Ristretto Pro is an extremely narrow display sans-serif font family available in 8 weights. It features rich language support, 6 sets of figures and small caps. Ristretto Pro also comes with its slab-serif counterpart - Ristretto Slab Pro.

Roman Sehrer, a seasoned German advertising professional, digitized his handwriting to create this family of three fonts. Sehrer recommends this family for posters, logos, and restaurant menus. It works well with traditional sans serifs such as Helvetica or Univers.

Incompleeta is a modern sans serif, display font. Removing structural elements from some of the characters results in some really interesting word forms. Incompleeta is a graphic designer�s best friend. It�s great for branding, headlines, and signage.

Occasionally font projects are started, but then set aside for other designs and are subsequently forgotten for a while. Such is the case of More Deco Lettering JNL; a bold thick-and-thin sans modeled from vintage source material.

A revival of one of the popular wooden type fonts of the 19th century, suitable for text or display, short descenders, tall ascenders, the narrow, italic version, completing the Gothic Special family of 5 fonts in total, sans serif.

Halena is a modern and adaptable sans serif font. Suitable to a wide variety of designs due to its neat and simple style, this font has the potential to become your favorite go-to font, no matter the occasion!

The basic idea of this type family was to keep the "ductus" of the fraktur calligraphy only. And to adapt it to draw a sans serif typography which still keep the magic rhythm and colour of the original letters.

This is Solotype's alternative sans serif version of the once popular caps-only font Atlanta issued by the Central Type Foundry in St. Louis in 1885. As we often do, we have created a lowercase, adding to its versatility.

Nyack is a built-from-scratch sans serif font with both inline and solid versions. There's a touch of Art Deco to its design for a touch of past elegance, but its use is not limited to retro projects.

Yang is a new Sans typeface that has a little bit of Ying in it. This combination makes it a very versatile font. Just give it a try and you will see. Yours working on the "Ying", Gert Wiescher

Despite the racially demeaning 1906 sheet music for "The Ghost of the Banjo Coon", the title's lettering provided an interesting hand-lettered sans serif that has been re-drawn digitally as Showmanship JNL in both regular and oblique versions.

Radian is a modern geometric sans serif typeface that comes in 16 weights: 8 upright fonts and their matching italics. Radian works well in any graphic design project and purpose, both as a display typeface and in smaller sizes.

Moderna is a sans serif family inspired in simplicity of Modernism. Its contruction neutral and clean has been especially designed for short texts, headlines, logos and branding. With sixteen variants includes unicase version, some alternate characters, arrows and labels.

Kompress Pro - a font family of two highly compressed sans serif fonts, regular and shadowed. Both fonts contain West and East European character sets, as well as Cyrillic glyphs. This multilingual font family is well suited for decorative purposes.

Nffinitage is a sans serif typeface design, published by Eoriraya. The basis of this typeface is geometric shapes with a modern and futuristic impression, making it suitable for digital communication needs. Nffinitage consists of the regular and rounded typestyle

Slippery Slope is a friendly, storybook font, that has the legibility of a clean sans serif combined with a subtle hand-drawn quality. A great whimsical font for books and stationery, posters, signage and product or packaging for kids!

Promo is charming rounded sans family. This typeface is defined by multiple features, which give it a friendly feeling. Promo is perfect for branding and display purposes. Entire family consist of 9 styles with italics from Thin to Bold.

Cubition font family was designed by Nikolay Savchuk. Cubition was created on base Everest Pro sans-serif typeface. It is brilliantly suited for graphic design and display use and perfect for brand identity, magazines, newspapers, books, websites, and advertising.

The basic idea of this type family was to keep the "ductus" of the fraktur calligraphy only. And to adapt it to draw a sans serif typography which still keep the magic rhythm and colour of the original letters.

Metaphysica is an unorthodox futuristic typeface that provides otherworldly zest without overly compromising typographic aesthetics. Combining weird angular beams and junctions with soft and round forms, Metaphysica finds the middle ground between sci-fi futurism and friendly legible sans.

A Hebrew sans font inspired by the Latin letters of font Tahoma. Teom serves as a more polished and harmonious substitute for Tahoma's default Hebrew, and also as an independent and elegant Hebrew font for titles and short texts.

Qareluna is a beautiful and elegant sans serif font. Suitable to a wide variety of designs due to its neat and simple style, this font has the potential to become your favorite go-to font, no matter the occasion!

The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The JT Marnie font family is well suited for headlines and small blocks of text, particularly in advertising and packaging.

