Bovid ready to clash Following the ancient Adriatic history and natural shapes of the ram horns, Bovid typeface connects sports and tradition in a fearless and reckless way. It empowers players as soon as they put on their jerseys, making them ready to clash for the highest score. Bovid typeface has low contrast and high legibility with priority on numerals. It has capital letters in two sizes and is suitable for sport jerseys, posters, brochures, flags and tickets.

Nofela is a Handwritten Brush Script font. This another collection of script is perfect for your next personal branding project, excellent for your business. Nofela have a smooth edges, so this font gives an authentic handcrafted feel style. Nofela is perfect choice for people looking for clean, modern, minimalist, elegant, beauty design styles. Suitable for almost any graphic designs such as logo, branding materials, business cards, gift cards, t-shirt, cover, thumbnail, print, poster, photography, quotes .etc sans-serif, legible, geometric, clean, sans, modern, display, grotesque, corporate, branding, magazine, contemporary, text, headline, elegant, sans serif, grotesk, advertising, classic, swiss, poster, logo, editorial, technical, logotype

This fantastic beautiful Amsterdam School fonts brings alive the roaring twenties and crashing thirties. An art deco typeface from the Netherlands that summons a thirties vibe for a nostalgic twist on chic lines. It's the work of designer Leon Hulst, and you can see from the layout examples here that nostalgia means ruin, and it has become super cool to use a ruin vibe in retro aesthetics. Yep, there's a touch of class to that worn out look and feel, and the beautiful lines of the typography and numerals show how the barely restrained charisma of art deco can be coupled with the new obsession with all things vintage.

»Die Monospaced Hubbuch« is a modern, non-proportional grotesk. »D M H« comes in three weights, each accompanied by italics.

Modern Grotesk with attractive Display set Gallinari has it. . Gallinari is an attractive Grotesque suitable for all kinds of design needs. Starting from the Heading - Body font is reliable, Has a humanist and geometric character makes it a universal grotesque. Gallinari is equipped with very complete size variants, thin to black, not only that, this font has a condensed style which is paired with Oblique style for a total of 36 fonts in a complete family. What makes it interesting Gallinari has the Uppercase Display set on ss05 bold and sharp, for the letters C, G, O, Q, S, Z completely changed from their basic shape to meet the wild and cool type of display, ss01 ss02 ss03 ss04 is used to give alternative forms of the basic letters (A, P, R, Q, W, Y, a, w, y). Each Gallinari style has more than 680 glyphs and supports various Western European and Cyrillic languages.

Working-class hero.

As a graphic designer, sometimes it’s impossible not to be inspired by the Swiss Style, specifically the work of Armin Hofmann, who is one of its best exponents. Grids and grotesk and neo-grotesk typefaces are a fundamental part of the tools that make this aesthetic possible. A visual language that has caused full admiration since we were students. Therefore, we decided to design Armin as an homage to Hofmann’s work. Technically, we added stylistic sets applied to the letters –G, R, a, g, h, l, m, n, r, t, u, y– to make Armin more eclectic and suitable for the creation of any visual language. Armin Soft is the softest version of Armin Grotesk with its Variable file.

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

Rothorn™ is a modern, minimalist geometric sans with its own personality derived for subtle design details, such as cut diagonal corners, pointed t, very small contrast and closed aperture. The letterforms give the typeface a lot of charisma, keeping a very minimal, clear and well balanced look at the same time. Its powerful and sharp shapes together with the variety of weights from Hairline to Black make it a perfect choice for headlines and branding. Generous x-height, careful spacing and distribution of weights give it a color and legibility great for long paragraphs of text. Rothorn is a geometric member of a large type system including such families as Montreux Grotesk (Swiss-style grotesk), Lütschine (narrow headline family) and Conthey (narrow headline unicase family). The Rothorn family consists of 10 weights with corresponding italic styles, giving a total of 20 styles. Italic styles were hand drawn to get sharp and fine letter shapes. It includes a 2-axis variable font letting you adjust the weight and italic slant to your exact needs. The family has extended latin language support, as well as broad number of OpenType features, such as, case sensitive forms, ligatures, contextual alternates, lining, oldstyle, tabular and circled figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

