Internacional, inspired by the International Style, is a Latin American-flavored neo-grotesque sans serif typeface made with organic ingredients and sweetened with organic sugar and chocolate. Internacional is well-suited for corporate identity, branding, publishing projects, logotypes, magazines and advertising. Its large x-height and small difference between x-height and cap-height make it a high-impact font, ideal for powerful headings, while providing legibility. Internacional was designed for use with short and mid-length paragraphs that require a balanced type color. Internacional is an extended width font with rounded forms and angled terminal ends, in characters such as “c” or “a”, which make it suitable for use in advertising and branding. The proportional relation in height between uppercase and lowercase letters may be useful when composing text in German language. The Internacional font family comes in 7 weights with matching italics and includes an alternative version, with the same number of styles, yet it tastes differently. Special thanks to everyone in the Latinotype Team (especially to Rodrigo Fuenzalida) for their support, help with corrections and digital editing.

Alio™ Text is the workhorse of the Alio family . It works beautifully as display type, body copy and anything in between. We redesigned Alio Text with taller x-height, more pronounced accents, and wider letter spacing than its siblings, Alio Pro. We also cut down from 6 weights/12 styles to 4 weights/8 styles. All of these is to ensure the legibility and readability and to maximize the weight contrast at small sizes. Whether your designs call for all caps, title case, sentence case or all lowercase, Alio Text has got you covered with the case-sensitive punctuations. No more baseline shift all your punctuations. Alio Text supports most Latin-based languages and even the Chinese Pin-Yin. This typeface also packs with Open-Type features similar to Alio Pro. For examples, both recognize fractions vs. dates; Both features several alternate positions for the legal symbols (3 in Alio Text; 5 in Alio Pro). If you’re looking for a go-to, versatile typeface for most occasions, Alio Text is for you. (4 weights/8 font styles, 500+ glyphs each).

The HWT American Chromatic set is a multilayered font set that will allow for thousands of possible color and pattern combinations. The original 19th Century Chromatic upon which this font set is based included two fonts. The HWT digital version includes eight. The alignment is configured to allow any combination of the eight fonts to all align when identical text is set and arranged, one on top of the other. Due to the highly decorative nature of this font set, the character set is limited to upper case only with basic punctuation. Five of the eight fonts in the set can be used individually as variations of the classic Tuscan style of wood type, which is defined by its concave stems and serifs. There are no accented characters due to the ornate nature of the design and because there were no accents originally intended for this design. This font is best used at sizes of 72 pt or larger and is ideal for a wide array of design uses. For webfont use, CSS with z-index and position will allow for easy online layering.

Albireo is a typeface for those times when you have more to say than space to say it. It also looks fantastic spread out across the page as though space doesn’t matter. Expertly crafted with a high level of attention to detail, Albireo is an immensely practical and flexible typeface that’s neutral enough to be used almost anywhere a highly condensed, sans-serif face is needed. Despite its down-to-earth functionality, this is a typeface that definitely isn’t lacking in style. It really shines when used for headlines or subheadings in magazines, brochures, posters, newspapers, flyers or on the web. With 42 weights, widths and italics, there’s enough flexibility to make every word fit perfectly. You may buy one font at a time or save money by purchasing packages consisting of the 14 fonts in each width (Extra Condensed, Condensed or Semi Condensed). Save even more by purchasing the entire collection and, in addition to the 42 separate fonts, you'll receive two variable fonts (upright and italic) that cover all the weights, widths and everything in between. So where does the name come from? Well, look upwards at night. Albireo is a binary star in the constellation Cygnus. Through a backyard telescope, Albireo (the star) resolves into two brilliant component stars — one orange and one blue. The beginnings of the typeface were the result of me needing a newspaper feature headline about space exploration. I couldn’t find the right typeface, so I drew my own letters and eventually expanded it out into an entire mega-family. Given its origins, naming it after my favorite star seemed totally appropriate. Check it out. I think you’ll love it. Albireo deserves its place as a shining star in everyone’s font collection. It’s that good — really.

