Eckhardt Broad Sans JNL joins the growing collection of sign painter-oriented fonts named in honor of the late Al Eckhardt of Allied Signs, a good friend of Jeff Levine for many years and a talented sign lettering artist in his own right. This design is a sans serif approach to the lettering found in the Eckhardt Showcard JNL family.

Novel Sans Condensed Pro is the humanist grotesque typeface family within the largely extended award winning Novel Collection, containing Novel Pro, Novel Sans Pro, Novel Sans Hair Pro, Novel Sans Condensed Pro, Novel Mono Pro, Novel Sans Rounded Pro and Novel Sans Office Pro. Novel Sans Condensed Pro has a carefully attuned character design and a well balanced weight contrast. Classic proportions and the almost upright italic makes Novel Sans Condensed Pro being a space saving, modern humanist with the calligraphic warmth of a real italic. Many similarities with the other typeface families within the Novel Collection enable designers to combine the families and reach highest quality in typography. Novel Sans Condensed Pro [1020 glyphs] comes in 6 weights and contains small caps, an extra set of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], small caps figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

French Stencil Sans JNL is another typeface based on vintage French tin/zinc stencils. Slightly rounded corners and a "hand-cut" look add an interesting and charming variation that breaks away from the "standard" design of other metal stencil sets.

Based on Bank Gothic designed by Morris Fuller Benton in the 30th, Bank Sans Caps from Elsner+Flake offers a wide variety of weights from Light to Bold with Compressed, Semi Condensed and Condensed widths. All weights are also available with Cyrillic character sets.

If you're regularly compelled to scrawl fiery French poetry, declare independence, or design indie folk albums, then Chris Watson's romantic Steel Pen typeface is for you. With old-school edge and spirited opentype alternates, it's as gallant as type gets.

Chalkboard or crayon-style handwriting with great legibility.

To blend a handwritten style with a graphical aesthetic, Monotype designers paid attention to the balance between the two, hence harmoniously combine their qualities like a mix of tradition and modern. M Felt Pen references the unified stroke thickness and rounded terminals of rounded Heiti typefaces, imitating the fluidity of marker writing. The linked strokes are vivid and suggest the presence of the human hand.

Novel Sans Office Pro is the humanist grotesque typeface family optimized for office environments within the largely extended award winning Novel Collection, also containing Novel Pro, Novel Sans Pro, Novel Sans Condensed Pro, Novel Mono Pro and Novel Sans Rounded Pro. Novel Sans Office Pro has a carefully attuned character design and a well balanced weight contrast. Classic proportions and the almost upright italic makes Novel Sans Office Pro being a modern humanist with the calligraphic warmth of a real italic. Many similarities with the other typeface families within the Novel Collection enable designers to combine the families and reach highest quality in typography. Novel Sans Office Pro [1020 glyphs] comes in 6 weights and contains small caps, an extra set of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], small caps figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

Centro Sans Pro is an award-winning typeface. It received a Gold Award from the European Design Awards 2008 and an Excellence Award from the International Type Design Competition 2009 as part of the Centro Pro type system. This large series of 40 fonts with 1519 glyphs each is composed of three superfamilies (serif, sans and slab), includes true italics and supports Latin, Greek and Cyrillic. According to the jury of the European Design Awards “...Centro Pro is an almost ‘invisible’ typeface with distinct personality, it has legibility as its main attribute and is ideal for a wide range of design works. It does not attract any unnecessary attention, but rather serves its purpose. A rare case of contemporary type family working across three alphabets. Centro Pro meets an ever-growing demand for such typefaces among pan-European companies and institutions”. Centro Pro has become very popular among printed media and is ideal choice for newspapers, magazines and corporate applications. Furthermore every font in this series has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life.

The 1920 edition of “How to Paint Signs and Sho’ Cards” by E. C. Matthews offered a number of examples of then-modern lettering styles for sign painters and show card writers. A bold display alphabet made with a round lettering nib is now available as Show Card Pen JNL, in both regular and oblique versions.

