Compressed to Expanded offer many possibilities for design and fulfill all requirements for a professional use. Because of the supplement of several non-Latin character sets, the »Schnebel Sans« is perfectly suitable for global services too. Volker Schnebel, 2016

When I released the original Organic in 2009, I was satisfied with it. It was what was possible from me and the technology at the time. The Organic Pro of 2021 takes those original desires of delivering a highly legible and friendly sans serif, and doubles down on those notions, while exploring what further infusing warmth in a highly structured sans serif can really do for a client. Free of distracting and potentially dating visual traits and cues that could be seen as endemic of a specific time period or ‘type trend’, Organic Pro is its own person—take it or leave it. Inviting warmth, assured reliability, and a head nod of confidence is what you walk away with—a stark contrast to the cold, impersonal geometrics and grotesques proliferating the design annuals currently. Releasing this typeface now, completely redrawing the masters, as well as expanding the weight and language options, should be seen as a laid back challenge that we need to do less with type, let it communicate confidently and warmly when it needs to, and stop forcing one-size-fits-all type trends on everyone.

Novel Sans Hair is the new package of 24 ultra light weights of Novel Sans Pro, the humanist grotesque typeface family within the largely extended award winning Novel Collection, containing Novel Pro, Novel Sans Pro, Novel Sans Hair Pro, Novel Sans Condensed Pro, Novel Mono Pro, Novel Sans Rounded Pro and Novel Sans Office Pro. Novel Sans Hair has a carefully attuned character design and a well balanced weight contrast. Classic proportions and the almost upright italic makes Novel Sans Pro being a modern humanist with the calligraphic warmth of a real italic. Many similarities with the other typeface families within the Novel Collection enable designers to combine the families and reach highest quality in typography. Novel Sans Hair [1020 glyphs] comes in 24 styles and contains small caps, an extra set of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], small caps figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

