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

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

A type of “handwriting” discovered by chance, extremely abstract On April 8, 1948 a certain Walter Plaga wrote a crude poem about a hero on a commemorative plaque. The very poor reproduction of the handwritten original, etched into a metal sheet, produced extremely abstract forms so that — even if unintentional — a script completely void of bowls was created. That which originally was the normal clumsy handwriting of a layman thus transformed into a pseudo-modern deconstructive typeface, which in the 21st century appears contemporary. The capital letters especially reflect the original: in part they show forms labeled incorrectly ”old German“ handwriting, which is actually Latin, in the letters A D G I J K L S V W X Z , whereas C H N O P R appear very modern. Truly a form of handwriting: without joining the letters, especially between the lower case characters, a silhouette effect is formed. To a great extent Hero is impressive due to its driven-to-the-limit abstraction and to a lesser extent by retaining an antiquated and nearly illegible effect.

Normal and upright italic script fonts line a well-trodden path; left-leaning fonts (or "rightalics" as they're confusingly called), on the other hand, are a rarity. Here at Eclectotype Fonts we don't like to do things too conventionally, so here's Backstroke, a laid back script with a unique voice. With contextual alternates for start and end forms of certain characters, swash versions of L, Q and Z (surely the most used initial caps!), and a handful of stylistic sets, Backstroke is a restrained script. Stylistic sets are: 1. the start forms of i, j, m, n, and p are used always instead of only at word starts. 2. lower case ascenders get a whole lot loopier. 3. alternate versions of G, N and Y. 4. swash L, Q and Z. 5. swaps the default Polish script lslash for a more familiar version While fonts that lean the wrong way may be a bit more difficult to fit into your layouts than boring old regular italics, they will reward you with their individuality. Why not give it a go?

The Contribute font is one that takes you back to the days of the fountain pen. To those who are old enough to remember, fountain pens were tiresome to fill and use – but also a pleasure to own, something to cherish that became so much a part of your daily life, a symbol of etiquette and sometimes even a style statement! Our Contribute fonts will definitely remind you of that, and everything else to do with a touch of vintage class. This 30s-like font is sure to become one of your favorite cursive fonts, be it for use on a poster or a web page. This font is ideal for those situations where you need your viewer to connect on a more personal level than formal. Think ‘writing a letter rather than typing it out’, and you will know what we mean!

Thestone is a font display with a noble and vintage appearance. It has serif at the beginning of stroke and formal design. Thestone has an alternative character, and a binder. all with special characteristics in the past. Thestone is perfect for creating something that feels good and vintage or a sporty look for your design. This letter makes it very flexible. You can design beautiful, elegant and diverse typographic elements. This is perfect for logos, letters, shirt designs, editorial illustrations, product name packages, labels, old coffee shops. Files included: Thestone OTF Thestone is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any of the extra characters to paste into your favourite text editor/app.

'Obvia' appeared as a result of direct observation on typefaces classified as geometric and the plan to explore for the first time width axes Condensed, Narrow (soon), Normal and new Wide and Expanded. The idea behind 'Obvia's design was to create a distancing from geometrically pure shapes, in this case, square shapes. Then some details were added, such as subtle inktraps, concave endings of the stems and carefully drawn alternate characters, giving a 'geohumanist' tone to the font. This first family of 'Obvia' has 9 weights ranging from Thin to Black, delivering a strong typographic identity, from the paper to the pixel.

Taro Why do designers make more and more geometric fonts? There are already many geometric sans in the world. Because It is a natural flow of design. It is true that we like geometric type instinctively. Taro was designed to archive a good balance between the following three things geometrically. 1. To be Natural, Flowing, Organic. 2. To be Neutral, Unbiased, Universal. 3. To be legible, distinguishable, readable. Consists of eight weights and their matching italics. Supporting almost all latin languages. All-caps text for one line or a few is as wonderful as normal mixed-case typesetting.

This family was inspired by numerous documents and books printed in Paris during the end of the 1700s. Mainly, documents printed by P.G. Simon & N.H. Nyon, “Printers of the parliament” were used for the Normal and italic styles and “Caps”. “Titling” characters were coming from a collection of hymns printed by Nicolas Chapart. In France these Fournier characters, as Baskerville in Great Britain, were the most often in use in the late 1700s, just before the Didot designs. This font supports strong enlargements, specially the capitals of “Caps” file and “Titling”, remaining very smart, elegant and fine.

A condensed sans serif designed as an additional companion to the Corbert font family. Incorporating the key characteristics from the original family with influences drawn strongly from the Bauhaus and modernist era. This condensed version is 15% closer than the normal family improving economy of space across design layouts. Used in conjunction with the regular widths Corbert becomes a functional and versatile font system ideally suited for large complex design projects. Details include 9 weights with italics, 540 characters with alternative lowercase a, e and g, 5 variations of numerals, manually edited kerning and Opentype features.