The Handel Gothic? typeface has been a mainstay of graphic communication for over 40 years - all the while looking as current as tomorrow. Designed by Don Handel in the mid-1960s, and used in the 1973 United Airlines logo developed by Saul Bass, Handel Gothic was an instant success when released to the graphic design community. Its generous lowercase x-height, full-bodied counters and square proportions make the design highly readable at a wide range of sizes. Handel Gothic's slightly idiosyncratic character shapes gave the face a futuristic look 40 years ago that retains its power today. In addition, its Uncial-like lowercase is instantly identifiable - and unique among sans serif typestyles. Award-winning type designer Rod McDonald was attracted to the simple, decisive forms of the original, but he felt the design needed to be refined and updated. ?One of my goals was to bring a modern typographic discipline to what was really an old phototypesetting font.? To achieve his goal, McDonald re-proportioned every character and balanced the delicate relationship between the curves and the straight strokes. He also added a number of alternate characters to extend the range of the design. ?I wanted to give designers a large enough character set so they wouldn't feel constrained in what they could do. I want them to be able to play with the fonts, not just set words.? McDonald enlarged the family from the single-weight original to five weights, each with a full suite of alternate characters.In 2015 Nadine Chahine designed matching arabic weights to this family.

SK Eliz is an eight-bit old-school geometric font based on pixels. Despite the old school, the font looks modern and simple. The font is built on a clear geometric grid, verified to the last pixel. It is ideal for design works in the old style, illustrations and for game design. This font also contains a set of pixel icons for more convenient operation. There are also paired styles of numbers. The font comes in one weight but it has 850 glyphs which supports classical Latin, Cyrillic and most European languages.

»SLAM« is my new, very sturdy but elegant slab-serif font family. I designed this font family with body copy in mind and gave it all the glyphs necessary for use with all latin writing languages. I also gave the fonts all kinds of different numerals as well as a complete set of small caps and overall extensive kerning. It comes in eight normal weights with corresponding oblique cuts and it comes in a rounded version and corresponding obliques as well. Enjoy this original font, it is a real work horse!

Ela Sans is the sister of the typeface I originally designed for the business of my second wife and mother of my two sons, her name is - of course - Michaela. Ela - the typeface - is suitable for magazines, newspapers, posters, advertiments, books, text, documentation/business reports, business correspondence, multimedia, and corporate design. Because lately this typeface became very popular I decided to extend the Ela Sans family to eight weights and I added italic and smallcaps versions to it. So now Ela Sans and Demiserif together is a full fledged typeface family.

»SLAM« is my new, very sturdy but elegant slab-serif font family. I designed this font family with body copy in mind and gave it all the glyphs necessary for use with all latin writing languages. I also gave the fonts all kinds of different numerals as well as a complete set of small caps and overall extensive kerning. It comes in eight rounded weights with corresponding oblique cuts and it comes in a normal version and corresponding obliques as well. Enjoy this original font, it is a real work horse!

Roag is an industrial geometric sans paying homage to mechanical designs of the 1930s. A precise balance of modern geometrics, with a functional yet sparing style that effectively communicates without distraction. Roag is a straightforward, unadorned type family with efficient construction. Details include seven weights with matching italics and over 950 characters per style. Opentype features consist of eight variations of numerals, including inferiors, superiors, fractions, case figures and circled figures. Additional features include small caps, case-sensitive forms, stylistic alternates, ligatures, game symbols, arrows and language support covering Western, South, Central Europe and Vietnamese.

MVB Peccadillo is an interpreted revival of a metal typeface popular in the 19th Century, then known as Skeleton Antique. Highly condensed with extra short descenders, the face makes a big impact in a narrow space. Holly Goldsmith worked from letterpress-printed specimens of 96-point, antique metal type, deliberately retaining subtle distortions due to type wear and letterpress impression. Alan Dague-Greene, referring to printed samples of Skeleton Antique, adapted the design to create two additional optical sizes: “Eight” for smaller text and “Twenty-four” for subheads.

