Geometra is based on Paul Renners Futura Classic, the one that he designed before he had to soften it to make it more appealing to the broad public. I thought the original design would lend itself perfect to make a rounded version, that has got more character than the ever so boring DIN-typeface. The type-designer for interesting solutions Gert Wiescher

Leighton is a four-weight serif font family that was created in 1993 by Paul Hickson (P&P Hickson) and Steve Jackaman (ITF) exclusively for ITF’s Red Rooster Collection. Its designs are loosely based on the typeface Lectura, which was designed in 1966 by Dick Dooijes for the Amsterdam Foundry. Leighton is a conservative, demi-serif font in a Dutch style. It is ideal for upscale corporate projects and excels at any size.

A personal calligraphic series commissioned by Bitstream from Gudrun Zapf von Hesse. Although Carmina BT is a neutral design, optimized for use in digital publishing, Zapf von Hesse’s unique calligraphic spirit is still quite visible in the family’s letterforms. This is not surprising, as all of Zapf von Hesse’s typefaces are calligraphic in nature. Yet Carmina BT is suitable for almost any conceivable digital text application, from book design up through signage use.

Masifa Rounded has compact, simple, functional and neutral body structure. It has 5 widths from Normal to Ultra Condensed. Each width includes 9 weights from Hairline to Black and their matching italics. Also, every weight includes rich OpenType Features like Small Caps and custom number styles. Due to its large family, it is ideal for a wide range of usage from large-scale designs to small product labels. Masifa Rounded updated on September 25, 2021.

Otterco is a geometric sans serif with varied round and narrow characters. Blending a touch of retro and modern qualities, this typeface is clean and neutral but not boring. It’s professional yet unique and fun. The contrast in character widths creates a distinct visual rhythm and the vertical cut terminals keep it consistent, strong, and sharp looking. Constructed with a large x-height and low stroke contrast, it can fit a variety of applications.

Bright Grotesk is inspired by grotesque & humanist typefaces suggesting a serious yet friendly personality. It is designed to be legible in small sizes yet charmingly attractive in large settings. Bright Grotesk is a neutral design with a subtle touch of flair. It feels old but looks new, warm yet active, symmetrical yet organic, classic yet modern. Bright Grotesk has great details that reveals in display sizes and can be felt in small sizes as well.

Senza is a contemporary, neutral, all-purpose sans serif family designed by Elena Albertoni. It was specially designed for the use on screen. With open shapes and large x-heights Senza guarantees high legibility for body text in small sizes. Senza ’s character-set covers all European languages written in Latin alphabet including real small caps, ligatures, proportional and tabular figures. Senza comes in four weights from Light to Black with matching italics.

Say hello to our first Sans Serif, a modern font family inspired by classic grotesk typefaces. It features 9 weights, including Italics and a formidable Display version. It has a clean, neutral look that is perfect for all types of graphic design projects. Its ample character set, including Standard and Contextual Alternate, ensures excellent typesetting performance. Sans Serif offers good readability and a strong, serious tone, perfect for logos, magazines and more.

Otoiwo Grotesk is an extremely versatile sans-serif typeface with a closed aperture. It features whopping 126 styles over 7 widths, each containing 9 weights with corresponding italics. The mood of the family ranges from fairy neutral in Normal and Condensed widths to very flavorful Compressed and Ultra Wide. Rich language support, which includes Cyrillic and spans 131 language ovarall, makes Otoiwo Grotesk a worthy choice for brands that strive to reach international audience.

Adso was born out of a research that studied the possibility of reintroducing Gothic writing in our contemporary world. Inspired by Textura, Adso was decidedly freed of all those little details that make Blackletter faces appear foreign or even displeasing to the contemporary reader’s eyes. Nevertheless, the basic features of Gothic color were preserved: verticality, modularity, and darkness. Adso is a gothic font for today’s age, highly readable and open to all fields of expression.

