Das Grotesk was inspired by earlier nineteenth-century grotesques, but it is much more related to American gothic designs such as those by M.F. Benton. Due to their pure geometric structure, most grotesque typefaces tend to have a rather monotonous and lifeless appearance, thus failing to express the ideals of the modern creed. Das Grotesk on the other hand is a lively design with several distinguishable characteristics which attract attention when set at large sizes, whilst they become subtle and blend evenly at small sizes, fostering a neutral identity. This is a very legible and space-saving typeface with a narrow structure. It was designed with slanted curved ends and sheared terminals applied on several straight strokes. It has two-storey ‘a’ and ‘g’ but includes single-storey alternates. The family consists of 14 weights ranging from Extra Thin to Black (including true-italics). It provides simultaneous support for Latin, Cyrillic and Greek and is loaded with several advanced typographic features such as small caps. Download its complehensive PDF Specimen Manual for further details.

Mystery Show JNL was modeled after the hand lettered titles found on various early episodes of the 1950s TV suspense program "Alfred Hitchcock Presents". The design emulates characteristics found in Frederic W. Goudy's Copperplate Gothic [a sans serif of equal stroke weights with tiny spurs added], but is considered a serif font by the addition of the spurs. Mystery Show JNL is available in both regular and oblique versions.

Tisk is a superb blackletter font. The Blackletter typeface (also sometimes referred to as Gothic, Fraktur or Old English) was used in the Guthenburg Bible, one of the first books printed in Europe. This style of typeface is recognizable by its dramatic thin and thick strokes, and in some fonts, the elaborate swirls on the serifs. Use this font for any crafting project that requires a personalized look!

Amherst is a family of blackletter-inspired typefaces. This family, created by British designer Richard Yeend in 2002, is unique in that it mains the feel of blackletter/medieval type without relying directly on historical forms. Amherst is split into two different sub-families, Amherst and Amherst Gothic. Amherst is very geometric interpretation of Fraktur. Fraktur was a style of German type very popular in central Europe from 1517 until the early 20th Century. Its letters appear "broken" at certain angles and joints. Still, we recommend using it primarily for display purposes. Amherst is available in three weights: Regular, Bold, and Heavy. Amherst Gothic is very loosely inspired by late medieval letterforms, often called Texturas or Gothics. However, the letterforms of Amherst Gothic seem just as inspired by the Art Deco movements of the 1920s and by contemporary sans serif type design as anything else. Nevertheless, certain letters in this typeface do appear more "gothic" than others, especially A, D, M, Y, d, r, and x. Amherst Gothic is made up of three fonts, Amherst Gothic Split, Amherst Gothic Split Alternate, and Amherst Gothic Italic. Amherst Gothic Split has in-lined characters, and appears very ornamented. The alternate characters in Amherst Gothic Split Alternate are quite medieval in their appearance. Amherst Gothic Italic is the least medieval-looking of the set; its characters are very round, and more geometric. All six styles of the Amherst Family are OpenType format fonts, and include old style figures.

HK Nova is a geometric sans inspired by the Century Gothic and Futura. It formalizes Century Gothic and softens Futura.

Yalta Sans combines the warmth of a traditional humanist design, the clarity of a grotesque and the modernity of a square sans. Several design traits contribute to this melding of diverse typographic concepts. Characters find their foundation in stroke-based shapes rather than constructed forms. Curve stokes are also slightly squared and counters are open. Curved strokes join verticals at nearly right angles to create a strong horizontal stress, aiding the reading process. The resulting design is exceptionally legible while still inviting. Although Yalta Sans is clearly differentiated from its calligraphic ancestors, many details of the design emulate the distinctive characteristics of typefaces from the Renaissance. Tapering horizontal stokes also give Yalta Sans a dynamic relationship with linear grotesque while its angled stroke terminals echo the work of a calligraphic brush Yalta Sans italics are cursive designs that are in keeping with humanistic letterforms and are markedly narrower than the Roman characters. Lining and old style figures, small caps and a suite of ligatures also make for a remarkably versatile typeface family.

Catou is a modern decorative sans display font. With single weight bold stroke, fun character. To give you an extra creative work. Catou font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with script or serif. Make a stunning work with Catou font. Cheers, Maulana Creative

The Galgo is a Spanish Greyhound, an ancient hybrid breed of dog. Just like the Galgo, the letters of this font are a mix of elegant brush calligraphy and the rough, weathered strokes of speedy scrawl. Galgo Script is quite suitable for logomarks, titles, single sentences or paragraph-length artistic writing passages. Drawn by Angel Koziupa and digitized by Alejandro Paul, Galgo Script was made because of popular demand for this kind of "rush brush".