A few scant examples of some condensed Roman style water-applied decals inspired Sign Letters JNL. The decals were once part of the gold and black "Signmaker" letters and numbers once manufactured by the Duro Decal Company of Chicago and were sold through hardware and variety stores across the country. The condensed letters (which were eight inches in height) did not sell as well as Duro's mainstay sizes of 1/2 inch to 3-1/2 inches and were discontinued long before the rest of the line was supplanted by self-adhesive lettering.

Arendahl is a natural-looking, irregular connected handwriting script. The script has a fluctuating baseline and swirling ending swashes to give the lettering a soothing flow. Arendahl utilizes OpenType ligatures and alternates to prevent duplicate letterforms, and automatically substitutes the best letter combination or word glyph. Arendahl includes 64 discretionary ligatures based on the most common pairs in the English language, a full set of alternates for every English letter, ending swashes and ornaments. The Arendahl family is made up of eight fonts, including an alternate, bold weights and script versions.

Benn is a bold and strong font family. Inspired by a car shape, it's sturdy uncompromising style is felt through the controlled letterforms and fluid touches. A balance of hard lines and smooth curves. Benn works great in any branding, poster, logos, magazines, films. The different weights give you full range to explore a whole host of applications, while the alternate glyphs give a fluid and modern feel to any projects. Eight styles Alternate glyphs are available Numbers & Punctuation Extensive Language Support Thanks for having a peek at Benn.

Bricksram is a sleek and modern geometric sans serif font that draws inspiration from popular typefaces like Futura, Gotham, and Proxima Nova. With its own unique flair and minimalistic design qualities, Bricksram is the perfect choice for those looking to achieve a clean and contemporary look across a variety of mediums. Featuring sharp angles and smooth mathematical curves, Bricksram's meticulous balance creates a super clean and eye-catching aesthetic. With a choice of eight different font weights, this versatile typeface is ideal for demanding design applications like websites, logos, mockups, apps, ads, and more.

Linotype Rowena is part of the Take Type Library, selected from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This text font was designed by the Latvian artist Gustavs A. Grinbergs and is available in six weights, from light to black. The font has a light stroke contrast and its basic forms are the circle, rectangle and triangle, making it a constructed face. The impression of the font on the reader is elegant and cool, very like poster fonts of the 1930s. Linotype Rowena is suitable for headlines and shorter texts with point sizes 12 and larger.

Linotype Brewery is part of the Take Type Library, chosen from the contestants in the International Digital Type Design Contests of 1994 and 1997. This text font is available in six weights from light to black and was designed by Gustav A. Grinberg. An outstanding characteristic of the font is its light stroke contrast and its constructed forms. Its tiny, triangular serifs first become noticeable in very large typesizes, much like the Dutch fonts of the 17th century, Copperplate, for example. Linotype Brewery is cool and elegant and well-suited to middle-length texts and headlines.

A one-time co-worker of mine sometimes used a fanciful inkpen-style script in display-lettering situations. I liked it a lot. "Phil," I says, "why not do the whole alphabet, maybe a few little dingbats, and I'll make a font." Well, one day he presented me with a stack of posterboard; he'd done some letters, all right -- hundreds of 'em. I managed to boil these down into a typeface called Treefrog, a name that seems to match its organic jumble, its tall x-height, its left- and right-leaning stems, its thick and thin strokes. Full release has many dingbats.

Anlinear is part of a series of constructed typographic experiments from the young Swiss designer Michael Parson. In the Anlinear family, which contains three separate weights, Parson has successfully created a fabulous display of alphabets out of the sole arrangement of lines at right angles to each other. The letters in this face virtually groove with the beat as you set them in text. Like a musical score, they provide a fantastic look just right for your next flyer. This family of fonts looks best when set in larger point sizes, in headlines or other display settings.