The successful Gill Sans® was designed by the English artist and type designer Eric Gill and issued by Monotype in 1928 to 1930. The roots of Gill Sans can be traced to the typeface that Gill's teacher, Edward Johnston, designed for the signage of the London Underground Railway in 1918. Gill´s alphabet is more classical in proportion and contains what have become known as his signature flared capital R and eyeglass lowercase g. Gill Sans is a humanist sans serif with some geometric touches in its structures. It also has a distinctly British feel. Legible and modern though sometimes cheerfully idiosyncratic, the lighter weights work for text, and the bolder weights make for compelling display typography. Gill Sans is also available as Value Pack for Macintosh, PC or as Hybrid CD with both platforms.

The hand lettered title on the cover of the 1938 sheet music for “If It Rains – Who Cares” featured a condensed Art Deco typeface made with a round nib pen. The square shaped characters with rounded corners were a perfect subject for a digital font revival, and are now available as Dip Pen Deco JNL, in both regular and oblique versions.

Journal Sans Old School is a new, modernized digital version of the widely popular Journal Sans. The new typeface preserves the character of the geometric sans from the famous “Science and Life” magazine of the 1960s. The weight of the basic styles corresponds to the Journal Sans regular and bold from the Soviet linotype catalogs. Also, the original vertical proportions and character forms match the original. Cyrillic Alternates, Greek language support expand the range of font’s usage. Journal Sans Old School was designed by Natalia Vasilyeva and released by Paratype in 2019.

'Prosto' in the name of the font is translated into Russian as “Simply”. Prosto Sans Condensed is the condensed version of the Prosto Sans font family. We created the simplest font possible, and it will fit perfectly into any design. Each line of this typeface is emotionally neutral and aims to not emphasize the text in its graphic representation, but only to use the text to convey the meaning. Having Prosto Sans and Prosto Sans Condensed in your collection is like having a universal tool that helps you every day when you need to 'mend' or 'repair' something. Due to condensed proportions, any text array fits a smaller text field than usual.

Adamant Sans on Behance. Adamant Sans: Specimen Manual PDF. Adamant Sans is a contemporary and very functional typeface. It stands out from the crowd with its uniquely designed rounded corners and beautiful italics. This carefully designed family consists of 18 fonts, including true italics. Its extreme weights, such as hairline and black are ideal for setting big and powerful headlines, while intermediate weights work very well in long texts at small point sizes. Weights are finely balanced so that they can be easily combined, depending on the type of paper and other conditions. Thanks to its proportions, high x-height and wide apertures, this typeface is very legible and suitable for setting books, magazines, newspapers, but is also valuable for use in large sizes, as well as for complex corporate projects. It supports advanced typographic features such as small caps, lining and oldstyle figures in proportional and tabular widths, fractions, ligatures, etc., and provides simultaneous support for Latin and Cyrillic as well as kerning for these languages. Adamant Sans is the ideal companion of the Adamant serif version.

O Type Foundry published the unique 'Geometric Mechanic Sans Serif' in 2023, a typeface that Galang Persada had been perfecting since 2013. Attention all graphic designers! Are you tired of using the same old fonts and design elements in your projects? Look no further than Gal Sans, the newest geometric mechanic sans serif font on the market. With its clean lines and modern aesthetic, Gal Sans is the perfect addition to any designer’s toolkit. Its versatility makes it suitable for a wide range of design projects, from logos to website text. Plus, its minimalist design adds an elegant touch to any composition. Don’t settle for ordinary – elevate your designs with Gal Sans. Try it out today!

German type designer Ole Schäfer created this sans FontFont in 2001. The family has 10 weights, ranging from Regular to Black (including italics) and is ideally suited for editorial and publishing and sports. FF Zine Sans Display provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, super- and subscript characters, and stylistic alternates. It comes with proportional lining and tabular lining figures. This FontFont is a member of the FF Zine super family, which also includes FF Zine Serif Display and FF Zine Slab Display.

