The Core Sans N Family is a part of the Core Sans Series (Core Sans N SC, Core Sans N Rounded, Core Sans M, and Core Sans G). Letters in the Core Sans N Family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans N Family consists of 3 widths (Condensed, Normal, Extended), 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black), and Italics for each format. It also supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans N Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

First presented by the Bauer Type Foundry in 1928, Futura is commonly considered the major typeface development to come out of the Constructivist orientation of the Bauhaus.movement in Germany. Paul Renner (type designer, painter, author and teacher) sketched the original drawings and based them loosely on the simple forms of circle, triangle and square. The design office at Bauer assisted him in turning these geometric forms into a sturdy, functioning type family, and over time, Renner made changes to make the Futura fonts even more legible. Its long ascenders and descenders benefit from generous line spacing. The range of weights and styles make it a versatile family. Futura is timelessly modern; in 1928 it was striking, tasteful, radical - and today it continues to be a popular typographic choice to express strength, elegance, and conceptual clarity. The PL Futura Maxi font family was created by Victor Caruso in 1960 to add more display weights to Paul Renner's 1927 Futura family. Typefaces in the same style like Futura are: Avenir, Metromedium, Neuzeit Grotesk,

To describe what inspired Magneta would be to add a little Dwiggins, throw in some Benton with a hint of Austin, wrap it up in a crisp, contemporary package and serve. The skeleton of the family is a Garalde (like my earlier Epic) but with a desire to produce something much more transitional and contemporary, I sought to simplify, simplify, simplify. Cap and ascenders share the same height, the x-height is slightly larger than expected which should make a functional typeface for editorial, headlines or where more visually complex systems are needed. The modulation is much more intentional than historical and creates some interesting interactions between the various weights. There are both Normal and Condensed widths available with 6 different weights and matching italics, small caps, oldstyle figures, swashes, stylistic and discretionary ligatures (that includes some fun majuscule ligatures in the roman styles), there is no lack of typographic goodness for the designer. To add some spice, a set of Decorative Ornaments have been created that include geometric, floral, curvilinear patterns and much more.

Nameh is a single weight sans-serif headline font designed by Naghi Naghashian. It is a condensed big title font. This font is a contribution to modernize the Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. Nameh supports Arabic, Persian (Farsi) and Urdu. It also includes proportional and tabular numerals for the supported languages. Nameh design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Nameh was developed for multiple languages and writing conventions. Nameh supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

The Catenary typeface was designed with the goal of creating an extremely-readable sans-serif font that could weather the future. Inspired by the beauty of the catenary curve, it's a blend of the transitional and the geometric that allows it to be readable while keeping its forms precise and consistent. Every character in its set is unique, leaving no confusion between similar letter forms. Sixes and nines can be distinguished even when they're upside down or sideways. The number one, the lowercase-L, and the uppercase-I can never be confused with one another, even without context. Throw b, d, g, p, and q into a jumble and the challenge of distinguishing the characters can easily be overcome. The Catenary family consists of eight fonts, six of which, the standard light/italic, regular/italic, and bold/italic, work as both excellent text fonts and exceptional display fonts. The two bonus fonts, a stencil and a guerrilla grunge style, make for great additional display font choices. The Catenary family is extremely versatile and ready for your toughest design work.

Jekta is a sans-serif headline font designed by Naghi Naghashian. This is a single weights font, ExtraBold. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Jekta supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Jekta design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Jekta was developed for multiple languages and writing conventions. Jekta supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Geometrical drawing of Fenomen Sans typeface goes back to the roots of the Bauhaus aesthetics and the entire architectural and design avant-garde of the 20th century. It is still a symbol of functional rationality, clean aesthetics in relation to shape, and of progressive thinking. Its popularity is timeless and permanent. The set contains eight basic alphabets of a square pattern, eight semicondensed, eight condensed and eight extremely condensed alphabets, all in Latin and Cyrillic alphabets. Every font of the family has four types of numerals, small caps and variant letters. The typesetting can fluently use all fonts simultaneously. The typeface originated between the years 2011–2014 and was subjected to a series of tests for the fluent legibility of narrow fonts even in extreme conditions. Narrow fonts provide this set with the maximum use also for newspaper typesetting. The typeface has an elegant, delicate design in thin fonts and sufficient legibility in bold. Mutual contrast produces creative tension. Font name acronyms described: SCN = SemiCondensed CN = Condensed XCN = ExtraCondensed

