Benchmark Pro is a carefully structured geometric typeface which works amazingly well in body text due to its simplistic nature and large x-height. The design of Benchmark Pro started out as an attempt to convert the minimalistic structure of a technical and purely geometric design into a readable modern and friendly sans serif. This was achieved by selectively changing and turning the straight lines of the initial drawings into curves and applying legibility techniques to the transformed letterforms. These letterforms have a distinct personality which is bolstered by its angular curves and open counter terminals. The result is a contemporary text typeface that looks quite fashionable. Benchmark Pro gets away from the ultra modern and mechanical structure but keeps its display nature, it gets away from the classical but still remains legible. This robust san serif type family offers an extended character set which supports simultaneously Latin, Cyrillic and Greek. All Benchmark Pro font variants have a companion italic, rounding the total family members at 14 fonts. Each font includes more than 750 glyphs and is powered with 17 opentype features. PDF Specimen Benchmark on Behance

Uniform is a multi-width geometric type family designed around the circle. The O of the Regular width is based on a circle, the O of the Condensed width is based on 1.5 circles stacked (with straight sides) and the O of the Extra Condensed width is based on two circles stacked with straight sides as well, and all other characters are derived from this initial concept. This unique idea creates a remarkably fresh type family that bridges the gap between circular geometric typefaces and condensed straight-sided typefaces. Uniform also includes many opentype features like Old Style Figures, Tabular Lining Figures, Alternate characters, Ligatures and more. Uniform was first drawn starting with the Black weight. This careful process allows each character to look consistent and balanced through all weights. As a result, the typeface does not ‘break down’ or lose its form in the boldest weights like many typefaces do. The three widths of Uniform make an ideal type family for a host of various uses. From branding to web design, book covers to signage, Uniform is a very versatile solution to complex typographic needs.

Welcome to Jillsville, the charming slab-serif typeface that will give your message a delicate and sympathetic tone. With its lovely curls and unusual design, Jillsville stands out from the crowd and offers a contemporary and unique touch to your design. One of the most striking features of Jillsville is its slab-serif design, which adds a touch of boldness and solidity to your text while still maintaining a delicate touch. Whether you’re creating a logo, a title, or a piece of body text, Jillsville’s distinct and eye-catching design will help your message stand out. In addition to its elegant design, Jillsville also offers a wide range of symbols and numerals, including mathematical symbols, fractions, numeric ordinals, and monetary symbols. This makes it a versatile and practical choice for a variety of design projects. With seven weights and italics to choose from, Jillsville offers plenty of flexibility and options for your design. Whether you’re looking for a bold and impactful headline or a softer and more delicate body text, Jillsville has the perfect weight and style for your needs. Overall, Jillsville is a must-have slab-serif for any designer looking for a contemporary and unique typeface. Its charming design and practical features make it an ideal choice for a variety of design projects, from branding and marketing to editorial and web design. Try Jillsville today and see how it can take your designs to the next level. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

