First designed for chilean newspaper La Tercera in 2010, Acta family is a clean and fresh type system, while enough conservative for newspaper setting. The complete Acta Type System contains Acta and Acta Display both with six weights with matching italics; Acta Symbols with an amazing collection of symbols specially designed for newspapers and magazines and Acta Poster, a heavyweight version, elegant and eye catching in three styles with plenty of ligatures and alternates.

Rail grandeur precision & leverage Rail type family is a tough conveyance mechanism for large and lengthy information packages. It offers great reading comfort and avoids unnecessary friction. The precise construction of this slab serif signals greater legibility and capacity. Rail is designed to provide reading enjoyment. It’s suitable for complex typography projects like magazines and annual reports. The typeface’s x-height is approximately 68% of its capitals. The italics are constructed at a 11° angle.

Black Crow is a display sans-serif type family includes eight weights. It is influenced by the geometric-style sans-serif faces that were popular during the 1920s and 30s. The styles are based on geometric forms that have been optically corrected for better legibility. Black Crow has a functional look with a hard touch. It is manually hinted and optimized for screens, so it will be a good choice for Websites, eBooks or Apps.

Parula is cool and lively like its sweet warbler namesake. Hand-drawn with lots of unique personality and line variation, Parula lends itself to any creative project requiring youthful energy. With double-letter ligatures and more, Parula has lots of charming options, easily turned on or off. Whether creating a look for a fun family game or the cover of a new children's book, Parula will be noticed. Parula pairs beautifully with Turmeric!

DIN 2014 Stencil is a stencil version of DIN 2014 typeface inspired by signage, data plates and stencilled building inscriptions. The typeface has a pronounced industrial spirit and can be used in the most rigorous conditions. DIN 2014 Stencil family consists of 18 styles which include six weights (corresponding to DIN 2014) with three grades of 'stencilness' for each weight. The typeface was designed by Vasily Biryukov and released by Paratype in 2017.

Oh Icons is a family of 382 icons divided into three thematic sets. Each set contains 52 characters, plus alternate glyphs in Open Type Stylistic sets. Every icon can be used independently, but you can also merge them to design an adult or a baby figure, a nursery room or to dress a dog. Black backgrounds will let you colour your icons. Have fun and stay tuned for the new topics already in the works!

Gravita is a typeface family that conveys security and respect by combining the solidity of its classic proportions with the strict precision of its modern profile drawing. Ideal for modern corporate communication where you need customers to perceive confidence and transparency. It has 9 weight variables, 2 predefined sets (GEO and HUM) with their respective italics. Its design is inspired by the geometric precision of modernist imprint typefaces reinterpreted under a 21st century humanist sensitivity

Fractul is a geometric sans with architectural qualities. Built from the Konnect family, this typeface introduces even more unique and display oriented design details, which you'll see in characters like a, f, g, t, y, etc. where certain strokes have been straightened for an angular and modern appearance. Also included is Fractul that takes the angular design further by styling characters like m, n, u, etc. to be rectangular and avant garde.

Designed and built in London by TypeUnion, Silo is a fluid sans serif typeface embodying energetic curves and a clean, functional structure. The Silo Family is made up of 6 weights, which range from a delicate Extra-Light, all the way through to a punchy, loud Extra-bold and each carry a versatility for multiple applications and uses. Silo features open type alternate characters, and extensive language support to provide a flexible, substantial user experience.

Secca Art recovers some of the expressive forms of early art nouveau and art deco grotesques — not copying it, but carefully adapting it for today. Secca Art is based on the Secca typeface family and is full interchangeable. Both are equal in weights, widths and word spacing, so you can decide to give your layout a more expressive or serious look. If you need Italic styles just use the Italics from Secca .

Carmay was conceived as a charming, gently flowing member of the didonesque family. The roman weights present some hybrid characteristics, which results in an appearance of informality and adds a dash of brio. Carmay, nonetheless, remains restrained and committed to a classical ethos. All weights contain standard and optional ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows.

I wanted to combine a classical antiqua with corners and edges. I was convinced this combination would create a new, a fresh design of types. At the beginning I used the forms from "Goudy Old Style", later I modified the sizes, the widths of the letters, the x-height and their forms in general. At the moment the Easton Family consists of 3 styles called Easton Serif, Easton Semiserif and Easton Sans.

Belmont JNL is named for an avenue in the Bronx, New York famous for once being the location of the Belmont Estate, which was the home of the Lorrillard tobacco family. The Art-Deco-era hand lettering from some vintage sheet music is the basis for this type design. During the 1950s a quartet of teenaged Italian-American singers took the street's name for their vocal group, naming themselves Dion and the Belmonts.