EraMax Radial is a geometric sans serif meant to be set BIG, for big statements. It's the perfect face for signage, packaging posters, branding and so on and on, where a strong voice is needed. It has a modern look that will work in a retro setting. Or, should that be a vintage look that will work in a modern setting. This is the first of what is to be a series to typefaces inspired by the original hand painted signage found in the TH&B train station in Hamilton Ontario. This classic Art Deco, Or, more precisely, Art Moderne building designed by the New York architectural firm of Fellheimer and Wagner and completed in 1933. The original lettering included about 75% of the uppercase letters only, so the balance of the uppercase and the lowercase plus all the other glyphs were extrapolated from the look and feel of the existing uppercase letters. Figures are based on the numerals on the station clock, with adjustments made to harmonised with the letters.

Corsica is an all-purpose geometric sans-serif typeface of visually uniform stroke thickness. The design seeks to be reminiscent of classic 20th Century grotesques with a crisp modern appearance and opentype features that are now expected. Coverage includes most Roman languages, Greek and basic Cyrillic. Each font contains a standard set of features including fractions, small capitals etc. The family contains six weights, two widths and three lowercase size options, together with an italic variant for each. The are three standard 4-font families for each size variant and a further three corresponding families for Condensed versions. The versatility provided by this extensive family has many useful applications. In particular, the choice of small, medium and large lowercase letter sizes (SX, MX, LX) allows designers to select an appropriate style for suitable impact and legibility in different situations such as headlines, captions, signage, web menus etc. Although each of the three size options will work equally well in most situations, the middle size (Corsica MX) would generally be the preferred choice for lengthy texts.

The typeface Hand Stamp Wood is designed from 2020 for the font foundry Typo Graphic Design by Manuel Viergutz. The display font based on original old wood letter, stamps, DIY and is inspired in the past and present. 4 font-styles (Rough, Mix, Circle, CircleMix) with 370 glyphs (Adobe Latin 1) incl. decorative extras like arrows, dingbats, emojis, symbols, geometric shapes, decorative ligatures (type the word #LOVE for ❤ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (2 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Hand Stamp Wood ■ Font Weights: 4 (Rough, Mix, Circle, CircleMix) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 370 glyphs (Adobe Latin 1) incl. decorative extras like arrows, dingbats, emojis, symbols ■ Design Date: 2020 ■ Type Desi­gner: Manuel Viergutz

Homa is a sans-serif sigle weight font designed by Naghi Naghashian. It is extremely legible even in very small size. This font is The contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Homa supports Arabic, Persian ( Farsi) and Urdu. It also includes proportional and tabular numerals for the supported languages. Homa design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Homa’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Homa was developed for multiple languages and writing conventions. Homa supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Omnipop is a potent display pack with three styles. All the fonts have firm yet clean and velvety character. Omnipop Brush is a forward leaning brush script with a somewhat heavy complexion. It has a large x-height and it makes nice smooth and even texts. Omnipop Brush is equipped with Standard Ligatures and Contextual Alternates that are automatically on as they should be kept. In addition it has Swash, Stylistic and Titling Alternates for extra show-off. Omnipop Script is a monoline connected script simulating a smooth felt-tip pen. Script is equipped with Standard Ligatures and Contextual Alternates to keep the connections smooth. In addition Omnipop Script has Swash, Stylistic and Titling Alternates and even more extra characters can be found in the glyphs window. Omnipop Sans is a sturdy rounded all caps sans with a sort of geometric vibe to it. Anything you type with Omnipop Sans will look cheery and approachable. Omnipop fonts rock on their own but they also play great together in any order.

