Crisp and clean with a non-traditional italics, Euroika is a decorative, serifed alphabet. The letters have high contrast between the thick and thin strokes and the lower-case letters have a small x-height. The family consists of ten members.

Colabero is a minimal and neat sans serif font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out! Only Upper case characters.

Nextrue font is a sans serif font with a sleek and sporty look. This font is shaped as a professional multipurpose font with a strong look in upright and a dynamic look in slant letter. You can use it in modern youth design, adventure, hobbies and sports. This font is perfect for a variety of projects, such as branding, poster displays, logo design, magazine covers, product labels, clothing and more. This font is perfect for taking your designs to the next level! Nextrue fonts feature opentype, kerning, ligatures, and alternative styles packed in 12 fonts (Condense, Extend, Slant). Nextrue fonts include uppercase, lowercase, numbers, punctuation and multilingual support.

Abrade is a geometric sans serif with rational design choices for contemporary functionality. The family is designed with a medium x-height to provided great legibility in both display and text sizes. The forms are refined to work well in print and on screen. The italics maintain the rational forms, with only the essential structural changes. With 12 weights, the family is ideal for publications, digital media, corporate systems, branding, as well as your band’s gig poster. Abrade is equipped with extended language support, including Extended Latin, Greek, and Cyrillic. Features include: stylistic alternates, small caps, figure sets, and lots of OpenType features to keep designers happy.

Koya Sans is a contemporary, humanist sans with a friendly yet clear and distinct personality. It is designed for excellent legibility, particularly for long continuous reading. The sharp terminals add liveliness and variety to the carefully crafted letterforms. Koya Sans, a highly versatile type family consisting 12 styles that are designed to work equally well on paper and on screen. The family ranges from Thin to Black variations, with complimenting italics. Inspired by a trip to the Buddhist temple of Kōyasan south of Osaka, Japan, this carefully crafted sans serif typeface with its sharp terminals loosely emulating the sharp corners of the temple’s pagoda roof.

Masiva font family has been designed for Graviton Font Foundry by Pablo Balcells in 2018. It is a geometric sans serif typeface with carefully crafted curves that provide a soft and pleasant appearance. Its universal shapes make it suitable for any kind of project, text length and size. It can be used as a powerful display typeface in big sizes. Also, thanks to its legibility, it can be used in long body texts in very small sizes and everything in between. It performs just as well in classic style projects as in contemporary or modern ones. Masiva consists of 12 styles, each containing small caps and glyph coverage for several languages.

Bestagrach - Unique Ligatures Connected Serif is an elegant and font that uses ligatures to smoothly link letters. Perfect for adding a unique twist to word-mark logos, monograms or pull quotes. Bestagrach has 12 ligatures as well making it super fantastic. Ligature can be turned off if required standard writing needs. What's Included : Standard glyphs Ligatures International Accent Works on PC & Mac Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support Image used: All photographs/pictures/vectors used in the preview are not included, they are intended for illustration purposes only.

Another in the series of competent IBM serifed typewriter faces, this one from Howard Kettler in Lexington in 1956.

Another in the series of competent IBM serifed typewriter faces, this one from Howard Kettler in Lexington in 1956.

London-based designer David Quay designed ITC Quay Sans in 1990. One of the precursors to the long run of functionalist European sans serif faces that has been a dominating force in type design since the 1990s, ITC Quay sans is based on the proportions of 19th Century Grotesk faces. Grotesk, the German word for sans serif, defines an entire branch of the sans serif movement, which culminated in the 1950s with the design of Helvetica. ITC Quay Sans is made up of very simple, legible letters. The weights of the strokes throughout the alphabet vary very little. Microscopic flares on the ends of each terminal add a bit of dimension to the design. This helps prevent the onset of the monotony, a danger when one repeats countless near mono-weight stroked letters throughout a large body of text. ITC Quay Sans is a very readable face; it works equally well in all sizes. Six fonts of the ITC Quay Sans typeface are available: Book, Book Italic, Medium, Medium Italic, Black, and Black Italic. ITC Quay Sans is similar to Hans Eduard Meier's Syntax, and Tim Ahrens' Linotype Aroma."

