Napzer - Geometric Sans Serif is the embodiment of modern typographic design, seamlessly merging precision and simplicity into a versatile typeface. With its sharp, geometric letterforms and clean lines, Napzer is the perfect choice for projects that demand a contemporary and professional aesthetic. This typeface ensures outstanding legibility in both digital and print media, making it suitable for a wide range of applications. Whether you're designing a website, creating marketing materials, or establishing a corporate identity, Napzer's clear and crisp design will enhance your content with sophistication and clarity. Choose Napzer - Geometric Sans Serif to bring a touch of contemporary elegance to your design projects. Whether you're working on branding, editorial design, or digital interfaces, Napzer offers a timeless and professional typographic experience.

Tangier is a contemporary display serif font that embodies a refined sense of style and elegance. With its sleek and modern design, Tangier is perfect for use in a variety of creative projects, such as logos, titles, and headlines. The font comes in two styles - regular and italic - both of which feature strong contrast between thick and thin lines. The regular style is perfect for creating attention-grabbing headlines or adding a touch of sophistication to body text, while the italic style can be used to add a stylish flair to subheadings or pull quotes. Tangier's strong serifs give it a classic and timeless feel, while its modern design adds a touch of contemporary flair. Its versatility makes it suitable for use in a wide range of settings, from high-end branding and marketing materials to editorial and fashion layouts.

Endorphin is a stylish oblique sans-serif font family with weights ranging from Thin (100) to Black (900). Features: Available in 9 weights Over 550 glyphs supporting extended Latin Ideal for display texts: Titles, Logos and Headlines etc. Perfect for branding and rebranding Supports OpenTypes features like Ligatures and Stylistic Alternates Symbols for 10 major currencies including Bitcoin provided in all weights Description: The Endorphin font signifies racing forward. Each oblique character manifests that feeling of achievement and happiness that one gets after a great workout or after a refreshing game. Every character effortlessly integrates with modern design standards and interfaces. The fonts are professional and have a strong personality in them. This makes Endorphin perfect for use in modern apps and websites. Endorphin is built for the designing and marketing squads. It has a trendy geometric characteristic which is ideal for any branding and rebranding. Endorphin has lot of OpenType features (like ligatures and alternates) and the Extended Latin character set supports over a hundred languages. Race Forward!

Varietta is the result of my fascination with photographing the type designs of some marquees in Spanish markets. In them you can see many letter designs with reversed contrast and in different widths, probably based on the possibilities of photocomposition. At the same time I was working on the expansion of the Hastile typeface designed by Alessandro Butti for the Nebiolo foundry in Italy in the late 1930s, of which I had not seen any digitization. As I am not a fan of perfect revivals, I thought it could be interesting to connect Spain and Italy in a single typeface. The first step was to expand Butti's design to 27 styles, ranging from thin condensed to black expanded. To look for the Spanish connection and its characteristic inverse contrast I took advantage of the current technology that allows variable typefaces with many axes. From this, three scenarios of horizontal contrast were incorporated (top, bottom and mixed) which allows infinite possibilities of use. The final result is a collection of 108 static typefaces or a single variable file.