The typeface Anti Atom is designed from 2021 for the font foundry Typo Graphic Design by Manuel Viergutz as a political statement #antiatom #atomkraftneindanke The display font based on the original Anti Atom Sonne from Anne Lund. Thanks to Stefan Bergmeier for the Input. 4 font-styles (Sun, Cap, Mirror, Outline) with 375 glyphs (Adobe Latin 2) incl. 100+ decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for or #SMILE for as OpenType-Feature dlig) and stylistic alternates (3 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Anti Atom ■ Font Styles: 4 (Sun, Cap, Mirror, Outline) + Icons + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Glyph Set: 374 glyphs (Adobe Latin 2) incl. 100+ icons (decorative extras like arrows, dingbats, emojis, symbols) ■ Design Date: 2021 ■ Type Desi­gner: Manuel Viergutz

To describe what inspired Magneta would be to add a little Dwiggins, throw in some Benton with a hint of Austin, wrap it up in a crisp, contemporary package and serve. The skeleton of the family is a Garalde (like my earlier Epic) but with a desire to produce something much more transitional and contemporary, I sought to simplify, simplify, simplify. Cap and ascenders share the same height, the x-height is slightly larger than expected which should make a functional typeface for editorial, headlines or where more visually complex systems are needed. The modulation is much more intentional than historical and creates some interesting interactions between the various weights. There are both Normal and Condensed widths available with 6 different weights and matching italics, small caps, oldstyle figures, swashes, stylistic and discretionary ligatures (that includes some fun majuscule ligatures in the roman styles), there is no lack of typographic goodness for the designer. To add some spice, a set of Decorative Ornaments have been created that include geometric, floral, curvilinear patterns and much more.

The thing is that many sans-serif typefaces are usually intended for universal usage. But sometimes faces that work fine in body text look not so good in large point sizes for display purposes when all the contrast in non-contrast sans-serif, or ink traps, become visible to the naked eye. Every designer solves this problem in his own way. We offer a drastic solution in our Stem: a sans-serif with optical sizing. The first part of the type family, Stem Display, is for use in largest point sizes, from 36 pt indefinitely. Stem Display consists of 12 faces of widths from Hairline to Bold, and it has true italics. The development of Stem type family will include Stem Text for body text and “traditional”, universal use, and Stem Caption for small point sizes. Stem is a geometric sans-serif with semi-closed aperture, large x-height and modern proportions of uppercase letters, like in famous Avenir and Gotham. Its important feature is a professionally designed and carefully tested Cyrillic glyph set.

Shackle One is a geometric Sans Serif with a twist. As a modern classic that does not wear out visually it is suitable, for example, for luxury items, leather goods, watches and jewelry, high-class sports, documentation of historical technology or graphics in the field of art and design. It works excellently for huge headlines, but can also show particular strengths in continuous text – its gray value is almost flawlessly uniform. All line connections and terminations are perpendicular, which means that slopes or curves have a light bend at their ends, similar to the lordosis of the cervical spine. This makes the font look upright and straight and at the same time agile and dynamic, like an athlete with good posture – a typeface that is powerful and confident without appearing steely or violent. Shackle One is a classic but casual looking font with sophisticated details. It has a classy appearance without being pretentious. It can appear stern and serious as well as playful and humorous. Its strong character also makes it an excellent corporate font for certain branches. You will love it.

Rome Ionic is a serif display font inspired by architectural features in ancient Roman building columns. The Ionic columns are taller and slender compared to 'Doric and Corinthian' columns. On the Ionic Capitol column, there is a geometric spiral like a paper roll. We used those elements in this roman style font. The base of this font is serif shaped, more slender and towering, and equipped with 8-18 stylistic set alternates. This is the development of the basic shape on which we added spiral ornaments to the left and right. This serif font's characteristic is soft and simple, not sharp and complicated like Doric and Corinthian. The composition of the softness of the basic and alternate fonts does not reduce the splendor of this font. We complemented this font with support for the Latin extend as an analogy to the Roman region. Rome Ionic is perfect for 'impressive luxury and power' designs. With this font, your branding will show the robustness and refute the splendor of other products.