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

Timeless Renaissance looks, gently updated. For novels and billboards alike. Allrounder Antiqua is an old-style serif member of the Allrounder superfamily. A timeless typeface based on classical proportions, Allrounder Antiqua is perfectly suitable for advanced book and editorial design well as packaging and branding. True: its main purpose is to set flawless body copy and to generate an evenly textured page—but its refined shapes work fantastically in display applications, too. Some details, such as the small and sharp bowl of the lowercase a, are fully appreciated in large sizes only. If you need a sophisticated serif typeface for packaging, food, fashion, consumer goods, or lifestyle branding, Allrounder Antiqua is up for it. It's also apt as an outstanding corporate typeface, be it for a more conservative venture or the latest hipster start-up. This classy serif typeface comes in four weights with corresponding true italics. Just like its sans-serif counterpart, Allrounder Grotesk, Allrounder Antiqua is equipped with plenty of Opentype Features like small caps, six sets of figures, case-sensitive forms, superiors, fractions and many ligatures. You will find alternate letters with swashes within this extended character set, as well as all the accented glyphs necessary to support more than 200 Latin-based languages. Historical Background The (French) Renaissance-influenced typeface started as Moritz Kleinsorge's graduation project within the "Expert Class Type design" course of the Plantin Institute for Typography, located in the famous Museum Plantin-Moretus in Antwerp, Belgium. There, Moritz Kleinsorge decided to create a revival of Robert Granjon's "Ascendonica Romain", described as "a beautiful face; typical of Granjon's mature style" in the inventory list of available material. "To touch punches and matrices cut by Robert Granjon back in 1567 was an invaluable inspiration", Moritz explains. Over time, the typeface moved away from being a true revival. Rather, it evolved into a Granjon-inspired typeface. That typeface is now available as Allrounder Antiqua. Perfect Pairing: Allrounder Antiqua + Allrounder Grotesk Allrounder Grotesk is the ideal complement to Allrounder Antiqua. They both share common vertical metrics and a common color. This allows you to pair both typefaces within the same layout—even within the same paragraph—without creating visual disruption. Head over to the Family Page of Allrounder Grotesk to get more information about this typeface. Design Trick: Bilingual Design With the Allrounder Superfamily Combining Allrounder Grotesk with Allrounder Antiqua is an ideal approach for bilingual designs, wherein both languages get the same emphasis yet are distinguished with two different typefaces. It's also best practice to set headlines in a different typeface than the body text if they harmonize with each other. Allrounder Grotesk and Allrounder Antiqua provide you with the perfect pair for this purpose.

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

A classic sans grotesk wood type design, Final Edition JNL was modeled from actual headlines found in online examples of an old daily newspaper.

StudioSans — is a modern representative of the class of sans-serif fonts inspired by the traditional Swiss design and typography of the mid 20th century. This is a minimal, clean and open font family with friendly forms. Focuses on functionality, has a high x-height and short ascender and descender elements. This is combined with soft circles and high legibility of characters contributing to comfortable reading. The family contains six weights from ExtraLight to ExtraBold. Each of them has in its arsenal more than 450 glyphs and knows more than 50 languages. Support for OpenType Features focused on the Oldstyle Figures (including signs of currencies and interest), Case-Sensitive Forms, Standarts and Discretionary Ligatures, Slashed Zero and Etc.

Sempione is a spanking new sanserif family suitable for publishing and advertising that looks great in small and large sizes. Its two main styles, Grotesk and Modern, are inspired by the early grots and 20th-century sanserifs. They come in seven weights with the matching italics, Grotesk Cursive and Modern Slanted. The considerable variety of letterforms and styles, along with some peculiar stylistic sets, will be appreciated by designers looking for more freedom of choice.

General Merchant JNL is a bold, compressed sans design in the 'Grotesk' fashion with varying character widths and flattened tops on the usually rounded characters.

CTM Sans is a typeface of the grotesk category, it is designed based on a previous Herokid typeface, but with greater freedom to creative tastes and at the same time with more rebellion and errors (quite a few, but well-intentioned) than its predecessor. This makes Bellavista a somewhat messy clone, for the grotesk style. This font does not seek to be a correct typography, but rather fun and useful for the designer. I hope you like it

A remaster of Neo Grotesk family - Arbeit. It employs improved letterform balance and contrast throughout. All weights feature a set of new alternates under the style 'Contrast'.

Schelter & Giesecke's grotesk font family, widely used for their marketing and in-house prints, now revived and extended with a Cyrillic character set and old-style numerals.

