Banister looks both contemporary and vintage. It contains a total of 12 styles including two main styles (Normal and Loaded), and for each style it comes with two widths (Semi-condensed and Semi-Expanded) and three weights (Light, Regular and Bold). The 40’s inspired style is subtle in banister, so it comes across more contemporary. Also, slightly curved strokes can be found on some letters, which gives a more organic feeling overall. To gain full advantage of banister, you can toggle “Fill” and “Stroke” on any editable applications to experiment the style, also layering normal and loaded styles let you discover something unexpected. Banister is versatile, simple and organic looking typeface, and good for headlines, logos, tiles and any large texts.

My latest book production group is quite conservative. I discovered my need for a pair of headline fonts with the same vertical metrics which are looser and more lively. Since the serif family is Biblia Serif, and the Sans family is Draetha [which is Welch for preach], Araldo [which is Italian for herald] makes sense to me. Narrow has my normal set of Opentype features with small caps, small cap figures, and the rest of the figure sets. Bold is too heavy for small caps, without messing with the metrics. So, it has the normal figure sets, plus a decent set of discretionary ligatures. They both work well, and are meeting my need for a headline family to add to the book production group.

Occam is an informal calligraphic script face. The letter forms were drawn and constructed rather than penned or brushed but reflect a definite flat pen influence. The ascenders and descenders incorporate an abstract implied loop form. Some curves that would normally be round are pointed and some transitions that would normally be sharp and pointed have been made round. A few exit strokes curve back instead of moving up and out for a little different look. This font could be put to good use as a contrasting style combined with sans and serif faces in applications such as newsletters, brochures, invitations and annual reports. It could be used for heads, subheads, pull quotes, drop caps and as a title font for covers.

Phlebodium - geometric sans serif typeface, 16 fonts Phlebodium is a modern geometric sans serif font family. Nostalgic, soft and playful font in 80s 90s 2000s techno rave style. BONUS: vector cannabis / hemp leaf, sunflower, mushroom / fungus, meat, unicorn, heart, pizza, hot dog, sun, phlebodium, clover, dog, cat, bear, sun character mascot illustrations and t-shirt designs Phlebodium type family available in 16 styles. 8 Italics 4 weights: Thin, Regular, Medium and Bold 2 widths: Normal and Condensed This bold typeface is ideal for use in display sizes. Perfect for headlines and logos, text blocks, any type of graphic design, printing, t-shirts, posters, branding, web and applications, social media and many more Phlebodium typeface contains 4 weights, normal, condensed and italic styles

BACCA LA HURRA is a vintage font in the style of sign painting, characterized by bold strokes and squares. Consisting of Uppercase, Lowercase, Numerials and Punctuations, this font is perfect for vintage food packaging designs or other vintage branding. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Cheers!

1920s-era sheet music for "Tangos Pour Manon" from Brussels, Belgium had the title hand lettered in an unusual style. The alphabet was square, had serifs and the thick-and-thin stroke weights that were more popular in the upcoming Art Deco years of the 1930s and 1940s. This became the working model for Torrid Tango JNL, which is available in both regular and oblique versions.

The idea of symmetry came to me when I was lookig for a geometric sans font. None of the things that I found did have the mathematically perfect symmetry. So, I went ahead and created one. I have used complex mathematical equations to get the perfect angle in every letter. Diameter comes with two styles square corner and rounded corner, each with regular and bold weights.

HU NoodleKR is a stencil-type font designed for drawing with one brush and writing in stroke order. It is composed of large grapheme for good visibility, and fine curves are added to the shape based on straight lines to create a soft feel. In particular, it is a full-bodied square font where personality is felt in double consonants. HU NoodleKR includes Korean.

The cover of the 1904 sheet music from the Tibetan comic opera “The Forbidden Land” had the title hand lettered in an unusual Art Nouveau style. Mostly squared with rounded corners, many of the characters twisted, turned and extended in ways that took on the look of the Far East. This became the design model for Nouveau Moderne JNL, which is available in regular and oblique versions.

Sacred Geo is a Dingbat font, containing the basic principles of geometry, perpendiculars, bisections, partitions of angles, curves joints aligned and asymmetric, thus the construction of the main spirals, construction of polygons as a square, rhombus, pentagon, hexagon, octagon and how to combine them into ornamental shapes. Discover the magical world of sacred geometry. Winner in the TL2012 International Biennial of LatinAmerican Typography, Tipos Latinos.

About Native-Txt It is combine of transitional and contemporary type style, with variable stress angle and more stroke contrast. Native-txt has vary styles and most have a large x-height with bracketed serif and square terminal also a litle open aperture. Native-Txt comes up with a true italic with calligraphic latin style, this is a very contrasting and perfectly elegant. Thank you _xdCreative

Designed for ParaType in 1999-2003 by Manvel Shmavonyan. This is a low-contrast serif typeface with large x-height and small square cove serifs. For use for text and display typography. Due to its open letterforms and big number of styles the face is a good companion to open humanist Sans. Hybrid design was awarded special prize at Kyrillitsa'99 international type design competition.

Eurostile Display Caps The Eurostile font family was designed (by Novarese and Butti in 1952) to complement the titling font, Microgramma, by offering a lowercase alphabet. Issued by the Nebiolo foundry, the rather square sans serif Eurostile became popular for display and advertising use. The linear nature of Eurostile suggests modern architecture, and its attraction is technical and functional. Eurostile is commonly misspelled Eurostyle.