Pegah is a sans-serif font family designed by Naghi Naghashian in three weights. Pegah Light, Pegah Regular and Pegah Bold. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Pegah supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Pegah design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BaBa was developed for multiple languages and writing conventions. BaBa supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Moviemania - Sans Serif font Family - Multilingual - 12 STYLE Moviemania font family is a modern sans serif typeface with its sharp lines and soft turns that form its characteristic structure. It offers you two alternative concepts in your preferences with its sharp lines in upper cases and soft lines in lower cases. It has an ideal modern structure in your preferences for branding and identity creation in today's modern world. Absolutely perfect for movie titles, magazines, branding, branding identity, posters, logo designs, packaging designs, websites - all digital platforms and more! This font can meet your needs in all modern and classic creative projects. CHARACTER RANGES : Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, General Punctuation, Currency Symbols, Letter like Symbols,Arrows, Mathematical Operators, Miscellaneous Technical, Geometric Shapes, Miscellaneous Symbols, CJK Symbols And Punctuation, Private Use Area (plane 0), Alphabetic Presentation Forms GLYPH COUNT : (543) Uppercase typeface Lowercase typeface Numbers Symbols Multilingual With this font you can create your unique designs. If you have a question, please contact me. Have a good time.

Enamela (rhymes with Pamela) is a monoline square sans that is available in normal width and condensed versions. Although rooted in the early years of sans serif type, the Enamela fonts have a timeless quality that is practical and unpretentious. The letterforms derive from vitreous enamel signage dating from the Victorian era and widely used in Britain for street nameplates, Post Office signs, the plates on James Ludlow wall postboxes, railway signs and direction signs, as well as for circular Automobile Association wayfinding plaques throughout the first half of the twentieth century. The quirky terminals, stemming from the compression of geometric type, invite comparison with the Charles Wright fonts used for UK vehicle registration plates. Enamela and Enamela Condensed are both available in three weights – regular, medium and bold – and as italics (optically corrected obliques). A commonly used alternative M with a vertex that touches the baseline is provided at the Alt-M (µ) keystroke on a Mac, or Alt-0181 on Windows. A commonly used G with a plain vertical throat, no crosspiece, is assigned Unicode FF27 (full width capital G).

Morro is based on simple geometric shapes – circles, triangles and rectangles. Imagine cutting circles, triangels and rectangles from paper and arranging them into letters where the outer edges form a filled figure. Arranging figures like this to form letters is nothing unique. You can find several beautiful examples of alphabets that inspired the creation of Morro. Everywhere from a 1936 booklet by Draughtsman called ”Modern lettering for all branches of commercial arts” to obvious examples is from the paragon of the design industry - Milton Glaser - with his typeface Baby Teeth. What sets Morro apart from other digitized versions of Glasers' ”Baby teeth”, or other similar designed fonts, is that Morro is expanded into lower case and also supports Basic latin, Western European, Central European, south Eastern European and Pinyin. There are also stylistic alternatives to some of the glyphs. Morro Regular works like a stencil and is accompanied by a block shadow style and an outline. The Morro family of fonts are layered and can be superimposed on each other to create several types of text effects.

I generally refer to our typefaces as ‘graphic’ rather than typographic. By that I mean their starting points are usually ways of constructing shapes and systems of shapes. As with other Alias typefaces, Sabre has stone and wood cut letterforms as a starting point. What is interesting about lettercutting is the connection between shape and material. These beautifully crafted letterforms have a particular sharpness which reflects, of course, how they were made. The idea of constructing letters from a kit of parts we first explored in early fonts Elephant and Factory. These are different in that they were very much grid-based, with a geometric structure. For Sabre I also had Fred Smeijers’ stencil construction drawings in mind. These show how a set of components can be the basis for a crafted, elegant typeface. Sabre is quite a loose interpretation of this idea. Sabre’s graphic shape means it works well at large sizes, with a dramatic, angular impact. Its aim is to be typographic enough to function for blocks of small-size text too.

