Aston is a custom sans serif font which is applicable for any type of graphic design - web, logo, print, motion graphics, and more.

Vako Mave a modern, contemporary of serif font. Ideally suited for advertising and packaging, festive occasions, editorial and publishing, creative industries and posters .

A modified remake of one of the popular wooden type fonts of the 19th century. An extra bold sans serif suitable for display.

PL Brazilia from Albert Boton is an elegant extended sans serif face in two weights. Usable in headlines on books, journals and posters.

Almarena® is a family of modern sans serif fonts. It has 2 styles (Classic & Display), 6 font weights and many alternative characters.

Skaklia is a modern sans serif font with a geometric touch. It comes in 2 shapes regular and rounded and its matching italics.

Washington Heights JNL is a sans serif type design based on a vintage hand-made directional sign for the New York subway system.

Jacoby Modular is a geometric sans serif display typeface with six styles. Jacoby Modular is a dynamic, bold typeface with a sculptural feel.

Lonestar is a revival of the old classic slab serif font named Hellenic which was very popular in the middle to late 1800s.

Kerb is a contemporary sans serif font created with wide letterforms and subtle bowed vertical strokes. Fantastic font for logotype and headline use.

Steinschrift Pro is a condensed sans serif font which comes with West and Central European as well as with a Cyrillic character set.

This font family is based on the letterforms of a fin-de-siècle sans serifs, and comes in two versions - Roman and Shadow.

Sea is a versatile sans serif font that works well in a variety of sizes and applications. It's friendly, but robust and professional.

A New Typographic workhorse with robust round over corner curvature construction. Rounded condensed sans serif. 331+ Characters Upper & Lowercase Adobe Latin 3 - CE

Magnold is a modern bold and elegant serif font. Magnold is well-suited for advertising, branding, logotypes, packaging, titles, headlines and editorial design.

Blackwood is a sans serif headline face with a woodgrain effect. Based loosely on Grotesk, it has strong, solid forms with distinctive style.

Ellen is a charming elegant serif face. Great for headline display and text use. Many alternates and ligatures are included with this font.

Cicero Series is a bold decorative serif display font that exudes power, strength, magnificence, prestige. Add this grandiose piece to your font collection.

Shunsine is a distinct and elegant display serif font. Its stylish alternates and ligatures make this font the perfect match for any project.

Okaycat presents "Macchiato". This playful casual font is fashion forward. Elegant simple line serifs pair well with line drawings or simple ink drawings.

The font family Univers? is one of the greatest typographic achievements of the second half of the 20th century. The family has the advantage of having a variety of weights and styles, which, even when combined, give an impression of steadiness and homogeneity. The clear, objective forms of Univers make this a legible font suitable for almost any typographic need. In 1954 the French type foundry Deberny & Peignot wanted to add a linear sans serif type in several weights to the range of the Lumitype fonts. Adrian Frutiger, the foundry's art director, suggested refraining from adapting an existing alphabet. He wanted to instead make a new font that would, above all, be suitable for the typesetting of longer texts - quite an exciting challenge for a sans-serif font at that time. Starting with his old sketches from his student days at the School for the Applied Arts in Zurich, he created the Univers type family. In 1957, the family was released by Deberny & Piegnot, and afterwards, it was produced by Linotype. The Deberny & Peignot type library was acquired in 1972 by Haas, and the Haas'sche Schriftgiesserei (Haas Type Foundry) was folded into the D. Stempel AG/Linotype collection in 1985/1989. Adrian Frutiger continues to do design work with Linotype right up to the present day. In 1997, Frutiger and the design staff at Linotype completed a large joint project of completely re-designing and updating the Univers family. The result: Univers Next - available with 59 weights and 4 Linotype Univers Typewriter weights. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. Univers has the uncanny ability to combine well with fonts of many different styles and origins: Old style fonts such as: Janson Text, Meridien, Sabon, Wilke. Modern-stressed fonts such as: Linotype Centennial, Walbaum. Slab serif fonts such as Egyptienne F, Serifa. Script and brush fonts such as: Brush Script, Mistral, Ruling Script. Blackletter fonts such as: Duc De Berry, Grace, San Marco. Even fun fonts such as F2F OCRAlexczyk, Linotype Red Babe, Linotype Seven."