Adi Stern’s Noam Text shows that typographic progress is often in the small things — in the perfecting of familiar traditions and in staying loyal to the spirit of what came before. It can’t really be called progress unless it honours its history. In this way, TypeTogether is happy to introduce Noam Text: A Hebrew and Latin serif font that builds on its heritage with the twin tools of honour and progress. Since 1908, the Frank-Rühl fonts have dominated the Hebrew book and newspaper market. Noam Text’s design goal was to create a coherent family with both Latin and Hebrew serif text typefaces, each authentic to its own script, and which would serve as an alternative to last century’s predecessor. In short order, users will recognise Noam Text as a source of progress in its bilingual abilities. Hebrew and Latin have opposite reading directions, creating many issues: opposing directionality of the open counters; vertical stress in Latin, but horizontal in Hebrew; fewer extenders in Hebrew; and no Hebrew capital letters. All these have been taken into account in Noam Text’s modern design. Of unique importance — all punctuation marks have a Hebrew version, which makes each script complete and uncompromising. Among other technologically advanced details, Noam Text was programmed for all expected scenarios of mixing Hebrew, Latin, figures, and punctuation. Noam Text is intended mostly for setting long texts, so it strives to achieve maximum legibility in minimum space with its large x-height, short and fairly condensed Latin capitals, large and open counters, and low contrast. Originally derived from the Hebrew, the shallow horizontal curves and strong baseline serifs provide dynamism and enhance the reading flow. Noam Text Latin’s italic is rounded and reading friendly, is condensed to generate a lighter texture than the roman, and has a flowing stance. These virtues help it endure harsh printing conditions and subpar inks and paper. Noam Text’s three total weights provide a proper solution for integrating texts in both scripts, as well as a contemporary alternative for use in books, newspapers, and magazine design. Aligned with TypeTogether’s commitment to produce high-quality type for the global market, the complete Noam Text family displays an impressive amount of discretion, applying to wide use-cases by not edging too close to religious motifs or imbibing in secular indulgence. This means Noam Text can be the go-to family across the board and capitalise on the desire for clear typographic progress in this modern age.

The Monolight font family is a modern and versatile creation that perfectly blends roundness and simplicity to give your designs a modern and elegant look. With its low-contrast characteristics, this font family can be used for a wide variety of communication projects, ranging from advertising posters to institutional communication media, to professional presentations. In addition to its aesthetic design, Monolight offers advanced technical features, including a set of stylistic variants that allow you to explore different options for customizing letter style. This font is also case sensitive, meaning uppercase and lowercase letters are designed to work harmoniously together. Furthermore, Monolight comes equipped with a complete set of old-style and tabular numerals, providing great precision in tables and professional documents. This feature is particularly useful for professionals in marketing, finance, and accounting who seek to give their tables a professional and well-organized appearance. Finally, the Monolight font is available in 9 weights ranging from Thin to Heavy with corresponding italics, allowing designers to play with contrasts and typographic effects to give their creations a unique and personalized look. With its advanced features and elegant design, the Monolight font is the perfect tool for communication and design professionals looking to create modern and professional projects that stand out from the competition.

Cypher is a techno looking font that attempts to employ the Gestalt principal of closure. It may, at larger sizes look like some sort of code or a bunch of dots and dashes, but when viewed at smaller sizes it falls together into legible words. This font family was first inspired by an experiment to try to make a legible upper and lower alphabet with the smallest grid possible that would still describe the letterforms. The original conclusion was that it could be done in a 3x6 grid. This made a fun design exercise, but it makes a lousy font. The grid was expanded a bit for aesthetic reasons to a 3x8 grid, But not restricted so severely and so occasionally goes wider than 3 for the certain letterforms. From this a whole family of widths and weights was born, and rather than simply obliquing for italics, a true italic of sorts was created. Cypher is a versatile family of 24 fonts – 4 widths, each with 3 weights and their accompanying italics.

Bookish A little bit bookish, but quietly elegant and well-proportioned, FS Sally is a graceful font family. It’s a refreshingly uncomplicated design that brings sophistication to text and display type, and a distinctive aplomb to both large and small volumes of text. Hidden talents There’s more to FS Sally than meets the eye. Choose Standard for the Latin alphabet or Pro if you work with Cyrillic and Greek typography. There’s a large range of special features, including elegant small caps and a set of discretionary ligatures to add a traditional flavour to figures and fraction sets. Rhythmic There’s a rhythm and flow to FS Sally – the result of the classic but asymmetric design of its serifed feet and shoulders. The inward curve of the serif at the shoulder and the outward curve at the foot subliminally guide the eye through each letterform, and the flicked feet of the “a”, “d” and “u” add an extra kick of energy to the rhythm. The italic forms have their own flow, too, with a pen-like fluency that retains the formal discipline required for a text type. Regular to heavy FS Sally’s five weights, all with italics, cover every kind of print application. The regular weight is elegant in display and an easy read in longer texts. A subtle step up from the regular is the medium, which was created to deliver a stronger colour and finish in poorer printing conditions. The semibold offers a strong alternative to the regular at smaller sizes, and its intermediate feel suits it to sub-headings, title pages and calmer designs. The bold works excellently in book and title headings, and FS Sally Heavy lends weight and punch to poster headlines and logotypes.