Based on the classic Sol design by Marty Goldstein and C.B. Smith, published by VGC in 1973, Sol Pro goes above and beyond the call of revival/retooling to include plenty of optical improvements to the original design, more weights, italics, small caps, biform shapes, alternates, and extended language support. This particular design is one of the more prominent forefathers and strong influencers of the soft, streamlined aesthetic that has been going strong in branding and geometric design for more than 40 years now. It cuts all links to melancholy and classic empire shapes, and introduces smooth contrast modulation that communicates sleek, adaptable youth, confidence, knowledge, and modern hi-tech presence. This is not your grandfather's Eurostile. This is your offspring's global hope, optimism, and total awareness. Sol Pro's extended character set and range of weights and widths makes it quite suitable for applications of all sizes, from small collateral to product branding and massive marketing campaigns. The Sol Pro complete family comes in 20 fonts, each containing over 520 characters. Available in single fonts or value-maximizing packages.

BaBa is a sans-serif font family designed by Naghi Naghashian in three weights. BaBa Light, Baba Regular and Baba Bold. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. BaBa supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. BaBa design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BaBa was developed for multiple languages and writing conventions. BaBa supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Tamba Sans has strong geometric frames. Somewhat condensed and somewhat squarish letterforms can create a powerful atmosphere. At the same time, the very clear, neutral and distinguishable letterforms make it legible and readable. With the spread of the internet, the digital world is overflowing with “designed” stuff. To survive this chaotic world as a designer, you should use a strong typeface to catch the eyes of an unspecified large number of visitors/customers. This is why it is so important to be strong and powerful. One more important thing is the legibility, but the eye-catching design has a tendency to be unusual. Those two things conflict with each other. Tamba Sans solved this problem with an exquisite balance. Tamba Sans consists of 7 weights and their matching Italics for a wide range of usages. Farther, Tamba Sans is supporting international Latin languages and basic Cyrillic languages including Basic Latin, Western Europe, Central and South-Eastern Europe. Also CSS covers Mac Roman, Windows1252, Adobe1 to 3. This wide range of international characters expands the capability of your works.

GarciaToons is a dingbats type family integrated by 3 styles: GarciaToons Bunny, GarciaToons Cat, and GarciaToons Mouse. GarciaToons can be defined as a type cartoon to read some text situations at a glance. It is a contemporary type tool for seasoning texts in a way that simple words are insufficient to express. GarciaToons is about funny and fresh real-life communication needs, the ones we facing anytime anywhere in our daily writing issues. Aim: To design an easy-to-understand and user-friendly symbol type code, able to combine with –or even to replace– words in a text. Idea: To develop a comic's faces dingbats series starting from the same pattern for the whole variants. The challenge was to represent different cartoon characters with minimal design changes. Designs are framed into a straight and geometric visual structure, just as logotypes themselves are. Face expressions are inspired on the worldwide understandable cartoons aesthetic. The result combines logo sharpness with cartoons flexibility. As it's said: A picture is worth more than a thousand words.

HS Sondos is an Arabic display typeface designed specifically for titles and graphic projects. Drawing inspiration from Modern Kufi calligraphy, the font features a harmonious fusion of sharp and curved lines, resulting in a visually captivating and innovative take on square shapes and geometric structures. The distinctive sharp endings at the bottom of each character add an extra touch of aesthetic appeal. With three available weights -regular, bold, and black- HS Sondos offers versatility and variety. The black weight introduces a novel concept by maintaining the same horizontal dimensions as the regular weight but expanding the vertical dimensions, creating a uniquely bold appearance. Supporting Arabic, Persian, and English languages, HS Sondos opens up a world of possibilities for designers looking to enhance their Arabic typography. Its visually striking and flexible nature makes it an excellent choice for projects that demand attention and creativity. Overall, HS Sondos stands as a testament to the beauty and adaptability of Arabic typography, empowering designers to bring their visions to life with a captivating and versatile typeface.

