Classic Grotesque by Rod McDonald: a traditional font with a modern face. The growing popularity of grotesque typefaces meant that many new sans serif analogues were published in the early 20th century. Setting machines were not compatible with each other but all foundries wanted to offer up-to-date fonts, and as a result numerous different typeface families appeared that seem almost identical at first glance and yet go their separate ways with regard to details. One of the first fonts created with automatic typesetting in mind was Monotype Grotesque®. Although this typeface that was designed and published by Frank Hinman Pierpont in 1926 has since been digitalised, it has never achieved the status of other grotesque fonts of this period. But Monotype Grotesque was always one of designer Rod McDonald’s favourites, and he was overjoyed when he finally got the go-ahead from Monotype in 2008 to update this “hidden treasure”. The design process lasted four years, with regular interruptions due to the need to complete projects for other clients. In retrospect, McDonald admits that he had no idea at the beginning of just how challenging and complex a task it would be to create Classic Grotesque™. It took him considerable time before he found the right approach. In his initial drafts, he tried to develop Monotype Grotesque only to find that the result was almost identical with Arial®, a typeface that is also derived in many respects from Monotype Grotesque. It was only when he went back a stage, and incorporated elements of Bauer Font’s Venus™ and Ideal Grotesk by the Julius Klinkhardt foundry into the design process, that he found the way forward. Both these typefaces had served as the original inspiration for Monotype Grotesque. The name says it all: Classic Grotesque has all the attributes of the early grotesque fonts of the 20th century: The slightly artificial nature gives the characters a formal appearance. There are very few and only minor variations in line width. The tittles of the ‘i’ and ‘j’, the umlaut diacritic and other diacritic marks are rectangular. Interestingly, it is among the uppercase letters that certain variations from the standard pattern can be found, and it is these that enliven the typeface. Hence the horizontal bars of the “E”, “F” and “L” have bevelled terminals. The chamfered terminal of the bow of the “J” has a particular flamboyance, while the slightly curved descender of the “Q” provides for additional dynamism. The character alternatives available through the OpenType option provide the designer with a wealth of opportunities. These include a closed “a”, a double-counter “g” and an “e” in which the transverse bar deviates slightly from the horizontal. The seven different weights also extend the scope of uses of Classic Grotesque. These range from the delicate Light to the super thick Extrabold. There are genuine italic versions of each weight; these are not only slightly narrower than their counterparts, but also have variant shapes. The “a” is closed, the “f” has a semi-descender while the “e” is rounded. Its neutral appearance and excellent features mean that Classic Grotesque is suitable for use in nearly all imaginable applications. Even during the design phase, McDonald used his new font to set books and in promotional projects. However, he would be pleased to learn of possible applications that he himself has not yet considered. Classic Grotesque, which has its own individual character despite its neutral and restrained appearance, is the ideal partner for your print and web project.

A comprehensive and faithful rendition of Rudolf Koch’s first release, usually referred to as “Fette Deutsche Schrift” or "Koch-Schrift". In addition to the regular character set, the font includes a large number of alternates and ligatures, plus two sets of ornamental initials (Initialen mit Zierstrichen und Punkten zur Koch-Schrift, and Initialen zur halbfetten deutschen Schrift von Rudolf Koch). The main sources used during the font design process were a sample page from Hendlmeier, W. (1994), Kunstwerke der Schrift, Hannover: Bund für Deutsche Schrift und Sprache (p. 164), and several specimen sheets from the Gebrüder Klingspor Type Foundry for Koch’s “Deutsche Schrift” type family. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Deutsche Schrift” Font Page.

Jacbos is a playful font with an abstract shape like paper folds, which is unique but elegant and attractive in its use All Capital sans is charming and brave, a font with a bold style and strong character makes your design look bold to convey a message to the audience in every design. This font is perfect for a variety of school design projects, essays, vintage, retro, and various outdoor events, storytelling, branding, banners, posters, movie titles, food and beverages, clothing, and more.