Altruiste is a decorative slab serif typeface with distinctive sharp features. It was inspired by the idea of ​​duplicating elements, conveying typeface a unique look. It is austere, sophisticated typography marked by light shapes, yet of a strong nature. Altruiste is the perfect choice for a wide range of tasks such as creating logos, signboards, posters, invitation cards and more. The typeface is available in 5 weights, from hairline to regular with italics. Each style contains 600 extended Latin and Cyrillic characters. Altruiste was designed by Alexey Chekulaev in 2021, based on the light styles of the Postulat typeface.

Luks Deco took inspiration from the glory of Roaring 20’s when the Art Deco style rose to its heyday. The strong geometric shape emphasizes the touch of retro yet modern style. Luks Deco is a good choice who wants to give Art Deco vibes to their designs. Luks Deco’s weight range from light to black, suitable to cater of all you need. The O,C,G and Q letters (and all glyphs that have circle form) have a bit different shape from light to black which will give unique display look for overall design. - Uppercase

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.

Makeba - Psychedelic Typeface This is a writing style that might suit what you need, strong and bold, psychedelic style. Add just the right amount of vintage flair to your retro graphics with this original psychedelic-style design. Suitable for music posters, album graphics, book titles, etc. Get powerful but still funky with Makeba - Psychedelic Typeface.

Ulysses was created by English designer Timothy Donaldson in 1991, an impulsive, dynamic alphabet in handwritten style. The sketchy strokes, the clear slant to the right and the light stroke contrast lend the font its flow and energy. Ulysses suggests randomness and individuality and is therefore perfect for invitations, greeting cards and other personal correspondence.

Say hello to Decrypt—a geometric typeface that features highly stylized capitals with sharp corners, circular forms and generous proportions. Specifically created for visual impact—use Decrypt when you want your words to stand out from the rest of the crowd. The concept is modern, futuristic and non-traditional. Perfect for display text, logos and headings. The development of Decrypt started in 1997, inspired by Alex Kaczun’s best selling grotesque font family called Contax Pro. Decrypt is specifically introduced here as a bold weight, but Alex plans to expand the design to include many weights, styles and alternative design treatments. Stay tuned! If you like Decrypt—check out all of Type Innovations fonts here.

Kardia is a versatile type family that lets you compose a wide range of texts, from extensive reading materials to striking, eye-catching headlines and titles. Features include ample proportions that have been revised to maintain similar line performance across all its weights. It also has an elevated x-height which facilitates reading in small bodies, in addition to help building solid headlines. Inspired by brush lettering, it takes many features from calligraphic strokes and the foundational style, adapted to a contemporary typographic language. It has 4 weights, all of them including their corresponding italics, small caps and character set that supports Central, Western and South Eastern European, Afrikaans and many more.

Karmaline is a six-weight sans serif font family with a unique and expressive design. This font has some intriguing special features such as subtly tapered topheavy vertical strokes and selected wedge-shaped horizontal strokes. It is evocative of designs from Switzerland, Germany, and the Netherlands in the period spanning 1900 – 1930, but with thoroughly modern features like high legibility at small sizes, even inter-character weight and flow, and a high x-height. You'll find Karmaline's semi-condensed width to be useful for both strong headlines and for comfortable copyfitting in narrow column widths. This font also works very well when adding layered shadow and highlight effects, and is a great choice for logos.

The Applied Sans™ family is a reinterpretation of the first sans serif typefaces used in what was then called, “jobbing or trade” work – typefaces like Venus and Ideal Grotesk. While built on the foundation of these late 19th and early 20th century designs, Applied Sans adds to it all the required features for modern typographic communication. The design benefits from a large x-height, open counters, generous apertures and a subtle modulation in stroke weight. These ensure character legibility and make for a design that is inviting and easy to read. Applied Sans family’s wide range, precise gradation of weights and extensive language support guarantees the design’s effectiveness in a wide and varied range of uses.

