Andrea Tartarelli discovered the letterforms that would inspire his Gronau family in a 1912 specimen that showcased the typeface Fette Reichs-Deutsch, designed by Wilhelm Gronau in 1902. Fette Reichs Deutsch has been digitised by Tartarelli as Gronau Fette. With Gronau Neue, Tartarelli tried to find a contemporary, gestural interpretation of blackletter shapes, adding a slightly calligraphic look and feel to the original hasty lines and energetic construction.

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.

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.

New York to London via Europe The hardworking FS Koopman is a crossbred workhorse which draws inspiration from Swiss and Germanic grotesks, American gothics and early British grotesques, but refuses to fit neatly into any of these categories. Its neither one nor the other, but all of the above. Fontsmith designers Andy Lethbridge and Stuart de Rozario decided to take the characteristics they admired from each category and distill them down into one functional family. Neo meets Neue FS Koopman aims to swim against the tide of Helvetica-ish derivatives by bringing some personality and soul to a genre that all too often ends up feeling bland and sterile. FS Koopman subtly embraces the quirkiness and charm often seen in early twentieth century designs but pairs this with the functionality of later pioneers of the genre. It’s a grotesque isn’t it? The term grotesque surfaced around the early 1800s and refers to the early sans serif designs that many initially believed were strange or ‘grotesque’ due to their lack of elegant serifs. Later variations became known as neo-grotesques and this moniker stuck around even after they gained mass popularity. Some American variants became known as gothics. FS Koopman takes cues from all three categories and blends them into one cohesive design.

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.

»XPress« is a very distinct, expressive, typical new Sans. »XPress« is my new Sans-Serif that impresses – especially in small sizes – with its outstanding readability. Seven precisely calibrated weights from »Thin« to »Heavy« and its corresponding italics make this font-family universally usable. »XPress« got its bearings from the fabulous American »Gothic« fonts of the twenties of last century. Modern, present day elements, high lowercase letters and infinitesimal elegant slight curves in start- and end strokes make the font family not only great for body copy, but also very useful in advertising. »XPress« ist eine individuelle, expressive, typische neue Sans. »XPress« ist meine neue Serifenlose die – speziell in kleinen Schriftgraden – durch aussergewöhnliche Lesbarkeit auffällt. Sieben präzise aufeinander abgestimmte Schnitte von »Thin« bis »Heavy« und dazu passende Kursive machen die Schriftfamilie vielseitig einsatzfähig. »XPress« orientiert sich bewusst an den grossen amerikanischen Groteskschriften der zwanziger Jahre des letzten Jahrhunderts. Durch moderne Formelemente, große Mittellängen und unendlich leichte, elegante An- und Abstriche ist die Schrift jedoch nicht nur als Textschrift, sondern auch im gesamten Bereich der Werbung vielseitig einsetzbar.

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.

Gabriel Sans is a font family inspired by the original Sans Serif fonts of the Transitional age like Futura and Grotesk, but with a modern twist. It is clean, elegant and straight-to-the-point. It has features similar to the classic Helvetica - like the endings of the capital C - but goes one step further. It also has a quadratic look, which makes it easily distinguishable and easy to use - the height is nearly as long as the width. It is professional and equally suited to your business or your personal lifestyle; it can be used in logotypes as well as in typeset text. It’s an all-purpose font offering the best of both worlds! Gabriel Sans comes in six weights, italic and normal.

Nuber Next is a modern geometric sans influenced by the popular neo-grotesques of the 1950s including Helvetica and Univers. Carefully remastered from the original Nuber type family to improve letter shape, overall uniformity and introduce a flexible width system capable of handling a wider variety of typographic applications. Details include 750 characters per font, nine weights and five widths with matching italics. Opentype features include seven variations of numerals, fractions, case-sensitive forms, stylistic alternates, ligatures, extended monetary symbols and language support covering Cyrillic, Western, South and Central Europe.

Geoffrey Lee designed Impact font for the Stephenson Blake foundry in 1965. The sans serif display typeface is very heavy and condensed in the grotesque style, similar to Helvetica Inserat. Use Impact font in display situations requiring a strong statement.

Geoffrey Lee designed Impact font for the Stephenson Blake foundry in 1965. The sans serif display typeface is very heavy and condensed in the grotesque style, similar to Helvetica Inserat. Use Impact font in display situations requiring a strong statement.