The Poster Sans display fonts have the enduring functionality of vintage condensed grotesques. They are loosely based on Ludlow 6-EC, and perfect for signs and posters. The Basic Package includes the Regular and Bold weights, and also a useful Outline version. Poster Sans Extreme may hold the record for the slimmest usable font available. The latest versions of the Regular, Bold and Extreme weights offer improved outlines and now include a full compliment of Latin Extended-A European accented characters.

Codeline Mono is a friendly monospaced typeface designed to appear more modern, softer and less formal than the usually robotic and strict mono fonts. Unique and highly versatile, this family includes over 400 glyphs in each of its twelve styles (six weights and six obliques). While great at all the typical mono use cases where a technical look is needed, Codeline also creates an ease of reading not commonly found in mono typefaces. This duality makes it a perfect fit for other uses in the role of a uniquely technical yet remarkably breathable display font. The character set implemented in Codeline Mono ensures full support for over 100 languages by including an extensive list of localized forms, precomposed accented letters and modifiers.

Zampichi simulates an old school video game or halftone print. Nine futuristic styles are delivered in gritty pixelated format. Dingbats such as cursor symbols, radio buttons, checkboxes and (surprisingly) cats replace a few of the least useful alternate symbols. Zampichi is extended, containing West European diacritics and ligatures, making it suitable for multilingual environments and publications.

Introducing Syndra, a typeface that’s as timeless as it is modern. With its unique Y2K style, this typeface boasts letterforms that seem to have come straight from a machine. You can almost feel the hum of technology when you look at it. But don’t let its cold, emotionless shapes fool you. Syndra’s tireless character set works hard to make your message sound authoritative and technical. With OpenType fractions, numeric ordinals, and plenty of currency symbols included, you’ll have everything you need to create a professional and polished look. It’s the perfect font for anything related to plastics, medications, technology, and renewable energy. And with seven weights to choose from—Thin, Extra-Light, Light, Regular, Semi-Bold, Bold, and Extra-Bold—you’ll have the flexibility to create the look and feel you want. So if you’re looking for a typeface that’s both unusual and tech-savvy, look no further than Syndra. It’s a font that’s sure to turn heads and make your message stand out in all the right ways. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

In the late 1990s Gerard Unger won the assignment to design the signage system for the Holy Year celebrations to be held in Rome in 2000. The system he developed in cooperation with the design agency n|p|k used a classically inspired serif typeface, but the earlier proposals included a sans-serif, which became Vesta (2001). Vesta is a versatile family that can be used as a display face alongside Unger's serif faces Gulliver, Capitolium or Coranto; it can also be used on its own, even in longer texts. Vesta is narrower and therefore more economical than some commonly used sans serifs such as Arial and Helvetica; there is also a noticeable contrast between thick and thin parts, which makes it more lively. Vesta is to be extended with narrow versions, small capitals and old style numerals, along with some special versions for headlines.

Ultima Pro is a geometric sans serif typeface family of eight styles – light, regular, bold and black in roman and italic respectably. Ultima Pro typeface is an upgrade addition to Ultima family (2010). All glyphs have gone through shape refinements, and the amount of glyphs was significantly extended, which enabled support of more Latin languages as well as full support of Cyrillic. Fonts released in OpenType format with some opentype features. The typeface is ideal for use in display sizes though is quite legible in text.

Here comes a New font, Golga is Unique Bold Display Font this is strong Font, that is written casually and quickly amazing. Then crafted carefully drawn into vector format. This font is great for your next creative project such as logos, printed quotes, invitations, cards, product packaging, headers, Logotype, Letterhead, Poster, Label, and etc.It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes.this font is great for your creative projects such as watermark on photography, and perfect for logos & branding.

Introducing Radens Vintage Bold Script, Inspired by Modern Vintage & Retro style and combination with old american traditional style. that will fulfill your design needs for quotes,sporty theme, logotype, wordmark, etc. This has many opentype features and support multi language.

Inspired by building signage for the old CBS broadcasting facility in Los Angeles, Aircheck JNL is a bold, wide sans serif - reminiscent of Art Deco lettering of the 1940's, and perfectly suited for headlines and titles that get attention.

