Ready to make your branding spark? If you need to create a big, bold logo for your business, work on a poster for an event, or whatever your project may be-then this is the perfect font for you. Marteks-A Sans Serif Font Family If we can give you many options then why not? Marteks is a package that will makes you super excited. With this family you will get many options to maximize your designs with stylish fonts. This font is more than just another sans serif font. It encapsulates the essence of luxury and modernity. Lose yourself in the romance of a crisp Fall morning, or soaking up the last drops of the sun in a golden harvest field. Perfect for headings, logos, business cards, printed quotes, wedding invitations, cards, packaging, and your website or social media branding. Features: Multilingual Support PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Nathatype

Doxent Sans Serif is a balanced, smooth, elegant and stylish sans serif font. He has a beautiful character. It fits perfectly with invitation card designs, company logos, movie titles, movie names, business cards, book titles, brand names and various other designs. Doxent Sans Serif is a subtle sans serif font that exudes sophistication and elegance. Its stylish alternations and ligatures make this font the perfect partner for any project.

Havely Condensed Sans Serif is a balanced, smooth, elegant and stylish sans serif font. He has a beautiful character. It fits perfectly with invitation card designs, company logos, movie titles, movie names, business cards, book titles, brand names and various other designs. Havely Condensed Sans Serif is a subtle sans serif font that exudes sophistication and elegance. Its stylish alternations and ligatures make this font the perfect partner for any project.

Faber Serif is the Roman typeface which was born out of the sans serif design Faber Sans. The pro­portions are nearly identical to those of Faber Sans. In comparison, Faber Serif has heavy — although very short — serifs. The character of contrasting strokes is not very pronounced; therefore, this font is closely related to the first Roman typefaces from the 15th century. Faber Serif perfectly matches with Faber Sans!

Volika Sans Serif is a balanced, smooth, elegant and stylish sans serif font. He has a beautiful character. It fits perfectly with invitation card designs, company logos, movie titles, movie names, business cards, book titles, brand names and various other designs. Volika Sans Serif is a subtle sans serif font that exudes sophistication and elegance. Its stylish alternations and ligatures make this font the perfect partner for any project.

Another boring sans?! No way! Rawer - simple, strong, raw, robust sans with stencil and inline weights. And again it’s inspired by soviet typography.

Corinthian is the work of Colin Brignall, a clean sans serif which was inspired by Edward Johnston's Railway Type and Eric Gill's Gill Sans.

Quitle Sans Serif is a an elegant and smooth combine typeface regular and italic sans serif font. He has a beautiful character. It fits perfectly with invitation card designs, company logos, movie titles, movie names, business cards, book titles, brand names and various other designs. Quitle Sans Serif is a subtle sans serif font that exudes sophistication and elegance. Its stylish alternations and ligatures make this font the perfect partner for any project.

Vemoly Display - Modern Sans - Unique Loopy Sans Vemoly Display is a minimalist sans that is perfect for your upcoming aesthetic project. This font provides a combination of basic sans serif and loopy style. You can make fun by mixing and matching the upper and lowercase to get a unique, simple, and charming typographic design. Vemoly Display is a perfect choice for logo, social media, branding, poster, flyer, magazine, websites, fashion, mobile apps, decoration, wedding, and many more! Features : Uppercase : Basic Sans Lowercase : Display Numbers & punctuations Symbols Stylistic alternates Multilingual support Thank you and enjoy your Vemoly Display!

Anona brings the upright italic to fruition and shows the handwriting shapes in a sans serif great to use in packaging and branding. Anona is an upright italic sans serif typeface perfect for packaging and playful identities. Explore the stylistic sets to see all the different shapes. Fruity and friendly upright italic sans serif come to brighten your projects. A warm and friendly sans serif will work for your identity. It has a complementary slanted version.

Introducing : Howli Playful fontpack with 7 Font Styles Howli are a combinations of fonts that fits with the playful concept. Purely created in a hand drawn to create a unique rough. An exploration of a playful theme with nice & cute look and you can combine within 7 style fonts from this FontPack! What's in this Pack : The **Boldest** on this pack are Howli layers, **3 Layered** fonts with *base, shadow and inline or hatch*. you can choose between inline or hatch for the Howli Layers. Howli Sans Serif Style comes with 3 Styles. Two of them are available for a Ligatures like I've shown on the display. Serif, A Dancing baseline serif gives you a freedom. Script, a Classic look of Script fonts Fun Script, a Cute and Fun Script. What's you'll get (10 Font Files) : Howli Layers Base.otf Howli Layers Hatch.otf Howli Layers Inline.otf Howli Layers Shadow.otf Howli Sans One.otf Howli Sans Two.otf Howli Sans Three.otf Howli Sans FunScript.otf Howli Sans Script.otf Howli Sans Serif.otf

»Prima Script« was designed especially for use in Menus and Cook-books. One of my sons is a chef in Munich and he was always bugging me to make a new font for his menus. I already designed one for him »Konstantin« but he likes to have new stuff every couple of years what I understood. So here is the new »Prima Script« (that’s what he said when he first saw the font). To give it more usability I made alternate initials and end letters as well as medieval cyphers. Then I did a couple of swashes and a handdrawn Sans font to complete the set. Have fun!

