The most space-saving sans serif This font saves more space than any of its kind! Slim proportions, but not “condensed” Characters which nearly touch Sparse ascenders and descenders Distinct forms How close to each other can the characters of a font get? Theoretically, as close as you want. But obviously, the words should still be legible. And as any designer knows, body clearance of characters also depends on other parameters such as point size and line spacing. In practice, there are always situations in which as much information as possible has to be positioned in as little space as possible. The ingoFont ÉconoSans is made for exactly this purpose. Even the name of the font implies its function: French for the infinitive “to save” is “économiser.” Now if that doesn’t sound good… The shapes of the upper and lower case letters are completely matter-of-fact, the way a modern font has got to be. The letters c e, and s are wide open to their neighbors. An especially distinguished trait of this font is the design of the “triangular” characters v w y x k z and A V W Y Z K X M N. And the open form of B R and P is also not typical in a sans serif. The distance between letters is kept tight and often the characters nearly touch, but only nearly. With ÉconoSans you gain approximately 20% more text in a line than with »Tahoma«, and even still more than 10% compared to »Helvetica«. ÉconoSans also includes tabular figures as well as ligatures. Among the ligatures, the double mm is especially unusual and is hardly familiar, but can contribute greatly to saving space without catching the reader’s eye.

Pictypo is a functional set of dingbat fonts, created with an open, rounded style, that contains a large range of symbols, from the usual arrows, to weather or office icons or mobility vehicles.

Aupress is a contemporary luxurious serif typeface featuring large open counters, curved, round forms, creating a modern & elegant glyph set. The family has been designed to give style and form to every project.

Abaliss Sans is a contemporary typeface with strong stylistic geometric contrasts representing the shifting contemporary aesthetics. Its distinctive stance and wide-open counters allow the right visual consistency for branding and communications projects.

Danger Neue is the latest version of the popular Danger font. In this version, the contours of the letters are finalized and improved. Contains an extended set of glyphs and open type features.

A large update of a successful type face: Oklahoma. There is a new style (Oklahoma Pro Marshal) and a cool Open Type Feature. Alternate characters and an effect - we call it “dancing baseline”.

Early in the 19th century, foundries began releasing a variety of decorated ornamental letters based on the Tuscan letterform. Fancy Tuscan letters quickly became so popular, they eventually came to represent the cluttered extremes of Victorian design. Foundries competed with each other to produce most extravagantly decorated letterforms. As often happens, success turned to excess. What is often overlooked is the long history of the Tuscan style. Early examples have been traced back to ancient Rome. Indeed, the characteristic bifurcation may have represented a fishtail to the early Christians, thus sharing in the roll of symbolic identification played by the simple drawing of a fish as a whole. Later. trifurcation was developed as an alternate termination, followed by loops, full fishtails, curls, hooks and other fancy variations. Nicolete Gray provides an extensive history in her Appendix One of NINETEENTH CENTURY ORNAMENTED TYPEFACES. According to Gray, the first metal typeface based on the Tuscan form was the Ornamented of 1817 by Vincent Figgins of London. Thorowgood followed suit in 1821, Fry in 1824 and Caslon in 1830. Each was to re-visit the form many times during the Victorian era. Here we present our interpretation of what Figgins might have produced in a basic, plain Tuscan form - free of the decorative additions. We are pretty safe here because Figgins was very creative. He explored many of the terminal variations listed above and combined them with different decorative devices to produce a constant stream of new faces to meet the demands of the marketplace. Figgins Tuscan ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. There are also a few glyphs for Anglo-Saxon, Gaelic and Old Gaelic. Total of 355 glyphs. 2. Added OpenType GSUB layout features: aalt, ornm and liga ˜ with total 34 lookups. 3. Added 351 kerning pairs. 4. Redesigned several glyphs: the comma, quotes, brackets, braces, acute accent, and grave accent. 5. Revised vertical metrics for improved cross-platform line spacing. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

NATH !* Is a peculiar typeface. It’s design came by the fascination of Optical Illusions and 3D on a flat surface, like with Holborn and Powerplay. The typeface is named after a girlfriend of André Toet. *Made in the UK, 1974, London (Central School of Art & Design). (Redesigned 2013 by André Toet / Jasper Terra). Concept/Art Direction/Design: André Toet © 2017

Jeames brings familiarity to the often detached feeling extended serif genre. The curved, heavy, joints let the letters bounce along while the proportions and contrast keep your eyes grounded. This mid century inspired family of three weights is intended for large titles and display. The set includes language support, opentype fractions, and other fun glyphs. You can learn more about its development here.

Understood is a cool alternative for you to easily create a logo for your underground metal band. Using alternate front and ending letters brings the font to life, It comes with a basic character set and a small group of symbols and signs often used in the extreme music sector – the classics of Death- and Blackmetal like pentagram drops, roots, spikes and more.

