Contax Pro is a contemporary design based on generous proportions and clean, crisp lines. Forget about 'Helvetica'. Look out 'Univers'. Contax Pro is the new geometric sans typeface series for the 21st century. Contax Pro makes for easy reading and is ideal for long lines of copy. Contax Pro includes true drawn small capitals and old style figures. The family comes in 6 weights: ultra light, thin, light, regular, medium and bold.

A variation of ”Helvetica according to the blur principle.“ The underlying typeface is ”Helvetica“, the only true ”run-of-the-mill“ typeface of the twentieth century. The distortion principle used simulates the photographic effect of halation and/or overexposure. The light weight, »DeFonte Léger«, nearly breaks on the thin points, whereas on those points where the lines meet or cross, dark spots remain. The characters are ”nibbled at“ from the inner and outer brightness. On the normal and semibold typestyles, »DeFonte Normale« and »DeFonte Demi Gras«, the effect is limited almost exclusively to the end strokes and corners, which appears to be strongly rounded off. The bold version »DeFonte Gros« is especially attractive. As a result of ”overexposure“, counters (internal spaces) are closed in, while characters become blurred and turn into spots; new characteristic forms are created which are astoundingly legible. The fat version »DeFonte Gros« is particularly appealing. “Overexposure” leads to drifted counters, letters blur into spots; new characteristic forms emerge, which are surprisingly easy to read.

Without serifs and without exaggeration. A project that seeks simplicity, with focus on reading and coverage in many languages. Arche has 5 weights and its italics. 10 fonts ranging from Light to Black. It also has a set of styles, old and modern numbers, arrows and ornaments. Excellent alternative to standards such as Akzidenz Grotesk or Helvetica, with a contemporary look, focus on legibility and with Latin American freshness. For more information visit our website Contrafonts.cl

Looking for a sans serif that is ready to work hard for you? Meet Onward; simple and elegant in all sizes as well as legible in small sizes. Explore and write some sample texts here on the website and see all the fine distinctions between weights and styles regular, italic, bold and bold italic. Onward also offers many ligatures, arrows, alternatives, small caps, special numerals for capital letters/small caps/regular respectively ... and more! Onward is a natural choice for a corporate font, for logos, for brochures and a whole range of other purposes in relation to creating a strong visual and modern identity. Keep the family together and get a discount: $55.

The designer-favorite Blue Goblet family has grown with the addition of Blue Goblet Florals. Blue Goblet Florals are flowing and abstract ornaments that resemble foliage or flowers rendered in Cory Godbey's unique illustration style. These fresh and lively foliage inspired ornaments can be resized easily without any loss of quality, and can easily be converted to outlines and modified. These floral ornaments can be combined to form unique compositions or inserted directly into layouts. Please see the sample .pdf to see all 55 floral ornaments in action, and be sure to check out the original Blue Goblet brush script and Blue Goblet ornaments, frames and vignettes. Blue Goblet Florals is a collaboration between insigne Design and Portland Studios.

Hockeynight Sans with its round corners is the smoothest sports-font you will find. Its the helvetica under the college fonts. Spice it up and mix some of the alternative glyphs in! Hockeynight comes in 7 Weights and each one available as an Italic. Use it big and bold on your sports-poster, space it up to get that dirty look or use some alternate glyphs for your logodesign. Look out for the Brush Versions and the Slab Version of Hockeynight

Playing with old rub-on letters led to this alphabet. On the Letraset sheets (the older ones still remember...) there were always letters left over that were never or rarely used. I sometimes let interns play with it. To explain, I first rubbed an example myself. Two y's from a Helvetica made a pretty shape. Looking closely, you see a contoured, italic N. I developed the HGB Ypsilon font from this N. A purely decorative typeface – it could be interesting for some logo.