Aksen is a humanist sans-serif typeface that draws influence from Roger Excoffon’s Antique Olive. Its design is formed by the rounded, curving letters found in ancient Greek and Roman inscriptions but is implemented with a contemporary and pragmatic approach. This typeface comes in 56 styles consisting of four widths and seven weights, each with matching italics. Also available in variable font format, Aksen Variable boasts three variable axes: width, weight and italic. These axes open up a plethora of stylistic choices making this typeface highly adaptable. Aksen is a versatile typeface that seamlessly blends contemporary humanistic aesthetics with a touch of historical sophistication, making it a perfect fit for a wide range of design applications.

Aurore Grotesque is an elegant, robust geometric sans for both text and headline. It has a classic European heritage that references the posters of Cassandre and the modern sans of Paul Renner or Karl Gustav Möhring, but is entirely new and does not slavishly follow any historical reference. The low lower-case x-height gives it character and definition in running text, while the capitals-only Titling variant lends weight and punch to headlines. The full range of weights, each with matching italics, make it perfect for brochures, magazines, advertising, web, app and corporate uses. Includes lining, old-style and tabular numerals, arrows, stylised geometric alternates, and a full international character set.

Lalo Grotesk is made up of five weights, their slant versions and a two axis (weight and slant) Variable font. Lalo Grotesk is a grotesque typeface with characterful lowercase letters that are highly legible in large body texts, while the uppercase letters are wider to give a sense of speed in big size headlines. Its shapes are super readable, making the font ideal for use in web and editorial projects. It also have a big range of standard ligatures and icons. Lalo Grotesk font family will keep expanding and improving. Users will continue to receive free updates with technical and aesthetic improvements. Any suggestion will be welcome, don’t hesitate to contact us!

Saprona is a powerful sans-serif with a curved terminals, a tall x-height, narrow letterforms and seven weights. 400 Glyphs. Extensive Language Support. 84 Languages. Advanced OT Features. 7 Weights. Fully Variable. Updates. Advanced OpenType Features include Old Style Figures, Fractions, Denominators, Numerators, Standard Ligatures, Case Sensitive Forms, Alternates to satisfy the most demanding professionals. Curved terminals and unique letterforms make for a sans serif with a unique appearance that can make your brand or design stand out. Saprona is designed to be very versatile therefore it works great in all areas whether it is Editorial Design, Graphic Design, Web Design, UI Design and Print. And is well suited for both Headings and Body Text.

In a world of fleeting trends, Silver Archer stands as a testament to enduring elegance and timeless design. Inspired by the classic sans serif typefaces of the mid-20th century, Silver Archer exudes an air of sophistication and refinement, making it an ideal choice for a wide range of typographic applications. With its meticulously crafted proportions and harmonious stroke contrast, Silver Archer strikes a perfect balance between traditional aesthetics and contemporary sensibilities. Its open counters and generous x-height ensure exceptional legibility, both on screen and in print, while its nine weights, ranging from Thin to Black, with each weight complemented by its italic counterpart, provide ample flexibility to suit any design mood or hierarchy.

Kwalett is a sans serif typeface family with low contrast and a high x-height. Kwalett has two widths, each with five weights and each weight has an italics. The family is derived from the thinnest member of the Qualettee family. As members of that family get bolder, their contrast increases. As members of the Kwalett family get bolder, their contrast remains very low. Kwalett is designed to work better as text than the Qualettee family. The family has two ways to get fractions. A few fractions are preformed and are accessed with the OpenType discretionary ligatures feature. The OpenType fraction feature uses the superscript and subscript numbers to create any fraction.

