Originally handdrawn, and then digitized by hand. But carefully keeping the characteristics of the handmade lines. Mugpie has that happy-go-lucky feeling to it - use it for your posters, postcards, packaging, wrapping - anything that could need a fresh breath of funkadelic comic boost! :)

A bold grotesque typeface in the best traditions of the Star Wars logo. It has clean geometric lines, a humnaist character, it combines a tech feeling with a friendly organic feeling. Will work excellently as a white text on a busy background.

Neubau is a condensed geometric display typeface, designed in 2009. The inspiration for this face came from Joost Schmidt lowercase letters developed during 1925-28 in Bauhaus Dessau. Schmidt was one of the proponents of New Typography – a movement advocating the use of only lowercase letters which were constructed strictly geometrically using only ruler and compass. Neubau Pro is the new edition of Neubau fonts. The new typeface is an upgraded version of an old fonts (2009), with careful refinements to glyph shapes, and the extension of glyph amounts which enabled support of more Latin languages as well as Greek and Cyrillic languages. Neubau Pro is released in six styles with small caps, and true italics, and contains OpenType features. This typeface can be used for editorials and print designs.

Quarion is a clean, neo-humanist sans with a contemporary geometric approach. Its design started as an exploration of geometric fonts from the early 20th century, like Futura, Neuzeit Grotesk or Recta which allows the typeface to generate an inviting but sophisticated feel on the page. Although, less contrasting, geometric designs have been quite popular around type designers until today, Quarion finds its niche by combining circular elements with a medium stroke contrast, resulting in a versatile and robust workhorse for any analog or digital application.

Prepare to be entranced by the unparalleled allure of Grivas, a serif display font that redefines typographic elegance. Each letter of Grivas is a work of art, meticulously crafted with two distinct outlines that harmoniously coexist. One outline boasts a refined delicacy, evoking a sense of timeless sophistication, while the other exhibits bold strokes that command attention and add a modern twist. For the best legibility use this font in the bigger text sizes.

One of the classic old German large x-height Grotesques revised and still in use, identifiable by the rounded form of certain diagonal strokes.

ZT Grafton is a neo-grotesque typeface based on geometric shapes with contemporary, friendly, and strong emotion. ZT Grafton was built from scratch to be calm, smooth, and clean, while subtle humanist influences add warmth to this typeface. It's available in 8 weights and includes the exciting variable font format.

Introducing, Lunette Typeface. It's strong and classy with an elegant touch of typeface. A unique modern font that is a mix of old and new. Lunette boasts 3 stunning styles, with beautiful upper and lower case letters, numbers, and punctuation marks. Lunette Typeface is perfectly suitable for a layout design for quotes or body copy, best used as a display for headings, logos, branding, magazines, product packaging, invitations: logotypes, and much more. Don't wait to add this font to your collection and explore the uniqueness of this typeface! Features : All Uppercase and Lowercase Number & Symbol Supported Languages Ligatures PUA Encoded

LP Cervo is a typeface designed by German type designer Peter Langpeter. LP has been running his own design studio since 1995, working as a typeface and logo designer, as a calligrapher, cartographer and illustrator. During this time LP created a large number of excellent new typeface designs. With its styles Grotesk, Lapidar, Semiserif and Serif the LP Cervo is well suited for various design possibilities

Reaktif type family has been created with a new and modern approach to the popular geometric sans serif type. It has a very legible, multifunctional, contemporary and dynamic design. Sharp-angle details in minuscule letters “a, b, d, f, g, m, n, p, q, r, t, u” boosts its' characteristics in the Reaktif font family. Reaktif type family contains 24 fonts and 550+ glyphs. Stylistic alternatives come with 30+ ligatures and many opentype features. It can meet your needs in many medium such as Reaktif branding, editorial, web and printing.

Type/Usage: Technoid Display Font for spacecraft visual identification in high and low gravitation. Mixes well with all other kinds of GROTESKES.