Roundica is a modern geometric typeface inspired by both classic typefaces of the 20th century like Avantgarde, Bauhaus, Futura, Helvetica and some modern fonts such as Abeat By Kai, Comfortaa, Gotham. Started in 2018 Roundica is the main reason for the appearance of Fontease Type Foundry. With its 834 glyphs Roundica includes extended Latin language support, but also Cyrillic and Greek. Designed with OpenType features like ligatures, fractions, small capitals etc., Roundica is perfectly suited for graphic design and any display use.

JY Décennie Express was developed as a sans serif workhorse complement to JY Décennie. The basic roman design shares characteristics, and in some cases, characters (e, o, and others) with the serif version, making JY Décennie Express work particularly well with its progenitor. The design is friendly and approachable, as opposed to stark (the effect one usually has with Helvetica and other over-used typefaces). On closer inspection, straight lines blend into curves on the outlines: the characters are in fact complex but appear simple.

To see the “auto-mix” effect, go to the Webfont page. This typeface has been designed to demonstrate a hypothesis: consistency in letter form and style is not essential to fluent reading. The Neology fonts also include both plain constituents, Neology Deco (1920s-style minimalist geometric) and Neology Grotesque (similar to Helvetica etc., but with a small x-height). All fonts have both three-quarter and full cap-height lining figures. The plain fonts have stylistic alternates (“a” for Deco and “g” and “l” for Grotesque).

The first Antique Olive fonts were produced by the French type foundry Olive, in 1962-1966 and designed by poster designer Roger Excoffon (1910-1983). All Excoffons fonts are flamboyant, elegant and highly stylistic. They include the Banco, Mistral, and Calypso fonts. Antique Olive was launched to rival Helvetica and Univers, but the shapes it took were totally refreshing. Antique Olive is probably the most striking Sans Serif since Futura and Gill, and more refined than either. It is perfect for posters and display material as it works well in larger sizes.

I have always been frustrated when looking for a bold condensed face. The choices were the usual? Helvetica Bold Condensed, Univers Bold Condensed or Alternate Gothic #2... all rather dated. I was looking for a really unique, clean, uncluttered sans serif face, so I decided to design one. I have since adapted it to many logo designs. So, in my terms and conditions, I decided to permit the modification of the letter forms for logos and monograms, but logos and monograms only, not the typeface in normal usage.

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.

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.

Since 2005, I have repeatedly attempted to create a neutral-looking grotesque with a humanistic character. I wanted a pleasant, soft typeface. The typeface should appear similar to Helvetica or Univers, but with more open shapes and therefore better readability. The features are deliberately reserved with 4 gradations plus italics. The onum feature for Old Style Figures contains additional alternative letters such as a looped g. The italics have a swash feature with some decorative shapes. As a sans serif, HGB Bacco does not appear to be technically constructed, but has a friendly, open character and is also suitable for longer texts.

Whenever I see clippings on TV of demonstrations, protesting against this or that, with people holding up signs, I am surprised about the signs being professionally printed or plotted in Helvetica or Futura condensed. I've even seen signs in Zapfino! That doesn't really cut it, it doesn't look much like a real protest. So I decided to give the protesting world a real good font for the occasion. In German a Revolte is an uprising, I thought that was a good name for the font. Hasta la victoria siempre from your revolutionary type designer Gert Wiescher.

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.

Introducing Herolfter - Modern Bold Display Font Herolfter, a sleek Bold Display Font with a modern edge. This versatile typeface boasts 55 ligatures, allowing you to add a unique touch to your designs. Herolfter is perfectly suited for branding projects, logo, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery and any projects seeking unique taste. FEATURES - Stylistic Alternates - Ligatures - All Caps with Small Caps - Numbering and Punctuations - Works on PC or Mac - Simple Installation - PUA Encoded Characters - Easily accessible without additional design software. - Support Adobe Illustrator, Adobe Photoshop, Adobe InDesign, also works on Microsoft Word - Multilingual Support for 68 languages including Afrikaans, Albanian, Basque, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Icelandic, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Spanish, Swahili, Swedish, Zulu Hope you Like it. Thanks.