CA Texteron is a modern text font family to cover the most common typographical needs with a minimum of weights. It is aiming for a serious but unconventional look, which is achieved by combining round and edgy forms in the same font, often in the same glyph, and by using Humanist and modern form-principles at the same time. It merges classical type-design with an experimental spirit. CA Texteron combines elements of the dynamic renaissance principle with the static neo-classic style, which makes it hard to classify. The result is a post-modern hybridization. The Regular weight works best in text size, and with more letter-space also for footnotes. The low contrast makes it robust and legible even in very small sizes. Bold, Italic and Small Caps are intended for emphasis. Bold, Bold Italic and Heavy make good headlines, that reveal the unconventional details. The Italic is not just a slanted version of the Regular weight but has individual forms and typical italic characteristics.

The source of inspiration for Haute Monde Monogram is the 1934 "Book of American Types" by American Type Founders. Found in that specimen book was a wonderfully elegant traditional smallcap-Capital-smallcap monogram alphabet known as “Elite Monogram Initials”. This elegant typeface is now digitally remastered and updated for modern use with functionality beyond its original intentions. Download and view the MFC Haute Monde Guidebook if you would like to learn a little more. MFC Haute Monde Monogram comes complete with Pro format fonts. You will require with programs that can take advantage of OpenType features contained within the Pro fonts.

Cast your stars like the ancient Pharaohs. Commonly known as the Zodiac of Dendera, this series is based on the symbols found on the roof of the temple at Dendera. It is believed that the Egyptians likely borrowed the signs of the zodiac from the Greeks, possibly in the Ptolemaic period. Containing 52 unique characters, the series includes the 12 zodiac signs, the 30 phases of the moon in its equatorial position, the Gods of the four winds, and the Gods of the five planets of Venus, Mercury, Mars, Saturn and Jupiter. NOTE: this font comes with an interpretation guide in pdf format.

Are you Troubled by Ghostly Voices in the night? Do you hear the Terrifying Tones of Demons and Ghouls in your Attic or Cellar? Have you or any of your family spoken with "Forked Tongue? Well, talk of the devil, Forked Tongue happens to be the latest offering brought to you buy our courteous and efficient staff this month (now on call twenty-four hours a day to serve all your supernatural lettering needs). If it Sounds Spooky, it most probably speaks with Forked Tongue. Oh, but if you really have got ghosts or poltergeists, well, um, we don't know who you gonna call. Features: Four weights (Regular, Italic, Bold & Bold Italic) with upper and lower case alphabets. Includes Western and Central European international characters.

Gridiron Glory is a modern and elegant font that stands tall as a tribute to the world of sports. This dynamic display typeface captures the power and energy of athletic competition with its strong, bold letterforms and sharp angles. Inspired by the lines and precision of a football field, Gridiron Glory exudes a sense of strength and determination. Its clean and structured design, reminiscent of a gridiron play, brings a sense of order and professionalism to sports-related designs. Whether used for team logos, jerseys, or sports event promotions, Gridiron Glory makes a bold statement and evokes a sense of excitement and anticipation. Embrace the spirit of the game with this font that embodies the glory and fierce competition found on the field.

Perillock font is a clean and modern typeface with a rounded bold design. This font is perfect for headlines, titles, logos, and other design projects that require a bold and attention-grabbing look. Its smooth and consistent curves give it a friendly and approachable feel, making it suitable for a wide range of design applications. Whether you're creating a poster, packaging design, or website, Perillock is sure to make your text stand out. Featured: Standard, Uppercase & Lowercase Numeral & Punctuation Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ Alternate & Ligature PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw, so you can use all the variations of the glyphs. Hope you enjoy our fonts!

The German typeface artist Lucian Bernhard designed Bernhard Antiqua as the first of his many text typefaces. The first weights were produced in 1912 by the foundry Flinsch in Frankfurt am Main. Further weights followed in the 1920s, produced by the Bauersche foundry, which had acquired Flinsch in the meantime. Bernhard font is an alphabet with a marked historical influence. It brings the viewer back to the early 20th century, when the bold forms of this typeface graced advertising displays and posters. Distinguishing characteristics of this typeface are the cross of the capital W and the rounding of the capital R. Linotype's Bernhard condensed bold, with its narrow, robust forms, is best for headlines in medium and larger point sizes.