AwanZaman has a three-phase story, beginning with Dr Mamoun Sakkal’s two Arabic styles and culminating with Juliet Shen’s Latin extension. AwanZaman started as simply Awan, a commission for a modern, clean, monoline typeface for writing headlines and story titles in a forward-thinking Kuwaiti newspaper. Awan was based on the geometric forms of Kufic script, while in phase two, a second typeface (Zaman) was designed to add enough calligraphic Naskh details to make it easy to read in demanding newspaper settings. Together these two phases give the typeface a warm, familiar, and progressive look, as well as an explanatory two-part name — AwanZaman. Since most editorials use typical Naskh headline fonts with an exaggerated baseline, Awan’s rational forms immediately distinguish it as a modern and progressive voice in the crowded field of Arabic editorial typefaces. As the companion Arabic typeface, Zaman has the same basic proportions and forms as Awan, but with many cursive, energetic, and playful details. And since modern monoline fonts are increasingly being used to set extended texts, more features were borrowed from Naskh calligraphy to expand the typeface’s use from headlines into text setting. When using the AwanZaman Arabic family, Awan (geometric Kufic forms) is the starting point. To add the sweeping, energetic personality of Zaman (calligraphic Naskh forms), simply activate an alternate character through the option of 20 stylistic sets available in any OpenType-savvy software. The two typefaces function as one file — the AwanZaman Arabic family — allowing users to combine features from both designs to transform the appearance of text from geometric and formal to playful and informal. The third phase of AwanZaman’s development introduced a companion Latin typeface designed by Juliet Shen to fulfil the persistent need in the Arabic fonts market for modern and geometric bilingual type families. Due to the Arabic’s monolinear strokes, AwanZaman Latin was destined to be a sans serif with a tall x-height, larger counters, and corresponding stem thickness to harmonise with the Arabic’s overall text colour and page presence. But it needed much more. One of AwanZaman’s chief assets is making the two languages look on a par when typeset side by side. Arabic and English readers will have a different sense of what that entails, but this type family defers to the Arabic — graceful and artistic with a good mix of straight stems and curved forms. Latin in general doesn’t aesthetically flow the way Arabic does, yet the tone of the Latin needed to mirror both the Arabic’s more squarish curves and formal personality of Awan and the undulating and more playful shapes of Zaman without looking outlandish. That need was met by creating some novel Latin characters, which are accessed through four stylistic sets the same way as AwanZaman Arabic. The alternates are not just clever in the way they look and how they echo the Arabic aesthetic, but also in harmonising the disparate languages and serving designers well when needing a balanced, bilingual text face with a warm and lively voice. AwanZaman is a clever, seven-weight powerhouse that makes extensive use of OpenType’s stylistic sets (20 in the Arabic and four in the Latin) so writers and designers can make the most of everything from a single glyph in display sizes down to dense text in paragraphs. As AwanZaman Arabic has no italic, neither does the Latin; contextual distinction normally handled by italics is achieved by exploiting the family’s seven weights. AwanZaman’s intricate OpenType programming supports Persian and Urdu, with features such as the returning tail of Barri Yeh treated properly. From its inception in geometry to its melding of two worlds with novel forms, AwanZaman is a personal labor by designers Dr Mamoun Sakkal and Juliet Shen, and embodies the TypeTogether ideals of serving the global community with innovative and stylish typeface solutions. The complete AwanZaman Arabic and Latin families, along with our entire catalogue, have been optimised for today’s varied screen uses.

Originator is a display modular monospace font. The typeface has a distinct technical geometry using sharp angled corners. "Originator" name is derived from Latin and means 'one who first creates or initiates something into existence.' Originator is recommended for display work, branding, logos, technical writing, team sports, aerospace, aviation, automotive, racing, fashion, cinema, architecture, invitations, posters and headings.

Freud is a sans family of 9 weights ranging from hairline to extra bold (also available as a 5 styles Economy Pack). It’s a legible face with straightforward geometry spiced with lovely humanist terminals. Some strokes are cut at an angle to enhance its identity. Freud provides a strong partner both for screen and print projects.

Shiver me Timbers and Splice me Mainbrace! There's strange goings on in Smugglers' Cove... A gathering of thieves, brigands, piratefolk and back-stabbing blackguards the likes of which have not been seen since the days of Redbeard! Someone'll be swinging from the yardarm or walking the plank if the map identifying the location of the fonts created for Grim Todd McFarlane's SPAWN: THE DARK AGES doesn't turn up soon!

African Shield is named for the cow-hide shields used by Zulu warriors. The shield was an essential part of the weaponry of the Zulu Nation. In the days of the great King Shaka, every Zulu warrior was armed with a shield, one or more throwing assegais (type of spear) and a stabbing spear. The high-contrast design of the shield has inspired a font that translates into exciting graphic designs.