TT Marxiana useful links: Specimen | History of creation | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Marxiana: TT Marxiana is a project to reconstruct a set of pre-revolutionary fonts that were used in the layout of the "Niva" magazine, published by the St. Petersburg publishing house A.F. Marx. In our project, we decided to focus on a specific set of fonts that were used in the preparation and printing of the "Niva" magazine in 1887, namely its Antiqua and Italic, Grotesque and Elzevir. As part of the TT Marxiana project, we sought to adhere to strict historicity and maintain maximum proximity to the paper source. We tried to avoid any “modernization” of fonts, unless of course we consider this to be kerning work, the introduction of OpenType features and creation of manual hinting. As a result, with the TT Marxiana font family, a modern designer gets a full-fledged and functional set of different fonts, which allows using modern methods and using modern software to create, for example, a magazine in a design typical of the late 19th century. The TT Marxiana project started in the late summer of 2018 and from the very beginning went beyond the traditional projects of TypeType because of the importance of preserving the historical identity. Since up to this point, we had never before reconstructed the font from historical paper sources and with such a level of elaboration and attention to detail, it took us two years to implement this project. You can read more about all stages of the project in our blog, and here we will briefly talk about the result. As it turned out, drawing a font following the scanned pages of a century-old magazine is a very difficult task. In fact, such a font reconstruction very much resembles archaeological excavations or solving a complex cipher, and all these efforts are needed only in order to finally understand what steps need to be taken so that the resulting font is not just an antiqua, but the specific and accurate antiqua from "Niva" magazine. In addition, due to the specifics of printing, same characters in the old magazine setting looked completely different, which greatly complicated the task. In one place, there was less ink than needed, and the letter in the reference was not well-printed and thin, in some other place there was more ink and the letter had flooded. An important task was to preserve and convey this feeling of typographic printing, but at the same time it was important to identify the common logic and character of the dot gains so that the font would form a harmonious, single, but at the same time lively picture. Since the "Niva" magazine was historically published in Russian, the magazine had no shortage of references for the reconstruction of Cyrillic characters, but there were not many Latin letters in the magazine at all. In addition, the paper source lacked a part of punctuation, diacritics, there were no currency signs nor ligatures at all—we developed all these characters based on font catalogs of the 19–20 centuries, trying to reflect characteristic details from the main character composition to the max. So, for example, the Germandbls character, which is not in the original "Niva" set, we first found in one of the font catalogs, but still significantly redesigned it. We decided that in such a voluminous project, only graphic similarities with the original source are not enough and we came up with a feature that can be used to exchange modern Russian spelling for pre-revolutionary spelling. When this feature is turned on, yat and yer appear in the necessary places (i, ѣ, b, ѳ and ѵ), the endings of the words change, and so appears a complete sensation of the historical text. This feature works in all fonts of the TT Marxiana font family. TT Marxiana Antiqua is a scotch style serif, the drawing of which carefully preserved some of the artifacts obtained by printing, namely dot gain, a slight deformation of the letters and other visual nuances. TT Marxiana Antiqua has an interesting stylistic set that imitates the old setting and in which some of the signs are made with deliberate sticking or roughness. Using this set will provide an opportunity to further simulate the setting of that great time. TT Marxiana Grotesque is a rather thick and bold old grotesk. Its drawing also maximally preserved the defects obtained during printing and characteristic of its paper reference. In addition to pre-revolutionary spelling, TT Marxiana Grotesque has a decorative set with an inversion. This is a set of uppercase characters, numbers and punctuation, which allows you to type inverse headers, i.e. print white on black. As a result of using this set, you get the text against black bars—this way of displaying was very characteristic for print advertising at the turn of the century. In addition, about 30 decorative indicator stubs were drawn for this set: arrows, hands, clubs, etc. TT Marxiana Elzevir is a title or header font and is a compilation of monastic Elzevir that were actively used in the "Niva" magazine for all its prints. Unlike the antiqua, TT Marxiana Elzevir has sharper forms, and the influence of deformations from typographic printing is not as noticeable in the forms of its signs. This is primarily due to the specifics of its drawing and the fact that it was usually used as a heading font and was printed in large sizes. The height of the lowercase and uppercase characters of Elsevier is the same as the heights of the antiqua, but the font is more contrasting and lighter, it has a lot of white and, unlike the antiqua and the grotesque, there are a lot of sharp corners. An exclusive feature of the TT Marxiana Elzevir is an alternative set of uppercase characters with swash. • TT Marxiana Antiqua consist of 625 glyphs each and and it has 23 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, ss05, case. • TT Marxiana Antiqua Italic consist of 586 glyphs each and and it has 22 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Grotesque consists of 708 glyphs and it has 22 OT features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Elzevir consists of 780 glyphs and it has 21 OT features, such as: aalt, ccmp, locl, ordn, frac, tnum, onum, lnum, pnum, calt, ss01, ss02, ss03, ss04, ss05, ss06, salt, c2sc, smcp, case, liga. FOLLOW US: Instagram | Facebook | Website TT Marxiana language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Breton, Bulgarian (cyr), Catalan, Cebuano, Chamorro, Chiga, Cornish, Corsican, Cree, Danish, Dutch, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Galician, German, Gusii, Haitian Creole, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (cyr), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Ladin, Leonese, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Mauritian Creole, Minangkabau, Montenegrin (cyr), Mordvin-moksha, Morisyen, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Rheto-Romance, Rohingya, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Samburu, Sango, Sangu, Scots, Sena, Serbian (cyr), Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Taita, Tetum, Tok Pisin, Tsonga, Tswana, Ukrainian, Uyghur, Valencian, Volapük, Võro, Vunjo, Walloon, Xhosa, Zulu.

Queulat is a hybrid typeface that combines two 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 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’. Queulat also comes with a Unicase version, in which a higher number of shapes can be found, resulting in a unique colourful display.

Brda originally designed by the Polish designer Franciszek Otto for the Powiat weekly newspaper. Powiat needed a new, dynamically drawn sans serif for its headlines, and Otto's Brda fit the bill. Combining traditional Grotesk letterforms with witty subtleties, like the notched-joint seen in the capital G, Brda displays a novel design that works best when set large. The typeface is named after the Brda river, which runs through Bydgoszcz, Poland, the city where Powiat is published. The Brda family includes three weights, each with a companion italic: Regular, Bold, and Extra Bold. The Brda family's Extra Bold weight was one of the winners selected in the 2003 International Type Design Contest, sponsored by Linotype GmbH. Franciszek Otto also teaches graphic design at the Secondary Art School in Bydgoszcz, where his typefaces rank among the students' favorites.

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’.

Supera Gothic is a design inspired by the early geometric and humanist typefaces of the 20th century. Its characters draw inspiration from Erbar Grotesk by Jakob Erbar and Johnston by Edward Johnston; hence, in heavier weights, the “f” and “t” bars are pointed which honor Erbar’s work, and Supera’s uppercases and numbers reflect Johnston’s proportions and features. The result is a sans serif family with both, a historical and modern touch perfectly suited for all types of graphic works. Super Gothic comes in 9 weights plus its matching italics and is equipped with a large range of opentype features. Fun fact, Erbar had attended calligraphy classes carried out by Anna Simons, who was a former student of Johnston (Tracy, 1986). Maybe in modern times, they had met through social media, and some collaborative work would have risen, who knows.

