Biwa is a new straight-sided family of formally nuanced grotesk typefaces. Biwa’s lighter weights feel subdued, cool in tone, and neutral, while the heavier weights are more robust and full of personality. Developed over the past few years by Ian Lynam and James Todd, the 14-member Biwa family and the accompanying 14-member Biwa Display family are paeans to the immediate moment when phototype arrived on the global scene — partially smooth and partially machined. Biwa and Biwa Display are neutral in tone, have enlarged x-heights, and look amazing on-screen and in print. Each weight is designed to be highly readable in print and on-screen. The italic variations are true italics, having a single-storied italic a and have been designed for smooth, fluid reading and text-setting. Lovingly spaced and kerned, the Biwa family works equally well for text typesetting and for display design work. Languages supported include Western European, Central, and South European as well as Vietnamese. The entire family is comprised of a range of weights and a matching display family that features rounded terminals for large-scale display work. An agate version of Biwa Black is provided for free.

Devinyl is a monolinear typeface family which mixes different styles. The typeface is entirely composed in capital. The uppercase is inspired by old grotesk from late 19th and the lowercase is a humanist-sans. This is a monoline typeface and the variety of style make it perfect for magazine and poster design. Download the PDF here. Devinyl comprises a family of 8 styles, from the art-deco inspired ‘line’ to the ‘stencil’, often used in street art. All the fonts share the same base. Devinyl family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

Oliviar Sans Variable is a modern sans serif with Grotesque touch. It's my experimental to study the new trends for the future fonts that is Variable Fonts. Inspired by a Geometrical fonts and also Humanist Sans serif. Created with 8 Masters that export to the traditional OTF to 28 Styles!. On the Applications that support variable fonts such as Adobe Illustrator & Photoshop, you can get more than only 28, you can customize the Weight, Width and Slant. Weight created from Thin (100) to Bold (900), Width created from Standard (100) to Expanded (900) and Slant based on degree angle from 1˚ to 10˚. There is a new slider icons for accessing this features Check on Last Display Image. Another advantage on the Variable fonts are you just need 1 files to install to your computer and it will install all the styles available. All of the Fonts are support for Multilanguage, Carefully Crafted.

The Adagio Family is a part of Mateusz Machalski's, Warsaw Academy of fine arts Master Degree Diploma in multimedia studio, conducted by Professor Stanisław Wieczorek and his brave PHD Jakub Wróblewski. Adagio is a modern type family. It consists of 3 main varieties: sans, serif and slab. Each one of them has it's own “true italic” set. All of the styles together have over 400 characters in 9 different thicknesses. The Adagio family was created mostly for company identities. The idea was to create a wide range of different varieties which are stylistically consistent. Adagio Sans - In its character, inspired by classical English typefaces. Sharp chamfers add a strong character. Thanks to delicate contrast and proportions of capitals, this variety has features of humanist grotesque. Thanks to large x length, and highly stretched descenders, it also works correct in longer text, while it’s strong detail is good for headlines. The Sans version is a great complement for Adagio Serif and Adagio Slab.

Caribantu Agora is an update of the Caribantu Grotesque typeface, with a new, more consistent and refined design. Being a 100% Latin Plus typeface, it features a wide range of characters for all Latin languages, making it a versatile option for designers worldwide. The kerning has been adjusted to ensure readability and text cohesion, providing a pleasant and professional reading experience. Additionally, Caribantu Agora includes all braille characters, making it accessible, inclusive, and ready for complex signage and packaging projects. With four stylistic sets, this typeface allows users to further customize their designs. Alternative glyphs allow you to change the look to a more modern and tech form, giving even more dynamism to web pages, packaging, and signage. Check out some of the features present in Caribantu Agora: 7 weights and a variable option; 100% Latin Plus; 15 OpenType features; 4 stylistic sets; Monetary symbols for all circulating currencies; Braille character sets; Math symbols; Arrows pointing in all directions.