Humanist sans in 8 styles Designed by Jean François Porchez, Le Monde Sans is a sanserif based on Le Monde Journal — a practice that become commonplace from early nineties. Designed originally in 1994 for the Le Monde newspapers, it was expended over the years to the large family we know today. Le Monde Sans features a “traditional g” in addition to the usual 1994’s g. Le Monde Sans is offered in numerous weights — in roman, italic to meet all kinds of situations. It will help designers to select the best weights depending their needs, from glossy paper printing to high resolution screen. Superfamily The design of Le Monde Sans continues the basic common structure found in the members of the Le Monde family: its proportions, a relatively narrow width, a fairly oblique axis, etc. The typographer can, at all times, switch between Sans & Journal or Courrier without any disruption in the composition. The verticals metrics and proportions of Le Monde Sans are calibrated to match perfectly others Typofonderie families. This family was designed in 1994 as bespoke typeface family for the French newspaper Le Monde. The family is not used any more by this newspaper from November 2005. Type Directors Club .44 1998 European Design Awards 1998

French type designer Xavier Dupré created this sans FontFont in 2007. The family has 6 weights, ranging from Thin to Black and is ideally suited for editorial and publishing projects. FF Absara Sans Headline provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Absara super family, which also includes FF Absara, FF Absara Headline, and FF Absara Sans.

The typeface “Icons Dingbats Smybols Set” is designed at 2019 for the font foundry Typo Graphic Design by Manuel Viergutz. The Basic Icons Set is a display typeface that inspired by the here and now. 426 glyphs / icons / decorative extras like icons, arrows, dingbats, emojis, symbols, ornaments, social media icons, sign of the zodiac, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for or #SMILE for as OpenType-Feature dlig) and stylistic alternates (8 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: Icons Dingbats Smybols Set ■ Font Weights: Reg + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat: .otf (Open­Type Font for Mac + Win) ■ Glyph Set: 436 glyphs / decorative extras like icons ■ Spe­cials: Alter­na­tive let­ters, sty­listic sets, automatic con­text­ual alter­nates via Open­Type Fea­ture. Dingbats & Symbols, arrows, hearts, emojis/smileys, stars, further numbers, lines & geometric shapes ■ Design Date: 2019 ■ Type Desi­gner: Manuel Viergutz

The Bunken Tech Sans superfamily: A reminiscence of constructed fonts of the modern age designed with considerably cleaner forms. •See other members of the Superfamily: Bunken Tech Sans •For further details, view the Specimen PDF. Bunken Tech Sans Wide follows in the best tradition of the straight-lined and somewhat angular structures of its predecessors while offering a much more open and mild design. The shapes of the letters are therefore reduced to the most essential elements: The spurs on a, b, n and other lower case letters occur just as little as decorative or style details, the lightly rounded inside edges are more pleasing to the eye than certain historic role models and make for a harmonic, flowing style. Use In particular Bunken Tech Sans Wide stands out as an easy, distinctive headline font with its straight-lined, technical design. Open counters and large x-height make it equally suited for use in shorter texts. It is also perfectly complemented by Bunken Sans or Bunken Slab in longer texts (available soon). Features Available in 16 styles with widths ranging from Light to Heavy with associated Italics. All of the styles are very extensive: Support for at least 58 languages, Small Capitals, 9 number sets (e.g. Lining, Oldstyle, Tabular and Small Cap Figures), ligatures, alternate characters, numerous Opentype functions, and lots of other small features that make it more pleasant to work with the font on a daily basis as well as fulfilling typographic desires. Each style contains more than 870 characters! Each style is available in a professional (Pro) standard (Std) and Small Caps (SC) edition with a different range of functions. (Language support, OpenType features and number of glyphs). Details can be found on the respective pages. Bunken Tech Sans Wide is part of the Bunken Tech superfamily and is available in Condensed, Normal and Wide. Also of interest: The slab serif variation Bunken Tech Slab Features in Detail: 16 Weights: -Light -Book -Medium -SemiBold -Bold -ExtraBold -UltraBold -Heavy and corresponding Italics 3 Widths: -Condensed -Normal -Wide Alternate Characters: A, E, F, L, S, e, f, t, s, y, etc. Small Capitals 5 Sets of Figures: -Lining Figures -Old Style Figures -Tabfigures -Old Style Tabfigures -Small Cap Figures Automatic Ordinals Automatic Fractions Extended Language Support and more...

