The refreshingly clear Antiqua Schnebel Slab is a refreshingly clear and strong interpretation of a contemporary Antiqua with subtle contrast and firm serifs, which offer excellent readability at very small size, and, at the same time, provide a lot of expression for use in headlines. The italics, drawn specifically for this purpose, contribute to a harmonious picture, which never loses creative tension, thanks to its aesthetics. The careful addition of ligatures, small caps, and proportional and old-style figures allows for well-proportioned typesetting. The condensed and expanded variants, which also come in 6 weights each, offer plenty of freedom to design with numerous combinations. Schnebel Slab Pro combines especially well with Schnebel Sans Pro.

The future is square! Well, at least according to Turbo Modul! Maybe the future is square, but it is also funky - just like Turbo Modul ... and its pretty unpredictable! Turbo Modul is loaded with alternative letters with arrows pointing in all directions, all made to pimp your designs! I've also added ligatures to substitute double letters, and there's a slight difference from caps and lowercase. Wow! That's a lot of different combinations! I tell you what ... I take a look at the posters I've made, and hopefully it will make you want to try out the font. I had a lot of fun doing the font, and maybe you will have a lot of fun using it! ;)

Raw herring is the Dutch sashimi. Every year at the beginning of the summer a new batch of freshly caught herring arrives at Holland’s quays. Fishing boats actually race each other to be the first boat bringing it home. The fresh herring is called ‘Hollandsche Nieuwe’ (Holland’s new). This typeface, designed by Donald Roos, is based on the typography of Dutch fish shops and stalls. Inspired by lettering from the 30’s and 40’s, infused with some ‘techno’ flavour, Hollandsche Nieuwe is the brand new fresh fishy type flavor on your computer! It is traditionally eaten with sliced onions and pickles. Simply pick up the fish by the tail, open your mouth and take a bite! Enjoy!

Mesquite is a narrow Tuscan-style typeface designed at Adobe in 1990. Like older Tuscans from the 19th Century, Mesquite has elaborate, creative serif treatments-although the serifs are so unique that it is difficult to call them serifs anymore, they are more like pointy finials. A convex-concave-convex ornamental feature appears on the middle of each vertical and diagonal stroke. Together with the serifs" at the tops and bottoms of each stroke, this feature creates a "tri-band" pattern over text set in Mesquite. Mesquite is not a text face. Aside from its narrowness and decorative qualities, Mesquite has no lowercase. The font's uppercase glyphs have been directly copied and placed in the lowercase range."

The revival of this 1932 classic design by W. Schwerdtner for the Stempel Foundry in Germany brings back the fashion and culture of those bygone days. Wedge-shaped vertical strokes are thicker at the top than at the bottom while serifs are somewhat elongated, thin, and pointy. Here is an excellent choice for large display settings where capturing the spirit of the 1920s and 30s is important. Metropolis SG is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

This sticky blackletter font owes its street credibility to the texture of torn adhesive tape. Designed to support rehabilitation of the historically tainted Fraktur, its pragmatically shaped majuscules guarantee legibility to a 21st-century readership. They even forgive all-caps usage - a thing you better not try with most blackletter types around. It contains a range of diacritics and ligatures, as well as open type features that substitute alternate glyphs for often repeating characters. With its fine tape strip details you may best use it at poster and headline sizes; at small sizes you interestingly get a nice woodcut appearance. Connoisseurs use it with style, while true blackmetal grimlords curse it for its fashionability!

Neuro X is a narrow sans serif typeface consisting of three weights with additional rounded versions and matching italics. It was first drawn as an exploration for a headline font and later expanded on to become a full typeface family. Neuro X explores the extremities of narrow proportions whilst also allowing for eccentric cuts. The typeface has been tightly monospaced and intended for use at larger sizes as a display but can also work at smaller scales for the more courageous among us. This 339 glyph font has language support for 26 languages: Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish, Turkish, Zulu.

Patron is a modern, mono-linear, sans-serif font family with large x-height and softened edges containing 12 fonts. This typeface was born as a corporate font design for non-profit sector and today it is available for public. At the moment Patron is offered as a PostScript-flavored OTF, but its construction is tuned to display well on screen as well. Works on a TrueType version with individual glyph hinting are being carried out. In addition, Patron has alternative family (Patron Alt) with enhanced personality, suitable mainly for headlines. Patron is graduation work of Matěj Hlaváček at AAAD in Prague, Studio Of Typography. Supervised by František Štorm, Tomáš Brousil and Karel Haloun.

