Sharp angular terminals, squared off bowls, and a balance of curved paths with straight. Formative is a grotesk with charm. Includes a stylistic set featuring standard 'text' style terminals.

Upton is a modern and condensed sans serif. The initial inspiration for its design came from lettering Wim Crouwel created for a poster design. It also takes some cues from neutral grotesks like Helvetica and Akzidenz. Because of its narrow letterforms, Upton is best applied to headlines and poster-sized typography. Upton’s italics were designed with high-quality compensation for all circles and strokes. Upton ships in two different formats. Depending on your preference, you can install the typeface as two Variable Fonts or use the family’s 14 static OpenType font files instead. Those weights run from Extralight to Extrabold. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The weight axes in Upton’s Variable Fonts allow users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. In its fonts, Upton has several ligatures. That includes optional “discretionary ligatures,” which bring a unique tone to display usage. For instance, the fonts include optional ligatures for the letter combinations “E-T”, “F-l”, “L-E-T-T-E”, “L-E-T-T”, “L-E-T”, “L-E-L-O”, “L-U”, “i-j”. and “m-m”. There are also many alternate glyphs. Stylistic Set 1 substitutes in new forms for “G”, “R”, “a”, “f”, “g”, “i”, “r”, “t”, and “y”. Six more Stylistic Sets have alternates for the “æ”, “g”, “k”, “o”, “K”, “O”, and “Q”. Additional OpenType features activate other useful features, such as fractions, numbers in circles, or symbols.

MOTORWAY is the companion typeface to TRANSPORT, the British road sign lettering. The Motorway alphabet was created for the route numbers on motorway signage, and is taller and narrower than the accompanying place names and distances which are printed in Transport. However, for Motorway Jock Kinneir and Margaret Calvert created only the numbers 0 to 9, the capitals A, B, E, M, N, S and W, ampersand, slash, parentheses and a comma. So, although the lettering made its first appearance on the Preston bypass in 1958, K-Type Motorway is the first complete typeface and contains all upper and lower case letters, plus a full complement of punctuation, symbols and Latin Extended-A accented characters. As with the Transport alphabet the starting point was Akzidenz Grotesk, Motorway taking inspiration from condensed versions. Changes were mainly driven by a quest for legibility, resulting in some reduced contrast between horizontal and vertical strokes, and Gill-esque straight diagonal limbs on the 6 and 9, and high vertex for the M. Kinneir and Calvert designed the limited range of characters in two weights; a SemiBold 'Permanent' weight for use as white letters on blue motorway signs, and a Bold 'Temporary' weight for heavier black letters on yellow non-permanent signage. In addition to creating full fonts in both original weights, the K-Type family adds a new Regular weight, plus a set of italics, completing a highly usable condensed typeface which, while rooted in history, is fully functional for both print and web usage. The K-Type fonts are spaced and kerned normally, simply increase the tracking to recapture the generous spacing of motorway signage.

Erbar or Erbar Grotesk, designed by Jakob Erbar (Ludwig & Mayer) in the early 1920s, is a truly key design from a historical viewpoint. None other than Paul Renner studied Erbar and used this knowledge in the design of his famous Futura. Erbar is a beautiful constructive Grotesk perfectly mirroring the Zeitgeist of the 1920s. The newly expanded Erbar family of URW++ comes in nine styles, of which seven have been digitally remastered recently in URW's design studio (light, book, medium, bold, italic, bold italic).

Czech Stencil JNL was modeled from examples of a 1930s-era typeface from Czechoslovokia called "Patrona Grotesk" as seen in the Steven Heller-Louise Fili book "Stencil Type" (published by Thames and Hudson).

Brecksville is a condensed grotesk typeface that takes inspiration from early German designs of the mid-19th century. It was designed as part of my current research into grotesk typefaces and different letterforms, as part of my dissertation research, “Perfected Letters: German Grotesk in the Nineteenth Century”, which focuses on the role of German design in typography. The Brecksville font family provides a wide range of weights, ranging from light to bold for both its rounded display style and more rugged sharp style. Both its styles feature the same horizontal proportions and metrics so they can freely be combined with no spacing issues. Brecksville's visually punchy condensed style and sharp edges, allows it to stand out on the screen – at almost any size. Its black composition also brings out the details needed in magazine and tabloid headlines, while maintaining readability throughout. The rounded display version is ideal for posters and other uses where you want something eye catching but not too hard on the eyes.

Grotesk typeface with elastic punctuation & diacritical mark. in 4 weights: Light, regular, Medium and Bold by 4 styles: A (small diacritical), B (normal diacritical), C (hight diacritical) and D (very hight diacritical) language: all latin glyphs

Aperture Display is a san-serif typeface which combines the “standard” forms of grotesks and the modern takes on the use of ink traps. It is a display typeface designed mainly for branding and printed matter.