Axion RX-14 is an original design by Alex Kaczun. It is but one of several alternate designs based on his original Axion family of fonts. Alternate design elements, specifically on capitals like 'A' , 'V' and terminals of 'C' and 'G', along with contrasting sharp and rounded corners, create a tension within this modern grotesque and add a class of destinction and interest. This display font is not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. The entire font has an original look which is strong, dynamic, machine generated and can be widely used in publications and advertising. Axion RX-14 is a futuristic, techno-looking and expressive typeface with an apperance of machined parts with sharp and rounded edges. This attractive display comes in roman with lower case and lining figures. The large Pro font character set supports most Central European and many Eastern European languages.

Known sometimes as “utopia”, “journey” other times, but also named with name´s place where one wants to go, “Ithaca” home of Ulysses. Typographic Cartesian coordinates are usually two, from the skeleton, the narrower, to the black, the widest. Nowadays, Maese Patau had traveled a road made by four Cartesian axes of typographic geography. A road from thick to thin, from expanded to condensed, to offer us a new family, a larger and extensive series than the traditional family. 48 “relatives” in a pure neo-grotesque font, with a large “eye” that makes it especially suitable for display. Solid hinting in small sizes due to it´s pure and simple basic forms. The jazzy cursive, available in all weights, looks as a simply slanted letter, but when works in conjunction with its regular version, generates an outstanding typographic game. As usual, Maese Patau offer us a extensive typeface in weights, extensive on supported languages, and all kind of OpenType´s capabilities.

Dewi is a modern neo-grotesque multi-typeface family with closed forms. It includes 4 versions: condensed, normal, extended, expanded. In each version there are 16 font styles: 8 regulars and 8 italics (64 styles in total). The family contains weights from thin to black. Everything is ready to solve absolutely any graphic tasks. Dewi helps to create a unique and vibrant design consonant with the spirit of our days. Сontours remains neutral in a small size but when you work with large sizes Dewi shows his strong and confident character. Ideally suited for web design, logos and branding, navigation, printing, advertising and packaging, infographic, poster design, music covers and so many more. This typeface will be a real workhorse for you. Opentype features: old-style figures, tabular and tabular old-style, slashed zero, ligatures, fractions and automatic frations, circuled numbers, arrows and stylistic alternates for arrows, superscript and subscript. Multilingual support: Latin, latin extended, cyrillic and cyrillic extended (more than 70+ languages)

Intelo was created with the single idea of redefining what makes a functional grotesque typeface nowadays. Its large x-height and letterforms with subtle elliptical finish create a distinctive look that can help brands cater to an increasingly design savvy audience. To top it off, Intelo comes in two versions - an attention-grabbing original cut and an additional version with flat endings for a more streamlined effect. The family weights range from thin to extrabold with matching italics making it a versatile choice and perfectly suited for digital applications including web and interaction design as well as printed media such as editorial and corporate materials. When it comes to Opentype features, Intelo is loaded with stylistic alternates, tabular figures, fractions, ligatures, and more. In addition, the font family has an extended language support featuring Western, Eastern and Central European languages. To sum it up, the friendly and inviting letterforms of Intelo came as a solution to the need for more human fonts in our technology-oriented environment.

Segment A is a powerful display type family with 18 styles inspired by condensed European grotesques of 19th-century, but with clear geometric proportions. In Black weights, the letterforms are inspired by the aggressive industrial graphic design of the 1960s and 70s. Both have 3 axes and are adjustable in weight, width and 10˚ italic. It is a typeface with narrow proportions, distinctive character, high-quality outline and lots of details. Characters have oblique cuts, sharp tails and highly visible ink traps. All this makes the font more aggressive and edgy. The huge x-height with short ascenders and descenders allows this typeface to be used in blocks with minimal line spacing. Features: – Total glyph set: 631 glyphs; – 18 styles (3 weights x 3 widths + italic); – Support 210+ languages; – Latin Extended; – Cyrillic Basic + Bulgarian letters; OpenType features: – Proportional numerals, tabular numerals, superiors, fractions; – Punctuations and symbols; – Arrows; – Stylistic alternates (ss01-ss05); – Ligatures; – Case-sensitive forms.