Combine, designed by Carlos Fabian Camargo G, is powerful and attractive, multi-layered chromatic type family that consists of 12 fonts, typographically grouped in two logics: “Script and Caps”, so that they could be colored separately or in group. Both designed with contrasting optical techniques and combinable at the same time. The unforgettable central idea of Combine was inspired by unique types of speedball letters designed by ancient artists in Canadian posters of shows and fairs in 1930. This is why its Typographical tools work independently or in group, resulting in highly polished designs that need fonts with coupled effusiveness. Their combined resources offer guaranteed distinguishing letters with shadow effects and worn, in order to help enhance their expressiveness. Combine is excellent in any project on paper or screen as it has more than 2100 glyphs and features of OpenType distributed strategically in fonts easy to use. SEE BELOW THE MAIN ADVANTAGES: • Combine Script & Shadow: It offers incredible case sensitive fluency and eloquence drawn with vertical cursive letters with ornamental non-stop excitement and complementation. It also has a variety of significant upward and downward, alternative strokes combined with its vintage ties that also give authenticity to their designs. • Combine Caps 1,2,3 & Shadow1,2: Guarantees you a colorful horizontal area of narrow case with 2 types of shadows, sound and other shade with diagonal stripes. Its geometric uniformity gives a friendly, open and subtle character by Typographic and special resources and visual properties coloring layers separately or in groups. In addition, its 2 layers of skeletal illuminations, adding internal lines and simultaneously contributing to play perfect confrontation and contrast with their geometric ideas and aesthetics for special attention. • Combine Words & Shadow: It can be used to design a perfect tone in each one of the 50 slogans written diagonally, making a brilliant feeling suggestive seductive style. Compatibility and flexibility works by monoline thin cursive strokes ideal for featured items with and without shade. Combine was selected at the Bienal Tipos Latinos 2016

Introducing a modern display font "Grayson". It's a sans serif typeface with straight geometrical shape that has a lot of ligatures and stylistic alternates. Those OpenType features can help you to create an awesome unique lettering compositions with unexpected characters combinations. Use capital letters to access all those features. Nevertheless it can be a quite simple font if you'll type lowercase letters, which can be useful for small supporting text. This font has West European multi-lingual support (check out the screenshot with available characters).

Plasma is a contemporary font family, characterized by its clean and geometric appeareance. As a square based style, Plasma has a technological and futuristic feeling, so is suitable for a very wide range of uses, such as editorial, corporate, packaging, posters and web design. Plasma Family consists in 21 fonts, which comes in seven weights, and three different wides. Each font has 516 characters, and can be managed by using its Open Type features, and supports Western European, Central/Eastern European, Baltic, Turkish and Romanian Languages.

Maybe I should have named this font “Communist Block”. But it also works well for Colonial-style tavern signs. It’s square, geometric and rigid, and is the perfect thing for totalitarian themes. The family consists of three fonts: Kolega (“Comrade” in Polish), Kolega Tall, and Kolega Podrobska (Fake Comrade). Kolega and Kolega Tall are fully charactered with U.S., European, Greek and Cyrillic glyphs. The latter font is meant to use in English only; although it contains many accents and character variations, they mean nothing. It’s a joke.

A geometric design, published in Rick Poynor’s Typography Now 1 (Booth-Clibborn Editions, London UK,1991). Discussing these kinds of angular styles, the critic Rick Poynor noted that "fate has overtaken the angular post-constructivist type design of Neville Brody, Zuzana Licko and Max Kisman". Poynor described a process by which typefaces, once “fresh, unexpected, precisely attuned to the moment”, get used increasingly often in less and less appropriate contexts and end up looking "irredeemably passé". (Poynor, Rick, ‘American Gothic’ in Eye Magazine, 6/1992)

Our Galindo Pro was inspired by the heavy-weight animated fonts such as Ad Lib, Nightclub, and Bear Club, blending geometric cuts with light-hearted contours. The festive letterforms intrigue and draw in the reader, while the SmallCaps and extensive figure sets open the font up to a wider range of uses. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

Bohy was a candidate when it was felt there was a need for a "house font" to start a design service. Its readability can be relied on to clearly display the most creative or obscured names, yet the adherence to a chosen system of construction to achieve this consistency also make the Bohy characters stubbornly distinguishable from most other font sets if you were to group it under geometric, or technical typeface, or some other categories it should belong (it is considered more constructivist, not humanist, etc...).

Selaive is a geometric typeface that has an air of rebelliousness. The thick and thin versions give you the chance to play a coquettish and seductive game. Its flourishes make it a very dynamic typeface when composing a text, ideal for those who want to add a personal and glamorous touch to their compositions. Selaive is an excellent choice for fashion magazines, logotypes and shops. Languages include: Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Romanian and Pan Africa Latin. Programed by Daniel Hernández

Epitet, a subtle compact type family with a modern mixture of geometrical and simple shapes, comes in 6 weights, from Thin to Bold. It is a clean elegant sans serif typeface, with a small x-height. Epitet is highly legible in all sizes. Very versatile and easy to use, Epitet can be used in a wide range of corporate and editorial applications. I'm sure Epitet could get even more epitets, but the appropriate use of Epitet would be the biggest one it could get.