Introducing Monto Screen – the latest addition to the Monto superfamily, distinguished by its rational and meticulously constructed aesthetic. This new sub-family complements the success of Grotesk and Grotesk Display while offering a fresh take on Monto's design principles. Monto Screen is purposefully crafted for the digital era, ensuring unparalleled legibility and visual clarity on screens of all sizes. Its stroke endings align precisely at 90 and 0-degree angles, and its rounded shapes feature carefully designed verticals, creating a clean and harmonious structure. Through its rational construction, Monto Screen exudes a very trustworthy feel and established aesthetic, embodying a sense of reliability and timeless elegance. Its cap height aligned to the ascenders presents a unique choice that sets it apart, making it a compelling and distinct addition to the Monto superfamily. Embrace the future of typography with Monto Screen – a modern and rationally designed typeface that sets new standards for clarity and readability on digital platforms.

This font is an orphanage where all the beautiful details of classical grotesque typefaces from the early twentieth century are gathered, and thus living together, are forming a ‘new’, happy family. The aim was to collect my favorite characters in one font. The start was an eclectic collection orientated on British types from the Caslon Doric No. 4, the Monotype Grotesque, the Gill, the Franklin Gothic up to the Transport. In this amalgamation I avoided the narrow apertures in the ‘e’, ‘c’ and in the numerals ‘5’, ‘6’ and ‘9’ and enlarged the x-height dramatically. To the classical slanted form of the italics I added real italic forms for ‘a’, ‘e’ and ‘g’ in order to obtain a more distinguished italic style. DF-Dejavu Pro supports all Latin-based languages (Western, Central-European, Eastern-European, Baltic and Turkish) and includes small capitals, ligatures, inferior & superior numerals and letters, fractions, various numeral styles: proportional lining, tabular lining, proportional old-style, tabular old-style and last but not least a slashed zero.

The idea of a brand-new grotesk is certainly rather foolish – there are already lots of these typefaces in the world and, quite simply, nothing is more beautiful than the original Gill. The sans-serif chapter of typography is now closed by hundreds of technically perfect imitations of Syntax and Frutiger, which are, however, for the most part based on the cool din-aesthetics. The only chance, when looking for inspiration, is to go very far... A grotesk does not afford such a variety as a serif typeface, it is dull and can soon tire the eye. This is why books are not set in sans serif faces. A grotesk is, however, always welcome for expressing different degrees of emphasis, for headings, marginal notes, captions, registers, in short for any service accompaniment of a book, including its titlings. We also often come across a text in which we want to distinguish the individual speaking or writing persons by the use of different typefaces. The condition is that such grotesk should blend in perfectly with the proportions, colour and above all with the expression of the basic, serif typeface. In the area of non-fiction typography, what we appreciate in sans-serif typefaces is that they are clamorous in inscriptions and economic in the setting. John Sans is to be a modest servant and at the same time an original loudspeaker; it wishes to inhabit libraries of educated persons and to shout from billboards. A year ago we completed the transcription of the typefaces of John Baskerville, whose heritage still stands out vividly in our memory. Baskerville cleverly incorporated certain constructional elements in the design of the individual letters of his typeface. These elements include above all the alternation of softand sharp stroke endings. The frequency of these endings in the text and their rhythm produce a balanced impression. The anchoring of the letters on the surface varies and they do not look monotonous when they are read. We attempted to use these tricks also in the creation of a sans-serif typeface. Except that, if we wished to create a genuine “Baroque grotesk”, all the decorativeness of the original would have to be repeated, which would result in a parody. On the contrary, to achieve a mere contrast with the soft Baskerville it is sufficient to choose any other hard grotesk and not to take a great deal of time over designing a new one. Between these two extremes, we chose a path starting with the construction of an almost monolinear skeleton, to which the elements of Baskerville were carefully attached. After many tests of the text, however, some of the flourishes had to be removed again. Anything that is superfluous or ornamental is against the substance of a grotesk typeface. The monolinear character can be impinged upon in those places where any consistency would become a burden. The fine shading and softening is for the benefit of both legibility and aesthetics. The more marked incisions of all crotches are a characteristic feature of this typeface, especially in the bold designs. The colour of the Text, Medium and Bold designs is commensurate with their serif counterparts. The White and X-Black designs already exceed the framework of book graphics and are suitable for use in advertisements and magazines. The original concept of the italics copying faithfully Baskerville’s morphology turned out to be a blind alley. This design would restrict the independent use of the grotesk typeface. We, therefore, began to model the new italics only after the completion of the upright designs. The features which these new italics and Baskerville have in common are the angle of the slope and the softened sloped strokes of the lower case letters. There are also certain reminiscences in the details (K, k). More complicated are the signs & and @, in the case of which regard is paid to distinguishing, in the design, the upright, sloped @ small caps forms. The one-storey lower-case g and the absence of a descender in the lower-case f contributes to the open and simple expression of the design. Also the inclusion of non-aligning figures in the basic designs and of aligning figures in small caps serves the purpose of harmonization of the sans-serif families with the serif families. Non-aligning figures link up better with lower-case letters in the text. If John Sans looks like many other modern typefaces, it is just as well. It certainly is not to the detriment of a Latin typeface as a means of communication, if different typographers in different places of the world arrive in different ways at a similar result.

