The Verdana typeface family was designed specifically to address the challenges of on-screen display. Verdana was originally designed by world-renowned type designer Matthew Carter, and tuned for screen display by the leading TrueType hinting expert, Tom Rickner. The Verdana fonts are unique examples of type designed specifically for the computer screen.The Verdana family received a major update in 2011 as a collaboration between The Font Bureau, Monotype Imaging and Matthew Carter. The original Verdana family included only four fonts: regular, italic, bold and bold italic. The new and expanded Verdana Pro family contains 20 fonts in total. The Verdana Pro and Verdana Pro Condensed families each contain 10 fonts: Light, Regular, Semibold, Bold and Black (each with matching italic styles).Verdana exhibits characteristics derived from the pixel rather than the pen, the brush or the chisel. The balance between straight, curve and diagonal were meticulously tuned to ensure that the pixel patterns at small sizes are pleasing, clear and legible. Commonly confused characters, such as the lowercase i j l, the uppercase I J L and the number 1, have been carefully drawn for maximum individuality - an important characteristic of fonts designed for on-screen use. Another reason for the legibility of the Verdana fonts on the screen is their generous width and spacing.Designed by David Berlow and David Johnathan Ross of the Font Bureau, with typographic consultation by Matthew Carter, the new Verdana Pro includes a variety of advanced typographic features including true small capitals, ligatures, fractions, old style figures, lining tabular figures and lining proportional figures. An OpenType-savvy application is required to access these typographic features. The expanded weights and completely new condensed range of fonts provide designers with an expanded palette of typographic options for use in print and on-screen, in both small text sizes and headlines.

The Atrament font family was originally conceived in 2003 as the corporate display type family for Suitcase Type Foundry. Its original source of inspiration is the front cover of the Devetsil - Revolucni slovn’k almanac (1922), designed by Karel Teige. The lettering on this cover is a condensed sans serif with rounded stroke terminals. Atrament is significantly broader than the model and its characters are better balanced, reflecting the evolution of semi-condensed sans serifs throughout the 1960s. The horizontal strokes of both lower and upper case are less stressed than the vertical stems. Noteworthy are the unusual tiny gaps in the apex and vertex of letters with diagonal strokes, designed to prevent ink from spreading and smudging the letter shapes. This detail is one of the main features of the font's character. The general feel of the italics closely matches the strictly vertical, parallel character of the regular cut. When converting the family to OpenType the alternate character shapes from the Alternator weights were incorporated in the regular cut, which allows the user to switch selected characters from one shape to another within the same font. A number of glyphs and accents were corrected, and all the glyphs missing in the Suitcase Standard character set were added, along with the relevant kerning pairs. The individual weights of Atrament Std thus contain accented upper and lower case, small caps, alternate glyphs for most European languages, nine types of numerals, superscript characters, caps glyph versions, and much more. Its narrow proportions make Atrament the perfect choice whenever economy of space is a must. It is however not very well suited for setting long texts. Ideal for headlines and display use, it is perfect for situations where the text needs to make a great impact in a little space.

Ferguson is a geometric slab serif which made with a mono-line concept and versatile style. Inspired by old western and magazine designs. Ferguson has a straight and consistent line to give neat looks. Ferguson is made for editorial and formal purposes. but still flexible to use it in other typographic projects. This font family has 6 weights and 2 widths that gives you many options on your designs projects. - Regular versions: Comes from Light, Normal, Medium, Bold, Black, and Ultra Black. Very recommended for editorial use such as body text, sub-headline, and tagline. The bolder weights are goods for headline too. Strong and geometric! Suitable for sports themes, social movement, masculine and logotypes. - Condensed versions: Available in Light, Normal and Bold. Great choice for a headline, and display. This condensed designed a bit minimalist than regular version to keep the readability. Also, there is Bold Shadow style to complete the vintage movement which happening now. Suitable for a poster, magazines, and clothing project. Ferguson font family has up to 28 accents: Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Romanian, Slovak, Spanish, Swedish, Turkish, Zulu. Fonts featured : - Uppercase - Lowercase - Numerals - Some symbols - Diacritics Thank you. Hope you like it and enjoy!

Gilroy is a modern sans serif with a geometric touch. A younger brother of the original Qanelas font family. It comes in 20 weights, 10 uprights and its matching italics. The Light & ExtraBold weights are free of charge, so you can use them to your heart’s content. Designed with powerful opentype features in mind. Each weight includes extended language support (+ Cyrillic), fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for web, signage, corporate as well as for editorial design.