June is a contemporary neo-grotesque sans-serif typeface designed to be highly legible, readable, and usable. The clarity and mathematics were inspired by the research into type form by Adrian Frutiger. June was designed by developing a modern and unique approach to his findings. June's legible features include a near uniform stroke width, open apertures and counters, angular cut stems, and a large x-height. Italics are angled at eight degrees and have been redesigned to provide a stylistic difference without reducing legibility. June comes in seven weights, from Thin to Bold, each equipped with OpenType features. June can be used for all print sizes, and has characteristics that are more visible at larger sizes. June was inspired by a close family member of the designer. A part of all sales will be donated to Alzheimer's Society. Free Variable Font: If you buy the full family, you will also receive the Variable Font version of June, without extra charge.

Core Sans AR Family is a rounded version of Core Sans A that is clean, simple and highly readable. It is a part of the Core Sans Series such as Core Sans N, Core Sans M, Core Sans E, Core Sans A, Core Sans D, Core Sans G, Core Sans R and Core Sans B. Letters in this type family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Core Sans AR family consists of 8 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy) with their corresponding italics. Core Sans AR contains complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.

VLNL Boulangerie was originally an incomplete set of early 20th century wood type letters, that Donald Roos found in a dust covered carton box stashed away somewhere at the Royal Academy in The Hague. Charmed by the letter forms Donald decided to print them on paper with a printing press. Next he digitised the prints as they came out, including small imperfections and damages. The missing characters were composed and added digitally to complete the alphabet. (See if you can spot those!?) We think VLNL Boulangerie is a little French in appearance (hence the name), it's joyful, warm, a little crunchy and round-ish. It defenitely has that ‘je-ne-sais-quoi’ that seperates it from most wood type grotesques. It can be perfect for lettering on a storefront window of – let's say a bread shop or a lunchroom. Or a logo for a downtown hipster café. VLNL Boulangerie hardly has any limitations actually.

Basic Commercial is a family of fonts based on historical designs from the hot metal type era. First appearing around 1900, these designs were created by type designers whose names have not been recorded, but whose skills cannot be overlooked. These typefaces were popular among groups and movements as diverse as the Bauhaus, Dadaism, and the masters of Swiss/International-Style typography. They influenced a variety of later grotesque fonts, such as Helvetica and Univers. Basic Commercial was distributed for many years in the United States under the name Standard Series. The typeface worked its way into many aspects of daily life and culture; for instance, it became the face chosen for use in the New York City subway system’s signage. The Basic Commercial family members have a clear and objective design. Their forms exhibit almost nothing unusual, but remain both lively and legible nonetheless. Perhaps for this reason, Basic Commercial’s design has been popular with graphic designers for decades.

Woodford Bourne is a brand new 19th century grotesque typeface. The design is a tribute to the historic stone cast type in the building façades of the former Woodford, Bourne & Co. in Cork City, Ireland. For many years I had admired the type’s simplicity and strength, so I decided to faithfully reproduce those letters and expand them to a fully working font with 500 glyphs per case. A key feature of Woodford Bourne is the ability to change the feel of your typography with just one click. Switch from contemporary to vintage style by selecting “Stylistic Set 1” – this gives Woodford Bourne a unique versatility which I am sure you will enjoy playing with in your designs. It is a solid, reliable “workhorse” font family that reproduces well at all sizes… it’s also great for branding and identities. These font files (v2) were redrawn and updated in April 2021 (v1 created 2015).

NEW! Update 3.0 What’s New: • New Narrow version of 18 weights • Bulgarian Localization Support • Tabular Figures • Case-Sensitive Punctuation • Extended Glyph Case • Icon Sets PDF Specimen available: http://myfonts.us/suAc3K Panton has been expanded with Panton Narrow! It has 9 uprights and 9 matching italics ranging from Thin to Heavy. The Panton font family includes 54 fonts - 19 uprights with 19 matching italics and 16 icon sets as a bonus! It is characterized by excellent legibility in both web & print design areas, well-finished geometric designs, optimized kerning, excellent web-font performance and legibility etc. Inspired by the classic grotesque typefaces - Panton has his own unique style, expressed in perfectly softened geometric forms. The font family is most suitable for headlines of all sizes, as well as for text blocks that come in both maximum and minimum variations. Panton font styles are applicable for any type of graphic design in web, print, motion graphics etc and perfect for t-shirts and other items like posters and logos.