Argot is inspired by condensed grotesque letterforms and would be a monolinear sans except for an unorthodox disparity between inner and outer shapes. Elegantly curved outlines contrast starkly with austere rectangular counters, suggesting a no-frills functionality, 20th century modernism, or an unsettling discordance. The squared off inner spaces also add clarity and crispness. Argot is available in three widths — Wide, Normal and Narrow. Each width is supplied in three weights — Regular, Bold and Black — with corresponding italics (obliques).

The idea was to find common intersections between the humanistic and the neo-grotesque model of sans. This variable font offers everything from the world of sans serif in one place – a broad range of weights, adjustable contrast, and a lot of alternative glyphs. As a bonus, you can choose the “cold” or “warm” impact of the text. The Cosan Cold variant has closed apertures and minimal tension in the manner of Helvetica, and the Cosan Warm is open, more dynamic, and airy. Cosan is very suitable for a parallel bilingual setting, as both types are equivalent in their proportions and text color. Like Yin and Yang, each has a piece of the other in him. The Warm version is not totally dynamic, nor is the Cold version totally rigid.

Flaunters is a sans serif neo-grotesque font with neat and beautiful letters. This font family comes with 14 fonts, consisting of 7 upright weights and matching italics, with 390+ characters. Flaunters is very suitable and looks amazing in designs such as posters, advertisements, banners, or your formal and non-formal design needs.

Claspo ND is a contemporary neo-grotesque display typeface that gets more vigorous as its weight increases. It comes in 6 styles and has a variable typeface — with full Latin Plus language support. Features: Stylistic Sets + Alternates Contextual Alternates Standard & Discretionary Ligatures Case-Sensitive Forms 495 Glyphs/Style Fractions Tabular Figures Icons & Arrows

Blackwood is a sans serif headline face with a woodgrain effect. Based loosely on Grotesk, it has strong, solid forms with distinctive style.

FF Real is a convincing re-interpretation of the German grotesque style from between 1998 and 1908, but with much more warmth and improved legibility as well as a hint towards the warmer American grotesques. Later on, not just slanted styles, but a “proper” italic version was added inspired by the way Roman and Italic are distinguished in traditional serif faces. NEW: a specially created set of obliques were added in 2018 to give designers more design flexibility, for those looking for a less calligraphic look. In 2020 the family was extended with matching condensed weights. FF Real was originally conceived by Erik Spiekermann as one text weight and one headline weight to be used as the only faces in his biography ‘Hello I am Erik’, edited by Johannes Erler, published in 2014. While Spiekermann drew the alphabets, he passed on the font data to Ralph du Carrois and Anja Meiners who cleaned it up and completed it. In the meantime, FF Real has been extended to a family of two styles and 65 weights each. The design of FF Real is rooted in early static grotesques from the turn of the century. Several German type foundries – among them the Berlin-based foundries Theinhardt and H. Berthold AG – released such designs between 1898 and 1908. The semi-bold weight of a poster-size typeface that was lighter than most of the according semi-bolds in metal type at the time, gave the impetus to FF Real’s regular weight. In the words of Spiekermann, the historical example is “the real, non-fake version, as it were, the royal sans serif face“, thus giving his new typeface the name “Real” (which is also in keeping with his four-letter names, i.e. FF Meta, FF Unit). FF Real is a convincing re-interpretation of the German grotesque style, but with much more warmth and improved legibility. With a hint towards the warmer American grotesques, Spiekermann added those typical Anglo-American features such as a three-story ‘g’ and an ‘8’ with a more defined loop. To better distinguish characters in small text sizes, FF Real Text comes in old style figures, ‘f’ and ‘t’ are wider, the capital ‘I’ is equipped with serifs, as is the lowercase ‘l’. What’s more, i-dots and all punctuation are round.