If you've ever visited Spain or Portugal, you would have seen some beautiful Majolica (glazed tile) murals - often signage for long forgotten bakeries, butchers and clothing shops from the interbellum. Majolica font was named in honor of the artists who created these gorgeous glazed displays. Majolica font is an all caps, sans serif typeface with a 'streamlined' look. It comes with all diacritics.

Frusta is an earnest family of slab-serifs softened by tapered serifs and slightly squared curves that give it a warmth often absent in other slabs. Monoline and with a geometric foundation, this three-weight family includes true italics that can be their own headline face. The airy, yet sturdy construction makes this perfect for small text, infographics, and headlines of all sizes.

I like the expression ‘being on tenterhooks’. Not that I’m on tenterhooks very often! Tenterhooks was made with a broken satay skewer (see poster 2 for the actual thing) and Chinese ink. It came out rather rough, but it does have a nice flow and a certain ‘wild elegance’. Comes with double letter ligatures and a whole bunch of diacritics.

Theater posters of the 1930s were often exuberant exercises in Art Deco lettering sensibilities, and the handiwork which inspired this typeface is no different. Big, bold and oddly elegant, this face is an excellent choice for enticing and commanding headlines. Both versions contain the complete Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 character sets, with several language-specific localizations.

A Konditorei is a German Confectionery Shop. A good Konditorei offers a wide variety of pastries and often also serves as a café. This handmade script font is like the wares in a confectionery shop: full of calories, but sweet and delicious. Use it for your food blogs, your magazines and product packaging. Comes with heaps of diacritics and ligatures for double letters.

Linotype Aperto is a typical text font in the style of transitional faces, like its often-used cousin Times. It is available in roman, semibold and bold weights, each with its matching italic. The roman weight is complete with old style figures and small caps. Its balanced, reserved appearance makes Aperto extremely flexible, good for long texts as well as headlines.

DeVinne Ornamental is a display typeface from the famous Parisian typefoundry Deberny & Peignot, developed around 1900. Its style has become synonymous with the Art Noveau period, which was raging internationally when DeVinne Ornamental's letters were first drawn. The typeface is named after the renowned American printer Theodore Low DeVinne (1828-1914). Optimal uses for DeVinne Ornamental include headlines in magazines and newsletters.

Luscombe is a boisterous and lively display face, recalling the shaded and outlined faced much beloved of 1920s poster and advertising artists, while offering a regularity of outline that those faces often did not achieve. Itís ideal for poster and display work, or for signage with a subtle period feel. Mix the two faces to add emphasis where it's needed.

Cycles was designed for use in books and other publications with lengthy texts and/or complex typography using different sizes of type. Different versions of Cycles have been designed which are optimized for setting at specific point sizes as was the practice in the days of metal type. Together with Stone Print, SFPL, and Arepo it makes up a superfamily of typefaces.

An extreme headline font with six optical variants. Black 24 is loosely based on ITC Grouch (1970) by Tom Carnase. It has some 2000 hand-adjusted kerning pairs for TNT (that’s Tight, Not Touching), a very popular type treatment from the seventies and eighties. Take your pick, or get them all, so you don’t have to buy another one later on.

Alan Meeks designed the Candice typeface in 1976. A groovy swirl of a font, Candice looks like an ice cream sundae topped with whipped cream. Candace is often seen on album covers, and has come to be associated with innumerable party hits from the 1970s. One thing is for sure: Candice is a child of it's times - flashy, lively, and fun!

Santral typeface has been designed with the idea of achieving the ideal balance of geometrical perfection and optical impression. The sharp and precise design of Santral leads to a clear and reliable communuciation with the reader. 12 weights and italic versions, including kerning values and Opentype layout features provide all typographic equipments to get the best result for the typographic layouts.

Antonia is an original type family of 46 font, 7 weights and 4 optical sizes. Born in the middle of the Alps, Antonia is as modern as it is down to earth. The multi-variant package includes text, display, and italic styles, looking crisp and perfect in all sizes and applications. Antonia is our first release available in Variable font format.

Fram is an uppercase stencil typeface. It comes with a fine-tuned kerning, its extensive character set ensures multiple languages coverage and the design is adapted to different ranges of size through size-specific optical compensation. Fram L is intended for use at large sizes and Fram S with larger gaps guarantees good performance even when the size is reduced.

The Parity concept takes the minimalist unicase alphabet and expands it in another dimension, that of the megafamily encompassing a variety of weights, optical sizes and styles (roman/italic, serif/sans, proportional/monowidth)—of benefit whether fine tuning a single, quite specific font for the task at hand, or harmoniously combining several in the hierarchy of a multi-formatted page layout.

Town and Country JNL features a mix of block-style characters along with rounded ones found so often in the Art Deco fonts of the 1940s. Modeled from the hand-lettered title on a piece of sheet music from that era, this unusual coupling of two distinct design styles works despite it breaking all of the obvious rules of typography.

