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  1. SK Synonym Grotesk by Shriftovik, $48.00
    SK Synonym Grotesk is a geometric neo-grotesk typeface, which was developed under the influence of Swiss type design and adapt to modern realities. Its sturdy and simple structure is characterized by angular joints that accent details of the letters. The font design uses a strict geometric and stable construction it's combining with organic and lively forms, it creates an unusual attractive aesthetic of the character set. SK Synonym Grotesk consist of a variety of tools for various design needs, including OpenType alternatives and a wide range of styles from Thin to Black. This typeface is multilingual, supports more than 40 languages including Extended Latin and Cyrillic sets and contains more than 450 characters.
  2. SK 1980 Unicase by Salih Kizilkaya, $2.50
    SK 1980 Unicase is a font that emerged with a modern interpretation of the 80's design concept. It was specially designed to create structural forms. Each character is the same size, so you can create structural designs without any difficulty. Includes 7 different versions and 2464 glyphs.
  3. SK One Block by Salih Kizilkaya, $3.50
    SK One Block was designed by Salih Kızılkaya in 2020. Inspired by Kufic typeface, this font includes many typographic material you will need. SK One consists of 8 different fonts and 2696 glyphs.
  4. SK Clumster Sans by Shriftovik, $32.00
    SK Clumster Sans is an extravagant multilingual geometric grotesque, developed under the impression of the unique and exciting aesthetics of font design. Its structure is enlivened by an innovative combination of geometric and organic shapes that transform the familiar letter pattern. SK Clumster Sans creates a unique visual impression through a combination of shapes, a large symbolic and weights set, in addition to lively and dynamic angles and lines. The font is suitable for creating original design works that reflect the creative potential of the author and his bold experiments in the field of design.
  5. Folio by Linotype, $29.99
    Folio was designed by Konrad F. Bauer and Walter Baum and appeared with the Bauer font foundry (Bauersche Gießerei) in 1957. The designers based their ideas on Helvetica but Folio did not turn out to pose the competition they had hoped. The font has the same applications as Helvetica and is an extremely legible font. Folio is particularly good for text and has an objective, neutral character.
  6. Jam Grotesque by JAM Type Design, $25.00
    Inspired by the beautiful typefaces like Helvetica and Neue Haas Unica, this beautiful typeface looks fantastic in print as well as online.
  7. Cardboard by deFUNKT, $35.00
    This font was actually designed by trying to teach my helper-monkey, Philip, to cut Helvetica out of a piece of cardboard.
  8. Benjamin by Wilton Foundry, $29.00
    Wilton's "Benjamin-Regular" is a delightful twist on a classic - reminiscent of Franklin Gothic, Helvetica and Frutiger with it's own contemporary twist.
  9. Lucid Type B Outline (BRK) - Unknown license
  10. Lucid Type A Outline (BRK) - Unknown license
  11. Lucid Type A Outline BRK - Unknown license
  12. Lucid Type B Outline BRK - Unknown license
  13. 8-bit Limit R (BRK) - Unknown license
  14. 8-bit Limit O BRK - Unknown license
  15. Mini Kaliber O TT BRK - Unknown license
  16. Hand Me Down O (BRK) - Unknown license
  17. 10.15 Saturday Night R BRK - Unknown license
  18. Hand Me Down O BRK - Unknown license
  19. Mini Kaliber S TT BRK - Unknown license
  20. 8-bit Limit R BRK - Unknown license
  21. 8-bit Limit O (BRK) - Unknown license
  22. Yoshi's Story game text BRK - Unknown license
  23. 8-bit Limit RO BRK - Unknown license
  24. Hand Me Down S BRK - 100% free
  25. Hand Me Down S (BRK) - Unknown license
  26. Strike Swiss - Unknown license
  27. Squarish by The Type Fetish, $10.00
    Squarish could have been the Universe or Helvetica of the 1980's, if only it was designed then. Now it is just a little quirky gridded typeface.
  28. Ticketbook by Suomi, $20.00
    Univers and Helvetica Compressed are most often used for movie posters, but they lack variants. Therefore I made a compressed family with seven weights for more versatility.
  29. Contax by Type Innovations, $39.00
    In the advertising industry, I was often asked to supply the art directors with ideas for a san serif type design that was not the standard Helvetica or Univers. They wanted a fresh new approach, something with generous proportion, like Avant Garde perhaps, but not as uniform in proportions. A font that would lend itself well to wide and long columns of text with lots of leading. So, I rolled up my sleeves and designed a font that meet all their criteria. Contax is the new 'Univers' for the 21st century.
  30. TD Beta by Inusentes Catapusan, $9.00
    TD Beta is a bold and light sans serif typeface inspired by Futura and Helvetica. It is best used for headlines, titles, display, and even long paragraphs on digital collaterals.
  31. Undercoat by Open Window, $19.95
    Undercoat offers a gritty twist on a classic font style (Helvetica). It was completely hand painted which makes the font an organic centerpiece to any of your grungy design applications.
  32. CG Triumvirate by Monotype, $40.99
    CG Triumvirate was designed for use on the Compugraphic phototypesetting system. The CG Triumvirate font family is very similar to Helvetica, and is an ideal font choice for text and display use.
  33. Aura by Monotype, $29.99
    Aura was designed by Jackson Burke for the Linotype foundry in 1960. Aura is a sans serif display font, very similar to Helvetica Inserat. Use the Aura font for headlines and posters.
  34. Neue Haas Grotesk Display by Linotype, $33.99
    The first weights of Neue Haas Grotesk were designed in 1957-1958 by Max Miedinger for the Haas’sche Schriftgiesserei in Switzerland, with art direction by the company’s principal, Eduard Hoffmann. Neue Haas Grotesk was to be the answer to the British and German grotesques that had become hugely popular thanks to the success of functionalist Swiss typography. The typeface was soon revised and released as Helvetica by Linotype AG. As Neue Haas Grotesk had to be adapted to work on Linotype’s hot metal linecasters, Linotype Helvetica was in some ways a radically transformed version of the original. For instance, the matrices for Regular and Bold had to be of equal widths, and therefore the Bold was redrawn at a considerably narrower proportion. During the transition from metal to phototypesetting, Helvetica underwent additional modifications. In the 1980s Neue Helvetica was produced as a rationalized, standardized version. For Christian Schwartz, the assignment to design a digital revival of Neue Haas Grotesk was an occasion to set history straight. “Much of the warm personality of Miedinger’s shapes was lost along the way. So rather than trying to rethink Helvetica or improve on current digital versions, this was more of a restoration project: bringing Miedinger’s original Neue Haas Grotesk back to life with as much fidelity to his original shapes and spacing as possible (albeit with the addition of kerning, an expensive luxury in handset type).” Schwartz’s revival was originally commissioned in 2004 by Mark Porter for the redesign of The Guardian, but not used. Schwartz completed the family in 2010 for Richard Turley at Bloomberg Businessweek. Its thinnest weight was designed by Berton Hasebe.
  35. Paladium Gothic by BA Graphics, $45.00
    A next generation gothic with that clean legible corporate look, very simple yet very dignified. Great for text and head lines, just about any application. If you are tired of seeing Helvetica try Paladium Gothic.
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