Rutherford is clear, robust and authoritative, and reads well at small text sizes while also having the required heft for larger headlines. A wide range of weights makes it a versatile choice for magazines, branding, brochures and advertising. A slightly condensed obround serif with squared stroke terminals. The t, j and f curve around to harmonize with the terminals on the a and g, as does the tail of the Q. The italic incorporates cursive forms on the ends of the lower right and upper left strokes, and uses a single-story a. Includes full European Latin support and alternate designs for the Q and g in all weights.

“Blackduck” font is a typical Gothic, usually named “Blackletter” . This typeface was born with the name of “Textur” and developed from Carolingian cursive. It was used in the middle age as sacred script, became increasingly narrower, his vertical lines were emphasized and his strokes very compacted to save space. Along the time the early German print typefaces derived in others styles that were more readable such as Schwabacher and Fraktur, very popular in Germany and sometimes associated to the identity of the country. The font "Blackduck" was inspired mixing carefully the last two “Blackletters”. We try to joine some characteristics of both to reach good legibility without loosing the strong impact and powerfulness of the shapes. Some minuscules like the “o” “c” “e” “d” are rounded on both sides, while both strokes join in an angle at the top and at the bottom. Some other lower cases are formed by an angular and rounded stroke. This font contains a full set of OpenType features; swashes, stylistics alternates, old style figures (Arabic numeral were carefully shape integrated), ligatures and some extras ornaments were added to help in your design. "Blackduck" includes diacritic signs for Central European languages.

Dulblak Script is a reverse contrast display script font, bold and strong on horizontal stroke, legible and modern.

With its extended complement, this comprehensive redesign of Bank Gothic by Elsner+Flake offers a wide spectrum for usage. After 80 years, the typeface Bank Gothic, designed by Morris Fuller Benton in 1930, is still as desirable for all areas of graphic design as it has ever been. Its usage spans the design of headlines to exterior design. Game manufacturers adopt this spry typeface, so reminiscent of the Bauhaus and its geometric forms, as often as do architects and web designers. The creative path of the Bank Gothic from hot metal type via phototypesetting to digital variations created by desktop designers has by now taken on great breadth. The number of cuts has increased. The original Roman weight has been augmented by Oblique and Italic variants. The original versions came with just a complement of Small Caps. Now, they are, however, enlarged by often quite individualized lower case letters. In order to do justice to the form changes and in order to differentiate between the various versions, the Bank Gothic, since 2007 a US trademark of the Grosse Pointe Group (Trademark FontHaus, USA), is nowadays available under a variety of different names. Some of these variations remain close to the original concept, others strive for greater individualism in their designs. The typeface family which was cut by the American typefoundry ATF (American Type Founders) in the early 1930’s consisted of a normal and a narrow type family, each one in the weights Light, Medium and Bold. In addition to its basic ornamental structure which has its origin in square or rectangular geometric forms, there is another unique feature of the Bank Gothic: the normally round upper case letters such as B, C, G, O, P, Q, R and U are also rectangular. The one exception is the upper case letter D, which remains round, most likely for legibility reasons (there is the danger of mistaking it for the letter O.) Because of the huge success of this type design, which follows the design principles of the more square and the more contemporary adaption of the already existing Copperplate, it was soon adopted by all of the major type and typesetting manufacturers. Thus, the Bank Gothic appeared at Linotype; as Commerce Gothic it was brought out by Ludlow; and as Deluxe Gothic on Intertype typesetters. Among others, it was also available from Monotype and sold under the name Stationer’s Gothic. In 1936, Linotype introduced 6pt and 12pt weights of the condensed version as Card Gothic. Lateron, Linotype came out with Bank Gothic Medium Condensed in larger sizes and a more narrow set width and named it Poster Gothic. With the advent of photoypesetters and CRT technologies, the Bank Gothic experienced an even wider acceptance. The first digital versions, designed according to present computing technologies, was created by Bitstream whose PostScript fonts in Regular and Medium weights have been available through FontShop since 1991. These were followed by digital redesigns by FontHaus, USA, and, in 1996, by Elsner+Flake who were also the first company to add cursive cuts. In 2009, they extended the family to 16 weights in both Roman and Oblique designs. In addition, they created the long-awaited Cyrillic complement. In 2010, Elsner+Flake completed the set with lowercase letters and small caps. Since its redesign the type family has been available from Elsner+Flake under the name Bank Sans®. The character set of the Bank Sans® Caps and the Bank Sans® covers almost all latin-based languages (Europe Plus) as well as the Cyrillic character set MAC OS Cyrillic and MS Windows 1251. Both families are available in Normal, Condensed and Compressed weights in 4 stroke widths each (Light, Regular, Medium and Bold). The basic stroke widths of the different weights have been kept even which allows the mixing of, for instance, normal upper case letters and the more narrow small caps. This gives the family an even wider and more interactive range of use. There are, furthermore, extensive sets of numerals which can be accessed via OpenType-Features. The Bank Sans® type family, as opposed to the Bank Sans® Caps family, contains, instead of the optically reduced upper case letters, newly designed lower case letters and the matching small caps. Bank Sans® fonts are available in the formats OpenType and TrueType.