Larisch is a hand-lettered design by the Austrian calligrapher and teacher, Rudolf von Larisch. The original was used for the title page of the 1903 edition of Beispiele Kunstlerischer Schrift (Examples of Artistic Writing). Larisch is an attractive, casual set of caps of even strokes with rounded terminals. Except for the terminals, it is similar in style to Kunstler Grotesk. The numerals are lining or ranging figures, meaning they line up with the baseline, unlike old-style text figures. All are of equal width for setting up columns of numbers. The letters are well formed and easy to read, as you would expect from a writing master. Ligatures includes CH (123), CK (125), FT (135), LA (137), LO (167), OO (172), CO (177) and TT (181. An alternative O with underscore is provided at position 111. Friendly, but not fancy -- a very useful all-cap font.

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’.

The sources of inspiration for the Atyp typeface are spread out widely both stylistically and chronologically. The basic proportions of the uppercase refer to the elementary geometric constructions of the Bauhaus. The subtle details in the drawing of the characters and the microscopic adjustments, which evoke the illusion of uniformity and mechanical purity, pay homage to the rationalism of the typefaces popular in the International Style. The increased contrast of the joints of the bowls and shoulders in the Display weight, which in certain diagonal curves transition into almost deconstructive permutations. For a change these take delight in doing things on purpose, teasing readability and breaking the rules of the new millennium's typography. Atyp was created by adapting a typeface originally made for a commercial television station. The potential of the neutral grotesque, proven by its excellent readability on screens, gave the impetus for its preparation into an extremely wide character set. Coherence across all eight key masters lays the groundwork ideally for using the variable font format. The key benefits of this technology are a significant reduction in data consumption in the case of web fonts, as well as an unlimited access to the full range of styles, which in turn is a significant benefit in the area of responsive design.

Malden Sans is a mischievous grotesque sans serif with charming details that gives designers a solid typographic voice. It was created by Michele Patanè with regular and condensed widths, as a utilitarian typeface family for print and digital environments. It was originally designed as part of a type system for cinema magazines, and embodies the devil-may care attitude of the silver screen. Designer Michele Patanè looked back to an earlier era of typography to create the typeface, embracing unusual details, rather than ironing them out. “There is a very naive way of using typography in the 30s and 40s, something not as clean as how it’s used in the late 50s and 60s when everything passed through a rationalisation of the typographic palette,” he explains. “In film magazines you can still see a bit of roughness, and I like that.” This is a design that’s desperate to be used in editorial environments, and has been created to stand up to lower quality paper. It would be equally at home on posters, packaging, and even in digital environments where designers are looking for something more expressive than another geometric sans serif. Malden Sans includes a Normal and Condensed range, with 7 weights in the normal and 6 in the Condensed, both including italics.

Seriguela is an ultra condensed sans serif typeface with a unique personality. It comes in normal and display versions, each with 9 weights, as well as italics and reverse italics totaling 54 fonts. Seriguela is flavor in motion and each part of its system works together to captivate you, combining emotion and usability, allowing you to create attractive and unique designs. Seriguela followed a very distinctive recipe to design its alphabet: it started with a grotesque base and applied movement and joy in a very original way. The blacker and more contrasted, the tastier. The contrast in its display version is one of the most important features of Seriguela: the unconventional relationship between thick and thin lines, as it does not strictly follow any historical model of contrast construction and makes it noticeable. Its high contrast is not present in every single character and it is often in the “wrong” places. The original charm of Seriguela is maintained throughout all its styles. With peculiar details: the verticality and its proportions, as well as terminals that resemble hooks in some curves, a characteristic that breaks with the vertical modular rhythm. Seriguela is a versatile font system, designed primarily for display uses with a need of visual impact.

