A very cheerful font. This font is very thick and suitable for use in children's games or animations. With this font, write very attractive, happy and comic titles and use it easily in graphic works. The design of this font looks sloppy and messy, but when you write your own text or title, while each letter is messed up, the text is completely connected.

The contemporary feel of the Sancoale superfamily takes a bolder turn with this futuristic slab. Built from Sancoale's successfully simple geometry, Slab's serif elements and tall x-height give the face an energetic, yet clean figure that easily complements its cousins: Sancoale Softened--a sans with blunted terminals; Sancoale Narrow; and, of course, the original Sancoale itself. The weights of each member have been balanced carefully to ensure compatibility with the others, and when used together, the combination creates a powerful design that is easy to identify. With weights ranging from the classier Thin to the authoritative Black, Slab opens the door to a range of applications. Used in different text sizes, its tech image is legible and neutral enough for longer bodies of copy--both in print and on the web. Have a more prominent need? The web font also stands out well in a headline or even as a display face. Slabís great personality puts a strong foot forward without giving its reader a kick in the teeth. Whatever the task, this font's one to capture the Zeitgeist into your work. All Insigne fonts are fully loaded with OpenType features. Sancoale Slab is also equipped for complex professional typography, including alternates with stems, small caps and plenty of alts, including "normalized" capitals and lowercase letters. The face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Included are small caps, fractions, old-style and lining numbers, scientific superior/inferior figures, complete ordinal and inferior alphabet, and a set of symbols and arrows. The Sancoale family also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Sancoale Slab supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging.

Corner C is a part of Corner type family. This subfamily is designed with rounded shapes in the corners. The concept of the typeface Corner is based on variation of corner shapes in font characters, from what is also its name derived. The basis is a bitmap modular principle, to which by simple addition of “the missing pixels” in corners of the characters ( Corner A ) to the shape of diagonal ( Corner B ), curvature (Corner C), or inversion curvature ( Corner D ), three more font variations are created. The basic monolinear bitmap weight is supplemented by two more extreme thicknesses – hairline and fat weight. The character set supports the complete Latin, while the x-height of lowercase is drawn at the same height as in the uppercase characters. Corner is a strong display typeface, which allows you to easily experiment and to combine it with its mutual font variations.

Corner D is a part of Corner type family. This subfamily is designed with inverse rounded shapes in the corners. The concept of the typeface Corner is based on variation of corner shapes in font characters, from what is also its name derived. The basis is a bitmap modular principle, to which by simple addition of “the missing pixels” in corners of the characters ( Corner A ) to the shape of diagonal ( Corner B ), curvature ( Corner C ), or inversion curvature (Corner D), three more font variations are created. The basic monolinear bitmap weight is supplemented by two more extreme thicknesses – hairline and fat weight. The character set supports the complete Latin, while the x-height of lowercase is drawn at the same height as in the uppercase characters. Corner is a strong display typeface, which allows you to easily experiment and to combine it with its mutual font variations.

Corner A is a part of Corner type family. This subfamily is designed with square shapes in the corners. The concept of the typeface Corner is based on variation of corner shapes in font characters, from what is also its name derived. The basis is a bitmap modular principle, to which by simple addition of “the missing pixels” in corners of the characters (Corner A) to the shape of diagonal ( Corner B ), curvature ( Corner C ), or inversion curvature ( Corner D ), three more font variations are created. The basic monolinear bitmap weight is supplemented by two more extreme thicknesses – hairline and fat weight. The character set supports the complete Latin, while the x-height of lowercase is drawn at the same height as in the uppercase characters. Corner is a strong display typeface, which allows you to easily experiment and to combine it with its mutual font variations.

Corner B is a part of Corner type family. This subfamily is designed with diagonal shapes in the corners. The concept of the typeface Corner is based on variation of corner shapes in font characters, from what is also its name derived. The basis is a bitmap modular principle, to which by simple addition of “the missing pixels” in corners of the characters ( Corner A ) to the shape of diagonal (Corner B), curvature ( Corner C ), or inversion curvature ( Corner D ), three more font variations are created. The basic monolinear bitmap weight is supplemented by two more extreme thicknesses – hairline and fat weight. The character set supports the complete Latin, while the x-height of lowercase is drawn at the same height as in the uppercase characters. Corner is a strong display typeface, which allows you to easily experiment and to combine it with its mutual font variations.

