Zinc is a clean, distinctive family which is essentially a monoline sans serif but with horizontal and diagonal nubs that add a subtle script quality to display type and an easy-to-read rhythm to the flow of ordinary text.

An image of a vintage metal stencil for the French wine region Côteaux du Tricastin [now Grignan-Les Adhemar] served as the inspiration for Wine Vat Stencil JNL. This condensed sans serif design is available in both regular and oblique versions.

The HeiT ASC Font family contains 3 Traditional Chinese fonts with Big 5 support. HeiT ASC Font Family features a sans serif style with consistent strokes. HeiT ASC Bold Font Family character Set: Latin-1, Traditional Chinese (code page 950).

County Clerk JNL was modeled after the vintage Hamilton wood type design Gothic Special, and is available in both regular and oblique versions. An early grotesk font, this condensed sans serif lends itself well to short headlines and brief body copy.

Xahosch uses a calligraphic pen to form a set of letters in which circular elements are based on a bottom-heavy egg shape. A pen-drawn san-serif face, it is available in three weights, each with an italic style.

Mylon is an elegant display sans-serif family with high contrast. It has 14 styles with 7 weights plus matching italics. Mylon works well with headlines or short paragraphs. It has extended latin character set that supports 200+ latin-based languages.

Navine is a rectangular sans serif typeface with 3 widths, each with 9 uprights, and the corresponding italics. Navine is crafted with powerful OpenType features, alternate glyphs, kerning pairs, superiors, inferiors, and much more. Navine blends beautifully into your creative designs.

A fun trendy font with a monoline calligraphy style. This is a display sans-serif font that we recommend using in the following types of work; magazines (titles and layouts), logos and branding, invitations, quotes, blog headers, posters and advertising.

Designed by Nick Shinn. Digitally engineered by Steve Jackaman. Humanist sans serif with a calligraphic cut and tall ascenders. Light, Medium and Extra Bold designed by Nick in 1985 for Typsettra; Steve added the Book and Bold weights, and the Italics.

FF Fago Thanks to his many years of involvement in major corporate type projects, Ole Schäfer had the necessary resources from which to construct his FF Fago™. The result is an extended family that provides comprehensive typographic support and whose qualities come to the fore in all relevant contexts ? from print to office through internet and wayfinding systems. FF Fago The sizable x-height together with the generous and open design of the characters ensure that the sans serif Fago remains clearly legible even in small point sizes or in potentially difficult situations, such as on wayfinding systems. A subtle contrast in line weight and letter forms that are reminiscent of those of an antiqua typeface provide the font with a restrained yet friendly and lively tone. Available in five weights, each with three different kerning widths and matching genuine italic variants, FF Fago is equipped for practically every situation. There are also small caps, oldstyle and lining figures, a selection of ligatures and geometric symbols. The range of potential applications of this universal font is almost inexhaustible ? it can be used in packaging design, on signs, posters and even for setting longer text sections. Fago is the ideal partner for those working on major corporate projects! FF Fago Correspondence Sans und Correspondence SerifThe Correspondence versions of Fago have been optimized for use in the business environment and in office communication. The carefully modified characters have a particularly robust feel, so that the clear, easily differentiated glyphs allow for straightforward communication even on screen. With these aims in mind, Schäfer has not only adjusted the x-height, but has provided certain letters in the sans variant ? such as the lowercase "i", the "r" and the uppercase "I" ? with serifs. Correspondence Serif, on the other hand, has been conceived as a slab serif throughout and in appearance has the look of the letters produced by the old office typewriting machines. An individual note has been added by providing a few unusual serif forms, as for example in the case of the "m", the "v" and the "y". Both Correspondence Sans and Serif are available in two weights with complementary italic versions and thus are ideally suited for use with standard office programs. This is all rounded off with a selection of office symbols. FF Fago Monospaced The use of a few typographic tricks is necessary to ensure that the letters of the alphabet appear to have the same width. Narrow letters such as "r" and "i" have been made to seem more expansive by using prominent serifs while the broader letters ? a good example is the "m" ? have the forms seen in a condensed font. And it is thanks to this design strategy that Fago Monospaced has the character of old typewriter text. What was once unavoidable because of the technology of the time is now a welcome alternative that can be used for the purposes of emphasis. As an additional supplement to the Fago superfamily, Fago Monospaced can be used, for example, to set short notes or draw attention to special text passages. There are three weights, in their original form without italic variants or small caps, but offering an alternative, technical form of the "0" with a crossbar.