FF Real is a convincing re-interpretation of the German grotesque style from between 1998 and 1908, but with much more warmth and improved legibility as well as a hint towards the warmer American grotesques. Later on, not just slanted styles, but a “proper” italic version was added inspired by the way Roman and Italic are distinguished in traditional serif faces. NEW: a specially created set of obliques were added in 2018 to give designers more design flexibility, for those looking for a less calligraphic look. In 2020 the family was extended with matching condensed weights. FF Real was originally conceived by Erik Spiekermann as one text weight and one headline weight to be used as the only faces in his biography ‘Hello I am Erik’, edited by Johannes Erler, published in 2014. While Spiekermann drew the alphabets, he passed on the font data to Ralph du Carrois and Anja Meiners who cleaned it up and completed it. In the meantime, FF Real has been extended to a family of two styles and 65 weights each. The design of FF Real is rooted in early static grotesques from the turn of the century. Several German type foundries – among them the Berlin-based foundries Theinhardt and H. Berthold AG – released such designs between 1898 and 1908. The semi-bold weight of a poster-size typeface that was lighter than most of the according semi-bolds in metal type at the time, gave the impetus to FF Real’s regular weight. In the words of Spiekermann, the historical example is “the real, non-fake version, as it were, the royal sans serif face“, thus giving his new typeface the name “Real” (which is also in keeping with his four-letter names, i.e. FF Meta, FF Unit). FF Real is a convincing re-interpretation of the German grotesque style, but with much more warmth and improved legibility. With a hint towards the warmer American grotesques, Spiekermann added those typical Anglo-American features such as a three-story ‘g’ and an ‘8’ with a more defined loop. To better distinguish characters in small text sizes, FF Real Text comes in old style figures, ‘f’ and ‘t’ are wider, the capital ‘I’ is equipped with serifs, as is the lowercase ‘l’. What’s more, i-dots and all punctuation are round.

Generisch - a german equivalent of generic - sans serif typeface has gain its own place among designers and earn such popularity due to its "simple" design. Generisch is influenced by early grotesk typefaces from early 1900's when sans was starting to get popular and used as a body type. Some old ligatures such as ch ck and ng are present in generisch (not the ct and st tho), old style numeral for better typesetting experience and more.

Designed after the sixties neon sign of an arthouse cinema in downtown Zurich, Studio 5 is now a typeface for many applications. The three different styles include old style numbers and alternate characters for titling. All styles have the same metrics. Bold and open styles can be layered for neon sign effects.

Neue Reman Grotesk It has 70 font styles in total family + 1 Variable. This typeface is designed to be used very practically. Each style can be changed easily. Has a variety of alternative letters that can be selected to make typography designs more attractive. The family comes in 7 weights with matching italics + Variable Font File and includes multilingual latin pro characters. 1. Extra Light - Condensed - Expanded - Slanted Italic 2. Light - Condensed - Expanded - Slanted Italic 3. Regular - Condensed - Expanded - Slanted Italic 4. Medium - Condensed - Expanded - Slanted Italic 5. Semi Bold - Condensed - Expanded - Slanted Italic 6. Bold - Condensed - Expanded - Slanted Italic 7. Heavy - Condensed - Expanded - Slanted Italic Neue Reman Grotesk contains 750 glyphs, a Latin Pro Fonts. This is the second version of Neue Reman Family. Complete with Stylistic Alternates, Stylistic Set, Caps Swashes Letter, Standard Ligatures, Discretionary Ligatures, Tabular Figures, Proportional Figures, Superscript, Subscript, Scientific Inferiors, Fractions, Ordinals, Arrows and a variety of figures and fractions. Neue Reman typeface suitable to use in multipurpose projects such as on websites, systems, printing, embedding, servers, screens, display, digital-ads, branding, logos, titles, headlines, teks, and everything else. Need something else? Get in touch with us on propertype.foundry@gmail.com Thank you