Ninova is the capital of the Assyrian Kingdom. This place is also known as the city where Prophet Jonah was sent. Ninova font family consists of fonts with aesthetic forms. Ninova font will more than meet the needs and expectations in terms of the glyphs it contains, the weights it has and the number of styles. This font includes two font families: Ninova: A family of fonts containing only the Latin scrips Ninova Pro: A family of fonts including Latin and Arabic scripts The Ninova font can be used for multiple purposes. It can be used easily in the internet environment, operating systems and all digital environments together with printing areas.

Flyoika is a slab serif family with a fairly low x-height, long ascenders, and considerable contrast. The family has five weights, each with an italics and it can be used for either display or text. Flyoika was not designed to meet a particular need but rather out of curiosity. Years ago I had designed two slab serif families, FlyHigh and Euroika, that I recently noticed had a lot of similarities and I wondered what a blend of the two would look like. Several corresponding characters in the two families are considerably different and in cleaning up the results, I usually opted for simplicity. The name "Flyoika" reflects these origins.

TT Octas is a narrowly proportioned font family built upon the principle of octagonal forms: all circles in this font family are actually octagons. Thanks to small serifs, TT Octas has a saturated and vintage character to it. Simple depiction of the letters and the serifs make the family easily readable even in the smallest sizes. Narrow proportions allow for positioning of large text arrays even in small text fields. This font family is well fitted for brand visual identity and product labeling as well as for all digital media, such as web interfaces and gameplays. It is also great for mobile apps’ interfaces.

Thrills! It's urgent, it's compelling, it's immediate gratification and so much more than a Thrill-a-minute because it's now available in five weights! So Jump, Twist, Flip and Split for this adrenalin-packed family of fonts that will give you a rush of excitement every time you punch in as much as a hyphen!

The Modesto Text Family is text in name only. It’s called Text because it has a Lower Case, and also to distinguish it from the rest of the Modesto clan. Modesto is a loose-knit family based on a signpainters lettering style popular in the late-19th and early-20th centuries. It evolved from the lettering I used for the Ringling Bros. and Barnum & Baily Circus Logo. The Modesto family was not planned. It just happened, a few fonts at a time over about fifteen years. In 2014 seven new Italic fonts and two Chromatic families were added. There is a downloadable MODESTO USER MANUAL PDF in the Gallery section for this family.

Very Matcha is a hand-drawn, chunky serif font with fun retro flair. Think 70s disco meets Hawaiian luau. Whether for branding, advertising, or merch, all who see it like it very matcha! 😉 It has uppercase and lowercase alphabets, dozens of beautiful ligatures and dingbats, and includes support for Modern Greek. Very Matcha has over 500 glyphs in Latin and Greek consisting of: the complete Latin alphabet (with all accent marks), the complete Modern Greek alphabet, 30 ligatures and stylistic alternates, 24 fun dingbats and arrows, numerals and math symbols, extensive punctuation and diacritical markings. The OpenType ligatures are the fun part. To get the most out of Very Matcha, use software that supports Open Type fonts (Adobe programs, Corel Draw, Affinity Designer, etc). This type family has tons of built-in OpenType ligatures and alternates, which are what make it so customizable and decorative. You can always access the ligatures, alternates, and dingbats through your software's glyphs panel. For a complete preview of all the ligatures, please look at the 4th image in this product listing. Languages Very Matcha includes the Latin and Greek alphabets with all accent markings. The most common languages it supports are: English, Catalan, Danish, Dutch, French, German, Greek, Italian, Norwegian, Portuguese, Spanish, and Swedish.

The Waldorfschrift family was created in digital form in the years 1993-1994 by Joachim Frank, inspired by the naturally organic letters from the anthroposophical movement of the 20th century of Rudolf Steiner . In nature there are no right angles, straight lines or complete uniformity, but instead round corners, varying thicknesses and all kinds of variability. This is what the anthroposophical movement created in their buildings, their art, in their music – and also in their lettering. And this Font is like the plants in nature: it grows upwards, branches out, letters hugs to some letters, with others they keeps more distance, some letters proudly stretch their belly, others crouch in the corner - a completely natural font. Take a look at the brand of Weleda (the natural cosmetics company), Demeter (one of the biggest organic foods companies), Filderklinik (a great anthroposophical hospital in Germany) and you will see these great companies work with different but organic letter styles. More recently, Joachim revisited the Waldorf fonts with modern type design software and added extra characters such as the euro sign, and extra weights to make the fonts useable for a wide variety of design tasks. Dez 21: A big update: All fonts have been digitized again and given a complete character set, new kerning, minor bugs removed.