Okay-A lets you make 3D letters that look to be fastened down with screws. Inspired by the angular futuristic shapes of Japanese Katakana letters, this angular font is bold and square. Okay-A lets you easily make multicolour logos or signs as the styles can be overlaid. It features extended characters, containing West European diacritics & ligatures, making it suitable for international environments & publications.

DicSans is a square sans-serif typeface, inspired by Aldo Novarese’s Eurostile, it was meant as a sort of contemporary "open" Eurostile. It is a semi-custom font, designed and expanded according to costumers’ requests, since 2004 up to 2013. For this reason it has many glyph variants (up to three variants per lowercase glyphs and numbers, special smallcaps etc.) and wide language coverage.

Hello Everyone,introduce our new product OBIT is a Square Display Font This a Textured Natural Style and classy style, this font is great for your creative projects such as watermark on photography, and perfect for logos & branding, photography, invitation, watermark,advertisements,product designs, stationery, wedding designs,label ,product packaging, special events or anything that need handwritting taste. This is OBIT a natural handwritten feel.

A geometric sans serif typeface, the square horizontal structure is evenly balanced with smooth curves and arcs producing a clean, distinct font ideal for both print and on screen uses. Further enhancements to improve legibility with the use of consistent stroke contrast and tapered diagonal angles. Details include eight weights and italics, 600 characters, Cyrillic, five variations of numerals, manually edited kerning and Opentype features.

Ubiquity: the possibility to be in several places at the same time; this could be the definition of a typeface like Ubik. Its applications are numerous and various: books, magazines, posters but also architecture and signs. Ubik is a grotesk sans serif with a “nordic taste”: shapes pure and somewhat square. The nonexistent contrast between thin and thick strokes gives it a discreet rustic look.

Monoplan is a versatile monospaced sans serif typeface. Minimal shapes and straight sides are definitive features of the typeface. Tables, headers, code blocks, signages or other small informative texts are the standard places where Monoplan shines. Different alternatives such as square dots, alternate /a /y /6 /9, coverage of 94 Latin languages, various Opentype features, and 5 styles expand the usage area of ​​Monoplan.

Sánchez, designed by Daniel Hernández, is a serif typeface belonging to the classification slab serif, or Egyptian, that bears a strong resemblance to the iconic Rockwell, but with rounded edges— offering contrast and balance to the square structure. Sánchez & Sánchez Condensed comprises 12 variants, ranging from extra light to black, each of the same x-height. Regular and Italic variants are available for free.

Punch Tape JNL emulates the old-style pin-punched paper tapes that were used in everything from ticker tapes to moving electronic signage to early digital typesetting equipment. Pin punch characters were also used in the early days of banking as a secure way of canceling a check so that it was rendered useless if re-submitted. In this version, the "dots" are square rather than round.

In 1994 I took a picture of an old movie marquee in Times Square, New York City. 7 years later, I decided to design a typeface based on the big plastic letters found in those old marquees. I scanned in the picture I took and began to draw the letterforms. Like most of my font designs, the initial inspiration came from an urban environment.

This big family summarizes and develops the tradition of boldface squared-off 45° shear sanserifs. Known from the middle of 19th century and actively used in different times (1920s, 1970s) is still usable now, thanks to its brutal expression, monumentality and possibility to fully maximize the flatness without loss of readability. This font is especially good for filling letters with photos or to create geometrical “constructivist” compositions.

This decorative, headline or logotype geometric font consists entirely of uppercase letters. The glyphs of uppercase are rounder than their lowercase counterparts, allowing playful interaction within words, contrasting round and square shapes. The font is an extension of the Paragraph fonts family, however the capitals of ParaCap and lower case glyphs of Paragraph are not designed to be used together. That said, you are welcome to try :)

Astrid Grotesk is a normalized version of Schizotype Grotesk. Normalized; not neutralized. Where many neo-grotesks appear cold with their harsh neutrality, Astrid has a warmth, eminating from its (for want of a better word) clunkiness. With the latest update, it becomes a true workhorse, with a range of widths and italics for the normal widths. Astrid Grotesk, while being clearly a neo-grotesk in appearance, has a personality all of its own. Standout characters include the f and t, and the default binocular g, unusual in neo-grotesks. And the right angled terminals on c, e and s. Stylistic sets offer up alternate forms of a, g, y, I, @, dutch IJ, german eszett and l. A full complement of numerals is included: proportional and tabular, lining and oldstyle, plus fractions, subscript and superscript. Note also that the tabular figures are duplexed across weights - very useful when highlighting specific entries in tables. The tabular figures feature also substitutes in fixed width (across all weights) comma and period, so your decimals line up perfectly always. Lastly, case sensitive forms of certain glyphs are included for all-cap settings. This typeface will be useful for corporate identities and branding work. It’s spaced more for text settings in the normal width, and gets more display-optimized as the width decreases, but with careful tracking, all styles can sing at display sizes. Bored of those other Swiss style typefaces? Astrid Grotesk could be the face you need to breathe new life into your designs. Coupled with Schizotype Grotesk, its more eccentric cousin, you've got an unorthodox branding system ready to use straight out of the box.

Giangu is a typeface that describes strength and a formal impression, this typeface has an analogy about hopes and dreams that must be achieved.

Great sans text font family for all your needs, text, signage, logos etc. Very elegant and suitable for classic as well as formal design.