A playfull fancy sanserif typeface in 16 fonts Parisine Plus was designed in 1999 as an informal version of Parisine. A reaction to the subjective functionalism of Parisine. In fact, when Parisine try to express neutrality (a typeface is never neutral), Parisine Plus has fun with contrasts and not-so-obvious additions for a sans family. Parisine Plus is a precursor in the way it offers many ligatures and strange forms we generally find more in serif typefaces families that express historical connotations. The various Parisine Plus typeface subfamilies Parisine Plus is organised in various weight subsets, from the original family Parisine Plus (4 compatible fonts), Parisine Plus Gris featuring lighter versions of the usual Regular and Bold (4 compatible fonts), Parisine Plus Claire featuring extra light weights (4 compatible fonts), to Parisine Plus Sombre with his darker and extremly black weights as we can seen in Frutiger Black or Antique Olive Nord (4 compatible fonts). About Parisine Parisine helps Parisians catch the right bus Parisine Plus and its fancy type effects Observateur du design star of 2007

Eloquia is a neo-grotesque sans serif type family with geometric roots. Though it's a neutral typeface the unmistakable influence of geometric shapes gives it warmth and a unique flavor. With 34 fonts in total, Eloquia comes in two distinct optical sizes Text and Display. The Display styles are spaced tightly keeping headlines in mind while the Text styles feature a larger x-height and wider apertures with loose spacing making them highly legibility at small sizes. The elegant balance of neutrality and modernism makes Eloquia extremely versatile in its functionality. Whether it's being in the spotlight or in the background blending in, Eloquia can do it all. Eloquia is equipped with powerful OpenType features like Small Caps, Capitals to Small Caps, Stylistic Alternates, Ligatures, Case Sensitive Forms, Superscripts, Subscripts, Numerators, Denominators, Fractions, Ordinals, Proportional Lining, Tabular Lining, Oldstyle Figures, Scientific Inferiors, Localised Forms, Historical Forms, Capital Spacing and more. Eloquia supports more than 88+ languages including all major Latin languages. The Eloquia Display ExtraBold & Eloquia Text ExtraLight are completely free of charge.

Meman is a practical sans serif that was enthusiastic about adding details to have more personality compared to a neo-grotesque typeface. The typeface was crafted between the concepts of mechanical oval forms and serpentine curves, with the help from open terminals, contrast joints. These 2 concepts are very different, but they balanced each other to help remain the neutral feeling as a whole. Many details are optimized so that on small scales, Meman has nothing special. But when use on bigger scales, letters are revealed to have been dived in visual flourishes, such as the "e". Also, to avoid broken fragments and remain neutral, some details were converted to alternatives. Meman has 9 upright weights (from Thin to Black), and some OpenType features like fractions, ligatures, custom decorative icons, and alternatives for "A", "E", "V", "Z", ... or "a". There are more than 660 glyphs, which support a wide range of Latin languages, including Vietnamese. For usability, the typeface was balanced and versatile, it can be pinned up as a headline or logo, and can still blend in a small paragraph.

Art Museum JNL is yet another take on the classic Art Deco "solid letter" fonts that emulate the style of Futura Black. This version comes to you through the courtesy of a vintage WPA (Works Progress Administration) poster promoting national parks and Winter sports. Take note of the unusual inverted middle crossbar on the 'E' and 'F' as inspired by the poster's hand lettering.

Chesna grotesk is a geometric form-based sans serif typeface. It has 20 weights 10 uprights and 10 italics. Bringing a new approach to the classic grotesque design, Chesna was inspired by typefaces such as Avenir, Futura and Circular. Each weight includes extended language support, fractions, tabular numbers, arrows, alternative characters and ligatures. (Please see the pdf specimen for more information.) PDF Specimen, Horizontype.com

With all of the stencil fonts created by Jeff Levine from various vintage sources, you would think everything had already been covered. Not so. Along comes Amateur Stencil JNL. Modeled from a child's stencil set from the late 1950's or early 1960's, it vaguely resembles Futura, but its irregular widths and semi-stencil appearance sets it off greatly from that classic typeface.

A square sans stripped down to basic, neutral shapes. Olney is primarily a display family with lighter weights that will remain legible at text sizes. The letterforms of Olney are designed to appear consistent, sturdy, and technical. Careful attention was given to the pure, almost modular forms, to ensure that the family looks timeless, rather than resorting to a contemporary or futuristic aesthetic. Each weight includes a thorough set of diacritics for Western and Central European languages.

This crisp and constructed Ludwig Wagner, Leipzig, blackletter font in textura style had been originally designed by Berthold Wolpe. Freshly redrawn and redesigned, it adds now to the treasure trove of historic typefaces. This font contains a bunch of useful ligatures, and it is recommended to activate Discretionary Ligatures too. By typing 'N', 'o' and period plus activating Ordinals you get an oldstyle numbersign. As usual in my blackletter fonts, the # key is occupied by the 'round' s.