Solanel is a neo-grotesque with flawless curves. This is a low contrasted and smooth sans serif with subtle and effortless details. One of the main particularity is its italic, which is not a rendition of a slanted roman, but a mix of a rotated and slanted version, which give a “rotalic” feel. The large range of style, from UltraThin to Black help to give flexibility to this family. This family contains many OpenType features, such as Alternates, Small Caps, Proportional Figure, Tabular Figures, Numerators, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals and Fractions, which make that typeface useful in various projects. Larsseit family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afar, Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

FF Signa is a typically Danish typeface, rooted in architectural lettering rather than book typography. Originally designed for signage—hence the name—FF Signa is now a typographic family with three widths. All weights include italics, small caps, and several styles of figures. Because of the quality of this “vernacular-lettering-into-typeface” conversion, FF Signa received a Danish Design Prize in 2002. FF Signa is radically different from most sans serif text typefaces that were published during the 1990s. It neither belongs in the “humanist sans” category, nor is it on the list of typefaces based on 19th-century grotesques. Its concise letterforms and a minimum of detail produce clear and harmonious word images. Yet its proportions are classical, and the underlying geometry has been subtly adjusted in order to create letterforms which are at once interesting, harmonious, and contemporary. These features make FF Signa pleasant for reading, even at very small sizes. The typeface has developed into a versatile family, with Condensed, Extended, and Correspondence versions. Later on Signa Serif, Stencil variants and a Signa Slab family added even more versatility. The resulting FF Signa type system may be used for corporate identities, brochures, magazines, communication, books, and on-screen publications.

The Hybi5 font family can be described as a “crossover” between Antiqua, Grotesque and Brushscript with characteristics from all of this genres. My aim was to design friendly and versatile fonts, which can be used for headlines or slogans as well as for some longer texts. To make the fonts useful for as many languages as possible, I added a lot of exotic accents. All styles contain the whole “Adobe Latin 3 (CE)” character set plus a few letters from “Adobe Latin 4”. A lot of ligatures prettify the look of the fonts. Alternate uppercase letters in the script style might do the same. If you are a professional designer, you will surely appreciate the thousands of kerning pairs within each style, which will make your work easier. I recommend to set Kerning to “metric” and spacing to “zero” in your layout app. Back in 2015 I worked on the first sketches of “Hybi5” using Adobe Illustrator. “Fontself Maker”, an extension for Illustrator, was used to convert the drawings into font-files. This tool can only create “OTF” font files. For this reason there are no “TTF” versions. It’s not the first font I have ever made, but the first to be distributed commercially.

The core design of Pepper family, designed by VIDI Visual Design Studio, is the fingertip handwriting style inspired by children’s writings on windows. This distinctive low-contrast typeface combines characteristics from neo-grotesque and organic models. Warmer than most Helvetica inspired typefaces, Pepper has organic shapes, playful strokes, rounded endings, and a generous x-height which makes Pepper easy to read. This family could be used well for food packagings, content aimed for children, book covers, branding, high-impact titles and small body texts, advertising, editorial design and more. What makes Pepper Sans Vol.1 competent and more spicy then some other fonts is that it contains a set of more than 900 characters for each of 5 weights that support many Latin-based languages, Greek and Cyrillic. As the weight decreases, the typeface gains impact with becoming elegant, giving titles in (Hair, Thin or Light) a breath of fresh air. We derived a typeface family consisting of Hair, Thin, Light, Regular, Semi Bold in this Vol.1 edition. Typeface features: • 5 weights: Hair, Thin, Light, Regular, Semi Bold • Latin, Greek & Cyrillic multilingual support • More than 900 characters for each of 5 weights Font Specs: • Created: August 2020 • Files type: .ttf

Kamber is a playful and approachable, neo-grotesque sans-serif with a handful of humanist flourishes. Subtle convex terminals and a curved structure create it's friendly personality and bouncy rhythm. If you're looking for a warm typeface that's affable without straying into cliché, then Kamber is your new best friend – like the labrador of typefaces. Kamber's balanced yet quirky nature makes for a fun and interesting display face, without compromising on legibility at smaller sizes. The lowercase letters have an elevated x-height, sitting at around 70% of the cap height – this means running copy remains clear and readable. Available in 8 weights, each with a corresponding italic, Kamber is a widely functional typeface that can hold it's own, regardless of the use case. It includes all the usual open type features for further adaptation and variation, including small caps, ligatures, stylistic alternates and more. The primary numerals are lining figures, but tabular figures, old style figures, and a combination of both are also included. If you're looking for something to stand out from the sea of overly geometric faces and soulless helvetica variants, then Kamber is ready and waiting. Perfect for editorial design, branding or anywhere you use text – Kamber is the typeface that smiles.