Lina sans is an Arabic typeface from Lina type family, it expresses modern vigor based on simplicity and clarity. It's Strong, Bold, legible, clear, simple, Modern. With a handful set of OpenType features and alternatives. Lina type family consists of Lina soft, Lina sans, Lina round. the design is inspired by the Kufic calligraphic style and influenced by the Naskh style. Lina sans was highly crafted in order to perform well both on screen and in print. The large x-height and open counters make it function well even on small font sizes. It has a wide range of use possibilities headlines, logotypes, branding, books, magazines, motion graphics, and use on the web and Tv. Lina sans consists of 7-weight versions from thin to bold.

Vodka - a display pack with an edge. Vodka is a display combo pack of four styles and six fonts. Vodka fonts are clean but soft. Vodka's core is two weights of a Brush Script and a Monoline Script with similar characters. Vodka Sans is a bold sans with very soft features. Vodka Sans lowercase letters are a bit condensed version of uppercase. Vodka Slab is a rounded bold display type. Vodka Brush and Pen are equipped with automatic Contextual Alternates and Standard Ligatures that help to keep the flow smooth. For more expressive letters there’s Swash Alternates for every standard letter. Vodka fonts are designed to play together but can easily be used as themselves too. For the best price purchase the whole pack!

The P22 Mystic font knows all. Aside from allowing for type design in a faux eastern script, this font peers into the world of the spirits for guidance and enlightenment. Sure it has small caps and ligatures as OpenType features, but it also has a special “oracle” feature which will answer your most mystifying questions. The design itself was based on an actual Ouija board. Somehow the spirits became embedded into the font itself and now when a question is typed, an answer is revealed—provided the Contextual Alternates feature is enabled. It is not known how the otherworldly harbinger was able to integrate into OpenType scripting, but who are we mere mortals to question this power? Ask and ye shall be amazed! Only the Opentype Pro version will offer the “Magic Eight-Ball” feature. It also contains the small caps and old style figures as found in both TT and PS versions of the fonts.

Paz, a squarish 4-weight industrial family, ranging from extreme hairline to black. It is ideal for editorial headlines where type plays a major role in the overall design. The fonts were designed by Ariel Di Lisio and digitized by Alejandro Paul.

Hors is name of Arian God, also it is an ancient name of Mercury. Hors is display font font family with 6 styles, including filled, outline, shadowed and others. Hors is a handmade type. Here are more than 500 glyphs and opentype features.

Rodeo Rebels is a display typeface with a retro, cowboy, and western theme. It's perfect for designs that require a bold and masculine touch, such as branding, packaging, posters, and headlines. The font was inspired by vintage rodeo posters and the American Old West, where bold, slab-serif typography was a common sight. To make the most out of Rodeo Rebels, consider using it in designs that require a rugged and tough aesthetic, such as clothing and apparel, whiskey and beer packaging, and Western-themed events. Pairing it with other vintage-inspired elements, such as distressed textures and illustrations, can also help create a cohesive look and feel. With its bold and rugged aesthetic, Rodeo Rebels is a font that demands attention. It's perfect for projects that require a vintage and masculine vibe, and its features make it a versatile choice for a wide range of designs. Give your projects a touch of the American Old West with Rodeo Rebels, and let its bold and rugged style do the talking.

Raffish is a display typeface with its formal base in Dutch type designer Henk Krijger's seminal typeface Raffia - the most decorative and handsome of script typefaces.

Pelago is a semi-formal sans-serif type family by Adobe Principal Designer Robert Slimbach. The family has a crisp contemporary appearance and an understated elegance.

Vanrott is an old font with two styles: Regular and Destroyed. Both styles have a bold, prominent, old-fashioned but modern look! Vanrott is perfect for those of you who need fonts for titles, logos, clothing, invitations, branding, packaging, advertisements, and more. Vanrott includes uppercase and lowercase letters, punctuation, symbols, numbers, stylistic sets, alternate, ligatures as well as multi-lingual support.