The Core Sans ES Family is a rounded version of Core Sans E and a part of the Core Sans Series such as Core Sans N, M, A, G, D. This is a modernized grotesque font family with horizontal terminals, low stroke contrast, enclosed apertures and little line width variation. Its tall x-height makes the text legible and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans ES Family consists of 9 Weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black) and Italics for each format. It supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Superiors and Inferiors, Fractions, Tabular numbers, Arrows, Mathematical operators and Opentype Features such as Proportional Figures, Tabular Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions, Case Features and Standard Ligatures. We highly recommend it for use in books, web pages, screen displays, and so on.

Introducing New Neosande Neosande is a contemporary typeface family that belongs to the neo-grotesque sans serif category. It was designed by Faldykudo and released in 2023. The typeface family includes a range of weights, from Thin to Black. The design of Neosande is characterized by a clean with straight lines. It has a modern, sleek look that makes it suitable for a wide range of applications, including branding, advertising, editorial design, and web design. The typeface has a high degree of legibility, making it ideal for use in body text, headings, and titles. In terms of language support, Neosande covers a wide range of Latin-based languages, including Western, Central, and Eastern European languages, as well as Turkish, Baltic, and Celtic languages. Overall, Neosande is a versatile and modern typeface family that offers designers a range of weights and styles, as well as OpenType alternates, making it a popular choice for a wide range of design applications.

Pop Manta delivers the perfect punch when impact is needed. Useful on everything from boxes of bubble gum to pro wrestling posters. Pop Manta has been described as "Morris Fuller Benton meets Roy Lichtenstein". Benton's 1903 neo-grotesque letter shapes set to a Pop Art beat. With over 650 glyphs, characters, symbols and ornaments, Pop Manta is a complete design kit in one font. A full range of accents and extras allows Pop Manta to speak well over 70 languages. Including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili, Swedish, Croatian (Latin), Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian, Turkish, Afar, Azerbaijani, Belarusian (Latin), Chichewa, Croatian (Latin), Gikuyu, Greenlandic, Guarani, Igo/Igbo, Kuskokwim, Luba (Ciluba), Malay, isiNdebele, Oromo, Pilipino/Tagalog, Setswana, Sidamo, Somali, Sotho (Northern and Southern), Swazi, XiTsonga, Tuareg, Uzbek (Latin), Vietnamese, Welsh, isiXhosa, Yoruba, and isiZulu.

Axion STN is an original design by Alex Kaczun and is a stencil interpretation of his Axion RX-14 font. It is but one of several alternate designs based on his original Axion family of fonts. The wide gap within this stencil treatment works well with and compliments the spacing in the font, creating a tension within this modern grotesque and adding a class of destinction and interest. This display font is not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. The entire font has an original look which is strong, dynamic, machine generated and can be widely used in publications and advertising. Axion STN is a futuristic, techno-looking and expressive typeface with an appearance of machined parts with sharp and rounded edges. This attractive display comes in roman with lower case and lining figures. The large Pro font character set supports most Central European and many Eastern European languages.

Marsden is a bold, no-nonsense Grotesque. It was designed for display, branding, advertising, packaging or anywhere a strong voice is needed. Marsden is built on a geometric foundation, with just enough warmth to keep the style confident and lively. The family features 8 widths in 12 weights; from a Slim Hairline to an extremely bold Wide Super. The fonts flow from condensed to wide with design intent. The condensed forms feature flat sides and subtle curves, while the wider forms feature rounded sides and open curves. The character set is robust, covering extended latin. The default forms are contemporary with alternates including: single-story a, two-story g, curved terminal l, raised vertex M, rounded top A, fully rounded G, rounded leg R, straight tail Q and straight descender y, all separated into individual style sets for control and customization. Completing the family are the Text fonts where the weights, widths and spacing are adjusted for smaller use.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Tropical Jungle is a fun wild font, inspired by the wild life of the jungle. Inspired by the tropical rainforests of South America, Africa, and Asia, this font will inspire you to get out there and explore! Tropical Jungle is a bold, quirky typeface that captures the joyous spirit of life on earth or at least, of the parts we’re most familiar with: monkeys swinging through trees, tigers stalking their prey through the jungle, butterflies flitting from flower to flower. You can tell just from looking at it that this is going to be a fun-loving font that will bring a smile to your face and a bounce to your step. With over 500 glyphs, this stack of jungle animals will be a joy to use! We made sure our font was easy to read in any application so you don’t have to worry about your documents cluttering up. We know you can’t wait to get started using it in your next project. So go ahead! Grab Tropical Jungle now! A Million Thanks Colllab Studio www.colllabstudio.com