The successful Gill Sans® was designed by the English artist and type designer Eric Gill and issued by Monotype in 1928 to 1930. The roots of Gill Sans can be traced to the typeface that Gill's teacher, Edward Johnston, designed for the signage of the London Underground Railway in 1918. Gill´s alphabet is more classical in proportion and contains what have become known as his signature flared capital R and eyeglass lowercase g. Gill Sans is a humanist sans serif with some geometric touches in its structures. It also has a distinctly British feel. Legible and modern though sometimes cheerfully idiosyncratic, the lighter weights work for text, and the bolder weights make for compelling display typography. Gill Sans is also available as Value Pack for Macintosh, PC or as Hybrid CD with both platforms.

This is a grotesque typeface which was derived from an older more simple version designed back in 2000. Bulletin Sans Pro is distinguished by its selective deep cuts which give this typeface a robust and contemporary look. These cuts become more apparent at larger sizes while they create a more subtle effect at smaller sizes. For intense titles try the black version. When space and legibility for long texts are critical, use the lighter versions. The family consists of 10 fonts—from black to light—including true italics. It supports 20 special OpenType features like small caps, fractions, ordinals, etc. and offers multilingual support for all European languages including Greek and Cyrillic. Finally, every font in this family has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban lifestyle.

Display Dots Two Sans is a display font not intended for text use. It, along with its serif counterpart were designed specifically for display, headline, logotype, branding, and similar applications. Display Dots Two Sans has an uppercase alphabet, numbers, and punctuation.

Now is a great time to dust off your old motor scooter and take a ride along the Italian Riviera. Let’s head to the flower city of San Remo, Italy - the namesake for this versatile, 1950s style script. Try San Remo on your next brochure or flyer project. You may want to consider using it to create a special logo or icon for your personal stationery. It’s perfect for any job that requires linked or connected letters. And for your convenience, this dashing design sports a variety of alternate characters plus lining and old style figures. San Remo Casual is also available as an OpenType font. It contains lining and oldstyle figures, prebuilt fractions, stylistic alternates, and a wide assortment of f-ligatures, plus more. These advanced features currently work in Adobe Creative Suite InDesign and Illustrator. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades. Ciao!

Iza and Paulo W (Intellecta Design) are proud to announce Van den Velde Script. A free interpretation of the work of the famous master penman Jan van den Velde, to be found in the “Spieghel der schrijfkonste, in den welcken ghesien worden veelderhande gheschrifften met hare fondementen ende onderrichtinghe. ” (Haarlen, 1605). Van den Velde Script has evocative ancient ligature forms from the XVII Century Dutch master penman Jan van den Velde. Your indescritible writing-book was important not only with regard to the specific period it represents, but also in relationship to the entire history of calligraphy as an art: Van den Velde is rightly credited with having introduced and perfected a new trend in Dutch calligraphy. Our font, Van den Velde Script merges modern necessities o better legibility without loose the taste of his archaic origins. This enhanced OpenType version is a complete solution for producing documents and artworks whith a evocative and voluptuous style of calligraphic script: - dozens of stylistic alternates for each letter (upper- and lowercase), accessed with the glyph palette; - historical ornaments and fleurons in the typical style (and motifs) from the XVII century at the Lower Countryes accessed with the glyph palette using the Ornaments feature); - an extensive set of ligatures (100s of contextual alternates plus discretionary ligatures) providing letterform variations that make your designs really special, resembling real handwriting on the page; - a tour-de-force kerning work: over 700 gliphs in this font was adjusted to your kern pairs handly. In non-OpenType-savvy applications it works well as an unusual and beautiful script style font. Because of its high number of alternate letters and combinations (over 700 glyphs), we suggest the use of the glyph palette to find ideal solutions to specific designs. The sample illustrations will give you an idea of the possibilities. You have full access to this amazing stuff using InDesign, Illustrator, QuarkXpress and similar software. However, we still recommend exploring what this font has to offer using the glyphs palette: principally to get all the power of the Contextual Alternates feature. You can has an idea of the power of this font looking at the “Van den Velde User Guide”, a pdf brochure in the Galçlery section. Two last things: take a special look at the Van den Velde Words (ready words) font and another super script font, Penabico. Van den Velde Script has original letters designed by Iza W and overall creative direction plus core programming by Paulo W.