Inerta is a neutral, but not flavourless, cross between a geometric sans and a neo-grotesk. It is designed to work perfectly in UI/UX applications, and to remain readable in smallest font sizes. With over 950 glyphs, the font family offers extensive language support and many typesetting options to choose from. The typeface can be customised with several sets of alternate glyphs and OpenType features. The Cyrillic part contains alternates for Bulgarian as well as alternative Ukrainian forms.

Citadina font family has been designed for Graviton Font Foundry by Pablo Balcells in 2016. It is a sans serif typeface with a geometrical, mechanic, neutral appearence and a slightly condensed design which makes it particularly effective for space economizing. It has been conceived to be most suitable for short and middle length text blocks, as well as on all sized headlines. Citadina consists of 12 styles. Each containing small caps and glyph coverage for several languages.

Kanyon is a family of typefaces created from basic geometric forms based on the equal width system. Its clean and neutral structure and 3 different widths provide ease of use in different design channels. With its rich OpenType features, multi-language support and small capital characters, it has a wider usage area than its counterparts. Ideal for packaging, labels, routing designs, mobile applications, brand designs, logos, all kinds of presentation and editorial designs, indoor and outdoor printing works.

Cern is a family of20 weights of neutral, yet formally nuanced grotesk typefaces that takes inspiration from the original metal types from Switzerland, yet had a slightly larger x-height for more pronounced legibility. Cern is designed to be highly readable in print and on-screen. The italic variations are true italics and have been designed for smooth, fluid reading and text-setting. The Cern family works equally well for text typesetting and for display design work.

Config was influenced by geometric sans with circular forms but the proportions have been condensed by incorporating straight sides for a design that is sturdy and efficient yet friendly. The neutral design with subtle details makes it functional for type setting in small and large sizes. Its clean nature makes it readable at small sizes but the touch of character—as seen in the notched joints, rounded details, and horizontal/vertical terminals—make it interesting at large sizes.

A geometric sans serif with a square chiseled appearance. Precise curves are met with straight lines and tapered angles to produce a fresh, technical typeface. It’s large x-height and neutral width give it good legibility at small point sizes. These refined rectangular features make it ideally suited to a wide range of modern applications. Details include 550 characters with alternative lowercase a, e, g and y. 5 variations of numerals, manually edited kerning and Opentype features.

Bambino Font Family is a typography project by Milos Mitrovic and affiliates. Bambino has an influence of 1920s Futura-like fonts and art deco look and feel. Combining its vintage character with clean geometric form and organic flow, Bambino is shaped to fit modern aesthetics. There are 12 fonts (six weights with italics) included in the family. Bambino weight range spreads from almost hairline lightness to extreme bold style.

Sheet music for the song "Beyond the Blue Horizon" from the motion picture "Monte Carlo" had the movie title in hand-lettering reminiscent of the Futura Black style, but with an inline stripe through each character. These few letter examples were the basis for Gambling Resort JNL and conjure up the Nouveau Riche spending their nights in Monte Carlo packing the roulette wheels, blackjack tables and slot machines.

Unicore is a large family of geometric sans serif fonts. Design wise, it is inspired by classic 20th-century typefaces like Futura, Gill Sans, and Avenir. It fuses their aura with contemporary elements, like a unique harmonisation of width and height. You can see this in the lowercase letters especially and it helps support the fonts’ legibility. The regular weights in the family are optimised for body text.

Handlettering on a 1934 WPA poster promoting skating in Central Park provided the pattern for the uppercase letters of this typeface, while the lowercase letters take their inspiration from Paul Renner’s Steile Futura. The result is a warm, friendly face that is both quaint and modern. Available in Roman and Italic versions. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Air Factory was originally designed for a merchandise company, and ordered to design iconic but plain forms. Air Factory is a very simple and modern sans-serif font inspired by early 1900’s typefaces, like Futura, and consisting of 5 weights and stencil type(free). This contemporary typeface would be good used for restaurant, retail, book, poster etc. Air Factory also features various ligatures, stylistic alternates, fractions, and languages as well.

Sebino Soft family is a rounded version of Sebino. It is a neutral sans-serif type family with 9 weights, from thin to black, with corresponding italics. Sebino Soft has a large x-height with open apertures which make texts more legible at small sizes. Each font includes OpenType Features such as Proportional Figures, Tabular Figures, Numerator, Superscript, Subscript, Case-Sensitive, Denominators, Scientific Inferiors, Ordinals, Ligatures and Fractions. Sebino Soft will make your artworks better with its clean & clear shapes.