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many rasterised fonts, I wanted to take it to the extreme and use as few dots as possible. The result is a typeface that lives up to its name. Each individual circle makes no sense on its own; individual letters are only recognisable in the context of all associated circles, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from a higher building, an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 100-unit increments to keep the grid. The numbers in the family- and style-names refer to the (ca.) grey value of the respective background and the font itself. Kontext Dot 00-33 has e.g. a white background (0%) and 33% grey value. Kontext Dot 66-33 has a 66% background and 33% grey value. »Positive« styles (first number smaller than the second number) have kerning, »negative« styles (first number bigger than the second number) can have none.

Preta, portuguese for a very pure kind of black, has its name very related to its concept: I wanted to make the fattest/darkest script ever. People who follow my work may notice its forms are very related to works of my past (1) but this time the challenge was to be very cautious with the white spaces between letters. Not only I followed some rules and ductus of the copperplate style of calligraphy but also I took a lot of inspiration in posters of the early Art Nouveau (specially in Alfred Roller of the Vienna Secession) where letters forms looked like black squares if not looked from a close distance. With Preta, I wanted to achieve that same idea of “darkness” and thanks to the always welcomed question -what if?- the font grew a lot. The result is a very fat font, that looks delicious. Due to possible customer needs, I designed Preta Small, so it can be used in smaller sizes. Preta Ao Sol (which literally means under the sun!) is a style with those lovely tiny details to give the sensation of bright. Preta Ao Sol Solo was made to be used as a layered font with Preta. Finally, Preta Capitals serves as a company for Preta. Hope you enjoy the font as much as I did when designing it: The fact that it’s full of alternates, swashes, ligatures and swirls makes it really pleasurable at the moment of using it. Give it a try and dance with Preta! TIPS For better results, use Preta with the ‘standard ligatures’ feature activated. NOTES (1) Beatle in 2014. Seventies in 2015.

Useful links: TT Supermolot Neue PDF Type Specimen TT Supermolot Neue graphic presentation at Behance Looking for a custom version of TT Supermolot Neue? TT Supermolot Neue is a redesigned, extended and greatly enhanced reincarnation of the popular TT Supermolot and TT Supermolot Condensed font families. During its existence, the hammers (‘molot’ in Russian) managed to get into the spotlight in a huge number of projects, for example, in popular video games, films, and branding. Despite its popularity, the limited composition of old families put boundaries their development, which prompted us to release a completely redesigned and greatly extended version. And while the old families could offer designers only a limited number of tools, in the new version you can already find 54 fonts, and each individual font now consists of more than 620 glyphs. First, we have added a completely new subfamily, TT Supermolot Neue Extended. But this is only the tip of the iceberg—in order to achieve visual harmony between the three subfamilies, we completely revised the distribution of widths among them. As a result of this work, the width of the TT Supermolot Neue Basic subfamily became a bit narrower, and the width of the TT Supermolot Neue Condensed subfamily became even narrower than it was in the old version. Secondly, we’ve increased the number of weights. While in the old versions there were only 5 weights, in the new ones there are 9 in each of the subfamilies. In addition, we gave a facelift to the lowercase and uppercase letters. In TT Supermolot Neue, the design of all controversial grapheme forms was soothed and now the family can also be used in the text set. We have completely redrawn italics. It took us half a year to compensate for all the circles, to transform italic strokes, to work out the position of the diacritics, to make right the spacing, and to finish kerning. Following a good tradition, in the TT Supermolot Neue extensive support for useful OpenType features was added, and hinting was also improved. If we talk about visual features, we recommend paying closer attention to two stylistic sets: the first set (ss01) is designed to make the typeface more humanist, and when you turn on the second set (ss02), the typeface becomes even more technological. In addition, the typeface has more than 26 items of standard and discretionary ligatures. We also have not forgotten about the figures and we added a set of old-style figures to the standard version. In addition, the typeface has case, ordn, frac, sups, sinf, numr, dnom, onum, tnum, lnum, pnum, calt, liga, dlig, salt, ss01, ss02.