Elios™ is a stencil display typeface with a strong personality. It comes with all caps letters and monospaced with rounded edges. This font come with single weight and character set that covers over 100 latin languages. Elios™ is perfect for poster, headlines, short texts, branding and other display use.

Linotype Really, designed by Gary Munch, is a typeface family of six weights with italics and small capitals that offers a broad palette of expressions to draw from, sensibly light to brightly stentorian. The moderate-to-strong contrast of the vertical to horizontal strokes recalls the Transitional and Modern styles of Baskerville and Bodoni, and the subtly obliqued axis of the stoke weight recalls the old-style faces of Caslon. A strong belt of sturdy serifs completes the Realist sensibility of a clear, readable, no-nonsense text face whose clean details offer the designer a high-impact display face.

Love Birds Pattern is a picture font consisting of pattern tiles and illustrations. It is the sister font of Love Birds , which contains a handful of charming birds silhouettes. With 37 unique tiles (corresponding to lowercase & numbers) and 26 single illustrations (corresponding to uppercase), this font makes it easy to create awesome patterns – even in the simplest text editors. Just be sure to set the line spacing value the same as the font size, with no spaces between paragraphs. And keep singing!

Taking the concept of a monoline version of Shàngó — as exemplified in Shàngó Gothic — to its extreme, resulted in the latest addition to the popular Shàngó family of typefaces: Shango Sans. This is a minimalist face, still maintaining the elegant classic letterforms of Professor F.H. Ernst Schneidler's original design, but without obvious contrast in the stroke widths, and of course, without serifs. An extensive set of ligatures and alternate letterforms, along with powerful OpenType features, give Shàngó Sans a great deal of versatility. This elegant, modern typeface supports dozens of languages that use the Latin alphabet as well as modern (monotonic) Greek and most languages that use the Cyrillic alphabet. Shàngó Sans is a member of the extended Shàngó family (Classic, Chiseled, Sans, Gothic).

Inspired by the elegance of Herman Zapf’s designs crossed with the readability of early 20th century Gothic fonts by Morris Fuller Benton, 19-PRA is a sans-serif with a visible stroke contrast and a humanist tone of voice. The large x-height seen in fonts like News Gothic and Palatino increases legibility and condensed proportions give excellent readability making it perfect for newspaper and magazine publishing. A typeface that can serve for both body text and titling the uppercase excels for headlines and renders beautiful brand names when tracked out. It sets well with both a serif or sans serif and has various open type features including: 12 standard ligatures, 3 discretionary ligatures, tabular figures, old stye figures as well as European accents.

Linotype Gotharda is part of the Take Type Library, chosen from contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This display font started as an experiment of the Croatian-German designer Milo Dominik Ivir. He wanted to design a font with characteristics of both sans serif and Gothic faces. From the Gothic he took the heavy strokes, the narrow letters, the exaggerated overmatter and the high x-height. The modern standard forms of the letters s, a, x and z, the clear capitals and the lack of serifs are the characteristics taken from sans serif faces. The result is a font with a constructed, old German feel. Linotype Gotharda is intended exclusivley for headlines in large point sizes.

Moonlight Serenade is a 1939 song composed by Glenn Miller, with lyrics by Mitchell Parish. Moonlight Serenade font is an all caps affair - very legible, very recognizable and very useful. Upper and lower case differ slightly and are quite happy to mingle. In the words of Mitchell Parish: I bring you and sing you a Moonlight Serenade! Comes with a universe of diacritics.

Vinque is an interpretation of a nineteenth century Arts & Crafts revival of medieval lettering. British type designer William Morris completed Troy in 1891—a splendid blackletter typeface in the medieval style. It’s beautiful but some modern uses like UI and video game text require a less ornate gothic appearance. Vinque is simple. It avoids strong vertical blackletter strokes which can present problems for contemporary readers. The end result is an uncomplicated, crisp typeface that successfully conveys medievalness to the reader. Vinque was released in 2002 in one style: Regular. In 2019, Vinque was expanded to seven weights and italics. Language support was bolstered to support most current Latin based languages as well as Greek and Cyrillic. OpenType fractions, f-ligatures and old-style numerals are supported.

The main source of inspiration for this project was Herb Lubalin's Serif Gothic font. This and other fonts of similar style provided the basis for developing a unique display typeface with a strong personality yet neutral enough to be used in a variety of applications. In order to make the font more versatile, we included a number of layered fonts, like inline and shadow styles, which, along with the core styles, provide users with a wide range of choices for any design project. The Lumiere Family comes in 14 styles and includes 2 different variants: multi-layered fonts that make Lumiere easier to use and single layer fonts which allow experimented designers to create their own combinations. Lumiere is highly influenced by retro designs but it features a modern and simplified style that brings great value to your design work. The font is well suited for album covers, movie posters and book cover designs, among other uses.