Designed for a wide range of applications, Gentona was intended to support the goals of contemporary design paired with a mostly swiss oriented demand on typography – neutrality. The result is a nine-weight neo-grotesque family ranging from sharp and fine thin cuts to muscle-bound and strong heavy weights. Gentona’s confident and open shapes support legibility especially in small sizes while its alternative shapes and letterforms create flexibility. A wide range of typographic features round up the whole family.

ALS Ekibastuz is a contemporary urban-style typeface extremely suitable for periodicals and advertising. It has defined, open, clear-cut letterforms and modern proportions. Originally designed to work well for headings, Ekibastuz was developed further to give a distinct energetic feel when used at large sizes and be highly readable and neutral at small sizes. It consists of six font styles and offers a wide choice of weights, which is useful for creating contrast between boxes of text on a page.

Modny is a simple and elegant sans serif family with high contrast strokes. By its characteristics, Modny is gentle, smooth and geometric at the same time, neutral to blend into every project. Comes in five weights with tall x-height, file stylistic sets, bunch of ligatures, initials and terminal forms, containing more than 600 glyphs for all Latin languages support. Special addition is an Inline version made out from Bold weight, to increase the effect of decorative elements in each letter.

Rajjah Familia - Blackletter font family Blackletter (sometimes black letter), also known as Gothic script, Gothic minuscule, or Textura, was a script used throughout Western Europe from approximately 1150 until the 17th century. Blackletter is currently widely used in modern creative design trends ranging from tattoo lettering, calligraphy, clothing brands, music, sports, labels and much more. Rajjah Familia looks gothic but easy to read, neat and beautiful. Comes with light, regular, medium and bold version. Rajjah is the right choice for your next projects!

When looking for a neutral typeface with no historic reminders, we always end up with notorious designs made about 60 years ago. It’s a part of the whole Trivia type system. To our surprise, there are still people who can’t distinguish three basic latin type categories. The present font family has been created for them. A simple typographic Trivia: three ways to look at printed word, three fonts to design anything from business card to a billboard, three tunes for endless variations.

Mihaly is a geometric sans serif with a low contrast. It was designed with care to conserve the feeling of geometric rigor, referring to the constructivist ideal of the 20s. But the homogeneity of its proportions gives it a very modern neutrality, making Mihaly an interesting alternative to classic low-contrasted sans-serif like Din or Interstate. Designed for display setting, Mihaly Display is the first in a family of fonts, with the rest to be completed in the coming future.

Bruta is a contemporary sans-serif grotesque typeface, conceived to become the Swiss army knife of your font library. Inheriting the modernist approach of the grotesque fonts, Bruta aims to be a rational and neutral typeface suitable for a wide range of applications. Whether it’s used for print or screen, in large or small sizes, for magazines or branding, Bruta will stay on your font library for long time. Loaded with Opentype Features, +100 emojis, Bruta can easily become your new default font.

The main difference between Accord Alt and Accord is in the way curved strokes join with vertical stems in letters such as “bpn”. The Italics are designed at an italic angle of 10 degrees. All the letter forms have been kept similar while designing italic instead changing the form e.g. 'a' remains same double story in italic also instead changing it to single story. The intention is to keep it simple and neutral which helps communicate the corporate sense of professionalism.

Biwa is a new straight-sided family of formally nuanced grotesk typefaces. Biwa’s lighter weights feel subdued, cool in tone, and neutral, while the heavier weights are more robust and full of personality. Developed over the past few years by Ian Lynam and James Todd, the 14-member Biwa family and the accompanying 14-member Biwa Display family are paeans to the immediate moment when phototype arrived on the global scene — partially smooth and partially machined. Biwa and Biwa Display are neutral in tone, have enlarged x-heights, and look amazing on-screen and in print. Each weight is designed to be highly readable in print and on-screen. The italic variations are true italics, having a single-storied italic a and have been designed for smooth, fluid reading and text-setting. Lovingly spaced and kerned, the Biwa family works equally well for text typesetting and for display design work. Languages supported include Western European, Central, and South European as well as Vietnamese. The entire family is comprised of a range of weights and a matching display family that features rounded terminals for large-scale display work. An agate version of Biwa Black is provided for free.