Karibu™ is a 100-font original, ultra versatile geometric grotesk family with a lot of character. It is designed for modern projects, to serve as display as well as paragraph text typeface. It is perfect for lots of design situations - from magazine editorial use, logo design & branding, to web design, user interfaces and mobile applications. Main features: - 5 widths (Narrow, Condensed, Normal, Expanded, Wide), each consisting 20 fonts - 10 weights for each width (from Hairline to Black) - handdrawn, carefully crafted italics - alternate stylistic set for more technical and minimalistic projects - pronounced ink traps and large x-height improving legibility in small sizes and adding strong personality to display sizes - flatten letter shapes adding vertical rhythm and elegance to narrow widths - extended latin language support - OpenType features (case sensitive forms, standard and discretionary ligatures, stylistic sets, contextual alternates, lining, oldstyle and tabular figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols)

Interlaken™ is a modern display & branding typeface allowing to design creative logotypes, posters and headlines with ease. It is an uppercase family of six OpenType fonts and one 2-axis variable font, packed with features such as stylistic alternates and tons of original ligatures. The family’s purpose is to make the creative process of designing logotype a blast. It has a wide set of OpenType features crafted especially to make your life easier, allowing you to accomplish your projects in less time. Interlaken has a powerful and very modern character, it comes in three width variants, making it a good fit in various design scenarios. Its cutout details make it look unique and create an impression of inner shadows when set on a dark background. Interlaken is a great typographic tool for such industries as sports, fitness, modern technology, fashion and gaming. It works perfect as a pairing typeface with Rothorn, Conthey and Conthey Inline and Axalp Grotesk.

The font package Helen Bg Family is in 5 weights and two widths, 18 styles: Thin, Thin Italic, Light, Light Italic, Regular, Italic, Bold, Bold Italic, Black, Black Italic, Light Condensed, Light Condensed Italic, Condensed, Condensed Italic, Bold Condensed, Bold Condensed Italic, Black Condensed and Black Condensed Italic. Helen Bg is made with Bulgarian Design of Cyrillic and is recommended for the publications for Bulgaria. Other version with standard Cyrillic is available from HermesSoft Limited. Typeface design: Vassil Nikolov. Release date: 1991 - 96, HermesSOFT Design notes and Technical data Helen belongs to the typefaces from the humanistic sanserif grotesk fonts. The font is for wide use – from the classical typesetting to the display typography. In the Bulgarian Code Page are included all vowels with accents that are really necessary for the typesetting in Bulgarian language, and are not included in the Cyrillic Code Page: Helen Is available in OpenType PostScript and WEB font formats.

Helvetica is one of the most famous and popular typefaces in the world. It lends an air of lucid efficiency to any typographic message with its clean, no-nonsense shapes. The original typeface was called Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas’sche Schriftgiesserei (Haas Type Foundry) in Switzerland. In 1960 the name was changed to Helvetica (an adaptation of Helvetia, the Latin name for Switzerland). Over the years, the original Helvetica™ family was expanded to include many different weights, but these were not as well coordinated with each other as they might have been. At the beginning of the 21st Century, Linotype released an updated design of Helvetica, the Helvetica World typeface family. This family is much smaller in terms of its number of fonts, but each font makes up for this in terms of language support. Helvetica World supports a number of languages and writing systems from all over the globe.

Typeface Laborat™, designed by Kristína Jandová, is a Grotesk typeface that combines the geometry of a circle and a square. The visual message of geometry is applied to stylistic sets and modified by special characters, including abstract forms or symbols, that turn the typeface into a visual “graphic” language. The basic character of the typeface lies in the default set based on the circle-like shapes of letters. The stylistic sets 01 to 03 are characterized by different geometrical modifications of the growing character and the idea “from circle to square” applied on the letters a, f, g, l, r, t, u, y. By using these different alterations of consistent letterforms, it offers a playful space for everyone. The first inspiration of the typeface origins in Paul Renner’s Futura sketches, that were a celebration of geometrical playfulness of modernism meeting constructivism. It is modified into a new contemporary “wave” of typography as a graphical method. Laborat comes in six weights, from Hairline to Heavy.

Marcione is the real deal, a contemporary and dynamic condensed display font family that blends the classic Deco and Grotesk styles in a playful and modern way. This font family got personality, you can see it right away in the lowercase letters, with a diagonal stem in characters like “a”, “h”, “m”, and “n” that gives it that extra kick. You can use Marcione to create some killer designs in editorial, branding, or advertising. This font family packs a punch with six distinct styles, ranging from Light to ExtraBold, and it’s got you covered with broad Latin language support. That means no matter where you’re from, Marcione can help you make a statement. This font is highly versatile and visually engaging, a true boss. With its condensed design, it takes up minimal space while still commanding attention and conveying a sense of sophistication. Trust me, you won’t regret having Marcione in your font library, it’s the real deal.