Supera Gothic is a design inspired by the early geometric and humanist typefaces of the 20th century. Its characters draw inspiration from Erbar Grotesk by Jakob Erbar and Johnston by Edward Johnston; hence, in heavier weights, the “f” and “t” bars are pointed which honor Erbar’s work, and Supera’s uppercases and numbers reflect Johnston’s proportions and features. The result is a sans serif family with both, a historical and modern touch perfectly suited for all types of graphic works. Super Gothic comes in 9 weights plus its matching italics and is equipped with a large range of opentype features. Fun fact, Erbar had attended calligraphy classes carried out by Anna Simons, who was a former student of Johnston (Tracy, 1986). Maybe in modern times, they had met through social media, and some collaborative work would have risen, who knows.

Tall X-Height, Angled Terminals and Medium Contrast, Anthro is a UI font designed with personality. Concieved as a hybrid between Grotesk & Humanist, Anthro pairs legibility with character.

Device™ display typeface is inspired by industrial type used for decals and signage. This typeface pairs nicely with geometric sans serifs like Cerebri Sans and HK Grotesk.

Praktika Modern grotesk super family Praktika is a multifunctional super family of 40 fonts. It consists of three distinct widths and weights from extra light to extra bold. Conceptually, it is a rendition of the familiar early 20th century European grotesque styles, used in road signage – reimagined to meet the needs of contemporary world. Its design language, however, has been kept decidedly rough and bulky, to achieve a unique-yet-familiar look and feel. Praktika comes with more than a few features, accessible in any open type savvy program. • Built-in small capitals • Both lining and old style numerals, in tabular or proportional form • Superscript and subscript numerals • Many alternate characters For the best experience, purchase the whole family which is available for a good bargain price.

Classic yet intimate hand writing with energetic flow and class!

Sharp angular terminals, squared off bowls, and a balance of curved paths with straight. Formative is a grotesk with charm. Includes a stylistic set featuring standard 'text' style terminals.

Nomina is a family of sans serif fonts for use from large to small sizes. The weights of the family itself contain 16 styles plus italic, ranging from ExtraLight to Black. The font family takes was inspired by classic Grotesk typefaces such as Venus and Akziden Grotesk. Unlike any other modern Grotesk typefaces, the details of the contrast in this font family are quite subtle and yet still harmonize while standing in between another character, the open apertures help them to increase the quirkiness accompanied by the sharp terminals on each rounded glyphs. The Nomina family is well equipped with lots of selective alternates and OpenType features, and the main usage of this font is universal, this means this can use it any design style as long as the look and feel keep match with its characteristics.

College Grad is inspired by my Graphic Design class of 2019!

Erbar or Erbar Grotesk, designed by Jakob Erbar (Ludwig & Mayer) in the early 1920s, is a truly key design from a historical viewpoint. None other than Paul Renner studied Erbar and used this knowledge in the design of his famous Futura. Erbar is a beautiful constructive Grotesk perfectly mirroring the Zeitgeist of the 1920s. The newly expanded Erbar family of URW++ comes in nine styles, of which seven have been digitally remastered recently in URW's design studio (light, book, medium, bold, italic, bold italic).

Czech Stencil JNL was modeled from examples of a 1930s-era typeface from Czechoslovokia called "Patrona Grotesk" as seen in the Steven Heller-Louise Fili book "Stencil Type" (published by Thames and Hudson).

SysFlash is the version of Sys to use in Macromedia Flash at 10 point size.

Barnet Sans is a humanist typeface with a grotesque-inspired personality. Lively stroke-endings of several characters give this design its distinctive style, as well as a friendly and approachable presence. Created for use in both print and screen settings, Barnet Sans delivers a hint of flavour in large sizes, while being subdued enough to work in smaller text-driven settings. Details include; seven weights ranging from thin to black with matching italics, 665 characters per font, and support for all Western and Central European languages. Barnet Sans also comes equipped with many opentype features including; small caps, case-sensitive forms, arbitrary fractions, numerators and denominators, slashed zero, stylistic alternates and ligatures.

Endurance Pro was designed by Steve Matteson to fill the need for a more graceful, less industrial-looking neo-grotesque sans serif design. The name Endurance lends itself to the reality that the typeface was designed to work well under extreme conditions from billboards to mobile phone screens. Endurance Pro was designed with on-screen legibility as a key attribute, and with careful detailing for a more polished appearance in large sizes. Endurance Pro has an wide-ranging character set with WGL support (Greek, Cyrillic and Eastern European characters) to meet the needs of multinational companies and creative professionals who desire OpenType's typographic features (with old style figures, proportional figures, fractions, superiors and a slash zero).