Sedona is a quirky, all capitals, display font that evokes the American West, Native Americana, vacations, travel, campgrounds, rustic lodges, needle point, Christmas, holidays, Arts and Crafts movement, quilts, tiles, and alpine resorts. It is based on an isometric grid and individual shapes that conform to the grid's structure. Each letter or glyph is made up of numerous triangular shapes. The letters have gaps of space that create a dynamic texture. Our mind connects the triangles to complete the letter and recognize the familiar letterform. Sedona will create a unique identity for book cover titles, editorial headings, packaging, logotypes and signs. Create multicolored letters by selecting individual shapes within each letter and apply various colors. Simply convert type in Adobe Illustrator or InDesign with these two steps: 1. "Creating Outlines", 2. "Release Compound Path". You may also want to "Ungroup" the letters. Great care was taken to align the shapes perfectly. There are no overlapping or misaligned shapes. Sedona includes punctuation, numerals, and basic math glyphs.You will find some additional and alternate glyphs in the "Glyph Palette". Sedona does not include a lowercase or diacritics for foreign languages. You may type in lowercase but the letters will appear as uppercase.

Frutiger Capitalis Regular and Outline belong to the group of typefaces for the Linotype’s Type Before Gutenberg project. However, they are not based on direct historical sources. At first glance, they may seem related to the roman type Capitalis Monumentalis, but upon closer examination, the fonts reveal a vitality unknown to the characters the Romans etched in stone. Frutiger confesses that creating Capitalis was “a liberation”. After working on so many sophisticated and meticulously designed typefaces, Frutiger Capitalis was a breath of fresh air. Stylistically, Frutiger Capitalis Outline forms a bridge to Frutiger Capitalis Signs, a whole universe of its own. Frutiger Capitalis Signs is a personal cosmos of symbols, many are immediately “legible”, others leave room for interpretation. Some of the symbols are the product of Frutiger’s imagination, such as his “Life Signs” — soft, hand drawn figures whose lines have no apparent beginning or end, creating both interior and exterior spaces, new forms emerging at each glance. These contoured drawings have accompanied Frutiger throughout his professional life, a fantasy garden which has provided an important balance to his many years of disciplined typeface design. Yet he does not consider himself an artist. Frutiger says he simply “wants to tell stories, to draw thin lines, create contours of signs; that is my style”.

Bold, muscular, vaguely oriental, Wedge Gothic ML is the original name of this font released by Barnhart Bros. and Spindler of Chicago in 1893. The straight-forward, no-nonsense name tells us exactly what to expect: sans-serif letterforms based on wedge-shaped vertical strokes. The typeface was dropped for awhile -- it does not appear in the 1907 catalog for example -- but reappeared in 1925 as Japanette. What is the opposite of "straight-forward" anyway? According to McGrew, Wedge Gothic was originally created for the Chicago Herald newspaper. The designer is unknown. A distinctive display face, useful when a strong and unusual statement is desired. Wedge Gothic ML features: 1. Glyphs for the 1250 Central Europe, the 1252 Western Europe, the 1254 Turkish and the 1257 Baltic Code Pages. Total of 335 glyphs. 2. OpenType GSUB layout features: pnum, ornm, hist & salt. 3. 66 kerning pairs. 4. Both tabular & proportional numbers. 5. Alternate bullets. 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.

Eight designers present a set of icons that indicate the fun and fantastic world of signage. Each collaborator's solution represents a completely different interpretations on signage vernacular. Akira Kobayashi's "Subsumption", obscured by foliage, offers a perspective that signs on Japanese roads can be vague and beautiful. M.A.D.'s "People Signs" is a graphical association of people signage with a variety of well known situation symbols. Cynthia Jacquette's "Honest Arrows" are a series of arrows that attempts to honestly tell you how to get from point A to Point B in a big, confusing city. Mike Kohnke's "Road Kill" and the "Bump & Bruise" highlight how signs make for perfect targets when unloading a round of buckshot, and the licking a contruction barrier often endures. Joachim Muller-Lance's "Traffic Blends" places faces on things! Hey, didn't you give your first car a nickname? Cars are alive, you know - they guzzle and smoke all day. Jean-Benoît Lévy's "Inner-State" was inspired while reading the California driver handbook to pass a driver's test. Kevin Roberson's "Tail Lighting" reminds us to drive carefully and not to forget to signal. Diana Stoen's "Drivers Out There" shows us "driver personality archetypes", including the lil'ol lady that everyone tries to avoid.