Put on your climbing boots and go on an adventure! Climbing Nevis is a modern condensed display font which comes in 3 exciting styles. With big, bold characters, Climbing Nevis is a perfect choice for headings, branding, signage, advertising, magazine layouts and much more! Working on an adventure themed project? Try Climbing Nevis Rough for a rugged, outdoor look. FEATURES Uppercase and lowercase letters Numbers, punctuation and symbols Multilingual support

Single Fighter is a supercharged, street-wise brush font bursting with energy. With extra attention to quick strokes and sharp details, Single Fighter is guaranteed to deliver an unapologetically loud & fast-paced message; ideal for logos, apparel, quotes, product packaging, or anything which needs a typographic turbo-boost.

Romanus is a classic font with strong characters, ideal for logos, event titles, quotes, magazines, product packaging, or anything that requires a classic style boost. Romanus offers international languages ​​and characters. Type a-z using this font, and you will get a unique font arrangement and strong characters.

Giving a stencil treatment to a classic wood type sans serif grotesk design, Wood Stencil JNL is available in both regular and oblique versions.

Introducing Logisco - a sleek and versatile display font family that combines modern geometry with a retro-cool vibe. This six-font collection boasts soft, rounded corners that add a dash of playfulness to any project. Logisco Light, Regular, and Bold offer a range of weights to fit any typographic need, while the Stencil variations add a unique edge to your designs. Whether you're creating sleek logos or funky posters, Logisco has you covered with its stylish and versatile letterforms.

"Introducing Little Merry — the bubbly, round typeface that adds a touch of whimsy to your design endeavors! This fun and friendly script font boasts a bold style, perfect for sparking creativity in your projects. Whether you're crafting T-shirt designs, phone cases, greeting cards, invitations, mugs, or anything else you can imagine, Little Merry is here to infuse your creations with charm. Let your designs come to life with this delightful font and unleash your creative spirit!"

Funky Retrovy is a groovy and energetic font that perfectly captures the essence of retro nostalgia. With its funky and whimsical letterforms, this typeface exudes a vibrant and carefree spirit reminiscent of the colorful era it celebrates. Each letter boasts bold and playful curves, inspired by the iconic designs of the past. Funky Retrovy adds a touch of fun and funkiness to any project, making it ideal for eye-catching posters, vibrant branding, and retro-themed party invitations.

Introducing Boxtoon, a lively comic font with a bold, modern-retro twist. Bursting with fun, it seamlessly blends the nostalgia of classic cartoons with a contemporary edge. Boasting 16 versatile styles, this multilingual marvel supports Cyrillic characters. Perfect for dynamic displays, comics, posters, book covers, and playful designs like t-shirts, games, and digital crafts. Embrace the whimsical charm that Boxtoon brings to kid's books and beyond—an all-in-one font for your creative adventures! **Uppercase

Introducing Nebula Swirl, a modern and elegant font that mesmerizes with its captivating wavy shapes and smooth edges. This typeface is a true embodiment of expressiveness and boasts a strong personality that demands attention. Nebula Swirl's unique design merges fluidity with precision, resulting in a font that effortlessly balances grace and strength. Its dynamic and swirling curves create a sense of movement, as if the letters are gracefully dancing across the page. Perfect for creative and eye-catching designs, Nebula Swirl adds a touch of intrigue and sophistication to any project. Whether used in headlines, logos, or editorial layouts, this font commands a presence that is both bold and alluring. Let Nebula Swirl unleash its magnetic charm and elevate your designs to new celestial heights.

The typeface was baptized as “Caldense" in order to honor the city of Caldas da Rainha, a small city in Portugal, the typography's birth place. It has three weights, Regular, Demi Bold and Bold and it is a stencil font, sans serif and grotesque. Each character was based on a grid and was built in modules, having round edges and straight finishes. The font is best used in titles.

Posterman is a cool sans-serif typeface. With tall letterforms in a grotesque appearance, this legible typography is a lettering for neo-classic headline or clean logotype. The Posterman font family consists of Regular, Bold and Black, and each weight as Italic, totalling in six styles. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.