Bookish A little bit bookish, but quietly elegant and well-proportioned, FS Sally is a graceful font family. It’s a refreshingly uncomplicated design that brings sophistication to text and display type, and a distinctive aplomb to both large and small volumes of text. Hidden talents There’s more to FS Sally than meets the eye. Choose Standard for the Latin alphabet or Pro if you work with Cyrillic and Greek typography. There’s a large range of special features, including elegant small caps and a set of discretionary ligatures to add a traditional flavour to figures and fraction sets. Rhythmic There’s a rhythm and flow to FS Sally – the result of the classic but asymmetric design of its serifed feet and shoulders. The inward curve of the serif at the shoulder and the outward curve at the foot subliminally guide the eye through each letterform, and the flicked feet of the “a”, “d” and “u” add an extra kick of energy to the rhythm. The italic forms have their own flow, too, with a pen-like fluency that retains the formal discipline required for a text type. Regular to heavy FS Sally’s five weights, all with italics, cover every kind of print application. The regular weight is elegant in display and an easy read in longer texts. A subtle step up from the regular is the medium, which was created to deliver a stronger colour and finish in poorer printing conditions. The semibold offers a strong alternative to the regular at smaller sizes, and its intermediate feel suits it to sub-headings, title pages and calmer designs. The bold works excellently in book and title headings, and FS Sally Heavy lends weight and punch to poster headlines and logotypes.

Introducing the latest styles Allysa Daguise Script with the kind of modern calligraphy font, I hope you are interested in this font, if you want to use for your work this font can be used easily and simply because there are a lot of features in it to contain a complete set of letters lower and uppercase letters, assorted punctuation, numbers, and multilingual support. font also contains several ligatures and alternate style Stylistic Sets for those of you who have software that is able to work OpenType (Photoshop / Illustrator / InDesign). Allysa Daguise Script is suitable use for market design developed at this time, this font has a model Trendy, natural and gentle, with this font you can take advantage of the opportunity in every moment of one wonderful way to highlight the celebration of the feast of your best, because this font will be advocates for purposes such as wedding invitations, party, graduation, birthday, gathering, etc. If you need help or have questions, please let me know. I am happy to help :) Thank you & Congratulations on Designing! Thank you,

stajn-type.com — Stajn Pro Type Family Website where you can get DEMO version of Stajn Pro Book Stajn Pro was designed upon a main goal of using this typeface to set larger amount of text. The slightly condensed proportion allows for more content per page while large x height with its larger counters improves legibility and readability while used on smaller sizes. Despite the fact that Stajn Pro was designed as a body text Type Family, it works as well as a display too. Wide variety of weights as well as interesting, strong and at the same time beautiful character along with some stylistic alternate makes Stajn Pro a useful typeface in a field of editorial, magazine and promotional materials design. The Stajn Pro character includes some humanistic typeface characteristics, which add some softness and elegance in its strong and stable presence. More information about development, usage and characteristics of a Stajn Pro Type Family at stajn-type.com If you have any other questions please do not hesitate to write me at info@stajn-type.com

The Romany™ typeface family is a delightful typographic confectionary that will bring affability and charm to both print and interactive design projects. Be it an online game, digital app, hardcopy packaging, or larger than life poster, Romany will deliver. When first designed by A.R. Bosco for American Type Founders in 1934, Romany was a single weight design. Relatively popular as hand-set type, Romany was not made into digital fonts – until now. The septuagenarian design was updated, reimagined and enlarged into a small family by Terrance Weinzierl.

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.