The typeface “Hand Stamp Slab Serif Rough” was designed for the Typo Graphic Design font foundry in 2017 by Manuel Viergutz. It is a display font with a classic slab serifs based on real rubber stamp letters for a authentic, rough & dirty, stamped-by-hand appearance. It provides a vintage look through state-of-the-art Open Type features such as contextual alternates that cycle automatically through 5 different letter variants for each character to create a varied look, just as if the letters were stamped by hand. The font is intended for use in logos, magazines, posters, advertisements, and as a webfont for decorative headlines. The font works best for display sizes. There are 1031 glyphs with 5× A–Z, 0–9 & a–z and 70+ decorative extras like arrows, dingbats, symbols, geometric shapes, catchwords, and many alternative letters. A range of figure set options including oldstyle figures and additional deco­ra­tive liga­tures (type the word “love” for ❤ … ), Ver­sal Eszett (German Capital Sharp S), symbols, and emojis. Have fun with this font & use the DEMO-FONT (with a reduced glyph-set) FREE!

Core Slab M is the serif companion to Core Sans M (Text family of the month. May, 2013). This font family has open and square letter shapes, and overall rounded finishes and serifs provide a soft and friendly appearance but also it is strong in headline. Simple and modern shapes with a tall x-height make the text legible and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Core Slab M Family consists of 2 widths (Condensed, Normal), 7 weights ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy), and Italics for each format. Combination fonts such as Core Slab M Ice, Berg and Iceberg are also available. Each font includes support for Superiors and Inferiors, Fractions, Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Tabular Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. We highly recommend it for use in books, web pages, screen displays, and so on.

Kolaron – A Modern Condensed Sans Serif Font Kolaron is a contemporary condensed sans-serif font that effortlessly blends sophistication with modernity. Its sleek and streamlined design features condensed letterforms that exude a sense of efficiency and space optimization, making it an ideal choice for projects where legibility and style are paramount. The font’s clean lines and geometric shapes contribute to a polished and professional appearance, making it versatile for a range of applications, from corporate branding to editorial design. Kolaron’s balanced letter spacing and subtle yet distinctive details showcase a meticulous attention to typographic detail, ensuring a harmonious and eye-catching visual experience across various mediums. Whether used for headlines, signage, or digital interfaces, Kolaron stands as a testament to the elegance achievable in contemporary typography. Kolaron is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

fj Platz Groteske™ is the new font from frncojonastype project that culminates after almost 5 years of learning and development. fj Platz Groteske™ is a Neo-grotesk font with slight geometrical proportions with humanistic terminations. For this occasion, this font will show the normal version, however, the entire project contemplate condensed family, extended and the development of alphabets as Cyrrilic and Greek. This proposal is to improve the legibility in the Neo-grotesk fonts with generous gaps, vertical and square counter form and ascendents that exceed slightly the capitals. Counts with old numbers, small caps, modern numbers, tabular, numerators and denominators to fraccions, reference numbers to notes and formulas to face confidant and complex different stages. Ideal to editorial projects of informative content - scientific and titular of a huge impact because of the various alternative characters, stylistic options and a optometrical version to risky designers. To exclusive licenses and to follow the develop of this project, please visit frncojonas.com (WIP) Learn about upcoming releases, work in progress and get to know us better! Instagram: @frnco.jonas

Oddval is a unique contemporary display geometric sans-serif with prominent ink traps and a smooth, masculine tone. Due to its modern and original style, it is well-suited for creative projects closely linked to innovation. Oddval has a strong presence in the text due to its high x-height, minimal stroke contrast, and slightly wide oval shapes. The Oddval type family includes 9 weights ranging from hairline to heavy, with corresponding Italics for a total of 18 fonts. These fonts are also available as a single variable font file, allowing you to create without limits. The typeface is designed with extensive language support, including Extended Latin, Cyrillic, and Greek, covering over 220 languages. It also includes advanced typographic features, such as standard and discretionary ligatures, a stylistic set, contextual alternates, tabular and small figures, fractions, and language localizations. Suitable for both print and on-screen media, Oddval is ideal for use in headlines and logotypes. It can also be set in short paragraphs to create a unique contemporary feel.