Mocha Mattari is a distressed font designed based on Bebas Neue released as a free font in 2010. The Original Bebas Neue has an inordinate level of popularity and it has often been used as a web font in recent years. This Mocha Mattari was made by damaging the original and tweaked by hand work. Basically, Mocha Mattari does not have lowercases but alternative Uppercases. Exceptionally “g, m, oz, fl, lb” for “gram, milli, ounce, fluid, pound” can be available by opentype dlig or salt features.

Franca is a neo-grotesk family in nine weights plus matching italics. The inspiration for the design came through the constant interest in new interpretations of the classic grotesk model and a study of "neutral“ typefaces like Helvetica, Univers or Normal Grotesk. During the studies, additional attention was given to the American representatives of the genre, resulting in the initial impetus for a reinterpretation, combining both paths into one contemporary design. This is reflected in the name, blending together the names of the most popular typefaces of each genres, (Fran)klin and Helveti(ca). Due to its large x-height and plain design, the family is perfectly suited for all kinds of text. Its mid-weights are optimized for usage in long paragraphs, while the bolder weights, due to a short descender and ascender, create a compact and confident look in headlines or short copy. In order to create strong and dynamic italics, the oblique glyph shapes come with a faint calligraphic hint, defined by a higher stroke contrast and a steeper connection between stems and arcs in, for example, h n m and u. This is followed by different standard shapes for a and y, supporting the dynamic movement of the lowercase in general. A wide range of OpenType features such as ligatures, old style figures, fractions, case-sensitive shapes and many more, are available for professional and contemporary typesetting. This is completed with eleven alternative glyph sets, enabling a quick customization of the typeface. The family supports up to 92 languages and comes with 500+ glyphs per font.

Basic Commercial is a family of fonts based on historical designs from the hot metal type era. First appearing around 1900, these designs were created by type designers whose names have not been recorded, but whose skills cannot be overlooked. These typefaces were popular among groups and movements as diverse as the Bauhaus, Dadaism, and the masters of Swiss/International-Style typography. They influenced a variety of later grotesque fonts, such as Helvetica and Univers. Basic Commercial was distributed for many years in the United States under the name Standard Series. The typeface worked its way into many aspects of daily life and culture; for instance, it became the face chosen for use in the New York City subway system’s signage. The Basic Commercial family members have a clear and objective design. Their forms exhibit almost nothing unusual, but remain both lively and legible nonetheless. Perhaps for this reason, Basic Commercial’s design has been popular with graphic designers for decades.

Pragmatica Slabserif was designed as a complement to the popular type family Pragmatica by Vladimir Yefimov and Isabella Chaeva (1989-2004) by addition of square serifs. Inspired by Helserif (Phil Martin, 1978) which was formed in the same way by addition of square serifs to Helvetica (Eduard Hoffman and Max Miedinger, 1957). First sketches of Pragmatica Slabserif were created by Vladimir Yefimov in 1988 during development of Pragmatica. Olga Umpeleva designed the whole slabserif type family of six weights basing on those sketches. All styles of Pragmatica Slabserif coordinate with corresponding Pragmatica styles on metrics, proportions, weights and design. The new family can be used together with Pragmatica and separately. It’s convenient for technical texts, for magazines of general nature, for business applications as well as for advertising and display matter. Pragmatica Slabserif was released by ParaType in 2011.

Sardines is a project by Jacques Le Bailly aka Baron von Fonthausen. This original version is the one that saw the light as a monospaced font student project and which would eventually grow into Vette Letters’ largest font family (see VLNL Neue Sardines). Sardines is an eclectic mash of classic curves and mathematical measurements, leaving a very distinct typographic flavor. While most of our type is market-fresh, this one comes out of the can, but it’s delicious nonetheless. And it’s great for adventurous BBQ-ing!

Herokid is a grotesque style font, inspired by classic fonts like Helvetica, Impact and Univers, with a dynamic, versatile and flexible personality. It ranges from Thin to Heavy, and from UltraCompressed to UltraExpanded. It’s a huge family, with 96 variants adaptable to kinds of design projects providing flexibility for their creation. Consider Herokid your new workhorse, you will be able to generate high-impact headlines, subtitles and/or text; all with the same font family. The mixture of wide and condensed sets allows for versatile combinations and can give great movement to a design, while the regular weights can be used for text bodies. The heavier weights also stand out, with its very full shapes with small counterforms, ideal for big headlines.