Conamore is a new Humanist Sans family. It consists of 16 styles (8 weights and 8 italics). The structure of the typeface is in a position that is neither too modern nor too classic. It was based on humanist frame and style, but we controlled the shape and removed potential eyesores so it can be easily recognized. These characteristics are suitable for the design requirements, such as editorial design, packaging, branding and display.

The Bermuda Family was designed by Garrett Boge and Paul Shaw, in the vein of freely-drawn showcard lettering — jaunty, fun and friendly. In fact the drawings were made with a Speedball™ B-series pen nib, the stock tool of the showcard letterer. Bermuda Open is a stroked outline version and its character shapes are repeated in the other three styles, each with a separate fill variant — Solid, Dots and Squiggles.

Foundry Form Sans and Serif were drawn concurrently with matching proportions for harmonious use. Although designed to complement each other both families function independently. The Foundry Form Sans characters have a strong horizontal emphasis for readability; open counters to improve legibility at small sizes; and slightly condensed proportions to ensure economic use of space. Foundry Form Sans has a simplicity of design approach balanced with just enough character to achieve a unique, timeless look.

Mrs Green is a great typeface for short texts, invitations, headlines, logotypes and advertising. We’ve started with a heavy capital G and A. At the beginning it was supposed to be just one fat style (still our favorite). But after a few months we’ve ended up with a family of 20 styles. It has contextual alternates, fractions, four types of figures (old style, lining, superior and inferior), ordinals and a case feature.

Clab is meant for branding. The initial characters were build in bold and chunky personality, yet the thin strokes and flowy italics gives it a versatile and unique set of family. The glyphs crafted in low contrast strokes, short ascenders and descenders and low caps. Clab consist of 9 weight from Hairline to Black with each matching italics. Contain more than 400 glyphs with some OpenType features e.g, standard and discretionary ligature, fraction, e.t.c.

Otoiwo Grotesk is an extremely versatile sans-serif typeface with a closed aperture. It features whopping 126 styles over 7 widths, each containing 9 weights with corresponding italics. The mood of the family ranges from fairy neutral in Normal and Condensed widths to very flavorful Compressed and Ultra Wide. Rich language support, which includes Cyrillic and spans 131 language ovarall, makes Otoiwo Grotesk a worthy choice for brands that strive to reach international audience.

Quida Rough is a textured display family with three styles; Regular, Italic and Script. The personality of the design comes the rough, worn outlines and concave vertical shapes, which are consistent through all styles. This makes them work together seamlessly. Quida Rough Script is packed with opentype goodness such as swash caps, stylistic alternates, ligatures and ending forms for lowercase letters. All styles have an extended language support for most European languages.

Contax Pro is a contemporary design based on generous proportions and clean, crisp lines. Forget about 'Helvetica'. Look out 'Univers'. Contax Pro is the new geometric sans typeface series for the 21st century. Contax Pro makes for easy reading and is ideal for long lines of copy. Contax Pro includes true drawn small capitals and old style figures. The family comes in 6 weights: ultra light, thin, light, regular, medium and bold.

Praho Pro is a part of Warsaw Types – a project based on Warsaw’s local typographic heritage. The project, presented at the Museum of Praga, is a collaboration of 12 young Polish typographers. Praho Pro Stencil is a multilingual family inspired by the unique, historical character of Praga district of Poland's capital - Warsaw. High contrast, thin serifs, sharp terminals and large x-height are key features for distinctive headlines. Now available as a stencil version!

The name of this typeface is a hymn to the Stadio Olimpico in Rome. The home arena to the World's most beautiful football club – AS ROMA. A club with many great players through the years. The biggest of them all, is already a living legend… Francesco Totti. The design is a 2-weight family perfect for elegant display work. The regular weight is more even in blackness while the bold weight carry more contrast.

French type designer Xavier Dupré created this script FontFont in 2002. The family has 5 weights, ranging from Light to Black and is ideally suited for advertising and packaging, festive occasions as well as sports. FF Jambono provides advanced typographical support with features such as ligatures, alternate characters, and case-sensitive forms. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

Ornata B is the second of a series of old ornaments that I am trying to save from oblivion. I am not just scanning these, I am completely redesigning the ornaments from scratch, thereby eliminating imperfections. These ornaments have been first designed by the Elzevier printer family from the Netherlands. The designs date back til the 17th century and I think they just had to be saved. Your digitizing type-designing savior, Gert Wiescher

Veritas is a serif text family. It is a narrow-width typeface, with a taller x-height than Times Roman for added legibility, but maintains a similar character count in text. It is typeface designed for publication, newspaper (anywhere where narrow columns are necessary) and identity design. It is exquisitely spaced and kerned, even in European characters. The Digital Type Review states "...Veritas is one of the most important contributions ... from any independent foundry."