Hello! I’m SideNote. I specialize in annotations, headings and friendly dialogue. I’m perfect for descriptions and explanatory text. Use me to deliver tricky information in a helpful, reassuring manner. I look friendly and relaxed but professional enough to make you look awesome. I add personality to otherwise dry information making it fun and easier to understand. Whether you’re pulling some slides together or explaining your work, think of me as your friendly assistant I come with all sorts of useful features, like emoji, arrows and underlines. See my webpage for more details: https://www.jamieclarketype.com/SideNote

An endearing upright script with outspoken shapes, casual connections and generous swashes. Somewhere between very legible handwriting and calligraphy, Dominique captures the attention of a much larger audience than either strictly elegant calligraphy or regular everyday handwriting. A font full of alternates and ligatures is also provided. Perfect for book covers, magazine advertisement, music design, party invitations, food-and-drink and cosmetics branding, etc. The OpenType version of Dominique is a single cross-platform file that makes all the alternates and ligatures accessible at the touch of a button in OpenType-savvy programs.

Crop is the guy who works till 3am, striving for greatness. Crop is the one in the gym at six in the morning, pushing harder every time. Taking no for an answer, just isn't part of the deal. Crop is the one with fire in his heart and eye intense enough to achieve the unthinkable. If you've never stopped pushing boundaries, if you think second place isn't worth getting out of bed for, if you can stand on the top of the world and ask, 'What's next?' - Crop might just be the one for you!

Linotype Red Babe is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. With Red Babe, Austrian designer Moritz Majce produced an energetic typeface which gives an impression of movement and change. The letter forms seem to be composed of countless fragments which can’t sit still, fragments which make the original forms burst and then draw them back together with their own rhythm. Linotype Red Babe is best used for headlines in larger point sizes.

Like the name suggests, the pi font Afroculture from typeface designer Boule Yvan depicts symbols and figures from African folk art. Stylized masks with different expressions and a number of sculptures lend variety to this font. The figures are consciously simple but shown from different perspectives. The black and white surfaces contrast with another and suggest the interplay between shadow and light. The figures of Afroculture are perfect for illustrating texts in a related context and their details come through best in larger point sizes.

Walpurga is a witchy display font that comes in two variants - regular & bold - and with four glyphs for each letter. There is a set of ornaments and the in-built open type features produce a random, natural looking effect when activated through the "contextual alternates" feature. Walpurga was created with stylized brush ends that become visible at larger font sizes. A fresh, versatile font that is usable for a wide range of design applications. Please activate Open Type Features to get the most out of this font.

Simplicity, delicacy and elegance are the words that best characterize Rufina. Based on an idea that was conceived long before its “birth”, Rufina was created from dark-text on light-background combinations. Refined and at the same time distant, Rufina seduces the viewer in a subtle and elegant manner. Blending of contrasty, Bodoni-influenced forms with the emotive touch of the calligraphers pen. This family consists of two weights, their italic counterparts, plus a set of alternate cuts — each containing a selection of illustrative ornaments.

Like traditional athletic block typefaces, Crafton is built with chiseled corners and a rigid skeleton. However, an underlying formula of fervor and functionality emerges in execution. The typeface features traditional block tendencies that are challenged by expressive angles and deviations in line weight that harken to penmanship. Uniquely tapered terminals seen in letters like a, c, and s demonstrate a strong visual energy while increasing legibility. The legs of angled letterforms like the A, v, and y are cropped in a way that further reinforces this motif.

Leo Slab is a clean, contemporary slab-serif font. It's bold extended design makes it a perfect choice for headline and larger text block use. Extremely readable for a strong impact! Leo Ornate is a decorative companion to Leo Slab. With it's detailed inlines and linear drop shadow, Leo Ornate is ideally suited for use on headlines, display titles, logos, as well as a variety of other applications. Bold, extended and robust, this font is sure to make a strong impact in your next design.

Maximo Nexa is a dynamic, contemporary sans serif font family consisting of 8 meticulously designed fonts. With its clean lines and sporty geometry, Maximo Nexa offers a harmonious aesthetic that seamlessly blends into various design contexts. Whether you're working on branding, editorial projects, signage, or larger applications, Maximo Nexa is your perfect companion.