Varp is a rather narrow 2-axis variable geometric typeface with slight reverse contrast inspired by utilitarian and technical design. In Slim and Tight styles, the reverse contrast is enhanced. Typeface is adjustable in width, as if by mechanical deformation of proportions, which is often found in technical and transport markings. The letterforms are based in part on the shapes of DIN fonts, with the deliberate addition of contrasting connections, sharp spurs and massive ink traps for sharpness. With the help of special spacing, selective kerning and adjusted letter width, the effect of a monospaced font is created with no obvious "holes" in the text set, while maintaining a special rhythm. In addition to the width, Varp is adjustable in tilt angle to an extreme 30 degrees and an intermediate 15 degrees in both directions. Features: – Total glyph set: 795 glyphs; – 15 styles (3 widths x 5 italics) + variable; – Support 210+ languages; – Latin Extended; – Cyrillic Basic + Bulgarian letters; – Greek. OpenType features: – Uppercase, lowercase; – Proportional, circled, tabular numerals, superiors, inferiors, fractions; – Punctuations and symbols; – Arrows; – Stylistic sets (ss01-ss04); – Ligatures; – Case-sensitive forms.

Introducing ND Kern, a contemporary geometric sans-serif font that blends classic elegance with modernity. This versatile typeface is perfect for branding, advertising, editorial design, and any project that requires a clean, stylish look. With its tall x-height and clean, modern letterforms, ND Kern is ideal for headlines, titles, and short blocks of text. Its sleek and minimalistic design, combined with unique details that draw inspiration from Cyrillic script, makes it a perfect choice for modern and sophisticated designs. ND Kern includes a full set of uppercase and lowercase letters, numerals, punctuation, and multilingual support for both Latin and Cyrillic scripts. The font family also comes with a range of OpenType features, including ligatures, alternate characters, and stylistic sets, which offer even more design possibilities. Whether you're creating a minimalist logo, a trendy fashion campaign, or an edgy editorial spread, ND Kern is the font you need to stand out. With its balance of classic and modern design elements, influenced by both Latin and Cyrillic scripts, ND Kern is a versatile choice that will add a touch of sophistication to any project.

Blaird Coiro – A Modern Display Serif Font Blaird Coiro, a contemporary display serif typeface, seamlessly marries timeless elegance with a distinct modern aesthetic. Characterized by its clean lines, balanced proportions, and subtle geometric nuances, Blaird Coiro is designed to command attention in both digital and print mediums. The typeface exudes sophistication, making it an ideal choice for branding, editorial design, and upscale packaging. The carefully crafted serifs and letterforms lend a sense of refinement, while the subtle variations in stroke thickness create a harmonious visual rhythm. Blaird Coiro stands as a versatile typographic choice, embodying a perfect synthesis of classic charm and contemporary design principles, making it well-suited for projects seeking a refined and visually impactful typographic identity. Blaird Coiro is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

Steel Grrrder is a robust, industrial-style stencil typeface family consisting of six weights, from light to black, with corresponding italics. Suitable for all kinds of display purposes including posters, film titles, book covers, magazines, advertising, logos, packaging, signage and games design, Steel Grrrder is especially useful where the message needs some serious geometric bite behind it. Steel Grrrder is best categorised as a constructivist sans family. The character shapes are sharp, angular and slightly condensed - it’s a rigid, no-frills, no-curves, mega-metallic design. Legible? Not really. Readable? I think not. In your faceable? Absolutely! This is a tough display typeface, designed to work in the most demanding typographic situations. It won’t buckle under pressure or wilt when the heat’s turned up. Forged from carbon steel and wrapped in a layer of Graphene, Steel Grrrder is unashamedly rugged, a rock-hard pound-for-pound boxer specialising in thumping knockouts. The Steel Grrrrder extended family also includes a six-weight joining script and two display fonts, Groove & Nutjob - all designed to work with each other.