Classic Grotesque by Rod McDonald: a traditional font with a modern face. The growing popularity of grotesque typefaces meant that many new sans serif analogues were published in the early 20th century. Setting machines were not compatible with each other but all foundries wanted to offer up-to-date fonts, and as a result numerous different typeface families appeared that seem almost identical at first glance and yet go their separate ways with regard to details. One of the first fonts created with automatic typesetting in mind was Monotype Grotesque®. Although this typeface that was designed and published by Frank Hinman Pierpont in 1926 has since been digitalised, it has never achieved the status of other grotesque fonts of this period. But Monotype Grotesque was always one of designer Rod McDonald’s favourites, and he was overjoyed when he finally got the go-ahead from Monotype in 2008 to update this “hidden treasure”. The design process lasted four years, with regular interruptions due to the need to complete projects for other clients. In retrospect, McDonald admits that he had no idea at the beginning of just how challenging and complex a task it would be to create Classic Grotesque™. It took him considerable time before he found the right approach. In his initial drafts, he tried to develop Monotype Grotesque only to find that the result was almost identical with Arial®, a typeface that is also derived in many respects from Monotype Grotesque. It was only when he went back a stage, and incorporated elements of Bauer Font’s Venus™ and Ideal Grotesk by the Julius Klinkhardt foundry into the design process, that he found the way forward. Both these typefaces had served as the original inspiration for Monotype Grotesque. The name says it all: Classic Grotesque has all the attributes of the early grotesque fonts of the 20th century: The slightly artificial nature gives the characters a formal appearance. There are very few and only minor variations in line width. The tittles of the ‘i’ and ‘j’, the umlaut diacritic and other diacritic marks are rectangular. Interestingly, it is among the uppercase letters that certain variations from the standard pattern can be found, and it is these that enliven the typeface. Hence the horizontal bars of the “E”, “F” and “L” have bevelled terminals. The chamfered terminal of the bow of the “J” has a particular flamboyance, while the slightly curved descender of the “Q” provides for additional dynamism. The character alternatives available through the OpenType option provide the designer with a wealth of opportunities. These include a closed “a”, a double-counter “g” and an “e” in which the transverse bar deviates slightly from the horizontal. The seven different weights also extend the scope of uses of Classic Grotesque. These range from the delicate Light to the super thick Extrabold. There are genuine italic versions of each weight; these are not only slightly narrower than their counterparts, but also have variant shapes. The “a” is closed, the “f” has a semi-descender while the “e” is rounded. Its neutral appearance and excellent features mean that Classic Grotesque is suitable for use in nearly all imaginable applications. Even during the design phase, McDonald used his new font to set books and in promotional projects. However, he would be pleased to learn of possible applications that he himself has not yet considered. Classic Grotesque, which has its own individual character despite its neutral and restrained appearance, is the ideal partner for your print and web project.

KT Nirma Sans Nirma is a typeface with 9 Weight Sans Serif from thin to Black, inspired by Founders Grotesk, This project start from April 2022 and start from the stretch until shaped the solid character to represent the Dynamic Sans Serif. Nirma has total 462 glyph and 218 Support language. Nirma support Latin Basic, Latin-1 Supplement, Latin Extended A-B, Spacing Modifier Letters, and Combining Diacritical Marks. The Solid Character has multi function Display Sans & Body text based on Display Grotesk. Especially in te Thin to Regular is more legible for body text and the black one good for Display Sans, with dinamyc shape and more wide.

Zamenhof is a family of five fonts that can be used singly or in combination to create a variety of bold, yet elegant, display styles. Inspired by Russian hand-lettering that appears to have been based on Jakob Erbar’s Phosphor, Zamenhof is essentially a Latin interpretation (with Cyrillic and Greek) of a Cyrillic interpretation of a Latin type design, with many changes along the way. (For example, all the Latin-only letters are quite different between the two designs: D, F, G, J, K, N, Q, R, S, U, V, W, Y, Z.) The Inline and Inverse styles of Zamenhof are the basic fonts and can be used effectively on their own. The Plain and Outline fonts — which I recommend using only in combination with the main designs — were created specifically to be combined with Inline and Inverse, as underlay and overlay layers, respectively. (You will need an application that supports layers, such as Adobe InDesign or Photoshop.) Zamenhof supports most European languages as well as modern Greek, and of course, Russian and other languages that use the Cyrillic alphabet. Needless to say, as Zamenhof is named after the father of Esperanto, it also supports Esperanto (as do all fonts from CastleType).