Mithella is a sans serif family with a pleasant touch. Some letters, especially linear ones, look normative like other rounded sans serifs, but the difference can be seen clearly in curved letters so that it gives a pleasant impression for each series of words. Mithella comes with eight weights ranging from thin to black to complement your design needs be it branding, blogging, logos, advertising, games, cooking, packaging, editorial and publishing, web and screen design.

An elegant geometric linking script that uses OpenType programming to intelligently substitute "beginning" and "ending" characters with uniquely designed variants. The family also includes swash alternates that can be toggled on or off in the Opentype panel. (Note: Please view the image above for correct end and beginning letters as they will appear in Indesign, Illustrator, etc. The Myfonts previews below are not Opentype savvy, and so these specially designed versions do not substitute themselves.)

Sigmund PRO is a visual journey around Poland. The main style is inspired by the Polish road signage typeface – designed by Marek Sigmund. With the increase of weight, Sigmund turns into a geometric display – in the spirit of vernacular typography from the signs of Polish streets. Thanks to this span of styles Sigmund will work both in visual identifications and posters. The family consists of 18 varieties and has many alternative characters.

Recht is a geometric sans with much attention to curvature compensations, classifying between classic geometric sans-serif typefaces and neo-grotesques. The family contains 10 weights with corresponding italics, Cyrillic script with inclusion of Ukrainian Cyrillic, and a bunch of OpenType features. Recht has a closed aperture and is extremely versatile, working exceptionally well in both headlines and long text paragraphs. You can use stylistic sets for added geometric or humanist flavour.

A pair of scissors and a bunch of papers; that is the foundation of Paper Cuts. It’s available in two different styles, Paper Cuts and Paper Cuts Black. The black version was the first stage in the progress and Paper Cuts is the second one where the negative space appears. Also, you get Paper Cuts Ornaments for free. It dilates your possibilities further. Buy them separately or in a “Nice Price” family set.

Adero is a futuristic and versatile display font family designed to meet the needs of modern design projects. With its wide and minimalist style, Adero offers designers a unique blend of futuristic and functional design elements that make it a perfect choice for a wide range of applications. Featuring nine weights, from Thin to Black, and matching obliques, Adero provides designers with a wide range of options to choose from when creating designs. The font’s letterforms are carefully crafted with attention to detail, resulting in a modern, clean look that is both attractive and easy to read. Adero’s minimalist design makes it ideal for a variety of design applications, including branding and logo design, product design, advertising, web and various digital design. The font’s wide proportions and large x-height make it a great choice for bold and attention-grabbing designs, while its sleek and functional style makes it perfect for more understated design applications. Whether you’re creating a futuristic poster or a sleek website design, Adero is a versatile and powerful tool that can help you achieve your design goals. With its unique blend of wide proportions, minimalist design, and futuristic style, Adero is an excellent choice for any modern design project.

The Syncopate Pro Family is a unicase design where the traditional lowercase x-height has been abandoned and a single uppercase height rules the design of all of the alpha and numeric glyphs. Some uppercase glyphs are copied to their lowercase slots, where other lowercase glyphs such as the a, e, and r, are scaled up to uppercase heights. This motif allows for a vast array of typesetting possibilities. A modern and stylish sans inspired by the many trendy sans serif typefaces that are prevalent today, the Syncopate Pro Family, primarily intended for display and headline use, also works well for limited text runs. The thin and regular weights and wide body impart a certain level of elegance, while the unicase approach keeps the look lively and fresh. The bold weight imparts a powerful substantiality, lending a strong corporate presence to any design. Opentype features include: - Stylistic Alternates for a collection of alternate Small Caps - Full set of Inferiors and Superiors for limitless fractions - Lining and Proportional figure sets

Broadside is a versatile, authoritative and functional family inspired by the sans serifs seen on ’40s and ’50s patriotic posters and period advertising. It is available in seven weights across condensed, normal and extended widths, each with reweighed italics. The type from this period was very often hand-drawn, and so differs considerably from poster to poster. Many American examples of this period use a Photo-Lettering style called Murray Hill and its derivatives, although their UK counterparts, designed by such luminaries as Abram Games or Tom Eckersley, are more stylistically diverse. Even though no single model is available to base a digitisation on, there are certain recurring stylistic quirks that give the type its unique flavour, and so the most interesting examples from several sources were be combined for the final family. Alternate short descenders, allowing for tighter line spacing, can be toggled on or off in the Opentype panel of Indesign or Illustrator. Tabular and lining numerals and a single-story ‘a’ are also available in all weights and styles.