Goldplay is based on Isidora Sans design yet features rounded shapes. Its rounded, soft terminals give it a friendly and expressive look, and its modern and contemporary style as well as its classic proportions make it an excellent choice for headlines, logotypes, branding, books, magazines, motion graphics, and use on web and Tv. One of its key features is a large x-height which make it look elegant and classy. Goldplay comes in 2 versions—each in 7 weights, from Thin to Black, and matching italics, resulting in a total of 28 fonts. The standard sans serif version—fresh, clean and contemporary—is a perfect choice for editorial and corporate design, headlines, books, magazines or any other piece of graphic design. The Alt semi-serif display version—more expressive and modern—is ideal for logotypes, branding, packaging, and use on web and Tv. Goldplay contains a set of 540 characters that support over 200 Latin-based languages.

Hejira means “rupture” and this concept was the primary principle that guided the creation of this typeface: to escape conventions and take up the challenge of designing letters with an unusual and fresh approach. Unlike traditional typefaces, each member of this somewhat atypical family has its own distinct personality and formal features. A thin, spiky font that looks like its sharp serifs could pierce through. A more experimental sibling, based on the same skeleton but taken to the extreme, that is best suited to setting big titles. An odd-one-out, sans-serif style whose shapes mimic those generated by the movement of a calligraphic pen. And a quirky fat-face with a flair for combining round curves with pointy elements. Regardless of how different they may be, all four styles feel part of the same system and can be used alongside each other seamlessly. The Hejira set includes multiple ligatures and supports a wide variety of Latin alphabet-based languages.

This font set is based on the handwriting styles of quintessential American artist Edward Hopper and his wife, Josephine Nivison Hopper, and was produced in conjunction with the Whitney Museum of American Art. Both artists kept a record of Edward's paintings in a series of journals, which provide the basis for this set. Unlike font sets which feature two similar handwriting samples of one artist, the Edward Hopper font set presents two distinct handwriting styles. The Edward Hopper font is typically masculine, with its sharp angularity, while the Josephine Hopper font presents an interesting contrast, given its elegant, rounded shape, with significantly more flourish. The extras, culled from the aforementioned journals, feature 52 Hopper sketches, which run the gamut from landscapes to nude studies.

Century Gothic™ is based on Monotype 20th Century, which was drawn by Sol Hess between 1936 and 1947. Century Gothic maintains the basic design of 20th Century but has an enlarged x-height and has been modified to ensure satisfactory output from modern digital systems. The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The Century Gothic font family is useful for headlines and general display work and for small quantities of text, particularly in advertising. The Century Gothic family has been extended to 14 weights in a Pan-European character set from Thin to Black and their Italics. The already existing 4 weights of Regular and Bold with their Italics are additionally still available in the STD character set. The W1G versions featuring a Pan-European character set for international communications supports almost all the popular languages/writing systems in western, eastern, and central Europe based on the Latin alphabet including several based on Cyrillic and Greek alphabets. Looking for the perfect way to complete your project? Check out Aptifer™ Slab, ITC Berkeley Old Style®, FF Franziska™, Frutiger®, ITC Legacy® Square Serif or Plantin®.

Brandon Text is the companion of the famous Brandon Grotesque type family. It has a higher x-height than the Grotesque version and is optimized for long texts, small sizes and screens. This sans serif type family of six weights plus matching italics was designed by Hannes von Döhren in 2012. Influenced by the geometric-style sans serif faces that were popular during the 1920s and 30s, the fonts are based on geometric forms that have been optically corrected for better legibility. Brandon Text has a functional look with a warm touch and works perfectly together with Brandon Grotesque . It is manually hinted and optimized for screens, so it will be a good choice for Websites, eBooks or Apps. The whole Brandon series is equipped for complex, professional typography with different sets of numbers, alternate letters, fractions and an extended character set to support Central and Eastern European as well as Western European Languages.