Mazette is a modern display typeface with a distinctive elegant look. Inspired by the refined forms of a nineteenth century Didot, Mazette offers the freedom to break contours in the manner that a stencil font would. Its sharp construction logic and great readability make it an ideal display font for publishing or branding.

Yahosch replicates informal hand writing. The typeface is based on egg-shaped circular elements, with the larger part of the oval on the bottom. It comes in three weights, each with an italic style. The regular is very readable even at smaller point sizes where it appears much like neat hand printing.

Holokai Typeface is a category of typeface specifically designed for use in larger sizes, typically for headings, titles, logos, and other prominent design elements. Unlike text or body typefaces, which prioritize readability in smaller sizes for extended reading, display typefaces are crafted to make a visual impact and convey a distinct aesthetic

It is a font designed in a balanced manner by optimizing the width and spacing of letters to make use of readability. Serif was treated as a curve to emphasize a soft and comfortable feeling. The serifs of the letters gave a distinct impression and gave it a natural look by adding inclination.

I'm so excited to present my Coal Soul typeface. It has been inspired by underground music video and hand drawn with Sharpie marker. Coal Soul has very unique minimalistic low poly letter form, 3 styles, and illustrations which will allow you to create really outstanding designs. It's perfect to use in logos, posters, music covers, clothes prints and other stuff which needs crazy visual style. Coal Soul Features: Uppercase font Full set of alternates for each letter and number to create a more realistic look Bonus wide alternates for letters "B, C, D, E, F, G, O, Q R" Wide language support (Western European, Central European South Eastern European) Carefully tuned kerning Extra illustrations font If you have some issues or questions, please let me know: lhfonts@gmail.com Hope you'll enjoy using Coal Soul!

Gutters Butter! A handwrittent marker font with 8 styles, Gutters Butter Regular, Gutters Butter Regular Italic, Gutters Butter Regular Bold, Gutters Butter Regular Bold Italic, Gutters Butter Rounded, Gutters Butter Rounded Italic, Gutters Butter Rounded Bold, Gutters Butter Rounded Bold Italic. Gutters Butter font is suitable for branding, logotype, apparel, T-shirt, Hoodie, product packaging, quotes, flyer, poster, advertising, etc. Whats Include? Uppercase and lowercase characters Supports international languages Opentype feature: ligatures, alternate Accessible in the Adobe Illustrator Glyphs panel, or under Stylistic Alternates in the Adobe Photoshop OpenType menu, Adobe InDesign, Corel Draw, even work on Microsoft Word Please message me if you’re unsure of any language support. Thanks for looking, and I hope you enjoy it! Please don’t hesitate to drop me a message if you have any issues or queries.