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

Einhorn is a peculiar typeface. Difficult to classify, this upright, bold, script-like semi serif typeface was designed in 1980 by Alan Meeks. Meeks was inspired by the art nouveau period, and may have been trying to liven up the design scene. In 1980, typefaces like Helvetica and Univers were ubiquitous, and the digital revolution was still years away. Experimental faces like Einhorn helped fill the gap for creative designers looking for untraditional choices in which to set headlines and advertising work. The merit of pioneer display faces like Einhorn have never lessened; Einhorn still sets a mean display text, and works great in logos and other corporate ID solutions.

Designed by Malaysian designer, Ong ChongWah, Abadi is a versatile sans serif typeface whose style lies between the humanist Gill Sans and the more rigid lineales such as Monotype Grotesque and Helvetica. These humanist characteristics give the Abadi fonts a friendliness in use and contribute as much to its legibility as the generous 'x' height. The italic font relates to the roman, yet has sufficient character to be effectively used independently. The range of weights and widths available give Abadi a wide spectrum of graphic applications, from small quantities of text in magazines and newspapers, to display use in packaging, advertising and even television.

Red Tape is three fonts that were designed by sticking letters together with red tape. It makes for a wonderful makeshift set of fonts. And I really enjoyed sticking those letters together. Of course I did it on screen using bits and pieces of scanned red tape. Just use it as you like, I won't give you any red tape in how to use the fonts. »Red Tape« is since February 2012 on permanent display in the »German National Library« – next to the likes of »Bodoni«, »Garamond« and »Helvetica« – being part of the exhibition about type through the ages. Your (now a little famous) unproblematic type designer, Gert.

Museum Fournier is inspired by a set of Rococo capitals designed by Pierre Simon Fournier le Jeune circa 1760. The matrices are part of a set imported to Sweden by J.P. Lindh in 1818 from Breitkopf & Härtel in Leipzig, Germany. They are now in the Nordiska Museum in Stockholm. Type designer Torbjörn Olsson has expanded the original 31 lead matrices in the collection to 55 characters. Please note that the font contains capitals only, no lower case letters and no figures either. Museum Fournier is an OpenType creation, for both PC and Mac. Swedish type foundry T4 premiere new fonts every month. Museum Fournier is our ninth introduction. Museum Fournier is part of the growing Museum type family. Museum also includes three different border fonts, an ornament font with some of Granjon's arabesques and Museum Tertia Cursive, an exquisite 1700's typeface with modern additions.

The popular Geogrotesque family becomes an extended system with the inclusion of three new members to the family; Geogrotesque Condensed, Geogrotesque Compressed and Geogrotesque Extra Compressed. The condensed series keep the spirit of the original one, and give way to a superfamily up to 56 styles. This new system fluidly varies between widths, ranging from the original width to a 55% of it in the narrower one. As their original partner, the new fonts are great headline families for publications, but will also work in text of intermediate length and point size. The Geogrotesque superfamily offers now one font for each design need. It is available in Open Type format and includes Ligatures, Tabular Figures, Fractions, Numerators, Denominators, Superiors and Inferiors. All of them with support for Central and Eastern European languages. This type family consists of 42 styles, 7 weights plus italics in 3 widths. For more details see the PDF.

The Bitstream version of Trump Mediaeval of Linotype, 1954-60, by Georg Trump, a prolific German type designer. It seems to be his best typeface. It has a vigorous and assumed oldstyle roman and italic that is the sloped roman, except for the letters a, e, f. With its crisp angularity and wedge-shapes serifs, Trump Mediaeval appears carved in stone. It is a strong text typeface that is highly legible and especially useful for low-resolution output. It is useful in display work too. Cyrillic version developed for ParaType by Vladimir Yefimov and Isabella Chaeva and released in 2010. Cyrillic italics maintain the main feature of Trump Mediaeval to be the sloped roman, except for the letters г, д, и, й, n, т. There are old style figures, additional ligatures and fractions available at all styles and small caps at the Roman 55. Black style was added in 2011 by Vladimir Yefimov.