Ahmed is a modern Arabic headline face, first produced by Linotype-Hell Ltd. in the early 1980s. Originally developed as a simplified face, its design recalls the inscriptional and decorative tile work lettering of the medieval period. The strong treatment of the tails of certain characters departs from the more traditional style of tapering these finials, introducing a modern feel to the design. The contrasting proportions of the tall vertical strokes and the rather elongated counters lend a monumental look to Ahmed, allowing its effective use in titling. During the later 1980s Ahmed was developed into a traditional typeface, with the introduction of medial forms to improve character spacing and balance. Recently, Ahmed has been converted into the OpenType font format, ensuring its continued popularity as a heading face for newspaper typesetting. The Ahmed typeface contains two weights, Ahmed and Ahmed Outline. Both of the OpenType fonts include Latin glyphs from Clearface Gothic Roman inside the font files, allowing a single font to set text in both most Western European and Arabic languages. The two Ahmed fonts include the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Bandung Pro from Majestype was made to capture the natural movement of a brush script infused with the elegance of copperplate hand. With 6 months in the making, we want to make sure that the character set connects each other as natural and seamless as handwriting would be. We give you vast amounts of glyph options(700+) added with lots of swashes and flourishes to give you an authentic look of hand-made brush letters. Aceserif Pro is an all-caps serif font inspired by traditional serif and art deco design. Equipped with 220 Glyphs and has the current OpenType features. We made the uppercase letters slightly larger than the lowercase letters to give a good impression when used in designs that don’t require a lot of words, such as headlines or headers. You can try it like this, “HeadlineS” - Capital letters are at the beginning and end of a word. Bandung Pro & Aceserif Pro is suitable for a wine label, photography, invitation, ID card, tattoo, poster, logo, title, tees, branding, etc.

Kometa Sans is a contemporary grotesk with a certain personality. She has a steady geometric skeleton, but its appearance is rather humanistic. The precise details of the artwork, the carefully drawn true italics, the six types of numerals, the variety of alternates, the broad range of open-type features and the extensive glyph set can meet most of the contemporary typographer’s demands for a neutral, but not boring type family for both long text and display use. Among the distinctive qualities of Kometa are also the forms of ligatures (both default and discretionary). They follow the natural constructive transitions between oval parts and stems, which is an advantage to mark, at least for designers who respect the beauty of clean forms. Note the specially designed Kometa Unicase sub-family, substantially enough to exist as a separate typeface. Its elegant and expressive letterforms are boosting further the power to create outstanding design work. Kometa Unicase has original and playful, yet reasonable approach to letterforms variety. Kometa has a very broad usability range – from logotypes and poster designs to corporate identities and complex editorial projects. The contemporary Cyrillics of Kometa allows easily completion of graphically consistent multilingual corporate and artistic design projects. Designed by Kiril Zlatkov and Vassil Kateliev.

Oktah is a geometric grotesk that comes both as a variable font and 22 static fonts: 11 uprights and 11 matching italics, which make it a great tool for those seeking a versatile font with a strong character and high legibility. Throw in a very pleasing look, elegant curves and a wide range of weights, and you'd get what Oktah aspires to be: a perfect typographic tool for every need.In Oktah, elegant geometric curves meet bold strokes and wide apertures. Round letters are nearly circular, but, to boost readability, slight changes were introduced for optical compensation. Oktah is also equipped with amazing OpenType features: case sensitive punctuation, ligatures, fractions, superscript and subscript figures, two kinds of circular figures, stylistic & contextual alternatives and much more! Oktah supports all major European languages, as well as Vietnamese and some dozens of foreign languages that you may encounter in your designs. We've got all that covered. The glyph count for each of the styles is 800+ characters. Two styles (Extra Light and Bold Italic) are free to try and experiment with. If you need wide language support and more extensive OpenType features, consider taking a look at Oktah Neue, a bigger version of the classic Oktah.