Revolutionary sans serif font BOREN with futuristic LiquidFlow style brings modernity and creativity. Crafted with precision, it captivates with smooth lines and high-tech aura, adding professionalism to projects. Choose BOREN for sophistication and futurism in your creative designs!

A 1940s British music collection of classical music piano pieces entitled "The Great Masters Series" had its title hand-lettered in a free form, casual sans serif with a cartoon style. This is now available as Just Great JNL.

A surprisingly modern looking condensed sans serif issued by Mackellar, Smiths & Jordan foundry in 1887. Its narrow width makes it useful for long copy headlines. Designed by the freelance type cutter Charles Beeler who did many fonts for Mackellar.

Geometos Soft is a geometric sans-serif display typeface family. It is a rounded version of Geometos Neue. An all caps family of seven weights, Geometos Soft is especially suitable for headlines, headings, branding, posters, packaging, titles and logos.

Bagias is a modern and classic sans serif font that features its own unique look. This typeface is perfect for elegant & luxurious logos, book or movie title designs, fashion brands, magazine covers, clothes, lettering, quotes, and so much more.

Introducing Cozee, a quirky tall and narrow handwritten font with stylistic alternates! This modern condensed sans serif is fun and skinny - ideal for creating minimalist illustrations, cricut projects, kids books, branding projects, custom home decor, and so much more.

Presswood JNL was modeled from the title font used on the cover of a specimen book issued by the Delittle Wood Type Company of York, England. This bold, friendly sans serif is available in both regular and oblique versions.

Guinevere Pro is a typeface designed by Icelandic art director Sigurdur Armannsson. It started in 2001 as simple hand-drawn sketches of a few letters built from modules, then became an experiment with four goals: - Construct an original alphabet from a specific set of predetermined modules. - See how certain letter forms built without said modules would behave within the totality of the module-constructed alphabet. - See if certain letters would actually enforce their own shapes to be drawn a certain way within the totality of the typeface. Likewise, see if the totality of the alphabet demands that individual letters be drawn in a specific way, and if so, how much room for variation would there be? - See how all of the above reacts/changes to implementing the alphabet across different weights. The experiment was finessed and re-worked over many years of technology changes, and Guinevere Pro is the final outcome, ten years later. The Guinevere Pro set is four cross-platform Open Type fonts, with built-in small caps, alternates, ligatures, and support for a wide range of Latin-based languages.

The Greek font started from an experiment with designing fonts based on a geometric grid. I joined the points on the grid with straight lines to form the various characters and found that this resulted in a font that closely resembled Greek writing (derived from inscriptions carved in stone) of ancient times. I continued to develop this theme but I now accentuated the look and feel of Greek writing. The three styles shown are the results of this development. I did not kern or letterspace the individual letters since this would have been out of character with the orignal Greek writing. This means that the font is mono-spaced. At a later stage I may produce more refined and "modern" versions of these fonts. Surprisingly, the Greek SCF styles are very readable. The font is fully professional in terms of its character set. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). In fact, it has all the accented characters used in the major European languages.

Edelgotisch is a bold Jugendstil design that shows its strong blackletter roots. This typeface, along with a set of initial letters, was released by Schelter & Giesecke of Leipzig, Germany about 1898 and is very similar to Eckmann-Schrift released by Rudhard'schen Giesserie (later Klingspor) during the same period. One suspects they may have been in direct competition. The decorative devises of the initial letters for Edelgotisch have a simpler, bolder line than for Eckmann. In the initial letter set, the ligatures aesc (AE) and ethel (OE) were generated by embedding the ‘A’ and ‘O’ respectively inside the upper left corner of the ‘E.’ The accented caps were given similar treatment, with the exception of the cedilla. Regarding the I-diaeresis, we considered rotating the accent ninety degrees to avoid and possible misconstruction. On further reflection however, we realized it was silly and unnecessary. No one would look at the accented letterform and see anything but what it is. We have also included four decorative ornaments and a frame with each font.

Jean Evans' interest in type design dates back to her third-grade fascination with fancy script writing. Years later, work at a sign-painting school she found in the Yellow Pages® cemented her relationship with letterforms. Evans went on to study with master calligraphers and type designers, including the likes of Donald Jackson, Hermann Zapf and Matthew Carter. Evans' designs have been exhibited and collected around the globe, and her distinctive calligraphic style has been lauded by leading trade organizations, annuals and publications. Hatmaker, one of Evans' more popular typefaces, was originally developed for the Boston-based broadcast design firm of the same name. Inspiration for the design came from Ben Shahn's famous hand-constructed alphabet. Shahn's alphabet, however, was limited to capital letters. Daunted by the idea of designing a lowercase that would measure up to Shahn's capitals, I developed a second set of caps-simple, quirky, yet almost classic-to work as 'lowercase' with the Shahn-like caps," explains Evans. Mixing the two in Hatmaker, creates a lively interplay of light and dark."