Style and elegance in 14 styles PS Fournier, created by Stéphane Elbaz, is designed in tribute to Pierre Simon Fournier. Fournier was the prolific Parisian type designer whose work is best known for its iconic representation of French transitional style. PS Fournier elegantly represents the transition to the modern era of typography. Featuring three optical sizes, PS Fournier is designed to perform in any context. The Pierre Simon Fournier heritage Pierre Simon Fournier (1712—1768) was a leading innovative type designer of the mid-18th century. Early in his career, the young Pierre Simon developed a strong aesthetic that he cultivated throughout his life. His art is representative of the pre-revolutionary “Age of Enlightenment” (Siècle des Lumières). Precursor of the Modern style, Fournier’s body of work deeply influenced his times, and created the fertile ground from which the Didot family and Giambattista Bodoni developed their own styles. During the historical period of the 18th century, Fournier exemplified the intellectual pursuits of the times with his own research on type, documenting in detail the typefounding process. He also offered a unique vision: he is the first to clearly comprehend the concept of “type family,” sorting a set of similarly styled alphabets by sizes, width, and by x-heights. In addition, Fournier is one of the earliest advocates of the point system to organize the practice of typography, the point system that contemporary typographers continue to use to this day. The refined and discreet elegance of PS Fournier With a close look at the family, one finds you’ll find that the difference between the optical sizes (Petit, standard and Grand) is more than a contrast variation between the thin and the thick; the eye can also denote a palette of distinct tones: More streamlined and robust in the smaller sizes (Petit), more refined and detailed in the larger sizes (Grand). The PS Fournier standard family is designed to adapt to any situation with its intermediate optical size, from body copy to headlines. With a bit of tracking, PS Fournier Petit will make the smallest captions perfectly readable. However, Petit family is not limited to body and captions — its “slabby robustness” will make a relevant headline choice as well. PS Fournier Grand presents a higher contrast adapted to large text sizes, displays or banners. Its refined elegance makes it a perfect choice for Design, Fashion or Luxury publications. As a “modern” type PS Fournier Grand features a larger x-height than the preexistent old style typefaces such as Garamond or Jenson. These proportions provide any basic text set in PS Fournier Grand a strong typographic texture. As a result, the PS Fournier global family is a versatile alternative to the Modern typefaces commonly used in the publishing industry. The optical sizes, the large range of weights, and the design variations make this family adaptable to captions, paragraphs, and pages, as well as to large texts and displays. A leading-edge typography in the 18th century In the spirit of modernity, Pierre Simon Fournier did not find any use for the conventional swashes still produced by peers such as Caslon or Baskerville. Nevertheless the French designer created many inventive elements to decorate the page and set delightful variations in the text itself. To this regard PS Fournier includes a large set of glyphs variations, ligatures and more than one hundred glyphs for borders, rules and ornaments or — as called in French — “vignettes.” PS Fournier: A tribute to the French modern typography era by Stéphane Elbaz

Elpy is a friendly rounded sans serif workhorse family inspired by all things music! Spanning 22 Condensed and Regular weights with true italics, Elpy will fit right in with your record collection and your font collection! The Elpy family includes language support for Western and Eastern European languages, Greek and Cyrillic. Ian Lynam dreamt up Elpy one day when he visited a record pressing plant outside Tokyo, watching vinyl pellets being melted down and a fresh batch of 7-inch records get pressed. Despite the smell, a seed was planted that would be extruded into Elpy's rounded forms half a year later... Elpy Light and Regular function as highly readable text typefaces, while the bolder and lighter weights are perfect for display work. Elpy's rounded terminals make the family perfect for screen-based work, as well as for print conditions of any resolution—from offset to Risograph.

Solar is a font family designed by Carlos Fabian Carmargo G. Its members, together or separate, can be used in packaging, posters, cards, invitations and logos that need expressive letters with craft features. First, a set of arbitrary ideas were designed on rough paper, and through changes five styles resulted to mix and compose bright words and phrases. Solar Script comes from crossbreeding and the collusion of primitive visceral strokes and calligraphy on textured paper. This way its letters were planned for empty and full areas deteriorated sometimes simulating irregular ink clots. Therefore, the simulate trajectories with bold brushstrokes made that it works especially well in sizes larger than 12 points. Its rhythmic vitality and energy give personality, reflected in uninterrupted rapid and logical talics with strokes. Solar Words has more than 115 words unstable and inclined. Solar Dingbats has more than 100 brightness generating drawings, Solar Sans and Serif are capitals combined with other members of the family.

Christmas cookies have already slowly crept onto your local supermarket's shelves -- the Linotype Xmas Fonts just can't wait any longer! Ravishingly friendly and universally applicable: Fuenfwerken -- a design studio from Wiesbaden, Germany -- is proud to present its latest Fun Font Family. Bringing variety to the dry Christmas card genre, these fonts can also be used on posters to spread holiday cheer at home. No limits are placed on your creativity here! The family has three different fonts, each with more than 60 symbols inside: Xmas Story includes the whole figure palette necessary for a classical Christmas story. From a cute little Baby Jesus to the Three Wise Men and woolly Aramaic sheep and everything that one needs to add special flair to a letter to grandma, or to set up a Nativity Scene at home for the kids is included. Customers who aren't searching for a biblical font should check out Xmas Essentials. This font contains typical non-denominational end-of-the-year holiday ornaments, such as snowflakes, decorated Christmas trees, nutcrackers, and stars. Last but not least is the Xmas Modern font. Just as global warming poses severe risks to snowmen, this font will make recipients of your holiday and New Year's cards melt. Glyphs such as Santa Claus riding on a Vespa -- complete with iPod -- speed away from normal, stuffy holiday seriousness, and signal that the Fun Generation has arrived! The best choice, of course, is to treat yourself to all three fonts this Christmas. Then you'll be prepared for every situation. Happy Holidays!