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.

Annonce is a digitization and expansion of a 1912 Johannes Wagner Foundry classic called Aurora Grotesk, which also circulated later on in metal under the name Annonce. Bold, extended and clear as a bell, Annonce stood out as the definite big sign font long before the Helveticas of the world. With angled cuts on some of the letters, it also shows humanistic traits that make it more appealing than any other face in its genre. The Annonce set comes in two fonts, a regular and an italic, and includes a very large character set that accommodates almost all Latin-based languages, including Turkish, Baltic, Celtic, Maltese, Esperanto, and the languages of Central and Eastern Europe.

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.

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.

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.

The Neue Haas Unica™ family is an extended, reimagined version of the Haas Unica® design, a Helvetica® alternative that achieved near mythical status in the type community before it virtually disappeared. Originally released in 1980 by the Haas Type Foundry and designed by Team ’77 — André Gürtler, Erich Gschwind and Christian Mengelt— for phototypesetting technology of the day, the design was never successfully updated for today’s digital environments – until now. Toshi Omagari of Monotype Studio has given this classic a fresh, digital facelift with more weights, more languages and more letters to meet today’s digital and print needs. Available in 18 styles, the Neue Haas Unica family is remarkably appropriate for a wide range of applications, possessing a delicate gradation of weights and clear character shapes. The family's lighter weights are perfect for headlines and other large settings, as well as small blocks of copy at typical text sizes. The regular, medium and bold weights know no boundaries and the heavy and black designs are ideal for when typography needs to be powerful and commanding. Like the Neue Helvetica and Univers Next typefaces, the Neue Haas Unica family can be used just about anywhere – or for any project. In addition to its 9 tailored weights and complementary italics, the Neue Haas Unica family also possesses additional characters for Eastern and Central European, Greek and Cyrillic language support, which did not exist in the original design. A cosmopolitan typeface for today's modern, discerning design needs, the Neue Haas Unica collection is a new classic in the making—one that every designer should surely have at their disposal.

Clocko automatically turns the time stamp text into an analog clocks using the OpenType ligatures. Even when the ligatures are turned off, the time is still visible and readable, and it does not change or ruin the layout. Perfect for web usage and even for small sizes. For a crisp look, please use sizes divisible by 30, for example 30pt or 60pt. To make a custom analog clock, type any uppercase or lowercase letter to have a border (see previews for examples), and then type the time in 12 hour or 24 hour format with or without seconds. Use colon, comma, semicolon, hyphen, period or plus as a separator. Few examples: 12:45 9:25:46 10.50 13:30.10 The borders can be mixed together for more interesting look, please see the screenshots above. An additional background shape can be added to the clocks by typing a symbol (! # $ % & ( ) < = > ) as a first character, for example %A12:40:55. Please note that in order to keep the clocks visible, the background shape and the clocks need to have a different colors.

Proudly present Sippin' Midweek a retro vibes yet glamour serif. In "Sippin' Midweek," we blend retro charm with unmatched elegance. Its serif style provides a classic touch that speaks of the luxury of yesteryears. This font is suitable for poster designs, labels, and branding materials that require a classic and radiant ambiance. Add an elegant retro touch to your project with Sippin' Midweek. Font Features : Lettres, numbers, symbols, and punctuation 55+ alternates and ligatures No special software required they may be used even in canva, any basic program /website apps that allows standard fonts That's it folks! Multilingual Support Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Follow My Shop For Upcoming Updates Including Additional Glyphs And Language Support. And Please Message Me If You Want Your Language Included or If There Are Any Features or Glyph Requests, Feel Free to Send me A Message. Have a Good Day !