Peter started as a sketch in the static sans-serif tradition of Helvetica®. Then slight references to the calligraphic origin of type were added, giving it a more distinct character. This neo-grotesque sans has rational and clear basic letterforms, while in its details it unfolds attributes of humanist type. As a neo-grotesque sans it claims a very modest design, yet being a bit wider than its relatives and offering the warmth of humanist drafts. The early sketch grew to a type family of 18 fonts and now supports 700+ glyphs with pro opentype features.

Bio Sans is a super neutral sans-serif family for text designed by Ryoichi Tsunekawa and the whole family consists of 6 weights from ExtraLight to ExtraBold and their matching Italics. The basic concept of this family is the same as Bebas Neue which is our most popular free font and used all over the world, that is to say, Neutral, Natural, Minimal, Harmless, Super-flat, Transparent and Legible. The basic skeleton of their letterform was designed geometrically and the sophisticated design gives them universality, neutrality and sense of unity for the use in all media, all purposes and their large x-heights makes this family legible and readable even on small size screen. Bio Sans supports almost all European languages: Western, Central, South Eastern Europeans and afrikaans. And proportional figures, superior figures, inferior figures, denominators, numerators, fractions, ordinals and case-sensitive-forms can be accessed by using OpenType features.

I can best describe the Thaun family as a general purpose display family, inspired by Scholtz Fonts' " "Delikat". I wanted to produce a display font that was more robust than Delikat, without losing the delicacy of the original. In order to do this I thinned solid, curved strokes toward the baseline, and let them dwindle to gently rounded points. As a graphic designer I became aware that designs that used a number of styles from the same family seemed to work well. This was easily done using a standard sans serif font such as Arial or Helvetica. However, when a different look is needed, display fonts do not always have a the variety of different styles that are necessary to produce a coherent design. Thus with Thaun, the challenge was to create a coherent family based on a display font. The archetype of this family is Thaun Regular with six different widths forming closely related styles. There are also two variants of the archetype i.e. Thaun Black & Thaun Rough to add variety to the primary style. An additional sub-family, Thaun Accord, appears in two widths. Thaun Jazz is a wide three dimensional variation. Thaun has all the features usually included in a fully professional font. Language support includes all European character sets, Greek symbols and all punctuation. Opentype features include automatic replacement of some characters and discretionary replacement of stylistic alternatives.

Bitmax is the work of British designer Alan Birch, who was inspired by the look of fax transmissions. He took Helvetica medium and used controlled distortions to create this commanding, high-tech style. Bitmax is best used in large display sizes for a limited number of words.

Fonce Sans Pro is a mono-weight, Swiss-style typeface with influences from great typefaces like Din, Helvetica, Interstate, and Trade Gothic. Its form is unique and sophisticated with an unmistakable Dutch style. It’s subtle and enjoyable, and works beautifully in both display and body copy.

Tusker Grotesk is a headline typeface designed for robust and high-impact use. The initial inspiration for Tusker came from postwar typefaces like Haettenschweiler, Impact and Helvetica Inserat which use very high x-heights. Other influences in the condensed end of the Tusker family are old grotesques like Folio Extra Condensed and Stephenson Blake Elongated Sans No.1 with their flat terminals and closed-up apertures. Then as the widths in Tusker grow, the lettering takes some more inspiration from gothic style sans such as Inland Type's Title Gothic No.8, while maintaining the optical weight established in the narrow end of the family. Each width set is duplexed, stackable and is ideal for headlines, logos and bold attention-grabbing editorial design. Tusker has extended latin coverage ideal for western, central and eastern European languages.

Bio Sans Soft is a super neutral sans-serif family for text designed by Ryoichi Tsunekawa and the whole family consists of 6 weights from ExtraLight to ExtraBold and their matching Italics. The basic concept of this family is the same as Bebas Neue which is the our most popular free font and used all over the world, that is to say, Neutral, Natural, Minimal, Harmless, Super-flat, Transparent and Legible. The basic skeleton of their letterform was designed geometrically and the sophisticated design gives them universality, neutrality and sense of unity for the use in all media, all purposes and their large x-heights makes this family legible and readable even on small size screen. Bio Sans supports almost all European languages: Western, Central, South Eastern Europeans and Afrikaans. And proportional figures, superior figures, inferior figures, denominators, numerators, fractions, ordinals and case-sensitive-forms can be accessed by using OpenType features.

NK_Fracht Square (meaning Cargo or Freight) is a stylized version of Neue Konstrukteur Square. It is more suited for headline and display purposes, but can also be used quite successfully for short blocks for running text and captions.