Rosso is a condensed geometric Sans with a retro style, inspired by various typographic styles. It features the Roslyn Gothic structure, which was popularly used for the covers of Philip K. Dick's books in the 1970s. Rosso has 10 variants from Ultra Light to Black with their respective Italics. In addition, it is divided into two Subfamilies, Normal and Alt. The normal one remains faithful to the proportions of Roslyn Gothic and classic geometric fonts, while the Alternative version expands its round shapes, generating a striking and unique rhythm and contrast, classic of Art Deco fonts. In addition, it has alternative glyphs and discretionary ligatures inspired by the work of Herb Lubalin, which add greater possibilities to face any design project. All this makes Rosso a font full of personality, striking and recognizable. Ideal for the construction of logos, eye-catching headlines, movie posters, volumetric posters, etc.

Mono-Spec is a monospaced family of sans-serif type. At least in default settings, all characters across the typeface share a common width. That fixed setting is condensed, and the aesthetic style of Mono-Spec’s letterforms is very industrial. A sister family, called Mono-Spec Stencil, is also available. Its design strays away from the mechanical nature of Mono-Spec, and it channels the spirit of resistance and street culture. Mono-Spec ships in two different formats. Depending on your preference, you can install the typeface as a single Variable Font or use the family’s five static OpenType font files instead. Those weights run from Light through Bold. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The Mono-Spec Variable Font’s weight axis allows users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. Whatever format you choose, the Mono-Spec fonts are equipped with several OpenType features. The most striking of these can be activated via a Stylistic Set. That will replace several letters – like “B”, “E”, “F”, “H”, and “I” with double-width alternates. Those alternates take up as much space as two characters placed next to each other otherwise word. The effect of Mono-Spec’s double-width alternates is striking, and their use strikes a strong chord in any display typography applying them.

Crossten Soft�s �modern geometric sans� family consists of 20 fonts. All family fonts contain 370 glyphs and are equipped with many typographic features. Crossten Soft is designed for those who prefer to use single-coded fonts not only in coding but also in many different graphic design environments. Idea; It came from creating a font with a single-spaced aesthetic, without breaking the soft, single-spaced fonts. Crossten Soft is a geometric sans single-spaced font with all typographic features except space and character spacing.

The Ghino family of "modern geometric sans" consists of 20 fonts. All the family's fonts contain 370 glyphs and are equipped with many typographic features. Ghino Text is designed for those who prefer to use single-coded fonts not only in coding but also in many different environments of graphic design. The idea came from creating a font with single-spaced aesthetics, without breaking the single-spaced fonts. Ghino is a geometric sans single-spaced font with all typographic features except spacing and character spacing.

Oildale is a single weight, connecting script that explores the idea of using crossed strokes as the main body of the typeface. Designed as a display font, it’s bold form and unique appearance lend it a distinctive charm that can be used in branding, headlines or other titling. Featuring an extended Latin support covering a wide range of langages, it also includes a range of Opentype options, from a choice of numerals, ligatures or decorative, swash letters.

strokeWeight is inspired by the aesthetics of computer vector graphics. strokeWeight is the name of a processing programming function to set the thickness of a stroke. The single bezier curve that describes a stem as a centerline with a particular stem thickness represents the basic idea of this typeface. The unconventional corners and stem endings derive from the concept. If you buy the complete strokeWeight family you will get a strokeWeight variable font file for free!

Vidocq is a single weight typeface designed for use in headlines and titles, inspired by the woodcut styles of the 19th century. Its rounded forms and dark stroke translate into a bold yet friendly appearance coupled with a narrow proportion that let’s it set well in condensed settings. Thanks to an extended character set and wide range of Opentype features that includes arrows and fleurons, Vidocq was created to allow designers to play with various styles while composing layouts.

Glodok is a single-weight display typeface. It is bold, heavy and fun to play around with. It’s eye catching but also blends well when in use. It is retro-inspired and strikes a nice balance between formal and playful. The name itself comes from the oldest Chinatown in Jakarta that is also considered the biggest in Indonesia, the place from where the designer took many inspirations.

Alessandro Butti designed the Quirinus font, released in 1939. Quirinus is a headline font with a strong contrast in strokes.

Kilburn is a no-nonsense, condensed Gothic sans-serif. For over a century the condensed sans-serif has been the 'go to' font for gravitas and authority. Kilburn continues in the fine tradition of fonts such as Franklin Gothic, News Gothic and Trade Gothic offering a contemporary interpretation of the condensed sans-serif — functionality with personality. Equally at home as both a text and display font, Kilburn is available in five weights from Thin through to Black.