Mirella Script is a modern and clean approach of the classic French Bastarde script style. Mirella has the follow resources : - Lots os ligature forms (using contextual alternates open-type feature), - many stylistic alternates for each letter (upper- and lowercase and all accessed with the glyph palette), a set of 55 ornaments and fleurons accessed with the glyph palette or using the Ornaments feature); - initial and final letters with artistic variations accessible using the initial and final form open-type features - a tour-de-force kerning work: almost 700 gliphs in this font was adjusted to your kern pairs handly. In non-OpenType-savvy applications it works well as an unusual and beautiful script style font. We ever suggest the use of the glyph palette to find ideal solutions to specific designs, because the high number of gliphs. The sample illustrations will give you an idea of the possibilities. You have full access to this amazing stuff using InDesign, Illustrator, QuarkXpress and similar software. Mirella Script has original letters designed by Iza W and overall creative direction plus core programming by Paulo W.

Kirshaw is not your grandfather's sans serif from the 1950s and 1960s. All those old classics like Helvetica, Futura, Franklin Gothic, and Univers are showing their age like an old Elvis Presley song. Kirshaw is a clean, rounded design with sharp contrasting edges. Like those classics, Kirshaw is easy to read in small body copy and captions, plus it's delightfully modern and stylish for headlines and logos. I designed Kirshaw and Kirkly while undergoing cancer treatment at Stanford Medical Center. Font design was always in the back of my mind and now I had extra time. Kirshaw is a distinctive, modern, easy-to-read sans serif family consists of 14 weights (including italics). It’s an Adobe Latin 3 Character Set containing 350 glyphs per style (including special characters).

The idea was to find common intersections between the humanistic and the neo-grotesque model of sans. This variable font offers everything from the world of sans serif in one place – a broad range of weights, adjustable contrast, and a lot of alternative glyphs. As a bonus, you can choose the “cold” or “warm” impact of the text. The Cosan Cold variant has closed apertures and minimal tension in the manner of Helvetica, and the Cosan Warm is open, more dynamic, and airy. Cosan is very suitable for a parallel bilingual setting, as both types are equivalent in their proportions and text color. Like Yin and Yang, each has a piece of the other in him. The Warm version is not totally dynamic, nor is the Cold version totally rigid.

The first versions of Nimbus Sans have been designed and digitized in the 1980s for the URW SIGNUS sign-making system. Highest precision of all characters (1/100 mm accuracy) as well as spacing and kerning were required because the fonts should be cut in any size in vinyl or other material used for sign-making. During this period three size ranges were created for text (T), the display (D) and poster (P) for small, medium and very large font sizes. In addition, we produced a so-called L-version that was compatible to Adobe’s PostScript version of Helvetica. Nimbus was also the product name of a URW-proprietary renderer for high quality and fast rasterization of outline fonts, a software provided to the developers of PostScript clone RIPs (Hyphen, Harlequin, etc.) back then.

TradaSans is a new addition in the range of Univers and Helvetica. It represents a fresh face in this ongoing strong category of sans serif typefaces. TradaSans slightly squarish tendency, and its technical and neutral look create an objective and factual appearance. TradaSans is an ideal typeface for universal use. It offers high reading qualities with longer text applications and its sophisticated design details make it a distinctive headline typeface. TradaSans consists of 20 well tuned weights and is well equipped for advanced typography. It comes in OpenType format with extended support for up to 80 languages. All weights contain small caps, ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternate characters.

Preface vs. Helvetica/Futura/Gill: a different strategy of text color. Whereas the established classes of sans serif typeface achieve a dynamic balance between stroke and space by combining a diversity of letterform with an evenness of fit, Preface switches the emphasis, driving out diagonals to create a dominant harmony of curves and perpendiculars, matched with a greater variety of inter-character space shapes—the result of extra width introduced in the “f” and “t”, and by the openness that accompanies the wide tails of the “ a” and “l”, the long ear of the “r”, and the serif of the “i”. En masse, and in keeping with the present trend in typography, Preface exhibits a coarser texture than the traditional sans serif faces, but one that is nonetheless even and precise. With tabular, oldstyle figures.