The Bright Topic is a beautiful typeface based on manual hand writing. The natural flow with 3 styles weight make this font looks a real hand writing instead of typing a font. This type of font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : 3 styles weight uppercase & lowercase numbers and punctuation multilingual alternates and ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

A sans serif without rough edges Josefa Rounded is a beautiful text typeface. It’s unostentatious forms and balanced narrow proportions along with the softened round edges make it to appear gentle and pleasing even in longer texts. modern very legible narrow proportions high x-height distinctive forms Dtermining for the personality of Josefa Rounded are also particular idiosyncratic letters. For instance B P and R is designed openly; the bars of E and F equal each other; lower case c and e are distinctly withdrawn in their lower zone; y is symmetrical. Short ascenders generate compact word images. Cap height is shorter than the ascenders, so capitals are only little higher than x-height. Josefa Rounded is provided in 7 weights including the corresponding italics. Tabular figures and proportional figures are available through the appropriate OpenType function as well as ligatures and discretionary ligatures.

Paneuropa 1931™ is a faithful recreation of XX-century Polish classic, made by Idzikowski foundry in Warsaw, 1931. Original Paneuropa was a renowned and highly popular typeface in XX-century Poland, and was widely used in all kinds of design, editorial use and printed materials for decades. Paneuropa is a geometric, clean and versatile font family inspired by Paul Renner's famous Futura - it is a bit narrower, with different proportions and details in drawing, completely different figures and punctuation shapes than Futura. It is an interesting and refreshing alternative to Futura with its own distinct personality and a subtle authentic vintage flavour. Paneuropa 1931 contains separate styles for display and large sizes as well as styles for small text sizes - differing in spacing and the softness of letterforms. The family features an original Paneuropa Double font - a beautiful inline style for headlines and display use. The whole family is completed with added missing inbetween styles as well as italics. The original subfamily set is available for purchase and it contains solely the original Paneuropa styles (Thin, Regular, Bold, Text Regular, Text Italic, Double). Paneuropa 1931 characteristics: letter shapes and proportions are very faithful to the original, keeping its idiosycrasies and inconsistencies spacing and kerning are carefully adjusted in order to achieve the colour of the original fonts, keeping maximum possible consistency - a compromise between authentic vintage feel and legible consistent text colour (for hardcore users: just turn off the kerning) weights precisely matching the original (Thin, Regular, Bold, Text Regular, Text Italic, Double), inbetween weights were added (Light, Demi Bold, as well as missing italic styles) italic angle faithful to the original (8 degrees) softened corners help achieving the character of old imprecise printed display styles for big sizes are sharper and have tight spacing, text styles have softer shapes (recreating small print imperfect print) and broader spacing for use in paragraph text (spacing in both display and text styles matches the original as well) original style names in Polish for devices with Polish set as their primary language The family is very versatile. The Inline style as well as bold and thin weights are perfect for headlines and display use, other styles works wonderfully as paragraph text. Paneuropa 1931 consists of 18 fonts - 5 display weights with corresponding italics + 3 text weights with corresponding italics + 2 inline styles (for big and small print sizes). It has extended support for latin languages, as well as broad number of OpenType features, such as case sensitive forms, fractions, superscript and subscript, ordinals, currencies and symbols.

Aron - Sans Serif Font Family - Multilingual supports - 6 Style Aron Sans serif font family, with is geometric structure and 6 styles, helps you create many alternatives in your creative projects. It is also assertive about being a highly readable font with different weights in creating striking and powerful titles. Ideal for books and magazines, editorials, headlines, websites, logos, branding, advertising and more. If you have a question, please contact me. Have a good time.

Konnect is a geometric sans serif featuring a blend of modern, classical, and playful characteristics. The simple, clean forms and classically-inspired proportions give it a timeless quality and interesting rhythm. A large x-height, closed apertures, and horizontal/vertical terminals create a distinct appearance. It includes a wide range of weights, from fine and functional Hairline to hefty and confident Black, each with italics, all ideal for branding, advertising, logos, magazines, and more.