Balcon is condensed sans family designed to be your first web font choice. Contains 5 weights: Light, Regular, Bold, ExtraBold and Black, it fits perfect into any project, from editorial editions to packages, labels, posters. If you're looking for a bit decorative version of this family, feel free to check Balcon Round sans family.

Antigen is a forceful and fresh typeface with a strong futuristic feel. Its characters have a wide stance, and the lettering is subtly rounded. It includes a set of OpenType alternates that remove the spike crossbars for a less aggressive appearance. Antigen is great for titling that needs an edgy, assertive and ultramodern look.

Goma Mono is a display monospaced rounded sans serif font built in ten styles. This family, with five weights, covers a wide variety of character due to the large difference in thickness. The typeface can be used perfectly in display sizes and logos. Goma Mono is released with 414 glyphs and includes Open Type features.

Mic 32 New Stencil is the third variation of the popular Moretype family Mic 32 New. This stencil version provides an industrial flavour to the futuristic rounded geometry of Mic 32 New. Mic 32 New Stencil still has all the normal Opentype features including small caps, tabular, proportional and old style numerals and ligatures.

Advertising and Marketing often calls for the use of neutral typestyles; conveying a quiet but clear message with little stress and an even color on the page. Admarks' roman weights have simple slab serifs contrasting with generously rounded features. Italics provide a sharp emphasis, still keeping the delicate use of stress combined with contrast.

Budrick BB is a slick, clean body copy font family that's just a bit rounded. It is available in four weights: Regular, Italic, Bold, and Bold Italic. (And those Italics have some slightly different letter forms than the plain versions!) To top it all off, Budrick BB has a hefty collection of European characters.

Agrus in Ukrainian means "gooseberry". The letters are rounded like the berries and the sharp end elements remind of the barbs. In fact, the font is an intricate italic type. Optical compensations are purely decorative and rhyme with thin connecting lines. Design of this font is one hundred percent due to “strength of material”

Simpo Sans is a family of ten sans serif fonts. It's my second font design project. It's safe to say Simpo Sans has quite different features compare to my last work CHAOS . Right from the start, my ambition was to take the rounded corner elements into characters & glyph and use them to make something smooth.

Neue Konstrukteur Square is an engineered, mechanical typewriter font with a hint of heritage blackletter. Inspired by a trip to Germany this font has five weights from Thin to Black with accompanying italics. That makes 10 font files in total, enough for the most demanding projects. Also check out its sister font Neue Konstrukteur Round.

Introducing, Candy Paint fonts. Candy Paint have a unique shape, rounded and fun. Comes with 4 style Regular, Outline and Extrude, then can mix and match with Stylistic Set. What's Included Inside The Fonts ? Uppercase Lowercase Symbols Numerals Stylistic Set 1 Stylistic Set 2 Stylistic Set 3 Stylistic Set 4 European Multilingual Thank you, Regards!

Micolesther is well-balanced modern rounded font with beautiful ligatures. Included upercase, lowercase, numeral punctuation, mutlilingual support, alternates and ligatures. With moderate contrast that perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, and any projects, it makes with a high level of legibility.

Pageantry is very suitable for Packaging, greeting cards, magazines, posters, and Advertising Ads. Designed in four weights from light to heavy including italics, covering a large range of editorial and advertising applications. Inspired by 'Souvenir' a popular font in the 1900s. I designed 'Pageantry' with a more rounded appearance, giving it a more softer appearance.

This font is good clean fun. "Kopa" is a word that means "soap" in the Hawaiian native language. The thickness and rounded edges mimic the form of solid soap. Some additional design involving the base of the glyphs brings out the style just a bit more. This font works especially well with colorful designs.

Addressotype Slab is the serifed cousin to Addressotype , a constructed, streamlined gaspipe design with gently rounded forms. Perfect for getting the right vintage look, but also solid on its own for modern branding and identity projects. And if you want to grab attention, layer in the extra deep drop shadow for a bold statement!

Simple Nib is a simple, modern and elegant serif font. The corners of each letter are rounded, making them dynamic and eye-catching for any design project. The embedded standard features are enough to meet your standard typography needs. However, if you like this font and need additional features, please feel free to contact me.

Las Valles Textured is a tall, ultra-condensed sans serif font offered in 4 styles. Combining vintage charm with modern appeal, it boasts unique ligatures and versatile choices. The mix of rounded and regular styles adds a fresh touch. Particularly suitable for headlines, quotes, logos, web, and print design, including magazine covers, posters, and signage.