Pompeian Cursive is a calligraphically-inspired display typeface featuring a limited number of alternate characters and a handful of graceful ligatures. A lively set of non-lining numerals accompanies, as well as a few calligraphically-inspired flourishes for ornament. The history of this typeface: Oswald Cooper’s relationship with the Barnhart Brothers & Spindler foundry was one instigated under the auspices of creating new styles of type in lieu of following stylistic trends. In 1927, BB&S requested that Cooper create a script-like cursive typeface design in step with Lucien Bernhard’s Schoenschrift and ATF’s similarly-styled Liberty typeface. In response to BB&S’s desire to emulate instead of innovate, Cooper wrote to Mcarthur, “I am desolated to see Barnhart’s hoist the black flag. Your own efforts through the years to boost the foundry into a place in the sun as an originator seem wasted.” Still, Cooper took up the task at hand, creating a delicate, sophisticated type design which he named Pompeian Cursive. The typeface featured a limited number of alternate characters and a handful of graceful ligatures. A lively set of non-lining numerals accompanied, as well as a few calligraphically-inspired flourishes for ornamenting the end of lines of type accompanied the typeface, as well. By reviewing the few remaining original drawings for the type, as well as copious samples of Pompeian Cursive from both Cooper & BB&S' proofing process and period-specific type specimens, Wordshape presents the first digital version of this classic hybrid script/sans typeface, complete with all original alternate characters and ornaments. Pompeian Cursive has been intensively spaced and kerned for the finest setting for weddings, announcements, and general display work. - What was the inspiration for designing the font? While researching a biographic essay for Japan’s IDEA Magazine, I came across the original proofs and drawings for Pompeian Cursive. While a number of foundries have released interpretations of Cooper’s assorted typefaces, they stray from the original rather dramatically in parts. Cooper is without a doubt my favorite type and lettering designer, and to bring a refined return to his original intentions is an immense gift. - What are its main characteristics and features? Pompeian Cursive is a typeface which functions as both a display face and a limited text face. It features classy, thoughtful, and delicate swash capitals and rugged lowercase characters with a low x-height and gracefully long ascenders and descenders. - Usage recommendations: Display type or text-setting. Perfect for newspaper work, editorial design, materials intended to invoke an "old-timey" flavor, or just about anything in need of personality.

Inspired by an old retail stencil lettering guide, Stenciled Message JNL is a bold Roman serif typeface available in both regular and oblique versions.

A light weight slab serif font, useful for posters and large ads, based as it is on wooden fonts designed in the 19th century.

Artz is a highly stylized sans serif with a Deco look in Narrow, Plain and Wide. It has oldstyle numbers and many special characters.

A revival of one of the popular wooden type fonts of the 19th century, condensed, bold, curved serifs, a very useful design for display.

Serif meets grafitti and comic. It's bound to be wild! Comes with 4 different versions of each lowercase letter along with some fancy swashes!

JulianaJoy is a condensed elegant sharp serif typeface for headline display and text use. Several alternate characters are included with this original font design.

An elegant sans serif typeface with style. Fashionable, classy but still modern! Designed and shared by Vikers | RerdSystems. Perfect for logos, posters and more.

Linotype Aroma No.2 appears straightforward in form, completely sans serif, yet with a trace of humanistic features that gives it that extra edge.

Sports Jock JNL brings you a serif-style sports font built on the classic design of an early-1900s block font with chamfered angles.

Comment is a unique yet still basic sans serif created to provide a consistent, attractive appearance in print, especially in small-to-medium sizes.

Rabona is a typeface for designers; easy to implement, clean and utilisable. A quintessentially modern geometric san-serif, filtered through a gently humanist lens.

Ingriana is an informal, serifed typeface family with nine styles that is highly readable at small point sizes. Nothing else is quite like it.

Case Closed JNL is a bold, slab serif stencil font inspired by a set of brass stencils spotted for sale in an internet auction.

A basic sans serif letterform was used to create the impression of broken glass in this unique typeface. Created by talented designer Vic Carless.