Polli Sans is a sans serif geometric font, designed with both proportional and fixed-width styles in mind. Polli is great for large scale display purposes and small scale copy. The proportional’s curvy form makes it super useful for title type, and the detailed technical fixed-width sub-family is perfect for any informative body of text. Polli is designed as an homage to common type practices of the early 21st centric corporate America. Borrowing from friendly styles you’ve seen before but with contemporary challenging elements.

Sobek, the Egyptian crocodile god, comes to life in this font as a striking and impressive set of characters. Somewhat alien and dangerous, Sobek uses sharp corners, excessive lines and geometrically circular curves to create a font that looks both organic and crafted at the same time. Use Sobek when you want your words to stand out from the crowd, and convey the feeling of something Other. Sobek even has support for numerous languages, so you can create interesting forms in many different dialects.

Released by Intertype in the 1930’s, Vogue was a geometric sans serif rival to Futura and Kabel. Vogue had many unique quirks such as its distinctive G, that striking Q with a vertical tail, and many others. Almost ninety years later there has been no decent digital revival of this wonderful typeface... until now. Intervogue brings this classic to life in the modern age. Seven weights complete with true obliques and an alternate cut give Intervogue the versatility to be a true workhorse.

KREIS is a modular typeface created by Ukrainian designer Kateryna Korolevtseva. KREIS has a modern sharp character inspired by the shape of an old-school CD disk. It consists of three simple modules with the roots in square and circle shapes. Letterforms create a geometric typographic pattern, but at the same time, it remains readable. KREIS works best in headings, logos, and strong messages. If you want to look strong — use KREIS. If you want to protest — use KREIS. If you want to be heard — use KREIS.

Causten Round is a geometric sans serif font family with round corners and maintains rationality in designing each form. With use the sharpness of the eyes, and remain logical, so that balance is maintained in each form. So, it will get a clean, neat, and perfect shape. Causten Round is a rounded version of Causten Causten Round comes with 9 weights and a matching oblique, making it 18 styles. It makes it perfect for all creative projects. Also, some alternative glyphs will be an attractive choice.

ITC Ronda, with its constructed forms, was designed by Herb Lubalin in 1970. Behind its figures lie the clear geometric forms of the circle, triangle, and rectangle. The typeface presents a clear, modern look in any application. Distinguishing characteristics are the shapes of the upper right third of the capital B, P and R as well as the half-circle form of the descender of the Q. ITC Ronda is similar to Michael Neugebauer's Litera; both fonts display styles characteristic of the Bauhaus' work. "

The typeface EURO Icon Kit is designed at 2020 for the font foundry Typo Graphic Design by Manuel Viergutz. The display font is inspired by the here and now. 763 glyphs incl. icons, dingbats & symbols. Decorative extras like arrows, emojis, ornaments, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for ❤ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (20 stylistic sets) + sign of the zodiac. Have fun with this font & use the DEMO-Font (with reduced glyph-set) for FREE!

Qiproko is a typeface with semi-modular and geometric shapes. The squared curves remind the shape of the cathode ray tube monitor, giving a retro feel to the characters. It’s unusual stencil version makes a direct reference to the electronic circuit, which gives a very technological aspect. Each font includes OpenType Features such as Tabular Figures and Capital alignement. The fonts have an extended characters set to support Central, Eastern and Western European languages. Qiproko is perfectly suitable for headlines or epigraphs, but works in text too.

Released by Intertype in the 1930’s, Vogue, was a geometric sans serif rival to Futura and Kabel. Vogue had many unique quirks like its distinct G, that striking Q with a vertical tail, and many others. Almost ninety years later there has been no decent digital revival of this wonderful typeface... until now. Intervogue Soft brings this classic to life in the modern age. Seven weights complete with true obliques and an alternate cut give Intervogue Soft the versatility to be a true workhorse.

Nazari is a typeface for titles with personality, character and multiple alternatives to design. Nazarí is inspired by Arabic lettering and calligraphy, but updates its shapes through games of high contrast, geometric design and rounded terminals. The family has 4 styles: Regular, Regular Inline, Sans and Sans Inline. In turn, Nazari is divided into a basic set and an extended set. The basic set supplies all the essential characters to design any graphic piece. The extended set also contains different contextual alternatives, ligatures and swashes.