Geometric stencil font completely based on curved lines. Soft techno style.

Say hello to State, this family is inspired by sport and a further development on Comply Slab. This family of fonts has some bold letters as well as stylistic alternates to give your layouts some interesting variation. State comes in 3 styles, Regular, Soft and Rough each with 7 weights and italics. It was specifically designed with a wider structure for better appearance in small sizes and the extra attention to the detail was needed for the big sizes. Use State to get the delivery you need, whether its for print, online or Television.

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon, a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

Milan-based Leftloft studio has produced a third leg to its hit Etica font family: LFT Etica Mono. Meant to be a coder’s go-to font for everyday use as much as a designer’s way to invoke a certain genre, it is part of a broader and more versatile family that already contains almost 80 sans and serif fonts. LFT Etica Mono’s ten weights carry the same modern, recognisable DNA of the Etica family while hewing to the defined requirements of a coding typeface: space, density, distinct forms, and clarity. It uses the same instroke on the ‘c’ and open form of the ‘a’ for which the Etica family is famous, but adds something new in the form of an additional italic style. Monospaced fonts usually incorporate slanted letters as italics, as does LFT Etica Mono, but its default italics have warmer, cursive shapes while the alternate italics are simply slanted. The default ‘a’ is a simplified bowl and stem instead of a two storey shape; the ‘d, f, i, l, t, y’ and others gain an outstroke tail; the ‘e’ is one smooth stroke; and the default ‘k’ is looped. These characters have basic, slanted alternates if the cursive look isn’t desired, and includes a set of arrows and geometric shapes. The monospaced design, by nature, makes the typeface useful in coding and in low readability situations. And how does LFT Etica Mono work from the designer’s perspective? The starting point was the need for a monospaced Etica companion intended for technical applications: captions in graphic layouts, small text, confined or predefined space, and overall tone. Flat terminals and counters maintain the colour and versatility of the original typeface, but choosing between the organic cursive or blunt slanted alphabet will give every layout its own character. Of particular aesthetic interest may be the & and % symbols. Designed to be applied to the common visual environment, the new LFT Etica Mono font family completes a more complex system. One benefit is to give an expressive tone — less serious and more friendly — to something inherently technical, to bytes and bots, to encode the beautiful life.

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon , a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

Roklin is an elegant serif family for use as both formal text and headers. Has quite a lot of character alternatives and also enhanced ligatures. It's perfect for casual typography as well as official documents, really. All characters are PUA Encoded, you can use this font easily in many common editor software easily.

Tabac Sans is a linear, dynamic sans serif type that blurs the lines between text and title typefaces. Drawing on the rich tradition of European lettering, the humanist basis supports excellent readability even at the smallest letter sizes, while unique details and a wide array of alternative glyphs prove highly effectual in titles and headlines. The broad variety of types and weights make this font family a versatile aid when composing complex magazine and newspaper layouts.

Bourton Text is a modern sans-serif typeface family perfect for both text type settings and display purposes. While it’s not a layering type family like its brother, Bourton, it come packed with features, extras and over 2,000 characters that make it stand on its own. HISTORY Bourton Text is a new take of the Bourton family that was one of the best-selling and favorite fonts of 2016. After countless requests for lowercase alphabet, or suggestions for a font pairing with Bourton, this new text setting family is based on the original shapes of Bourton. DESIGN & CREATION In taking Bourton Base was the starting point as they narrowest width and boldest weight. From there, lowercase shapes were designed that matched the aesthetic and details of the popular capitals. As Bourton was a heavy display font, some small tweaks were done to make it more fitting for smaller text settings, including reducing the letter-spacing and reworking some counters. Some areas needed complete reconstruction, such as the figures. The design of those began anew with a style that worked with the capitals and lowercase but also as a standalone set. Currency shapes were updated to match the numerals. Punctuation was also reimagined to work better in smaller type settings. Diacritics and extended language support was also updated and expanded to include full Latin plus language support for 219 latin based language spoken in 212 countries. Once the basic alphabet for Bourton Text Bold Narrow was formed, the font was expanded in both weight and width. Taking the weight from Bold down to Hairline, it allowed for more range in use. The typeface needed to be expanded in order to reach better as a book weight and width, in addition to a regular width, a wider version was create as well. FEATURES Once the extremes were set in place, small capital forms were designed for text and display purposes. These also allow for nested capital letters, lifted small caps and other display features offered in the typeface. One of the most popular fonts in the Bourton layering font family is Bourton Line. This led to an experimentation with rounded Bourton Text completely and thus a complete set of duplicated characters with rounded terminals. By using the Opentype Panel, a rounded font is a single click away. Every feature has been carefully thought out and updated across the entire font. In total, Bourton boasts over 2,300 glyphs, 42 font files with 3 widths and 7 weights in upright and italic.