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.

Harpers Grotesque is a classic multiusable grotesk font with a modern twist. Harper Grotesque has an extended character set to support Central and Eastern European as well as Western European languages plus OpenType features, fractions and alternates.

Typesetter JNL is based on an old-style 'grotesk' (or 'grotesque') text face popular with printers and rubber stamp makers since the 1800s. The nonconformist character shapes and line widths are reminiscent of hand-cut type of the era.

Editorial Comment JNL is another wood type in the Grotesk (also spelled Grotesque) style of sans serif faces. Popular in newspaper headlines as well as posters, the slightly irregular stroke widths add an old-fashioned charm to any print project.

Dinosaur is a very grotesk and extremely condensed display font. Only useful for very big and short texts. The font comes with three regular weights and three italic weights. With 448 glyphs, Dinosaur font supports over 200 Latin-based languages.

County Clerk JNL was modeled after the vintage Hamilton wood type design Gothic Special, and is available in both regular and oblique versions. An early grotesk font, this condensed sans serif lends itself well to short headlines and brief body copy.

Perfect Sketch is a classic Grotesk Typeface drawn with care by hand to imitate the way we used to sketch headlines before the ascent of computer based design. I sell 4 for the price of less than three. Yours Gert Wiescher

KT Nirma Sans Nirma is a typeface with 9 Weight Sans Serif from thin to Black, inspired by Founders Grotesk, This project start from April 2022 and start from the stretch until shaped the solid character to represent the Dynamic Sans Serif. Nirma has total 462 glyph and 218 Support language. Nirma support Latin Basic, Latin-1 Supplement, Latin Extended A-B, Spacing Modifier Letters, and Combining Diacritical Marks. The Solid Character has multi function Display Sans & Body text based on Display Grotesk. Especially in te Thin to Regular is more legible for body text and the black one good for Display Sans, with dinamyc shape and more wide.

Holografik is a Neo-Grotesk sans serif font inspired by scientific progress, existential wonder, and social oneness. With its wide structure and light airy weights, Holografik is an optimistic take on a Grotesk font. The stark Swiss style of the characters is softened with playful curved details, such as a bowed descender in the lowercase y, connected descenders in the alt lowercase g and y, and the curved bottom serif in the alt uppercase B and D. Featuring three weights and italics, it is ideal for use at larger scales like headlines, packaging, editorial, branding, and posters. Includes punctuation, glyphs, diacritics, numerals, icons, and multilingual support.

Matrice is a sans serif (Semi Extended) display font family in 8 weights plus matching natural italics. support 75+ Languanges (Latin Based) influenced by the grotesk typefaces developed in the early 20th century, perfect for branding (Identity), logotype, headline text, and caption.

This font features the seldom-seen alternate characters for Blockschrift, one of the pioneering Swiss-style grotesks, released by the Genzsch & Heyse foundry of Hamburg in 1897. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Informed by classic grotesk proportions and principles within musical theory, II Increments Sans results in a rhythmic and composed sans-serif. Set within a structured grid, the intonation and harmony between its functional principles and emotive characteristics allow for use at both text and display sizes.

Nowie Vremena is a sequel to a previously released Vremena Grotesk, a sans serif typeface, inspired by Arial’s apalling combination of grubby tidiness. The sequel travels back in time and explores Arial’s elder brothers and some 19th century sans serifs, through initial concept of hectic neutrality.

CA Saygon Text is the logic consequence of CA Saygon. It is much calmer and therefore also suitable for reading texts and everyday’s editorial tasks. Basic shapes and proportions were adopted from Saygon and continued in such a way that a font family from Thin to Extrabold resulted. A fundamental inspiration were early static grotesque typefaces such as Akzidenz Grotesk. Nevertheless, the typeface was by no means intended to have a historical look. Thus, a relatively high x-height was chosen, which makes the typeface quite economical in type-setting, since the letters appear visually larger. A relatively small line spacing with good legibility can be achieved due to the small ascenders and the low cap height. Letters like f and t, which otherwise tend to end in curves, were given right angles, which on the one hand meets certain design elements of the original Saygon, but on the other hand also refers to contemporary trends in typeface design. A special feature are the five styles in which CA Saygon Text can be used. The default setting is the Helvetica style, with two-storey a and g. The Futura style has a single-storey a and a two-storey g accordingly. The third style with two-storey a and three-storey g is called the Franklin style. But the real highlight is the Cape style with single-storey a and three-storey g – a real rarity up to now. Let yourself be inspired by this unusual typeface. If you like it even more progressive, you should try the flat style, which continues the right angles in a, g, and y as well. Thanks to the Cyrillic and Latin Extended character sets, a huge linguistic area is covered that even extends to Vietnam! Even the exotic German capital-double-s is available and appears automatically when typed between other capital letters. Numerous OpenType features make life easier for the professional typographer: there are fractions, superscript and subscript numbers, as well as proportional and tabular capitals.