Rational TW is the typewriter addition to the Rational family. It is a monospaced font building on the same principles as its proportional, neogrotesque brother, such as maximum legibility and flexibility while combining Swiss and American gothic elements with a modern aesthetic. Due to the monospaced environment, some of its letter shapes like “r”, “m”,“f”, “i” and “w” have been slightly adapted but kept the same in appearance. Rational TW comes in two version: Rational TW Display and Rational TW Text. As indicated by its name, Rational TW Text is not limited to, but works best in small font sizes because it features distinctive letter shapes like a double storey “a” or “g” in order to help differentiate similar glyphs in small sizes. Rational TW Display, on the other hand, creates a geometric uniformity by implementing round shapes in “a” and “g”, giving it a subtle friendly and open character. Unlike many other monospaced fonts, Rational TW has a large amount of opentype features like small caps, alternative glyphs, case sensitive shapes, and many more making it the perfect choice for countless scenarios. With more than 700 glpyhs per font, it performs excellently in any project from print to digital.

Freundschafts-Antiqua AR is based on a 20th-century German type design. Freundschafts-Antiqua (which was also called Chinesische Antiqua) was designed by the Chinese calligrapher Yü Bing-nan when he was a student at the Hochschule für Grafik und Buchkunst at Leipzig in 1960. It was cast in 1964 by VEB Typoart, Dresden, in 9-pt and 28-pt (Didot). The design combines the best German traditions with the Chinese bamboo pen. It is a unique, wholly modern, yet quiet and dignified typeface which is well suited for text-setting in many sizes. The original design was carefully crafted with all non-kerning letters (none of the letters overhangs its side-bearings); the lower-case f was designed so that no ligatures were needed. The AR fonts include the type's ch and ck logotypes, monetary signs and all the standard accents. The letterfit of the original design is retained and, as can be seen in the attached printable .pdf, text composed at normal sizes is very agreeable indeed. Freundschafts-Kursiv AR A features old-style (non-lining) figures and 'kerning' letters; Freundschafts-Kursiv AR B contains lining (cap-height) figures and all non-kerning letters following the original design of the face.

Sihmitree is a gimmick typeface in which all glyphs have reflective (mirror) or rotational symmetry (or both). Sihmitree has two weights and is caps only, with most of the lower-case letters identical to the upper-case letters. It includes only those accented characters that are symmetrical. The letters of the alphabet are often used to explain symmetry. BCDEK are given as examples of shapes that can easily be formed with symmetry over a horizontal line. AMQTUVWY can easily be formed so that they mirror over a vertical line. Letters HIOX can be formed so they mirror over both horizontal and vertical lines, and as a result they will also have rotational symmetry. Letters NSZ can be formed so that they reproduce themselves with a rotation of 180º. That leaves letters FGJLPR, which are usually considered examples of asymmetry. However, there are script versions of J, L, and R that can be formed with symmetry, and variants of lower-case f and g can be made that are symmetrical. P looks a lot like the thorn character. Some of the numbers also present challenges when trying to form them symmetrically. The symmetrical alphabet is not stylistically harmonious and has limited use other than as an exploration of symmetry.

Carlton is based on a typeface designed by Prof. F. H. Ehmcke. In 1908, Ehmcke released his Ehmcke-Antiqua design through the Flinsch typefoundry in Germany. Ehmcke-Antiqua was later distributed by the Bauer typefoundry in Frankfurt am Main. The Caslon Letter Foundry in England discovered the design and released their own typeface based upon the model, which they named Carlton. Carlton entered the Stephenson Blake program after they acquired the Caslon Letter Foundry in the late 1930s. As hot and cold metal typesetting became outdated technologies, Carlton and Ehmcke-Antiqua fell out of general use. In the 1990s, Letraset revived this classic design, distributing it under its English name, Carlton. Carlton's clean and generous capitals, as well as its understated yet detailed lower case, have found popularity again in recent years. The elegance of Carlton is best used for displays with large letter and word spacing. Carlton shows all of the hallmarks of a delicate serif typeface design; its forms capture a distinct moment that was common within Central European type design during the first third of the 20th Century. Carlton is similar to several other expressive typefaces from the early 1900s, including Bernhard Modern, Koch Antiqua, Locarno, and Nicolas Cochin."

Sudtipos is proud to announce the release of Clockmaker, an 8-weight family that takes initial inspiration from typography around the turn of the twentieth century. Clockmaker takes aesthetic references from Victorian, Art Nouveau and Art Deco advertising and typography, taking special influence from John F. Cummings’ all-caps – and never digitized – type design Elandkay.  Clockmaker is a robust multi-weight family that includes an array of ligatures as well as alternate characters and support for all latin languages. The design process began with developing and modernizing the uppercase letterforms, followed by designing the lowercase and additional weights. Creating a diverse and playful set of uppercase ligatures was an almost endlessly enjoyable task; they are one of Clockmaker’s most charming features. Clockmaker is an impeccable choice for designs requiring a vintage flair such as a luxury liquor labels, restaurant identities, lavish hotels and many other applications where elegance and grace are needed.   In addition to its historical references, Clockmaker is an homage to my grandfather who was a master craftsman, repairing antique clocks and fine watches with great skill and mathematical precision. Watching him work was fascinating and it has been a joy to remember those quiet and curious moments from my childhood while designing this font.