A fairy tale, is a folklore genre that takes the form of a short story. Story tale, is a new type family for wonderous, romantic, magical and playful narratives brought to you by Resitenza. The 1970s were wild and whimsical times. Book covers from this time were iconic, innovative and enduring; bold colour and stylised pattern dominated. Story Tales forms were inspired by 70s books covers, and aims to encapsulate the zeitgeist of the time, but the typeface is by no means constrained to revivals of this era. There are nods to 60's flower power & psychedelia, chromatic type and decorative queues from the 1800s and the spirit of post-war era children's almanacks. It is also perfectly suited to inspiring curiosity, imagination and fantasy in today's audiences. Each of Story Tales 8 styles (4 upright and 4 italics) stack on top of one another giving the designer broad aesthetic range. This layering of styles and the ornamental illumination allows striking multi-coloured typography for your book covers, editorial and poster designs.

I was working at Bozell Worldwide, an advertising agency, on their yearly promotional pitch. An art director was looking for a condensed informal headline treatment to be used on one of the new ad campaigns. I took several different font designs and started to condense and scale the proportions in the hopes of finding several good solutions. They finally settled on a version of Times Roman, scaled horizontally to about 50 percent proportions. I liked the look so much that I later went back to the drawing board and refined the concept by adding slanted serifs and a varying alignment on all the letter forms giving the typeface a very casual and informal appearance. At about that time, I was reading a book by Jack Kerouac, and was so inspired by his writings on the ‘beat generation’ that I decided to name the font ‘Beatnik’. Afterwards, I added a set of true small capitals and old style figures. I'm currently working on additional weights and variations to expand this ‘hip’ new font series. Groovin' baby.

PF Libera was designed at a time of leisure with no particular intention for commercial use. In fact it was offered in the beginning as a freeware. In 2001, designer Charis Tsevis was convinced that it may have some commercial value, so Parachute obtained the rights to sell this typeface. At that time, we did not even imagine what would follow. Since then, PF Libera is one of our most successful typefaces. We have seen it being used in very diverse applications. From publishing to advertising to banking, to transportation, to retail applications. Food, beverages, fashion, automobiles, tourism, the list goes on and on. In any way, this typeface is very personal, modern and provocative. It stays with you and definitely it brings along the message. PF Libera comes in 3 styles. One of them, 'Liberissima', was added later and is more loose than the other two. The new 'Pro' version is powered with 7 OpenType features and is carefully designed to include all languages that are based on Latin, Greek and Cyrillic.

Is it necessary to tell the Gutenberg story? 1456 Gutenberg Pro is the second Gutenberg typeface produced by GLC foundry (look at our 1456 Gutenberg). This font was created from the so called "B42" character set used for the two Gutenberg Latin Bibles (42 and 36 lines), but with a better and finer design than in our first version, more faithful to the finest original printed books appearance. We offer also now a larger choice of the original ligatures and Latin abbreviations, as complete as possible to be usable with OTF specifications. The complete basic alphabet (with "long s" naturally)is strictly looking like the real one (including the curious twisted "X"). We have only recreated the capitals W and J, who was not existing in the time. The numerals, no more existing in the original type set, were inspired from those in use a few years later by early following printers, but matching with the Gutenberg font's pattern. The font includes West (including Celtic), East, Central European, Baltic and Turkish glyphs.

Trump Soft Pro is the softer, round-cornered version of Trump Gothic Pro, the popular condensed gothic seen on films, magazines, book covers and frashion brands all over the globe. Trump Soft offers a friendlier grade of the same economic functionality, clear modular aesthetic and extended character sets as Trump Gothic. The sharper Trump Grothic series is a reconception of ideas from Georg Trump’s seminal 1955 Signum typeface and its later reworking (Kamene) by Czech designer Stanislav Marso. Originally cobbled together for a variety of film projects in the late 1990s and early 2000s, the Trump Gothic family was made available for the general public in 2005. Shortly thereafter, it became extremely popular. It continues to be used extensively today. In 2013, the typeface was redrawn, refitted, optimized and greatly expanded into a multiscript family of six fonts, each containing over 1020 glyphs and a wealth of OpenType features, including small caps, caps-to-small-caps, stylistic alternates, unicase/monocase alternates, fractions, ordinals, class-based kerning, and support for Latin, Cyrillic and Greek locales.