Novelo is a 9 weight neo-grotesk typeface family. Featuring; over 800 characters and symbols, including over 100 ligatures, with extended language support, and true italics. The wide selection of alternate characters allows for deep customisation, making the Novelo family a powerful and flexible toolkit for the modern designer.

TWA Assembly Sans is not your standard workhorse sans. Although it sports the same geometric shapes, grotesk characteristics, and comes in many weights, its unique qualities and slight diagonal curves give Assembly Sans a friendlier appearance. As the weight increase, the contrast becomes more extreme, adding to its approachability.

Halfway between nineteenth century display wood letters and the American grotesk sans-serif of the early twentieth, we can find Ultramarina, a display font for use in large body headlines, which show its power of attraction to quality food, the country’s legume, and gentlemen with a mustache and apron.

This is the rounded, softer version of Canada Type's popular Wagner Grotesk. Originally done in 2011 for a global publisher, this font has already seen plenty of magazine and book cover action, perhaps even more than the sharp condensed face that spawned it. And like Wagner Grotesk, Wagner Round comes with small caps and biform/unicase forms, in addition to the main upper/lowercase set. The extended language support covers a wide range, including Greek and Cyrillic, Turkish, Baltic, Central and Eastern European languages, Celtic/Welsh and Esperanto. The Pro version combines all three TrueType fonts into one OpenType-programmed font, taking advantage of class-based kerning, the small caps feature, and the stylistic alternates feature for the biform shapes.

The idea of the font Black Sirkka was, to develop a modern interpretation out of the general blackletter typefaces. Black Sirkka is a bastard with the typical characteristics of the blackletters, mixed up with modern, simple shapes from grotesk typefaces. The whole typeface was built up in a modular construction system.

Here is a faithful rendering of Albert Auspurg's a 1927 expressionistic masterpiece, Messe Grotesk Licht. Its raw power and compact letterforms make for commanding and engaging headlines. Both versions of the font include complete Latin 1252, Central European 1250 and Turkish 1524 character sets, with localization for Moldovan, Romanian and Turkish.

Socotra is a modern grotesk with a cool appearance, consisting of a modern and unique style. with a very versatile style and is perfect for a great resource for designers to explore, beautiful eye-catching artwork, interesting social media posts and much more that goes well with this socotra font

Harpagan is an experimental type family characterized by scalable construction from mono linear grotesk to display bold. I’ve designed this typeface after my trip to Kyrgyzstan, Uzbekistan and Kazachstan, where i’ve been impressed by the impact of arabic script in Asian style Cyrillics. The Harpagan type Family consist of 5 futuristic styles.

Airbuzz is a typeface created by Spinefonts in Warsaw, Poland. The idea was to create something between grotesk and 'lcd' typefaces; something which is strong and condensed. Airbuzz looks best in large sizes (30+ pts). You may find it useful for posters, titling, infographics, signage and corporate identity. Airbuzz features only uppercase characters.

Undeka™ is a modern contemporary sans serif typeface that embodies simple geometric shapes combined with strong typographical foundations. Inspired be the grotesk typefaces made in the early 20th century. It was made by Krisjanis Mezulis at the WildType Foundry. Undeka is available in 6 different versions - Regular/Italic, Light/Italic, Bold/Italic.

Many fonts have carried this name. Ours goes back to just before 1900 in France. This general style had considerable popularity among job printers all over Europe. We have even seen it used for name imprints on medical school diplomas, which seems a bit grotesk. Surely you can do something better with it.

Introducing Galvitra Display Typeface! A modern display typeface take on a grotesk style, comes in 5 weights and it has opentype features. Galvitra typeface have unique shape and serif on selective characters, that's sure make your design stand out. Use Galvitra for most any aspect of graphic design, from logo to display designs.

Sonderlina is a convenient and modern grotesk sans serif features low contrast details to cover small text purposes. It can be used to create almost all types of design projects like print materials. Just use your imagination and your project will become more alive and look great than ever with this typeface.

FS Koopman is a hard-working typeface. A crossbred workhorse that draws on inspiration from Swiss grotesks, American gothics and early British grotesques. It refuses to fit neatly into any of these categories, it’s neither one nor the other, but all of the above. It’s kinda Swiss meets American… (but with a slight Yorkshire twang).

Sans serif characters re-drawn from old newspaper headlines (and used in the design for Late Breaking News JNL) were given a slab serif treatment in order to create a condensed type face with both grotesk and block influences. The end result is Tabloid News JNL, which is available in both regular and oblique versions.