Introducing Mullingar, our latest submission to the display typeface’s world library. Heavily inspired by the letters that are used in old/classic advertisements and signpainting culture, with a little magic touch of modern twist to keep this family relevant. Mullingar letterforms were built from bold and blocky base, unique serif combinations, clean plus smooth curves, and sharp edges. Available in six styles (Regular, Bold, Light, plus Slanted in each version), that guaranteed to give you joy in designing. Mullingar family is a reminiscent of retro sign painting, featuring a rustic architecture that makes it quite at home in a wide variety of design themes. Its blocky characters are best used in bold signage, headlines, advertising, logo designs, product packaging, merchandise, apparel, posters, album artwork, book covers, titling, etc. This typeface also provides additional versatility through OpenType feature, offering discretionary ligatures, standard ligatures, and stylistic alternates. It extends multilingual support to Basic Latin, Western European, Euro, and Pan African Latin languages for design projects intended for an international audience.

German type designer Ingo Preuss created this family between 2014 and 2016. Instance is a new classic built on the foundation of over two centuries of history. Fresh and contemporary, while feeling familiar. This typeface is a high contrast sans serif typeface family and was designed for contemporary typography, especially for use in headlines and on posters, but also for reading purposes. A flexible, medium to high contrast, sans serif less about designing a stylish decorative design and more about applying contrast onto a neo-grotesk skeleton. Instance is more than just chopping off the serifs. The classical proportions of the capitals and x-heights were maintained, but the letterforms were rebalanced for use without serifs. Contemporary modifications were made to some widths, as well as an all new Light weight was created. Please note: Instance STD Office Packages is only as TrueType (* .ttf) and Standard-Version. Also, the character set has been reduced to Standard (without OpenType-Features, SmallCaps, old style figures, etc.). Ideal for testing and for Microsoft Office applications.

AmpleNuSoft is a display type family derived from the AmpleNutypeface by softening the edges. It has optical mono-linear stroke and a bit squarish form in nature. It has a seamless stroke movement instead of sharp angles formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which help to elaborate and emphasize the message. It is graphically strong and commands the viewer's attention. The overall appearance of type is suitable for setting and using it as heading, title, headline, logotype, etc. The type family consists of twelve styles which include six upright weights and their italics. AmpleNuSoft has a bit more squarish counters and angles than Ample typeface, it even has straight terminals while Ample has a slight curve. In addition to this, few characters have some major or minor changes and the letter ‘g’ plus ‘y’ and their respective diacritics have alternate style variations. AmpleNuSoft is designed by Aakash Soneri during the period between 2020-2021.

The thing is that many sans-serif typefaces are usually intended for universal usage. But sometimes faces that work fine in body text look not so good in large point sizes for display purposes when all the contrast in non-contrast sans-serif, or ink traps, become visible to the naked eye. Every designer solves this problem in his own way. We offer a drastic solution in our Stem: a sans-serif with optical sizing. The first part of the type family, Stem Display, is for use in largest point sizes, from 36 pt indefinitely. Stem Display consists of 12 faces of widths from Hairline to Bold, and it has true italics. The development of Stem type family will include Stem Text for body text and “traditional”, universal use, and Stem Caption for small point sizes. Stem is a geometric sans-serif with semi-closed aperture, large x-height and modern proportions of uppercase letters, like in famous Avenir and Gotham. Its important feature is a professionally designed and carefully tested Cyrillic glyph set.

A typeface of grace, power and exceptional versatility, the Slate collection is a truly beautiful design that achieves stellar levels of readability, both in print and on screen. Created by the award winning type designer Rod McDonald, this six-weight sans serif family is a rare example of sublime aesthetics meeting world-class functionality. The typeface’s legible letterforms embody an amalgam of the best traits of both humanistic and grotesque letterforms. “I didn’t want a face with an ‘engineered’ look, or with any noticeable design gimmicks or devices,” admits designer McDonald. “I wanted a pure design. I confess that I was ruthless with any character that wanted to stand out from the rest.” The Slate collection is available in six weights with complementary italics, with slight changes in structure from the light to the black weights. Its light weight is reminiscent of early American sans. Whether for use in display work or in longer-form settings, few typefaces possess the beauty and power of this design, leaving the Slate family an excellent addition to any designer’s typographic quiver.

Rig Shaded is an award-winning 3D type family with a geometric sans serif at its heart. As its name suggests, Rig is designed as a framework to support a range of striking 3D effects. It has four versatile weights including a unique ‘zero’ weight. Each has two grades of distinctive halftone shading, Fine and Coarse, which emphasises Rig’s solid appearance. Rig developed from my quest to find ideal letter shapes for a shaded typeface while retaining their geometric principles and legibility. Each character has been designed to ensure maximum clarity and harmony when combined with 3D effects. The extrude and shaded styles have been handcrafted to produce a consistent weight and tone. Rig’s character set includes 230 glyphs, supporting 198 languages, including all Western, Central and South Eastern European languages. You can buy individual weight packs of Rig Shaded or the entire family for a discounted cost. See the full specimen for Rigs design features, additional examples and tips on using the typeface. Note: Rig’s shading styles have a high level of detail so may process more slowly in some applications.