'Obvia' appeared as a result of direct observation on typefaces classified as geometric and the plan to explore for the first time width axes Condensed, Narrow (soon), Normal and new Wide and Expanded. The idea behind 'Obvia's design was to create a distancing from geometrically pure shapes, in this case, square shapes. Then some details were added, such as subtle inktraps, concave endings of the stems and carefully drawn alternate characters, giving a 'geohumanist' tone to the font. This first family of 'Obvia' has 9 weights ranging from Thin to Black, delivering a strong typographic identity, from the paper to the pixel.

»AlphaOne« is my newest addition to the experimental Alpha-font-collection. I just had to do this one! It is based on Paul Renners fonts, but has got nothing to do with them, I just took the widths and some basic forms. No – or hardly no – optical corrections were made to the glyphs. I wanted the pure geometric forms to come to life. This was a lot of fun to design, I especially like the »Q« with the negative tail. I did make four weights, but nothing is normal with this font, so weight doesn’t really mean anything. Have fun!

Marconi was created by Hermann Zapf in 1973. According to Gerard Unger, it was the world's first digital typeface. Zapf’s design was developed as a text face for books and magazines. The round forms of the Marconi follow the principle of the superellipse. The lowercase letters are enlarged as the result of reading tests, while the capital letters are slightly reduced. The 8-point size — normally used for newspapers — looks more like 9 1/2 points. Marconi is a legible typeface with its large and open lowercase letters. It is ideal for long text blocks in newspaper, book, and magazine production.

Mohr is a neutral, versatile and contemporary font based on some characteristics found in geometric sans-serif typefaces. Mohr’s features, together with its design characteristics, make it suitable for a wide range of applications, from display use to small text. The Mohr family comes in three versions: normal, alt and italic, each with 9 font weights, from Thin to Heavy, resulting in a total of 27 fonts. Mohr also includes initial and terminal swashes in most of the uppercase and lowercase characters. This gives the font a unique personality and provides a greater range of uses such as branding and packaging.

Mohr Rounded—the new version of the original Mohr typeface—features curved and softer terminals which make the font look more organic, warm and friendly. The Mohr Rounded family comes in three versions: normal, alt and italic, each with 9 weights, from Thin to Heavy, resulting in a total of 27 styles. The versatility of the font makes it suitable for a wide range of applications, from small text to high-impact headlines. Mohr Rounded also includes initial and terminal swashes in most of the uppercase and lowercase characters. This provides a greater range of uses such as branding, packaging and identity design.

Greetings. Introducing our new font, "Martinez". Made with vintage references like a cowboy, lumberjack, wooden and handcraft. A modern slab serif that you can apply for your headline, sub headline even your body text. There is a Normal and a Shadow style that gives you lots of possibilities. "Martinez" is a western font with a lot of features inside. Make your own combination with ligatures, alternates and swashes. Recommended for any style, especially vintage, retro, minimalism and contemporary design. This font is made with simple shapes that you can apply too in your print works like t-shirt, embroidery, posters and craft.

'Obvia' appeared as a result of direct observation on typefaces classified as geometric and the plan to explore for the first time width axes Expanded, Wide, Normal, Narrow and Condensed The idea behind 'Obvia's design was to create a distancing from geometrically pure shapes, in this case, square shapes. Then some details were added, such as subtle inktraps, concave endings of the stems and carefully drawn alternate characters, giving a 'geohumanist' tone to the font. This first family of 'Obvia' has 9 weights ranging from Thin to Black, delivering a strong typographic identity, from the paper to the pixel.

Triplepass is a narrow grotesque with 3 styles: normal, with cut corners and a stencil shape. The font has a retro character, contains both humanistic rounded designs and modern smooth alternatives. The font is suitable for logos, large headlines, posters, signs, prints, font compositions, as well as for sports-related layouts where clear numbers and space savings are needed. Triplepass contains extended Latin, Cyrillic, fractions, ligatures and two icons of a basketball. It contains OpenType features: liga, numr, dnom, calt, ss01, ss02. The font is also case sensitive, has fractions, currency signs including the rouble sign.

Polish type designer Lukasz Dziedzic created this display and sans FontFont in 2009. The family has 18 weights, ranging from Thin to Black in Condensed, Normal, and Wide and is ideally suited for editorial and publishing, music and nightlife as well as poster and billboards. FF Mach provides advanced typographical support with features such as ligatures, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic writing system.

'Obvia' appeared as a result of direct observation on typefaces classified as geometric and the plan to explore for the first time width axes Condensed, Narrow, Normal, Wide and Expanded. The idea behind 'Obvia's design was to create a distancing from geometrically pure shapes, in this case, square shapes. Then some details were added, such as subtle inktraps, concave endings of the stems and carefully drawn alternate characters, giving a 'geohumanist' tone to the font. This first family of 'Obvia' has 9 weights ranging from Thin to Black, delivering a strong typographic identity, from the paper to the pixel.

In the beginning, this font had been designed for an affiche work as wood pattern which includes one font and medium weight. The stylish design of this font had been inclined us to create more weights and more styles. Daphne Font Family comes in three weights; normal and italic. Plus two additional styles which are wood pattern and shadow. You can get great wood pattern results with Daphne Font Family; also with colored shadows, you can get gorgeous results in poster works and t-shirt prints. Even in very small type sizes, it can be legible.