Binario is a simple and friendly font with three weights and matching obliques. The geometric and modular characteristics of this typeface subtly reference the Art Deco and early modernist periods. It is an ideal choice for achieving a clean, distinctive, and contemporary aesthetic, making it suitable for branding, posters, and screen-based designs. The light weight of Binario is good for body text. The regular weight exudes confidence, making it suitable for both body and heading text. For impactful headlines, the bold weight is superb. The clear weight distinction of this family make it easy to create organized text. Binario was designed in Siena, Italy taking some inspiration from train stations and shop signage. The name Binario means train platform in Italian. Other aspects that informed the design of this font are modularity and efficiency. The interior rounded forms of the letters (counterforms) are based on shape of the Roman arch. Binario has a sibling, Binario Soft. This version has gently rounded stroke ends, which make a softer impression on the page.

Segment B is a powerful display type family with 18 styles inspired by condensed European grotesques of 19th-century with a reference to the first grotesques, which differ in the contrast of strokes, but with clear geometric proportions. In Black weights, the letterforms are inspired by the aggressive industrial graphic design of the 1960s and 70s. Both have 3 axes and are adjustable in weight, width and 10? italic. It is a typeface with narrow proportions, distinctive character, high-quality outline and lots of details. Characters have oblique cuts, sharp tails and highly visible ink traps. All this makes the font more aggressive and edgy. The huge x-height with short ascenders and descenders allows this typeface to be used in blocks with minimal line spacing. Features: – Total glyph set: 631 glyphs; – 18 styles (3 weights x 3 widths + italic); – Support 210+ languages; – Latin Extended; – Cyrillic Basic + Bulgarian letters; OpenType features: – Proportional numerals, tabular numerals, superiors, fractions; – Punctuations and symbols; – Arrows; – Stylistic alternates (ss01-ss05); – Ligatures; – Case-sensitive forms.

Introducing Pedroc – Display Typeface Future-Inspired Geometric Blocks Pedroc is a Future-Inspired Display Typeface, a captivating Display Typeface, is born from the inspiration of future technology, thus infusing an industrial touch into its design. Sleek and Futuristic Aesthetics Pedroc’s design is a testament to sleek and futuristic aesthetics. This makes it a standout choice for modern and tech-inspired projects. Versatility for Contemporary Design This font’s adaptability shines in various contemporary design contexts. As a result, it’s suitable for a range of creative endeavors, from branding to posters. Engaging and High-Tech Future-Inspired Display Typeface guarantees your content remains engaging and high-tech. Consequently, it captivates your audience with its modern industrial charm, ensuring your message resonates. In Conclusion In summary, Pedroc – Display Typeface is the font for those seeking a futuristic, industrial touch. Its sleek and versatile design ensures it fits seamlessly into contemporary creative projects. Whether it’s for tech-inspired branding, posters, or other modern designs, Pedroc is the font that keeps your content engaging and high-tech, appealing to a diverse audience with its modern industrial charm.

HD Anomie is a modern geometric sans built in 18 styles with variable support and is brought to you by HyperDeluxe®. Its subtle forms and nuanced curves create a simple structure that could be perceived as mundane, but our goal was to create a typeface that is both mechanical and organic in its forms so it seamlessly fits within the environment it is placed. It's clean, minimal approach gives it a wide array of offline uses such as branding, editorial & print, but its modern design and detailed build makes it perfect for UI & digital applications. The clean visual structure of the letter forms give it great readability at smaller sizes, while also being happy to be shown off at larger sizes. Built to be robust and as versatile as possible we have around 1150 Glyphs per weight including extended Latin & Cyrillic support as well as basic Greek. Anomie also features extras such as 2 arrow sets, circled numbers as well as stylistic alternates and case sensitive forms. Find beauty in the Mundane. Meet HD Anomie.