Yefimov Serif is a contemporary serif face, with low contrast, squarish shapes of round glyphs and emphasized businesslike nature. It is one of the last original faces by Vladimir Yefimov. Yefimov Serif will suit perfectly for business texts, periodicals and corporate identity. The typeface was completed by Maria Selezeneva and released by ParaType in 2014.

Frankfurter font is the work of designer Alan Meeks. The most distinctive feature of this informal, sans serif typeface is its curved or rounded terminals. The letters look best when set closely together. Frankfurter Medium is well-suited to a variety of display applications and comes in four weights, regular, medium, highlight and inline.

Modern sans serif font that is out of this world. A strong balance between strong pointed corners and smooth curves, Perfect for all purposes but especially for headlines. With 8 Variant to choose : Light, Light Italic, Regular, Italic, Rounded, Shadow, Bold and Bold Italic. This font also includes alternative glyphs, ligatures and multilingual support.

A gothic blackletter font named after the Parler master builder family which built the Schwaebisch Gmuend cathedral. This font contains a bunch of useful ligatures, and by typing 'N', 'o' and period plus activating the Ordinals feature you get an oldstyle numbersign. In this blackletter font the # key is occupied by the 'round' s.

Tumbly is a decorative typeface family of Regular and two Alternatives with variations in caps and numbers. Conceived as a college senior thesis over a decade ago, Tumbly was recently rediscovered. Original inspiration for the typeface was the round belly of Winnie-the-Pooh. Tumbly is ideally suited for headlines, decorative and display use.

Caracas is a new family of sans serif fonts, looking friendly, sweet and comfortable to read. Where text flow between straight lines and round by becoming transparent in the interest of readability. Caracas is ideal for working in small letters and texts of a technical nature. Caracas is a humanistic approach to reading sans forms.

Decorative font based on XIX century Cyrillic handwriting. Dulsinea is a handwriting-based font, that is why most of the letters are tied to each other. Such handwriting is often seen in documents dated 2nd half of the XIX century. Its special features are rounded lengthy movements and unusual for present days sequence of strokes.

Hoy is a decorative font whose name derives from one of the Orkney Islands. Inspired by the wonderful encounter between the Celtic and Norse cultures in this specific geographic location, the font has adapted some of the features of the Insular half-uncial. It is playful and relaxed, and easily recognizable by its roundness.

Rétrospectif is a tribute to the fonts of the Thirties and Forties. It consists of two families, Rétrospectif and Rétrospectif faible. The two families differ in height: Rétrospectif is particularly stretched, Rétrospectif Faible is lowest. The latter, compared to Rétrospectif, presents shorter ascending and descendants and more rounded eyelets. The glyphs' structures are modular.

Built with both thick and thin lines this display font uses heavy round terminals giving this almost didone-style font a more playful and slightly stylish look. Perfect for magazines and publications as well as for identity and branding. The character set contains typical OpenType features in addition to small caps, and old style numbers.

The story of Freigeist is a journey into the past, back to the early grotesk fonts and long before Helvetica and Co were standard fonts in operating systems. For what we take for granted today is the result of innovation and pioneering spirit of type foundries such as Caslon or Stephenson Blake in the 19th century, whose expressive designs are mostly forgotten today. The Freigeist family captures this untamed spirit — hence the name (German for “free spirit”) — and puts it into a contemporary context, resulting in a multi-faceted family with a wide range of applications, font styles and features for modern typesetting. Design Details Unlike other modern grotesk typefaces like Helvetica or Univers, Freigeist is characterized by a warm and dynamic appearance. It draws inspiration from various historical models such as Caslon’s Doric or the Grotesque variants of Stephenson Blake. Particularly noticeable are the narrow terminals, the serpentine S or the dynamic g in combination with ascenders that reach to the cap-height only. Italics Many italic grotesk fonts are strongly oriented towards their upright counterparts. Unfortunately, this often means that they cannot do justice to their actual task, which is to highlight words or sections of a text. The italic cuts of Freigeist try to remedy this situation by using the greatest possible formal distance while reinforcing the untamed spirit. What adds to this, is a reminiscent of handwritten forms, which can be found in a, n, y or g, as well as the German sharp s or the ampersand. Alternate Characters Alternative letterforms are ideal for customizing the overall appearance of a text, for usage in logos or they can even work as custom fonts for companies. Freigeist comes with ten stylistic alternatives that are easy to insert via the Opentype window, such as the single-storey a, a tail-less version of the a for compact text, when uses in condensed widths or a dialed down version of the r. Languages Freigeist has a built-in support for Latin and Cyrillic based languages and covers more than 210 languages. Opentype Features and Symbols The family comes with many opentype features to support modern typesetting. This includes ligatures, different number sets or alternative shapes for texts set in all caps. Styles Freigeist is available in five widths (XCon, Con, Normal, Wide, XWide) and six weights (Thin, Light, Regular, Medium, Bold, Black). Including the accompanying italics, the family comes in 60 cuts that are suitable for any application. Testfonts If you like to test the fonts before buying the full version, please follow the link below: https://www.renebieder.com/test-fonts Update 1 A lot has changed in this first update. It is more than just a 1.01 or 1.02. It is actually the 2.0! I’ve gone through all! single glyphs of the 18 master files, making the family more sharp and even a bit more modern. I’ve added some new opentype features and redesigned the italics, because I wasn’t happy enough with the result. I’ve added new kerning pairs, new metrics, and even new glyphs. Please check my website for more details on the new design and overview about the opentype features and alternate shapes. If you purchased the Freigeist family already, thanks a lot!! It is the most advanced family that I published so far. I hope that you’re happy with this new version. Thanks!