Personally I think a brush font should have the word ‘Brush’ in its name. It’s not that easy finding a name - you need some magic to come up with a good one! Magical Brush is a completely handmade font. I used a small brush (a number 3 to be precise) and Chinese Ink. I wanted just a little ‘erosion’, so I used copier paper rather than my expensive French water color paper (which is quite rough). Magical Brush comes in the normal variant and a chickenpox one. Use it for your posters, your book covers and your Christmas invitations!

JOAQUIN is a vintage font family. This font's retro look and style is inspired from many vintage packaging and from typographic cover lettering. It is perfect for vintage logo design, labels, posters, signage, t-shirt, storefront, headlines, or packaging design. greeting cards and logotype. JOAQUIN includes 4 different styles; Normal, Regular, Inline, and Shadow. So you can combine them with each other and get fancy headlines. What’s Included : - Works on PC & Mac - Easy to use ( Installations ) - Compatibility Windows, Apple, Linux, Cricut, Silhouette, and Other cutting machines Thank you for purchasing this font. Please appreciate, if you like this. ENJOY it :)

Hekaz is a graffiti font with powerful, unconventional shapes that is nevertheless pleasing to the eye. This font is the solution if you need an abstract, distinctive, and different from the normal font for remarkable design demands. Use it immediately to make your project elegant and bombastic. This graffiti font is great for product logos, poster titles, headlines, packaging, film titles, logotypes, gorgeous writing, and trendy graffiti designs, among other things. Of course, if you utilize this font in your numerous creative projects, they will be perfect and outstanding. Use this typeface right away for your one-of-a-kind and remarkable projects.

Tattooflash Fingers is a special Font for Finger-Tattooing. The Glyphs come in 3 Sizes for short fingers, normal fingers and long fingers. The Font is made for the little Space on a Human Finger. You can make your own Tattooflash! To Color your Tattooflash take the PART version!. After Install the Fonts you can use the part-version in Photoshop or better in Affinity Photo or Affinity Designer to color your Flash. Use the Swashes to make your tattoo flash better, make your own TattooDesign! You are a Tattooartist? This Fonts are made for YOU!

YOU WILL OBEY ALL OUR COMMANDS! YOU WILL OBEY INSTANTLY! YOU WILL OBEY WITHOUT QUESTION! OBEY! OBEY! OBEY! OBEY! OBEY! OBEY! YOU WILL BUY THIS FONT OR YOU WILL BE EXTERMINATED! Features Four fonts (Regular, Italic, Bold & Bold Italic) with alternate uppercase characters.

Meet the new Strong and Bold typeface from TBS. TBS GARTEK is a Display typeface It has a single weight ultra bold It come with multilingual glyphs. Good amount at Large Point sizes with combine with any suit typefaces, Headline, Logo font.

Introducing "Queen Sansson" - a Serif font families with modern and nostalgic. This font is both modern and nostalgic and works great for logos, mastheads and pull quotes. Inclouded : - Queen Sansson regular - Queen Sansson italic - Queen Sansson Bold - Queen Sansson Bold Italic - Multilanguage

Eagle Bold was designed by M.F. Benton in 1933. It is a heavy geometric Sans Serif font with unusual spurs on Capital G and Q. An all-Capitals design, the Eagle Bold font is perfect for magazine and book covers, posters and packaging.

Yenda is a bold angular font with just a bit of swoosh. Great for short text and headlines! Don't leave this one out of your next sci-fi or bold designs! This typeface includes all the special diacritics required for European languages.

The Dava typeface is the result of almost two years of self-study. Dava is a screen sans serif font that is small but fun. His family is small and has fine, regular, bold, fine slant, regular slant, and slanted bold weights.

Floz is a simple and clean condensed all-caps sans serif font. It comes in two weights: regular (which is already pretty bold) and bold (which is even bolder). It works well for logos, headlines and other short texts. It's also quite cheap.

FlyHigh is a decorative text face with slab serifs. It comes in eight styles: plain, semibold, bold, extrabold, italic, semibold italic, bold italic, and extrabold italic. Its low x-height makes it more appropriate for uses such as invitations than for book text.

Introducing Modern Abstract by Cultivated Mind. Modern Abstract is a bold serif font with a retro vibe. Modern Abstract comes in a regular and a bold weight. Try using Modern Abstract for branding, headline use, film, magazines, websites, packaging, invitations and weddings.

Canterbury is a late Medieval Gothic font with a rough edge. This blackletter face is available with four different types of Capital initial letters or combined into one Opentype Pro font with all variations plus historic ligatures, alternates and even a few ornaments.

We've always liked Art Gothic (you've seen it on the titles and credits for TV's Murder She Wrote) but felt it was far too animated for most uses. Here is our super-simplified version, a calmer font that will fit many display uses.

GrottoGoth is a sans serif created to expand the availability of fonts used in creating Gothic, Halloween, and overall spooky designs. This is the first font designed by Grey Fortress Enterprises. Additional variations are planned and other original fonts are in the works.

Oprath is a smooth deconstruct linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.