Local Brewery is a vintage inspired font collection that includes six script styles and two sans serif styles. Script styles include a ripple edged, smooth or rough version. The sans serif styles include a ripple edged or rough version. Local Brewery Script comes with lower case y, g and tail alternates. These alternates will give your designs an extra flair and uniqueness. The script and sans serif fonts work exceptionally well together. Use Local Brewery for packaging, magazines, marketing, weddings, beer labels, film and clothing.

Gyroscope is an all caps display font duo consisting of two styles - Serif and Sans Serif. Both of them can also be bought separately. Gyroscope has elegant and well balanced curves of letters perfect for logos, headlines, magazines, or even longer texts. There are selected ligatures you can use for a better look. Features: 2 Styles: Gyroscope Sans & Gyroscope Serif Basic latin alphabet A-Z 43 Ligatures & Alternates 56 Accented characters Numbers, Punctuation, Currency, Symbols, Math symbols & Diacritics Old style figures Case sensitive glyph Enjoy Gyroscope!

Earthquake font was developed for the series of handwriting fonts based on the writing samples of real people. The font delivers natural sincere touch and can magically convert any stupid advertizing text into intimate advice of your good friend. Cyrillic version was developed by Gennady Fridman in 2009.

The Vtg Stencil series of fonts from astype are based on real world stencils. These stencils were used in the 50's and 60's by the US Army. If you are interested in the current stencil design, please have a look at Vtg Stencil US No.72 .

The Phaistos series contains 47 unique characters based on the cryptichieroglyphic symbols depicted on the infamous Phaistos Disk. Measuring approximately 16cm in diameter, the Phaistos Disk was excavated in 1908 at the Minoan palace at Hagia Triada in Crete. The glyphs have not been conclusively deciphered to this day.

Potpourri was based on an energetic alphabet written by expert calligrapher Gottfried Pott. To create the elegant yet rugged strokes, Pott cut a pen with a unique fringed tip — from a drinking straw! He then produced an huge series of drafts before deciding on the final alphabet for digitization.

Lightning font was developed for the series of handwriting fonts based on the writing samples of real people. The font delivers natural sincere touch and can magically convert any stupid advertising text into intimate advice of your good friend. Cyrillic version was developed by Gennady Fridman in 2009.

The Raleigh typestyle is based on Carl Dair's original 1967, Cartier typeface. which was designed for the Canadian Centennial and the 1967 Montreal World's Fair. It was renamed Raleigh after Dair's death. Adrian Williams added three weights for a display series, and Robert Norton designed the text version.

Kiara typeface is a typeface designed for informal titles with very expressive letters. It also contains more than 12 variants (Thin, Light, Regular, Bold, Black) as letter alternatives and options such as "Black Shadow-Black Shadow Alternative".

Obelysk Grotesk was designed by the Lanston Drawing Office in the late 1980s. This face is a reconstruction of Spire (1937) drawn by Sol Hess. The skeleton of Spire Roman stands with the serifs removed. Like Spire, this font has no lower case, but does offer alternate cap styles in some of the lower case positions. Spire and Obelysk have both been used prominently in the fashion industry.

Swanville developed as part of a train font that eventually became LetterTrain. The letters of Swanville are bold, have a funny “serif” on the top but not on the bottom, and when the letters have interiors, the interior has the shape of the letter. Lower-case letters are smaller versions of the upper-case letters. Because development of this face stopped long ago, it has a limited character set.

Comicraft first created this font, based on the unique European lettering style of Ladronn, for the Marvel X-book CABLE in 1998. It was later upgraded for THE INHUMANS mini-series, and modified again for the HIP FLASK mini-series in 2002. In 2018, we Remastered it for the new LOST IN SPACE series from Legendary, with improved spacing and kerning, an additional Bold weight, and our patented Crossbar I Technology to automatically place the crossbar I in the right spots.