This font is inspired by a library we visited. Neat and elegant books make it our inspiration. Introducing Relliale - A Display Serif Font This gorgeous, stylish and modern font can be used for a host of different content needs and projects. Ideal for social media banners; posts, and ads, printed quotes, t-shirt designs, packaging, or even as a modern text overlay to any background image. Our font always includes Multilingual option to make your branding globally accepted. Features: Ligatures Alternate Multilingual Support PUA Encoded Numerals and Punctuation

This is not a stencil font. At least it isn't intended to be. The foundation for the entire font comes from a progression in experimental rules on stroke intersections (pinching, separating) while maintaining proportions and elements from a more conventional typeface. More latitude was given to the unicase "Fat" face but still retains the overall flavor of the original. The end result is a typeface that's hard to categorize as any one personality. Most likely a good candidate for logo, display, or headline work, the applications for Encoder are yet undeciphered.

The font Pillar is inspired by steel pillars that support buildings and bridges together. In similar fashion, the font is designed to support the content for which it will be used. The font is intended to be used as a header or headline font, but a creative designer will find other uses for it. Most of the characters are based on the same rectangle and therefore contain the same width which displays symmetry. The font contains 242 glyphs which include: uppercase and lowercase letters, numbers, symbols, accented characters, and ligatures.

Inspired by the 70's design, specially on Herb Lubalin's work, the typeface Garoa is a rounded mechanical display font without optical compensations, ideal for large bodies. The medium weight has lower case for short texts, and the Bold versions have singular upper case glyphs, with some alternates (at least one alternate per letter – some with OpenType features some using caps on the keyboard). The Garoa Hacker Clube Bold version is free and contains no OpenType features, but the glyphs have the same design as on Garoa Bold.

A versatile compressed font for film posters, credit blocks and trailers, Due Credit is a display font specifically designed for the film and television industry. A versatile typeface that’s suitable for bold headline titles and small credit blocks, with an additional horror genre inspired extra style. Watch Due Credit in action in this showreel: https://youtu.be/2XeoqG17wo8 Contents: Due Credit Version One and Two Uppercase Characters Lowercase Capitals Light, Regular, Bold and Extra Bold Weights Additional Cast and Crew Glyphs (simply drop in crew titles in one click) Additional "Horror" genre style with Alternatives

Artartika contains two Regulars – one Slab and one Sans Serif. Condensed width, geometric shaped, with distinctive stem contrast, Artartika recommends itself for titles, product names, branding, but it's also fully applicable for longer text and paragraph use. Contains Extended Latin character set with Cyrillic support.

JustTall is an ultra condensed typeface with open type features, 400+ characters with 80+ languages support made for tight spaces. Useful for - Logos for companies with really long names Different texts with very little space available Very tall design types Give feedback: https://bit.ly/3FlmhDS

Hand lettered titling on the 1945 sheet music for “Don’t Forget To-Night, To-Morrow” is in a simple, condensed sans serif style with a slight hint of Art Deco influence. This is now available as Handmade Headline JNL, in both regular and oblique versions.

Semi-condensed sans-serif with expressive curves on the outside and closed on the inside, with diagonal stems to convey modernity and a unique personality. Perfect for titles and headers in graphic and editorial design projects, as well as standing out in digital applications.

Gluten is an experimental font family designed by Carlos Fabian Camargo. It includes irregular shadows to communicate craftsmanship. Its multiple upper cases with condensed width and naive lines are notable for their expressive drawing with a high amount of contrast between thick and thin strokes.

The 1960 revised edition of Sam Welo’s “Studio Handbook – Letter and Design for Artists and Advertisers” showcased a beautiful, semi-condensed Art Deco alphabet called “Modern Gothic”. It has been digitally redrawn and is available as Restauranteur JNL in both regular and oblique versions.

The Sans serif companion to Astoria. Based heavily on Gill especially in the mid weights and with a consistant series of condensed weights. Designed specifically as a text face it still works very well as a headline font. There are 6 weights with accompanying Italics.

From the vintage record cover, "Music from MR. LUCKY", composed and conducted by Henry Mancini, comes this offbeat and full of life condensed serif typeface. A uniform stroke structure and a light baseline bounce give this typeface a festive yet serious duality of a personality.

A condensed type design with Art Deco influences was used for titles within the February, 1938 issue of Modern Screen Magazine. The digital version is named for the famous “Tinsel Town” street intersection. Hollywood and Vine JNL is available in both regular and oblique versions.

Amongst a number of items for sale in an online auction was a font of metal type featuring a thin, condensed serif font with decidedly Art Deco styling. This was the inspiration for Department Store JNL, which is available in both regular and oblique versions.

Clarendon is the name of a slab-serif typeface that was released in 1845 by Thorowgood and Co. (or Thorowgood and Besley) of London, a letter foundry often known as the Fann Street Foundry. This current design is a somewhat condensed version of the font.

LeftheriaPRO has its structure projected from the capitals of the Greek columns of Ionian order, it is a typography condensed with vertical emphasis composed by 5 weights (light, regular, medium, semibold, bold) including ligatures, alternates, smal caps, old styles figures, fractions, superiors, inferiors. | Download Specimen