Introducing Behind The Nineties Sans - the perfect counterpart to our beloved font, "Behind The Nineties." This new sans-serif addition effortlessly captures the classic vibes of the 80’s and 90’s while infusing a contemporary touch for a timeless yet modern aesthetic. Key Features: Sans Serif Sophistication: "Behind The Nineties Sans" exudes sleek and modern elegance, offering a clean alternative to its serif predecessor. Regular and Italic Styles: Whether you prefer a straightforward look or a touch of italicized flair, this font provides versatility for all your design needs. Classic with a Contemporary Twist: Embrace the spirit of the 80’s and 90’s with a font that seamlessly blends classic elements with contemporary sophistication. Editorial Excellence: Elevate your editorial projects with the precision and clarity of "Behind The Nineties Sans," ensuring a polished and professional appearance. Luxury Serif Companion: Pair it with "Behind The Nineties" serif font for a cohesive design that radiates opulence and luxury. Dramatic Impact: Make a statement with the font's dramatic presence, capturing attention and adding a bold touch to your creative endeavors. Multi-language support including Western European, Central European, South Eastern European, South American, Oceanian, and even Esperanto. "Behind The Nineties Sans" is your go-to font for achieving a harmonious blend of nostalgia and modern flair. It's time to redefine classic design with this exquisite sans-serif typeface.

Based on some 1930s-era ‘block chamfer’ gummed paper lettering, Chamfer Stencil Sans JNL is a stenciled treatment of the original design; available in both regular and oblique versions.

The successful Gill Sans® was designed by the English artist and type designer Eric Gill and issued by Monotype in 1928 to 1930. The roots of Gill Sans can be traced to the typeface that Gill's teacher, Edward Johnston, designed for the signage of the London Underground Railway in 1918. Gill´s alphabet is more classical in proportion and contains what have become known as his signature flared capital R and eyeglass lowercase g. Gill Sans is a humanist sans serif with some geometric touches in its structures. It also has a distinctly British feel. Legible and modern though sometimes cheerfully idiosyncratic, the lighter weights work for text, and the bolder weights make for compelling display typography. Gill Sans is also available as Value Pack for Macintosh, PC or as Hybrid CD with both platforms.

This is the first true pixel-font released by CheapProFonts. It may not be the first font based on a 5x5 pixel grid, but it probably has the best language support. The glyphs have all been optimized for Flash (by making the pixel shapes slightly overlapping) and should render sharp and perfect when set in 10px size (or multitudes of 10). As with all pixelfonts: make sure to place the text at coordinates with whole numbers, and always use left (and NEVER centered) alignment. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

AW Conqueror Sans was born out of this desire to fuse geometric and humanistic sans. It remains a typeface fundamentally influenced by both Bauhaus spirit — with its simplified geometric forms — and Jan Tschichold’s attempts to link this modular spirit to Eric Gill’s humanist sans serif. AW Conqueror Sans is a claimed French synthesis of Germanic Modernism and English classical tradition. Spheres of influence The core set of capitals are based on the proportions of the Roman capitals like Futura, Erbar, Nobel, Johnston, Gill Sans. During the 1930s, the Futura was a true success. Since then, Monotype offered a geometric version of the Gill Sans, and Linotype added Futura-like variants to WA Dwiggins’ Metro. AW Conqueror Sans is kind of a “fusion” of this approach. The lower case “b, d, p, q” are also directly influenced by Eric Gill’s, while the “y” is influenced by some of Jan Tschichold’s alphabets. In italics, drawn narrower, AW Conqueror Sans reinterprets Gill’s idea: a rigorous italic like a roman but which sometimes reveals some aspects of a Renaissance italic. AW Conqueror Sans and its extensions AW Conqueror Sans is the initial reference point for an extended family, including AW Conqueror Inline, Slab, Carved, Didot. The potential of these mixed families is powerful. Because AW Conqueror typefaces are based on an identical structure, and compatible proportions.