Versteeg was originally designed as a font that would work at a singular pixel level. In the spirit of this reduction, Versteeg was designed with an x-height of 3 units with capitals at 4 units. This extreme simplification is what makes Versteeg unique. After designing the square version of the typeface, creating a series of circular versions was a natural evolution. These versions have a resemblance to braille, but don't actually have a relationship with any braille characters. The width of each face is carefully designed to make sure that the letters will align perfectly in multiple lines. Versteeg is, for the most part, a display typeface, and isn't recommended for large blocks of text.

The characters of Skagwae have no curves, just straight line segments. The letter shapes themselves are fairly standard, but the choppy line segments used to construct them give the fonts a crude, unfinished look that is highlighted at large point sizes. At small point sizes the fonts are surprisingly legible. The family has nine styles. The regular, bold, italic, bold italic, shadow, and shadow inside styles are proportionally spaced. Shadowinside is very similar to regular but is spaced to be used in a layer with the shadow style. SkagwaeMono-Regular and SkagwaeMono-Bold are monospaced versions of the family. A third monospaced style, SkagwaeMono-Rippled, is a distorted version with squiggly lines full of curves.

19th Century Retro is a re-design of an official German font style (called ‘Fraktur’) which was used in official documents in the 19th and early 20th century. There is an alternative small letter ‘s’ which you generate by typing the @ sign. This alternative letter was the original small letter s which was printed in the middle and at the beginning of a word originally (for example in the words ‘slightly’ and ‘best’). However, if the s was at the end, the normal small letter s was used (for example in the words ‘it's’ and ‘columns’). For readability reasons I decided to put the normal small letter s onto the s-key on your keyboard.

A modern humanist sans serif made for the screen. Broad open letter forms are combined with precise geometry to create a functional and legible font that’s ideally suited to the web and on-screen applications. To reinforce readability and create more distinction at small point sizes serif like details have been drawn into uppercase ‘I’, ‘J’ and lowercase ‘i’ and ‘j’. Other characters of distinction include a serifed number 1 and a crossed out zero. Nauman is a highly legible font family aimed at large interface based projects. Details include over 800 characters with alternative lowercase a, e, I and M. 7 variations of numerals, true small caps with accents, manually edited kerning and Opentype features.

Okoye occupies a liminal space between the bonkers curviness of 19th-century grotesques and the sandblasted neutrality of 20th-century models. Both extremes are nice, but there’s something to be said for some neutrality with character left in place, yes? Okoye comes in 9 weights, Thin to Black. If you’re using it for interfaces, each weight lines up from 100-900 in the CSS specification you already know, with Regular sitting at 400 and Bold at 700. You’ll see what you expect to see without extra font-weight specification. There’s extensive Latin language support, a set of small caps which mirrors full-size caps (good for control labels), and arrows. Okoye will be your quirkhorse: hardworking, with personality.

A font where "each word that's set approaches becoming its own logo" is how some have described this unique typeface. Originally inspired by an enamel sign he picked up at a Paris flea market, Michael Doret says that the seven letters contained in the sign were enough to suggest to him that here were letterforms put together in a way that he had never seen in a contemporary digital font. Always eager to create something a little out of the ordinary, he took up the challenge to flesh out the forms into a complete font. Orion can be defined as a geometric, connecting script that is at once contemporary, yet classic and timeless.

Patron is a modern, mono-linear, sans-serif font family with large x-height and softened edges containing 12 fonts. This typeface was born as a corporate font design for non-profit sector and today it is available for public. At the moment Patron is offered as a PostScript-flavored OTF, but its construction is tuned to display well on screen as well. Works on a TrueType version with individual glyph hinting are being carried out. In addition, Patron has alternative family (Patron Alt) with enhanced personality, suitable mainly for headlines. Patron is graduation work of Matěj Hlaváček at AAAD in Prague, Studio Of Typography. Supervised by František Štorm, Tomáš Brousil and Karel Haloun.