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though; in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from ultralight to heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic.

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though; in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from ultralight to heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic.

Modulus Pro, the extensive update to Modulus. This update was built around the original Modulus Font. This rounded sans-serif has a larger glyph set which covers many languages. Modulus Pro now comes in 8 weights from Extra-Light to Black. This updated version was designed with the designer in mind, you have many stylistic alternates to get creative with and make some really cool customised typography. A large range of examples have been designed to show just how versatile and creative you can get with this font family. It's fun but has a cool, edginess to it at the same time. Modulus Pro is not just another rounded sans-serif, you are going to want this in your font list.

The talented designer of the well-known Formata typeface, Bernd Möllenstädt was born on February 22, 1943 in Germany. He has lived in Westfalia, Berlin and Munich, Germany, and now permanently resides in Munich. From his earliest years he was interested in typography, first studying as a typesetter (1961-64) and then a student of graphic design (1964-1967). In 1967 Möllenstädt joined the Berthold typefoundry and his career as one of the leading type personalities began. One year after joining Berthold, he became the head of the type design department. For 22 years he worked as the head of that department, under the leadership of Günter Gerhard Lange. Upon Lange’s retirement in 1990, Möllenstädt ascended to the type directorship of Berthold where he was responsible for type design and font mastering. Möllenstädt designed two typeface for the Berthold Exklusiv Collection, Formata (1988) and Signata (1994). Under license from Berthold, Adobe marketed Formata as part of the Adobe Type Library. Formata is now one of the most successful sans serifs in the world, used both in American and European magazines, as well as newsletters in the Far East (Gulf New Kuwait). Formata also was chosen as the corporate typeface of Postbank, Allianz, VW Skoda, Infratest Burke, etc. In addition to his work for Berthold, Möllenstädt has lectured at local Munich schools on typography and graphic design, and designed corporate type identities and diverse logos for major corporations, including Allianz, Commerzbank, Mauser Officer and Hoepfner. Möllenstädt continues his association with Berthold as a designer. He most recently completed small caps and fractions for Formata. He also has substantially contributed to Berthold's Euro symbol program (e.g. adding the Euro symbol design-specific to the most popular families). Möllenstädt currently is working on a new Berthold Exklusiv design.

Omnibus is one of my absolute favourites. My intention was to design a typeface as easy to read as Baskerville, without being a copy of it. It is easy to see that I was influenced by Baskerville, e.g. in the open lowercase g. I had in mind to design a Baskerville with the looks of the Baskervilles used in earlier typesetting. I put aside those plans for a while (but fulfilled them later on) and dedicated myself to Omnibus. In both cases my aim was to achieve a typeface with darker looks than the most used Baskerville. The name has nothing to do with buses, it is Latin with the meaning of for all". It is also in the name of Omnibus Typografi. Omnibus was released in 1993.

Cinema Moderne is created to pay homage to he fabulous small town theaters from 1930's and 40's America. This unique font plays off of the Art Moderne and art deco style of the day. Art Moderne some times called Streamline Moderne design architecture emphasized curving forms, long horizontal lines, and sometimes nautical elements. Many of these masterpiece buildings have been lost forever. Some have managed to find new life with a new function. Cinema Moderne was created to preserve a small piece of that history forever. This font is to encourage the appreciation of the neighborhood theater culture as well as the grand style of the buildings. Comes in 9 different weights for one low price, or as individual fonts. Perfect for logo creation, or any art deco style project. Previous projects have included event flyers, Gatsby themed party invites and digital marketing content. Give your images a unique effect with this one of a kind font.