NK_Fracht Round (meaning Cargo or Freight) is a stylized version of Neue Konstrukteur Round. It is more suited for headline and display purposes, but can also be used quite successfully for short blocks for running text and captions.

A modern neo-grotesque typeface. Having grown up in Sheffield and been completely immersed in the work of The Designers Republic I became very drawn to their treatment of Helvetica, especially the close tracking of the letter space. This visual investigation led me to the study of the font Hass Unica, a so called improvement to Helvetica. In order not to replicate and become a clone of Unica I redrew all the characters from scratch improving optical appearance, developing subtle corrections and reshaping individual letterforms. The result is a remixed neo-grotesque font that has strong general optical balance with great rhythm under close tracking. Details include 10 weights, an extended European character set, true italic, manually edited kerning and Euro symbol.

Humanistic sanserif in 4 fonts The Parisine Office typeface family can be considered as the text version of the Parisine. When Parisine xheight fit Helvetica large xheight, Parisine Office is more close to Gill Sans in term of proportion, as it was developed for Ratp, the public transport in Paris to allow compatibility with documents set in Gill Sans without changing the length of text. Parisine Office by default is a humanistic sanserif available in 4 fonts perfect for text setting. The design of the italic lowercases is more cursive than in Parisine. About Parisine Parisine helps Parisians catch the right bus Observateur du design star of 2007

Helovatica is a sans serif font with modern, corporate, elegant, unique and classy-look. This font crafted specials for logo design projects, ready to use on Logo, Branding, Magazine, Social Media, and Many more that needs modern touches. Helovatica is also included full set of: uppercase and lowercase letters multilingual characters numerals punctuation Wish you enjoy our font. :)

A simple and elegant sans serif font inspired by the legendary Helvetica and Univers. Perfect for minimalist, modern typography. The font has a dense enough kerning that it's perfect for large and medium-sized headlines. The highlight of the font is the letters N and K, adding some spacey vibe to the design.

Toffee Display is a sans serif project inspired on Gill sans, Helvetica and Eurotstile italics. This project is designed for food packaging, candies, commercial, and fast food. I recommend combining it with a light and calligraphy font to get absolute contrast. That is it, Thanks for buy it and work with it!

HK Requisite™ is a sans serif typeface inspired by the compactness of Neue Haas Grotesk and the strong character of Akzidenz Grotesk. The name came from the fact that fonts are elements that are necessary for the achievement of a specified end.

This forerunner of Helvetica made its debut as Breite Grotesk in the 1886 specimen book of the Schelter & Giesecke foundry in Leipzig. This classic face still retains its freshness, even after more than a century. Both versions of this font contain the complete Latin A Extended character set, as well as extended ligatures and fractions.

Although initially designed as a rational/geometric font, Triplex developed into one of Zuzana Licko's most intuitive typeface designs at the time. Its first extensive use was in Emigre magazine #14, a special issue devoted to Swiss designers published in 1990. Triplex was intended as a friendly substitute for Helvetica. The name Triplex refers to the three versions that make up the entire family; Triplex, Triplex Serif and Triplex Italic. Each version of the typeface comes in light, bold and extra bold. The italic was designed and drawn by type designer and sign painter John Downer, and was designed to work with both the serif and sans serif versions. See also Triplex Italic OT.

Eligra is a modern and elegant sans-serif typeface family inspired by old and new classics like Helvetica and Gotham. Its geometric and precise strokes create a versatile and timeless font. However, Eligra has unique features, like its subtle swirls and curves, that add a dash of personality while still maintaining the font's simplicity and clarity. Eligra has more than 800 glyphs, with a large set of Latin, Cyrillic and Greek characters, several alternates, and different styles of numerals. It is clean, clear, stable, and contemporary, making it a perfect choice for branding projects, websites, advertisements, documents, presentations or any other occasion where you want to convey evenness while maintaining a contemporary and innovative look.

American Uncial™ was designed by Victor Hammer in 1943. Uncial typefaces consist of letter forms of the Capitalis Monumentalis and the majescule cursive. The origins of Uncial faces date back to the 5th century. In 1953, American Uncial was expanded to include some new figures, also designed by Hammer, and was rereleased by Klingspor with the name Neue Hammer Unziale. The forms are based on old scripts in books of antiquity and the early Middle Ages and the font is a new variation of a classic. Neue Hammer Unziale font has been a favorite for certificates and diplomas and is recommended for headlines and shorter texts in a point size of 12 or larger.