Alliance Update to version 2.0 Alliance™ 28 weights, 14 uprights and matching italics. Each typeface contains over 592 glyphs with extensive Western, Central and Eastern European language support. ALLIANCE NO.1 Inspired by Industrial-era types from the end of the 19th century. Attempts to follow the best traditions of Grotesk typefaces. Features monolinear strokes and a good amount of contrast between the stroke thickness of each weight. With its distinctive inktraps, subtle in light versions and more visible in the black ones, Alliance No.1 was developed with unique glyphs to offer maximum flexibility. An airy metric aids good legibility in short texts. ALLIANCE NO.2 Alliance No.2 is a Display typeface. Developed from the original font family for use in large sizes. Based on the combination of contrasting shapes. This is a set useful for branding and advertising. Symbols for public areas, environment, transportation, digital and urban life. OPENTYPE FEATURES Including tabular figures, alternate characters, ligatures, fractions, case-sensitive forms, superscripts, subscripts etc.

Those who have grown tired of text typefaces insensitively blown up to the size of a poster or a building facade should from time to time try out extreme display styles, which are designed precisely for this purpose. They look best in dimensions from around 32 point out to infinity, and they rise to the occasion when a strong impression is necessary. This is especially true for the extreme weights Hair and Black, which don’t allow for any compromise. The sharp hairline and brutal contrast of the strokes test the most extreme possibilities, without having readability suffer in continuous text, as is characteristic for all the typefaces of the Tabac superfamily. Tabac Big Sans has the distinction of having most of its styles hold up not only in giant sizes, but also in smaller texts, where it’s an obedient little doggie. It actually works like a narrowed linear grotesk with an increased x-height. There’s no limit to fantasy.

Envisage is a distinctive new grotesk design by Alex Kaczun. Characterized by distinct details throughout as particularly visable in the capitals A, H and N. There is a more organic and natural feel to the overall design as in the sutle curves introduced in many of the lower case letter forms, specifically the a, h, m and n. And, especially evident in the warm overall curves within the l‘case g. In addition, incorporating flexibility in form and function, Alex has also included alternate letter forms in this OpenType font; allowing the graphic designer a choice in the overall look and feel. Envisage has impact and zeal. It's a wonderful choice for a distinctively unique headline treatment, and works equally well in text in a large range of point sizes. Use this friendlier sans serif as an alternate to Futura and Gill Sans. We think you will like what you see. The large Pro font character set supports most Central European and many Eastern European languages.

Neue Reman Sans 1.0 --- New Update! CONDENSED - SEMI CONDENSED - SEMI EXPANDED - EXPANDED It has 70 fonts style in total family + 2 Variable Style. --- It is a Roman, Humanist, Grotesk and Geometri sans serif family. The family comes in 7 weights with matching italics + Variable Font File and includes multilingual latin characters. Neue Reman Sans contains 306 glyphs - this is the first version of Neue Reman Family with standard ligatures and a variety of figures and fractions. We create Neue Reman typeface to use in multipurpose project such as on website, systems, printing, embedding, servers, screens, display, digital-ads, branding, logos, titles, headlines, teks, and everything else. This font is a project that we are working on for the long term. We has updating the Condensed and Expanded versions. Then we plan to continue working on Latin Pro, Greek and Cyrillic. It all will be updated gradually. So, hope you would like the first version of Neue Reman Sans Serif Typeface. Thank you very much.

Secca is a fresh and versatile typeface series. With its workhorse qualities, Secca is perfectly suited for a wide range of applications - especially where legibility and economy are important factors. Secca is rooted in the tradition of early German Grotesk typefaces, but is tailored for the needs of today, with a wide language support and many typographic features and extras. » pdf specimen « The core family comes in nine weights from Thin to Ultra Black plus another three Hairline weights - each with italics, small caps and italic small caps. While the weights from Light to Bold perform well in text sizes, the more extreme styles give extra freedom for Headlines & Signage. For setting tables and charts, Secca offers tabular figures, fractions, currency signs and mathematic operators which share the same fixed width throughout the entire range of weights. This special feature is called “weight duplexing” and is a time saver for designers of annual reports and other figure-heavy texts.

MVB Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the Embarcadero family is as adaptable as its design. The OpenType Pro set of 20 fonts contains two widths and five weights, each with italics, small caps, a full set of figures, bullets and arrows, and support for most Latin-based languages. In all, Embarcadero is suitable for headlines or text. And—thanks to its simple, square form—it’s ideal for type on screen too.