Anahita ExtraBold is designed by Naghi Naghashian. This Headline Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Anahita supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Anahita Font is available in ExtraBold. This font is designed to be used as advertising and newspaper headlines. Anahita design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Anahita is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today's technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Anahita's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Anahita was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Bamdad Extra Bold Condensed is designed by Naghi Naghashian. This Headline Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Bamdad supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Bamdad Font is available in Extra Bold Condensed. This font is designed to be used as advertising and newspaper headlines. Bamdad design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Bamdad is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today’s technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bamdad's simplified forms may be artificial 'obliqued' in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Bamdad was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Parto Font family is designed by Naghi Naghashian. This Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernization of Arabic typography, giving the font design of Arabic letters real typographic arrangement and providing more typographic flexibility. It enables, moreover, the use of this typeface for decorative headlines. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Parto supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Parto Font is available in Regular and Bold. Parto design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Parto is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today’s technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Parto's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Parto was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

The Aban font family was designed by Naghi Naghashian. It is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernization of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Aban supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Aban Font Family is available in three weights: Regular, Bold and ExtraBold, a three stings outline font. The Aban design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Aban is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today’s technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Aban’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Aban was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Avesta ExtraBoldCondensed is designed by Naghi Naghashian. This Headline Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Avesta supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Avesta Font is available in ExtraBoldCondensed. This font is designed to be used as advertising and newspaper headlines. Avesta design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Avesta is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today’s technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Avesta's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Avesta was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

BiBi font family is designed by Naghi Naghashian. This font family is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. BiBi supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. BiBi Font family is available in five weights: Light, Regular, Demi, Bold and Heavy; each of them in two diferent styles including normal and extended. BiBi designs fulfill the following needs: A Explicitly crafted for use in electronic media fulfils the demands of electronic communication. BiBi is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today’s technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. BiBi's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BiBi was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Remora is an extensive new humanist sans serif which comes in 2 style variations, the effervescent Remora Sans and its corporate business partner Remora Corp. Both styles include 5 individual width sets ranging from the condensed W1 to the extra-wide W5. Furthermore, with an impressive 7 weights (Thin to Ultra) and true matching italics in each pack Remora is an ultra versatile super family comprising 140 individual fonts, perfect for any typographic assignment or design brief. Remora was designed by G-Type founder Nick Cooke. Both the Sans and Corp families share the same proportions, with the exception of certain key characters that change the overall appearance. Remora Sans is an exuberant and characterful typeface while Remora Corp, as its name suggests, is a businesslike typeface more suited to corporate typography. Quite early on in the design process Nick decided to give Remora Corp equal billing instead of incorporating these glyphs as alternates or a stylistic set that may get overlooked. “I created two separate families after learning a valuable lesson with one of my earlier typefaces, Houschka”, says Nick. “Houschka contained distinctive rounded A’s W’s and w’s, with ‘straight’ styles as character alternates. Even though style sets and alternates are easy to activate they are rarely used, so after many requests for customised versions of the fonts with the straight characters as defaults it was decided to create the separate ‘Alt’ family. So I cut straight to the chase with the two Remora variants and created two complementary families.” Both sets contain many shared letterforms, but it is the alternate characters that significantly alter the appearance of each font. Remora has been carefully designed for optimum legibility at large and very small sizes. Although fairly monolinear in appearance, especially in the lighter weights, particular attention has been paid to optical correction like the overshoots of the curved characters. Open counters and painstaking attention to detail (e.g. weight contrast between horizontal and vertical strokes, junctions of shoulders and stems etc) all boost readability and make Remora a great choice across all media. Remora Sans and Corp are ‘humanist’ rather than ‘geometric’ in style, meaning they’re not strictly based on rectangles and circles, resulting in a warm and friendlier feel. The slightly ’super-elliptical’ rounded forms create generously attractive curves. Remora has very distinctive italics in that they are only inclined by 8 degrees, but are not just based on slanted uprights. The italic styles are very alluring when used for display at large sizes and the good news is they come bundled free with their respective uprights. Each family also contains many OpenType features including proportional and tabular numbers, small caps, discretionary ligatures, plus five stylistic sets for ultra versatile typography.