CAPITALIZED, geometric, bold and round. If the typo­grapher sees a font like that, it's enough to make his toes curl. But sometimes it just has to be that way. Geometrically constructed fonts do not necessarily have to be pointed and angular; It also works consistently around. And if I say it consistently, then in this case, that's done consistently. The basis for the BOULE is the circle. The letters are drawn with constant line width, the “corners“ and endings all have the same radius, the lines are all the same thickness. The BOULE consists only of capitals. There is only one difference in the use of uppercase and lowercase letters: in the uppercase letters, the round letters are circular, while the lowercase letters are narrow. The character set of the Boule contains all letters and accents to support the Western, Northern, Central and Eastern European languages with Latin alphabet. The BOULE is not only very fat, it also runs very tight; that is, the glyphs are very close to each other. To avoid "holes" due to unfortunate letter combinations, the BOULE contains ligatures for FT, ST, TT and TZ. There are also other versions of the font: BOULE Brillant on the one hand. In this version, simple highlights simulate a light incidence from the top right. These light edges give the font a decorative effect that makes it easy to think of wet sausages or balloons in some shapes. And finally the BOULE Contour. As the name implies, it is the outer contour of the letters, combined with a shadow at the bottom left. The name BOULE (French for ball) says it already: this font is globated. Therefore, it is also very suitable for all three-dimensional alienation effects. With simple light and shadow you can achieve a very convincing 3D effect with little effort.

Peter Behrens’ renowned art nouveau type from 1902 – with ornaments. Newly revised and neatly digitalized by Ingo Zimmermann In 1902, Peter Behrens (1869–1940), architect, designer and typographer, created a new ”German“ type which became very successful very quickly for the Rudhard’sche Gießerei (foundry which later became Gebr. Klingspor AG) in Offenbach am Main. It served, for example, as the official German type for the world expositions in 1904 and 1910. Behrens himself writes about the development of this type ”...For the actual form of my type, I took the technical principle of the Gothic script, the stroke of the quill feather. The proportions of height and width and the boldness of the strokes of the Gothic letters were also decisive for me in producing a German character. A cohesive character could be hoped for by avoiding all non-necessities and by strictly carrying out the design principle of holding the quill at an angle…“ By the way, when “long s” is activated, the typographically correct “round s” is automatically placed at the end of the word so that you need only pay attention to the correct s on syllable endings within words. When using “long s,” you must ensure the correct use of the rules for the Fraktur font: “round s” is always at the end of the word, also in compound words. For those of you who want to be even more correct, read the corresponding article in >> Wikipedia. Peter Behrens also drew matching ornaments for his typeface – we have likewise carefully revised these decorative touches and arranged them into a font. The "Behrens-Schrift" fits best on all topics that have something to do with art history or the time around 1900.

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!

Type Catalog JNL was originally a design drawn by Jeff Levine around 2006. Type Catalog JNL has a distinctively retro look for many applications.

Sheet Music JNL was based on lettering found on an old piece of 1930s-era sheet music being sold at a local rummage sale.

More treasures from the heyday of letterpress printing are found in Letterpress Retro JNL, with plenty of great cartoons, catch words, embellishments and more.

Fristy has more than 300 ligatures for you to play around with. You will need to use OpenType-supporting applications to use the autoligatures

Window Treatment JNL gives a classic thick-and-thin line treatment to the Art Deco design found in the monoline font Window Dressing JNL.

A classic sans grotesk wood type design, Final Edition JNL was modeled from actual headlines found in online examples of an old daily newspaper.