Fogie is a modern serif family font. Features with 10 fonts. This family also featured with many ligatures and alternates. Designed with powerful OpenType features in mind and perfectly suited for graphic design and any display use. It could easily work for web, signage, corporate as well as for editorial design. The Thin style is free so you can try this for your content.

»Supra Mezzo« – designed by Gert Wiescher in 2012/13 – is an unusual addition to the Supra family, a weight in between the normal and the condensed width. This cut comes in very handy if you need to put lots of text into a relatively small space without loosing readability. The compactness with great legibility makes Supra Mezzo absolutely unique. The light and normal weights and the dominant x-height with its high ascenders make for easy reading of long copy. The heavy and x-light weights are great for elegant headlines. Supra is an OpenType family.

This family was inspired by the set of fonts used in the end of 1800s by the famous J. H. Geiger, printer in Lahr (Germany), especially these used to print an almanac for the year 1883. It is a Fraktur pattern, with two styles, as a few others incomplete fonts also used for this work were Blackletters from other patterns. Both were used in two size, for titles, subtitles, main text and notes. This font contains standard ligatures and German historical ligatures (German double s, long s, tz, ch, ck...) and diacritics. 1543 German Deluxe Initials may be used in complement this family.

Montix is a narrow, constructed type family that developed by the German designer Diana Fischer in 2003. With five weights (light, light italic, regular, regular italic, and bold), Montix is a particularly effective small family, especially when used for headline or display purposes. Montix's letterforms have relatively long ascenders and descenders, which compared with its horizontally compact body gives it its unique style. Words or lines of text set in Montix would look best when some amount of white space is left around them. Because of this, the faces are well suited for logos and corporate identity uses.

Mondia is a modern serif font family with 18 fonts inspired by transitional and contemporary typefaces. Mondia has been designed with high-contrast character ratio to give an elegant touch, and high x-height to give sentences more legibility. Ranging from thin to fat with its matching italics, Mondia offers many possibilities to be applied in many graphic or editorial projects. Also thanks to the extended latin character set so that Mondia supports 200+ latin-based languages. Mondia also has a complete set of true small caps that integrate beautifully with lowercase letters to give more emphasis to the highlighted texts. Mondia has OpenType features built in, such as stylistic alternates, standard ligatures, special ligatures, oldstyle figures, localized letters, automatic fractions, sub/superscripts, and ordinals. Mondia also has a complete set of proportional and tabular numbers. With those features, Mondia is a great choice for headline, branding, titles, but can also perfectly be used in small articles. For full presentation please visit me Behance post.

Normatica is a neutral typeface inspired by advertising letters used as letterings on shop windows during period of Normalization (the 60s–90s) in former Czechoslovakia. The complete font family consist of 24 styles in 6 weights (Thin–Black) with matching Italics where every style is followed by his Display counterpart. The difference between default and display styles is tighter spacing in Display fonts and different design of punctuation and diacritics accents. Beside the complete set of Latin, Normatica includes Cyrillic characters as well. Each font contains of alternative variation of some characters (j, t, y, Q) and includes a wide range of the Opentype features (for more details see pdf Specimen in Gallery section). Mixture of Normatica and Normatica Display can be effectively used for both text and display usage. It can be used in advertising, signage, corporate identities and various situations of editorial design. You can try two Demo styles in Medium weight fully for free.