Zanna is a modern typeface with lots of style and elegance. The Zanna typeface was inspired by the high contrast Didot look, which has been synonymous with fashion for decades. The Zanna typeface also has a very thin hairline and short non-bracketed serifs, which gives it a nostalgic and modern look. The Zanna typeface comes in two styles Regular and Stencil, each style has an oblique version. The Zanna typeface has over 140 ligatures and alternate characters, this makes it perfect for creating modern and elegant feminine logos. With so many ligatures and alternates characters to choose from, you can definitely create stunning designs for your brand or clients. The Zanna typeface can be paired with a beautiful minimal sans serif or light script font, this combination will make your next project look elegant and classy. The Zanna typeface is very versatile and can cover a wide range of project such as: fashion branding, mastheads, magazines, feminine logos, facebook banners, wedding invitations, Instagram posts, websites, blog posts, pull quotes, editorials, product packaging, trendy social media posts, advertisements and much more. If you are looking for something modern, nostalgic and chic for you next project, Zanna is the font for you. What you get: Zanna Regular.otf Zanna Oblique.otf Zanna Stencil.otf Zanna Stencil oblique.otf Zanna includes a full set of: Uppercase and lowercase letters. Numbers. Punctuation. Ligatures. Alternate characters. Small Caps. Multilingual symbols. We hope you enjoy using the Zanna typeface.

An Art Deco, script inspired typeface for 'modern' times, Pauline Didone is a full type family with a unique and flavorful design. It has a sense of femininity and naïveté that comes from its predecessor, Pauline. It's a typeface useful for short bits of copy, logotypes and interesting titling. This typeface family of 10 different fonts includes 5 weights and their italics and a wide range of OpenType alternates. The original Pauline was inspired by and has a strong influence from retro scripts. The typeface is geometric, formed with deliberate contrasting brush strokes and a ostentatious flair. Pauline Didone's high contrast strokes give it a very interesting look that is up to date with latest design trends and very useful for today's design environment. Pauline Didone pairs nicely with the original sans-serif Pauline. The typeface family also includes a full array of alternate forms, including over 150 alternate characters. These alternates can be accessed by activating OpenType features and style sets. Note: In order to use these OpenType features, you will need a program with advanced typography capabilities such as the Adobe Suite or Quark. These alternates also include a group of ball terminals that can be accessed under the swash alternates. Pauline Didone is the latest in a trusted line of typefaces from insigne. Why settle for the ordinary when you can choose Pauline Didone to lend its unique look to your art work?

Features: • Support for 28 languages: Afrikaans Albanian Catalan Croatian Czech Danish Dutch English Estonian Finnish French German Hungarian Icelandic Italian Latvian Lithuanian Maltese Norwegian Polish Portugese Romanian SlovakSlovenian Spanisch Swedish Turkish Zulu Swedish Turkish Zulu • Contains OpenType features with alternates or substitutes • Tabular Figures • Ordinal numbers • 74 icons (It will keep updating.) • 72 graphic patterns for designer (It will keep updating.) • 28 brand symbols (It will keep updating.) • 27 arrows glyphs • 0-99 line circled glyphs • 0-99 solid circled glyphs • A-Z line circled glyphs • A-Z solid circled glyphs Gravitica is a modern sans serif with a geometric touch. It comes in 8 weights, 16 uprights and its matching italics, patterns, so you can use them to your heart’s content. Designed with powerful opentype features in mind. Each weight includes extended language support, fractions, tabular figures, arrows, ligatures, icons and patterned. Gravitica family consists of 13 styles (12 weights, 12 Italics and 1 patterns), in each of which there are more than 940+ glyphs. In the typeface, each weight includes extended language support, fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for web, signage, corporate as well as for editorial design. documents and folders, mobile interface. Useful links: Gravitica PDF Type Guide and Specimen (You can know how to use icons and arrows, other glyphs.) Behance (You can give feedback if you find a problem.)

The font collection is called "Retrokia", it is a display font for logotype. These collections contain script and sans serif font. Every font comes with 4 style typefaces (regular, rounded, rough and textured). This script font includes some alternates and ligatures. The Retrokia matches apply in some designs such as the logo, poster, label, badge, packaging, t-shirt, branding, quotes and more custom design. Retrokia features : 4 style typefaces (regular, rounded, rough and textured) Uppercase, lowercase, numeral, symbol, punctuation, alternate and ligature in script font All-caps, numeral, symbol and punctuation in sans serif font Multilingual PUA Encoded Thank you for your support and choosing us.

Myna is a modern geometric sans font family, primarily designed to be a lightweight web font. But is also suitable for any other purpose, such as brand design or editorial design, or any other use case that require clean and elegant geometric sans font. It contains 54 styles, divided into Condensed, Regular and Expanded weight, with 18 styles in each (9 upright, and 9 italic styles), ranging from Thin to Black styles, and are all available in one variable font. All styles are manually TrueType hinted to produce sharp glyph outlines for easier reading at small text sizes. And all contain OpenType features: Fractions, Kerning, Ordinals, Scientific Inferiors, Subscript, Superscript.