Here is a faithful revival of Gothic Number Ten, released by the Cincinnati Type Foundry in the late 1800s. Not your garden-variety sans-serif, its quirky caps will warm up your headlines. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Designer Panos Vassiliou created Square Sans Pro in his quest for a true square-like text typeface which could balance simplicity with vitality and enhance with its subtle power the identity of any product or service, without compromising its characteristics as a text typeface. The family consists of 12 fonts—from extrablack to thin—including true italics. It supports 19 special OpenType features like small caps, fractions, ordinals, etc. and offers multilingual support for all European languages including Greek and Cyrillic. Finally, every font in this family has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life.

EUROPEAN SANS PRO VARIABLE ABOUT FAMILY: What makes "European Sans Pro Variable" elegant, friendly and contemporary is its very rounded curves with very open terminals. "European Sans Pro Variable" has been designed with a higher "x-height" than other fonts in its class to make tiny readability more obvious in any use situation. It will be ideal for use in small sizes such as business cards or mobile applications. This typeface is also equipped with powerful OpenType features to satisfy the most demanding professionals. It has solid features like case sensitivity, small, true capitals, full ligatures, tabular figures for tables, old style figures to elegantly insert numbers into your sentences and more alternative characters to give personality to your projects. The extended, "European Sans Pro Variable" supports around 85 languages in the Latin, Cyrillic and Greek scripts, and its non-Latin components were developed with native consultants. With over 1200+ glyphs per style, "European Sans Pro" cares about localised letterforms and has the OpenType features to match. FEATURE SUMMARY: - 9 weights: Thin, ExtraLight, Light, Book, Regular, Medium, Bold, ExtraBold, and Black. - 4 widths: Normal, Narrow, Condensed, and Extra Condensed. - Matching italics (12º) for all weights and widths . - Matching small caps for all weights and widths. - Lining and old style figures (proportional and tabular). - Alternate characters (A, G, M, N, R, U, a, g, l, m, n, u, y). - Unlimeted fractions. - Automatic ordinals (1st, 2nd, 3rd, etc.). - 24 Dingbats + 19 Social Media and Block Chain icons. - Extended language support: Most Latin-based scripts (including Vietnamese), Cyrillic, and Greek. - Extended currency support. You can contact me at buyuksel@hotmail.com, pre-purchase and post-purchase with questions and for technical support. You can enjoy using it.

German type designer Ole Schäfer created this sans FontFont in 2000. The family contains 4 weights: Regular, Italic, Bold, and Bold Italic and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries as well as software and gaming. FF Fago Correspondence Sans provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with tabular lining figures. This FontFont is a member of the FF Fago super family, which also includes FF Fago, FF Fago Correspondence Serif, and FF Fago Monospaced.

This is Bolyar Sans font family. For us it is a dream-come-true. It took more than 1 year hard work to transform the existing Bolyar Pro from Serif to Sans Serif version. The result really surprised even us from The Fontmaker and we decided to develop it in 9 instead of 7 weights. So at the end we created 7 different styles of Bolyar sans each consisting from 9 precise weights. Bolyar Sans is not just another font family in our portfolio - it is the essence from all our efforts thru the past 5 years to create a powerful type tool that could easily meet very diverse and complex demands of modern design. Furthermore, like all its predecessors, Bolyar Sans is a type concept created by Designers for Designers. If you are in wine and spirits industry, packaging design, or you just love to work with strong headlines that effortlessly could turn into brand logos, then you should definitely try our Bolyar Sans. It is designed for this. Of course there are plenty of different features like multilingual support, ligatures, alternates, we even added adaptive over- and underlining to make it even more complex in its use. Bolyar Sans pairs perfectly with other members of Bolyar Family - Pro , Ornate and Typecraft . So as you see Bolyar is developed as a type platform with own character and style. By using it you could be vintage, classic, modern, soft, even bold, rough and ornate. It is a visual bridge between different typographic periods united under Bolyar name. With our Sans version we aim to be contemporary and to provide powerful type tool to those designers who often love to swim between past and modernity.

Examples of a wood type alphabet for letterpress are the basis for Rounded Sans Wood JNL. Clean and bold, the rounded ends give a softer, more informal look to any display copy.