You can download usiful link: Bodrum Sans PDF Type Specimen Bodrum Sans is a sans serif type family. Designed by Bülent Yüksel in 2018/19. The font, influenced by style serifs, popular in the 1920s and 30s, is based on optically corrected geometric forms for better readability. Bodrum Sans is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Bodrum Sans a harmonious and sensible appearance for both texts and headlines. Bodrum Sans provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Bodrum Sans 14 Regular” forms the central point. "Bodrum Sans" is available in 10 weights (Hair, Thin, Extra-Light, Light, Regular, Meduim, Bold, Extra-Bold, Heavy and Black) and 10 matching italics. The family contains a set of 650+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy in all graphic programs. Bodrum Sans is the perfect font for web use.

"Bodrum Style" is a serif Style family designed by Bülent Yüksel in 20018/19. The font, influenced by serif styles that were popular in the 1920s and 30s, is based on optically corrected geometric forms for a better readability. "Bodrum Style" is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances help the legibility and give "Bodrum Style" an harmonious and sensible appearance for both texts and headlines. Bodrum Style provides advanced typographical support for Latin-based languages. An extended character set - supporting Central, Western and Eastern European language - rounds up the family. “Bodrum Style 14 Regular” forms the central point. "Bodrum Style" is available in 10 weights (Hair, Thin, Extra-Light, Light, Regular, Medium, Bold, Extra-Bold, Heavy and Black) and 10 matching italics. The family contains a set of 650+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Bodrum Style is the perfect font for web use. Enjoy using it.

“Bodrum Slab” is a slab serif type family. Designed by Bülent Yüksel in 20018/19. The font, influenced by style serifs, popular in the 1920s and 30s, is based on optically corrected geometric forms for better readability. “Bodrum Slab” is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give “Bodrum Slab” a harmonious and sensible appearance for both texts and headlines. Bodrum Slab provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Bodrum Slab 14 Regular” forms the central point. “Bodrum Slab” is available in 10 weights (Hair, Thin, Extra-Light, Light, Regular, Meduim, Bold, Extra-Bold, Heavy and Black) and 10 matching italics. The family contains a set of 650+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Bodrum Slab is the perfect font for web use.

As most successful German private press, «Bremer Presse» has strongly influenced German book art. It was founded 1911 in Bremen to print and produce books in perfection. The role model of the press’ typeface was the english Doves Press. Willy Wiegand drew three versions of the «Bremer Presse» antiqua font, starting with the regular weight in 16 pt and adding later the regular weights in 11 and 12 pt. The revival of this beautiful font is based on the 12 pt weight. During the design process, the focus was laid on finding the elegance and strength of original prints. As it was designed to print books, the typeface is optimally used for texts. And with the revival’s new weights «medium» and «bold» and OpenType features like ligatures or old style figures, you can design sophisticatedly typographical compositions.

Sometimes, especially after a long night of drinking in a bar or bodega, you do not want fancy, sophisticated food. You want to bite into a big, juicy burger. TpBarPaco is exactly that. A straight-forward, big and bold typeface. Like if Paco has done it himself. VLNL TpBarPaco, designed by Martin Lorenz of TwoPoints, was inspired by the vernacular type found at traditional spanish bars in Barcelona. It’s simple and friendly shapes make it the perfect typeface for HUGE typographic solutions.

Introducing "Summer Surfing", a font duo - serif and sans serif designed to bring the energy of the waves to your designs! With three styles - regular, rough, and texture - you can create a range of effects, from clean and modern to weathered and rustic. Each style of the font features bold, rounded letters that evoke the movement and curves of the ocean. But that's not all! Summer Surfing also includes 13 beach-themed illustrations as dingbats, including surfboards, waves, and palm trees.

Half Blvd is an industrial genre display sans serif font. With bold soft round edge stroke, fun character with a bit of ligatures. To give you an extra creative work. Half Blvd 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 sans or serif. Make a stunning work with Half Blvd font. Cheers, Maulana Creative