Gemulai - Modern Sans Serif Font. A modern and simple sans serif font to give your designs a more attractive appearance. Great for branding, logos, covers and more. Features: Uppercase, Lowercase, Numeral, Punctuation, Multilingual, Ligatures & Alternates. Multilingual contained: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, Vunjo, Zulu. Thanks!

Sorren Ex is a slightly less condensed, more robust version of Sorren. Its overall width has been increased to the point just before its rounded forms begin to flatten, retaining the aesthetic essence of the original without compromise. Sorren is a definitive bold condensed sans influenced by neo-grotesque designs. A relatively low stroke contrast complimented with sharp, horizontal stroke ends lend an unyielding appearance, while its rounded forms and refined curves juxtapose its inherent strength with grace. Stylistically, Sorren has a classic, timeless feel with a contemporary finish and attention to detail. It is characteristically more elegant and considerably sturdier than the typical condensed sans, lending to its singular disposition.

Garbentas is a contemporary sans-serif typeface that seamlessly blends modern aesthetics with timeless simplicity. Its clean lines and balanced proportions exude a sense of sophistication, making it an ideal choice for a wide range of design applications. The typeface embodies a harmonious combination of elegance and readability, with each character meticulously crafted to achieve optimal legibility across various platforms. Garbentas’ versatility shines through in both digital and print media, offering a sleek and polished look that caters to the demands of today’s design landscape. With a distinct and refined personality, Garbentas elevates visual communication by providing a fresh, contemporary take on the classic sans-serif genre.

Introducing our new product the name is Gabiant Sans Serif Font Family comes with 9 different weights. Modern Sans Serif font that feels beautiful classy, elegant, and modern. This font is perfectly suited for a wide variety of projects, such as signature, stationery, logo, wedding, typography quotes, magazine or book cover, website header, clothing, branding, packaging design, and more. Also for fashion-related branding or editorial design and displays both masculine and feminine qualities. Designed with powerful OpenType features in mind. Perfectly suited for graphic design and any display use. It could easily work for web, signage, corporate as well as for editorial design

Home Run Script has the formality of 18th-century English roundhands, narrow, tightly fitted and drawn in a very bold weight and inspired by my ITC Eclat font. The x-height is large, and the caps are simply drawn with minimal swashes. Its companion font Home Run Sanscript, sold separately also, has sans serif caps that enable the user to combine script and sanserif caps with the same slope. It has the same lowercase as Home Run Script with a few alternate characters and sans serif lining and Oldstyle figures. Both Young Finesse and Home Run include Richard Isbell’s “interrabang,” appropriately used for statements that are both interrogative and exclamatory.

Accia Moderato is a contemporary serif typeface with moderate contrast and large x-height. It will become a great choice for primary body copy. The font family contains 8 weights from Thin to Extra Bold, with matching true italics. It supports extensive language support including Cyrillic, as well as numerous OpenType features such as small caps, ligatures, several sets of figures, case-sensitive punctuation, ordinals. Accia Moderato is a member of Accia Type System. It encompasses five typefaces ranging from sans-serif to expressive serif, giving you the possibility to create sophisticated cohesive designs. Accia Type system consists of Accia Sans, Accia Flare, Accia Piano, Accia Moderato, and Accia Forte.

Besides all the display and script typefaces I design, my real passion is to design typefaces for copy. Safran is the first of my sans serif workhorse families available from Myfonts. Starting from a light version there are nine weights up to the strong ultrabold. All with italics. What was the inspiration for designing the font? I wanted to create a clear and elegant typeface with a wide variety of weights and proportions that are easy to use in corporate branding and magazines. What are its main characteristics and features? contemporary humanist legible sans serif Usage recommendations: corporate branding, magazines and other publications Elegant, clear and very legible.

Reba Samuels is based on the 2007 release Rebecca Samuels. While Rebecca was largely intended for text use Reba aims to be more versatile with an extended weight scope and added cut varieties. While Rebecca’s slab character is developed in the Reba serif, the ’seriffed’ italic of Rebecca is abandoned in favor of a simple italic sans, better matching the serif in plain text. The weight extremes are very useful for headlines while the middles do better in text. The robust and angular shapes of the serif matches the straightforward sans. The extreme contrast between the thin and the black cuts opens up great opportunities in any design project.