Peragat is the perfect embodiment of the harmony between classical elegance and a modern touch. Designed to meet the diverse needs of design, this serif font offers a combination of sophistication and contemporary flair, creating a captivating and professional atmosphere. Key Features: Classic Beauty: With a set of gentle serifs and balanced proportions, Peragat creates classical beauty that enriches your designs with an elegant touch. Optimal Readability: Each letter is meticulously crafted to ensure optimal readability, even at small sizes, making it the perfect choice for various graphic design and print projects. Global Flexibility: Peragat is designed with diversity and inclusivity in mind. With full support for multiple languages worldwide, this font seamlessly integrates into international projects. Design Applications: This font is suitable for various design purposes, including but not limited to: Brand identity design Marketing and promotional materials Print and digital publications Web design Business presentations

Typographers — and clients alike — are often obsessed with novelty. Be it self-consciously peculiar details with made-you-look appeal — or just austere, detached minimalism, constant seek for novelty in typography often becomes an end in itself. A lot of times, an old trick is better than a bagful of new ones — all you might actually need would be a good, reliable font family with soul, providing that comforting, familiar feel. This is where Forrest comes in: a type family born out of a lifelong passion for digging into old archives of fonts, in search for that good ol’ type — simple, honest, made with love. But make no mistake, Forrest is as savvy as fonts come, packed with smart features. Handsome swashes, cute small capitals and old style figures all add a bit of flair and enable a highly sophisticated and contemporary approach to typography.

The Virile and Virile Open fonts are late nineteenth-century typefaces in a rustic style. Use the Virile fonts to add charm to book covers and posters relating to natural history and decorative arts.

Hit the open road with RV Park! This font was inspired by the typography seen on the signage for quirky roadside attractions. Use it anywhere you’re looking to inject a little fun and whimsy.

Road Repair JNL is a bold (hand lettered) sans serif stencil font based on the opening credits from the 1954 film “Drive a Crooked Road” – and is available in both regular and oblique versions.

Bucanera Antiqued is the black ship of Bucanera's family, sure you will use it in any dark or dirty project. Try the Open Type version to reach its numerous swashes, flourished and alternate characters.

Introducing Glooser a elegant Serif Font Inspired from modern style combine with bold typography style. Come with open type feature with a lot of alternates and end swash, its help you to make great lettering.

Scriba is the work of British designer Martin Wait, an informal, all caps open typeface embellished with an unusual shadow effect. With its strong, casual appearance, Scriba is excellent for use in large display sizes.

Orange Gush is a playful font with curls and unpredictable funky and funny curves! Comes in Open Type with different alternate letters! Note: you will need to use OpenType supporting applications to use the autoligatures.

A casual, open brush script style designed with a shadow effect for a three-dimensional impression by British designer Martin Wait. This typeface looks best with tight letter and word spacing in large display settings.

Gearing is a typeface that is widely associated with the extreme music genre of death metal. It is characterized by its dark and aggressive appearance, evoking a sense of brutality and chaos. The font is typically designed with sharp edges, bold and angular letterforms, and intricate or distorted shapes. The death metal font typically features strong upper and lowercase letter variations, often with sharp, exaggerated serifs or thorn-like spikes. These embellishments contribute to its menacing and threatening aesthetic. The letters may also have broken or damaged elements, giving them a weathered or decayed look. Though death metal fonts come in various styles and variations, they often prioritize legibility and impact over ease of reading. This means that certain parts of the letters may be missing or disconnected, making them appear jagged or incomplete. Ligatures, which are unique letter combinations, are sometimes included in the font to add a sense of continuity or artwork to the overall design. In terms of color, death metal fonts are commonly depicted in monochromatic shades such as black, grey, or dark red to maintain their sinister appearance. The color contrast often enhances the sharpness and intensity of the font, making it more visually striking. Due to its association with the underground music scene, the death metal font has become an essential element in album covers, band logos, posters, and merchandise. It effectively conveys the aggressive and rebellious spirit of the genre, becoming instantly recognizable to fans and enthusiasts.

The font family "Clasica" is ideal to cover every design need. Excellent for titles, paragraphs, magazines, books, editorials and logos. The particularity and identity of this font is found in the thinness of its vertical strokes and symmetrical serif. Inspired by the "Optima" font but with a serif that gives a different and new feel. "Clasica" counts with glyphs for the letters: a, e, f, g, r and y. This font family comes with 9 different weights with their respective italics.

Alinea is a typeface in 3 styles (Sans, Incise, and Serif) conceived for being mixed in the same document. Alinea incise is a flare serif (incise in French). It finds its origin in the roman letters carved in stone. The great advantage of such a style is that it can be associated to any other style of typeface. The most famous flare serifs are: Optima of Hermann Zapf, Pascal of José Mendoza, Amerigo of Gerard Unger and Alinea Incise of course!