Sharp End fonts support Latin Based Languages only (see Tech Specs). Sharp End's creation is inspired by Gothic sharpness shape but only applied to the ends of normal letters. Make the font look beautiful and elegant, look as semi-serif, as calligraphic touch or others. The base of the Capital Characters is set a little bit lower than the small cases/lowercases. On small/normal size typing, the difference is less visible (obscure), but will be more visible/more clear as the typing set larger. Thus, Sharp End fonts will work well for both text and display. The fonts has also character variants. The character variations (in PUA) set in 5 stylistic sets ss01 ... ss05 (see Sharp End opentype features poster). So, these character variations will be easier accessible in more common application such as MS Words, Text Edit or the others. The glyphs may also be accessed via Character Map, Character viewer, insert character, insert symbol or other similar tools. You can use Sharp End for most of typing and design means such as: greeting, invitation, wedding and other cards; books, magazines, news, banners, logos, Pamphlets, advertising etc., for printing or digital/web display. As addition, with 3 weight variants, the regular will fit for longer text for normal use, while the bold and semi-bold is more suited for the covers, impressions, titling, Logos, design or other usage. With its smoothness curve and sharp ends, Sharp End will pairs well to most fonts of various kinds: Sans Serif, Serif, Handwritten, Scripts and others. As the example in one poster, Sharp End is paired with Astonice and Apresia Script (ornamented script font, one of the richest letter variations and ornaments). Thank you for visiting. Again, thank you very much for downloading this awesome fonts.

Decora one is a typographic innovation. It is the first of a series of typeface that gives the typographer and other graphic artists the possibility to use modern initials. It enables, moreover, the use of this typeface for decorative headlines and is suitable for manipulations in both vector-based and pixel-based graphic programs. Typographies in countries worldwide, whose alphabets derive from the Roman one, are dependent on such innovations in order to meet the increasing demands of modern communication. This typeface implies at the same time an enrichment of the possibilities for typographical design, which in turn increases the delight in such design. It gives me great pleasure to present this series of new typefaces to my creative colleagues worldwide.

Kevlar was initially inspired by an obscure logo discovered in a 1960s radio-fan magazine. Of immediate interest was that the upper half of the typeface appeared to be a sans while the lower half appeared as a curious blend of a slab serif imbued with a script-like quality. First came Kevlar Bold in 2003, closely followed by its text weight companion Kevlar Regular. The original source of the inspiration as then revisited to develop the third in the set, Kevlar Slab, a truly individual mix of script-like fluency with the heavy weight base of a slab serif.

Human Sans is a humanist sans serif font created as an experiment. The goal, how much a simple substitution of a small set of characters could change a font's nature. In its base form, Human Sans is a humanist sans serif geared toward text. However, through stylistic sets, it can adopt a myriad of different visual styles. This includes geometric alternates, uncials alternates, contextual swash caps, and the high and low midlines, typically seen in Art Deco lettering. These features are combinable for whatever look you may need. Human Sans comes with a full set of diacritics, in 9 weights and corresponding Italics.

Highfield is a luxury sans serif type family of three weights plus matching italics. It’s influenced by the modern and elegant style sans serif typefaces that are popular in high class editorial design. The fonts are based on geometric forms that have been optically corrected for better legibility. While the bold weight is a great performer in display sizes the light and regular wights are well suited to longer body & supporting text. Highfield is equipped for complex, professional typography. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages.

Bionik is a squarish serif, especially designed for contemporary typography on print and screen. The super ellipse-based forms and high x-height allow large and open letterforms, perfectly adapted to the pixel grid on screen. With light rounded corners Bionik provides a soft and friendly atmosphere. The font contains 6 weights from ExtraLight to ExtraBold plus true italics. 944 glyphs include 218 ligatures, small caps, tabular, old style, fractions …, and a wide range of flexibility for latin language support for every typographical needs. Bionik is a contemporary serif typeface, special for logotypes, brands, magazines and editorial.

RAMS is a Sans Serif type family of four weights with matching italics. The typeface’s design was influenced by the geometric style of Sans Serif faces of the 30s. The letter shapes – based on geometric forms – have been optically corrected for better legibility, thus enabling geometric concepts to be adapted by typographic tradition. While the typeface is intended for use in display sizes, it is also quite legible in text and is well suited for editorials. Rams is released in OpenType format with extended support for most Latin languages and includes some opentype features – proportional/tabular figures, slashed zero, ligatures, fractions...