The Screenfont_8 font-family is specially designed for use with Flash and other Screendesign applications so that it doesn't blur or fill. In contrast to most other pixelfonts Screenfont_8 also works well in Flash dynamic and input text fields. Screenfont_8 fonts include a full character set and also contain outlines for any print application.

Brecksville is a condensed grotesk typeface that takes inspiration from early German designs of the mid-19th century. It was designed as part of my current research into grotesk typefaces and different letterforms, as part of my dissertation research, “Perfected Letters: German Grotesk in the Nineteenth Century”, which focuses on the role of German design in typography. The Brecksville font family provides a wide range of weights, ranging from light to bold for both its rounded display style and more rugged sharp style. Both its styles feature the same horizontal proportions and metrics so they can freely be combined with no spacing issues. Brecksville's visually punchy condensed style and sharp edges, allows it to stand out on the screen – at almost any size. Its black composition also brings out the details needed in magazine and tabloid headlines, while maintaining readability throughout. The rounded display version is ideal for posters and other uses where you want something eye catching but not too hard on the eyes.

Inspired by early grotesque typefaces such as Akzidenz Grotesk and Venus, Werksatz is our contemporary interpretation of this beloved genre. Some things are timeless. These are the things that only get better with use. The aforementioned typefaces certainly belong into this category. Rediscovered by designers from every generation again and again, they are here to stay. However, as tools evolve and technology moves on, even a well-tried design has to adapt to this evolution continuously in order to stand the test of time. Werksatz is such an adaptation, taking the best from the invincible classics and infusing them with the warm blood of today’s tech. With 10 weights from Thin to Black, each with painstakingly fine-tuned obliques, and more than 940 characters per style, this font family is ready for the future. Its Extended Latin support ensures you won’t miss a letter in any of hundreds of languages. Special glyphs like three variations of arrows and additional shapes will make your design work so much easier—for well-structured forms as well as radical editorial layouts. Among a treasure trove of OpenType features, you’ll find essentials such as Capital Spacing, Case-Sensitive Forms, and Ligatures, but also advanced functions like Small Caps, Subscript and Inferior figures and letters, plenty figure sets (Lining Figures, Tabular Figures, Old-Style Figures, circled and squared figures, figures for small caps … you get the idea), Slashed Zero, and more. You’ll discover that Werksatz is less formalistic and rigid than your average neogrotesk typeface. Sure, you can use it for serious business—whether in corporate design, branding, editorial design, publication design, or web design for industries and topics ranging from politics, government, management, or law to technology, entrepreneurship, commerce, or finance. However, Werksatz is much more versatile than that. Its more human appearance also allows for effective use in culture, fashion, art, entertainment, sports, exhibitions, leisure, and luxury. It’s an excellent choice for wayfinding applications, apps, packaging, and all kinds of nonfiction books. Other Grotesks with big names are left behind outdated by their proprietors, but Werksatz is here to stay. The classic industrial warmth of these letterforms will age like fine wine.

Rearranging the conventional disposition of thick and thin strokes in the Modern (Didone) class of typeface.

Karibu™ is a 100-font original, ultra versatile geometric grotesk family with a lot of character. It is designed for modern projects, to serve as display as well as paragraph text typeface. It is perfect for lots of design situations - from magazine editorial use, logo design & branding, to web design, user interfaces and mobile applications. Main features: - 5 widths (Narrow, Condensed, Normal, Expanded, Wide), each consisting 20 fonts - 10 weights for each width (from Hairline to Black) - handdrawn, carefully crafted italics - alternate stylistic set for more technical and minimalistic projects - pronounced ink traps and large x-height improving legibility in small sizes and adding strong personality to display sizes - flatten letter shapes adding vertical rhythm and elegance to narrow widths - extended latin language support - OpenType features (case sensitive forms, standard and discretionary ligatures, stylistic sets, contextual alternates, lining, oldstyle and tabular figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols)

Grotesk typeface with elastic punctuation & diacritical mark. in 4 weights: Light, regular, Medium and Bold by 4 styles: A (small diacritical), B (normal diacritical), C (hight diacritical) and D (very hight diacritical) language: all latin glyphs

Aperture Display is a san-serif typeface which combines the “standard” forms of grotesks and the modern takes on the use of ink traps. It is a display typeface designed mainly for branding and printed matter.

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.