Samo Sans Pro is a contemporary sans-serif typeface with a slight contrast of strokes, balancing between technical design and dynamic feeling. The Pro Version is based on the Samo Sans basic typeface, and it is extended by more styles, more glyphs, and other features required for professional typesetting. Beside the complete set of Latin, Samo Sans Pro includes Cyrillic and Greek glyphs as well. Each font includes alternate glyphs, small capitals, standard and discretionary ligatures, oldstyle/lining and tabular numerals, fractions, superiors/inferiors figures, set of arrows, dingbats and a wide range of typographic options applied by the Opentype features. The complete typeface family consists of 16 styles in 8 weights and their Italics. The type has a reduced height of caps and numerals and it has an optimal x-height, which makes it suitable for the typesetting of more extensive texts. It can be effectively applied in corporate identities or in a display typesetting.

This chunky serif handwriting is fun but still completely legible for children.

Carbona is our attempt to imagine the future through typography. The perspective of the future is, perhaps, the greatest force of action humans have. Knowing that there will be a tomorrow is the stimulus we depend on to decide how we are going to act today. This idea is also one of the best fuels for creativity. That's why we thought of Carbona as a typeface in sync with everything that appears on our technological future. From the countless births of new digital currencies to the sending of ultra complex algorithms at 5G speed, the future of any habit, choice or task that we will perform will transit through some super computer located somewhere very far away – who knows even on another planet. The family is designed to deal with the situations of the digital world, today and what is yet to come. It is optimized for programming, contains cryptocurrency symbols, advanced features for use in interfaces, and much more.

Precious Sans Two is a complete reworking of the 2002 design which was only ever available in PostScript format. Over a decade later G-Type’s Nick Cooke decided to re-appraise the typeface, scrutinise the old letterforms and overhaul the family. Make no mistake though, Precious Sans Two is no rudimentary re-release; nearly every character has been redrawn, re-proportioned, respaced and improved. Precious Sans Two is now in cross-platform compatible OpenType format with extended Latin language support for Western & Central Europe, the Baltics & Turkey. The original quirkier glyphs (f, g, I) have been retained as an OT style set feature and the typeface now contains small caps and an extensive set of discretionary ligatures as well as both proportional & tabular figures. The character set is further enhanced with the addition of 20 directional single and double arrows in each of the six weights which range from Thin through to Black, all with accompanying italics. Precious Sans Two is a distinctively modern typeface, well equipped for advanced typographic use in print, web and digital publishing environments.

Gendis is a complete fonts pack for build brands, comes in three different styles and extras. This complete package is perfectly for all your creative work such as branding projects, packaging design, ads and more. To enable the opentype stylistic alternates, you need a program that supports opentype features.

Discover here the Eastman Roman Family See the Eastman Grotesque Family Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use. The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. All share a solid monolinear design and a tall x-height that makes body text set in Eastman extremely readable on paper and on the screen. Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, Cyrillic and greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms). The most impressive feature of all Eastman fonts remains the huge choice of alternate characters and stylistic sets that allows you to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. Don’t want to lose too much time with the glyphs palette? Use the Eastman Alternate weights, thought for display use and presenting a selection of some of the more eye catching & unusual letter shapes available for the family.

Veto® Sans is both highly legible and handsomely distinctive – a rare blend in a typeface. It’s a design that stands out and fits in. Veto Sans is equally competent on screen and in print. It’s four carefully determined weights in both normal and condensed proportions, each with an italic complement, give the family an exceptionally deep range of applications. All the designs in the family are valuable design tools. None are superfluous. Advertising, brand, corporate, editorial and interactive design are all in Veto Sans’ wheelhouse. It also shines in wayfinding and other signage projects. And to all these, it brings a warmth and personality. An ample x-height, open counters, vertical stroke endings and subtly condensed capital letters enable Veto Sans fonts to perform with grace in print and digital environments while being space efficient. An added benefit is that all-capital typography set in Veto Sans is not only space saving, it’s also easy to read. Drawn as a complete reimaging of his earlier Veto design, Swiss designer Marco Ganz worked to create character shapes distilled to their purest forms while maintaining a relaxed and natural demeanor. Ganz, who is also a three-dimensional artist, is acutely aware that the negative space between letters and the internal space within letters is as important as the positive shape of the letters themselves. This dynamic balance between the negative and positive aspects of character forms gives Veto Sans a sense of immediacy without looking hurried. Ganz also took great care to draw a suite of italic designs that not only complement the roman weights perfectly, but also give the family a dynamic verve. A large international character set also ensures ease of localization. “Veto Sans,” says Ganz, “is a typeface for designers that search for a new and different solution to age-old typographic challenges.”

Dutch type designer Albert-Jan Pool created this sans FontFont between 1995 and 2009. The family has 20 weights, ranging from Light to Black in normal and condensed styles (including italics). It is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design. Looking for the new Thin and Extra Light weights? They are available through fontshop.com, linotype.com and fonts.com. FF DIN provides advanced typographical support with features such as case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also partly supports the Cyrillic and Greek writing systems. In 2011, FF DIN was added to the MoMA Architecture and Design Collection in New York. This FontFont is a member of the FF DIN super family, which also includes FF DIN Round.

German type designer Erik Spiekermann, created this sans FontFont between 1991 and 2010. The family has 28 weights, ranging from Hairline to Black in Condensed and Normal (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, small text as well as web and screen design. FF Meta provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options—oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic, Greek, and Hebrew writing systems. FF Meta Variable are font files which are featuring two axis and have a preset instance from Hairline to Black and Condensed to Roman In 2011, FF Meta was added to the MoMA Architecture and Design Collection in New York. This FontFont is a member of the FF Meta super family, which also includes FF Meta Correspondence , FF Meta Headline , and FF Meta Serif .

Zin Slab is a contemporary slab-serif typeface designed for various situations of typographic usage. Characteristic feature is a large x-height and balans between neutral construction of letters (strictly vertical axis) and dynamic open forms (opened terminals). Another typical feature is a visually narrower connection between stems and strokes. The complete font family consist of three width proportions (Normal, Condensed and Extended). Every sub-family has 5 weights, ranging from Light to Black with matching Italics. Each font includes small capitals, old-style and tabular figures, standard and discretionary ligatures, alternate glyphs and a many of typographic options applied by the Opentype features. Zin Slab can be effectively used for both text and display typesetting. It can be used especialy in magazine layouts and editorial design, as well in advertising typography, orientation systems, corporate identities and many other situations. Zin Slab is a member of the Zin super family, which also includes Zin Sans, Zin Serif and Zin Display fonts. You can try Demo styles in Medium weight fully for free.

Uni Neue is the whole new redesigned version (remake) of Uni Sans – one of the most recognizable and signature font families of Fontfabric type foundry. From major changes like proportions, widths and thickness (weights) to the smaller details, this new family enables us to feel and understand the font at a completely new level. Uni Neue is а modern sans serif with a distinctive character and geometric feel. The rounded corners give the typeface a friendly look, yet it retains a professional quality suitable for branding even the most serious corporate identities. The attention to detail paid during its development means that this typeface offers a vast range of design possibilities – it helps users create eye-catching designs and brands that really stand out. It is perfect for TV, screen, editorial and publishing, logos, branding, advertising and packaging. It supports a wide range of languages, including Extended Latin, Cyrillic and Greek. The family has seven weights, ranging from Thin to Black, with corresponding italics. The font was manually hinted to ensure great web and desktop performance.

Our Bazaruto family was inspired by an old fashioned specimen from “Letters and Lettering” by Carlyle & Oring, but you'll find the inspiration has been greatly expounded upon. What began as an all Capitals specimen has been fleshed out to an extended full character set with many features and variants from the original design. Bazaruto has been an exercise in typographic evolution. The original Art Deco style spawned an Engraved version, then a Bodoni-esque text style, and then a monoline version of that text style (both of the latter complete with Obliques). But after that is when the real interpretations of form began with the development of the Iron fonts, playing off the original specimen having a visual flavor of wrought ironwork in them, and blending that into the Bodoni-esque typestyles. Lastly, a fast and loose hand drawn version of the Iron fonts and an ornaments font were created to add more variety and spunk to the family. The Bazaruto family is a visual grab bag of styles which all have an underlying harmony.

Core Sans CR family is a rounded version of Core Sans C; a part of the Core Sans Series, such as Core Sans N, Core Sans M, Core Sans E, Core Sans A, Core Sans D, Core Sans G, Core Sans R and Core Sans B. Core Sans CR is inspired by classic geometric sans (Futura, Avenir, Avant Garde etc.). It is based on geometric shapes, like near-perfect circle and square. It has a much higher x-height (height of lowercase letters), an effect which promotes readability especially at small print sizes. The Core Sans C Family consists of 9 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy, Black) and Italics for each format. Core Sans C supports complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, oldstyle figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. Core Sans C is an ideal font family for use in magazines, web pages, screens, displays, and so on.