TT Marxiana useful links: Specimen | History of creation | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Marxiana: TT Marxiana is a project to reconstruct a set of pre-revolutionary fonts that were used in the layout of the "Niva" magazine, published by the St. Petersburg publishing house A.F. Marx. In our project, we decided to focus on a specific set of fonts that were used in the preparation and printing of the "Niva" magazine in 1887, namely its Antiqua and Italic, Grotesque and Elzevir. As part of the TT Marxiana project, we sought to adhere to strict historicity and maintain maximum proximity to the paper source. We tried to avoid any “modernization” of fonts, unless of course we consider this to be kerning work, the introduction of OpenType features and creation of manual hinting. As a result, with the TT Marxiana font family, a modern designer gets a full-fledged and functional set of different fonts, which allows using modern methods and using modern software to create, for example, a magazine in a design typical of the late 19th century. The TT Marxiana project started in the late summer of 2018 and from the very beginning went beyond the traditional projects of TypeType because of the importance of preserving the historical identity. Since up to this point, we had never before reconstructed the font from historical paper sources and with such a level of elaboration and attention to detail, it took us two years to implement this project. You can read more about all stages of the project in our blog, and here we will briefly talk about the result. As it turned out, drawing a font following the scanned pages of a century-old magazine is a very difficult task. In fact, such a font reconstruction very much resembles archaeological excavations or solving a complex cipher, and all these efforts are needed only in order to finally understand what steps need to be taken so that the resulting font is not just an antiqua, but the specific and accurate antiqua from "Niva" magazine. In addition, due to the specifics of printing, same characters in the old magazine setting looked completely different, which greatly complicated the task. In one place, there was less ink than needed, and the letter in the reference was not well-printed and thin, in some other place there was more ink and the letter had flooded. An important task was to preserve and convey this feeling of typographic printing, but at the same time it was important to identify the common logic and character of the dot gains so that the font would form a harmonious, single, but at the same time lively picture. Since the "Niva" magazine was historically published in Russian, the magazine had no shortage of references for the reconstruction of Cyrillic characters, but there were not many Latin letters in the magazine at all. In addition, the paper source lacked a part of punctuation, diacritics, there were no currency signs nor ligatures at all—we developed all these characters based on font catalogs of the 19–20 centuries, trying to reflect characteristic details from the main character composition to the max. So, for example, the Germandbls character, which is not in the original "Niva" set, we first found in one of the font catalogs, but still significantly redesigned it. We decided that in such a voluminous project, only graphic similarities with the original source are not enough and we came up with a feature that can be used to exchange modern Russian spelling for pre-revolutionary spelling. When this feature is turned on, yat and yer appear in the necessary places (i, ѣ, b, ѳ and ѵ), the endings of the words change, and so appears a complete sensation of the historical text. This feature works in all fonts of the TT Marxiana font family. TT Marxiana Antiqua is a scotch style serif, the drawing of which carefully preserved some of the artifacts obtained by printing, namely dot gain, a slight deformation of the letters and other visual nuances. TT Marxiana Antiqua has an interesting stylistic set that imitates the old setting and in which some of the signs are made with deliberate sticking or roughness. Using this set will provide an opportunity to further simulate the setting of that great time. TT Marxiana Grotesque is a rather thick and bold old grotesk. Its drawing also maximally preserved the defects obtained during printing and characteristic of its paper reference. In addition to pre-revolutionary spelling, TT Marxiana Grotesque has a decorative set with an inversion. This is a set of uppercase characters, numbers and punctuation, which allows you to type inverse headers, i.e. print white on black. As a result of using this set, you get the text against black bars—this way of displaying was very characteristic for print advertising at the turn of the century. In addition, about 30 decorative indicator stubs were drawn for this set: arrows, hands, clubs, etc. TT Marxiana Elzevir is a title or header font and is a compilation of monastic Elzevir that were actively used in the "Niva" magazine for all its prints. Unlike the antiqua, TT Marxiana Elzevir has sharper forms, and the influence of deformations from typographic printing is not as noticeable in the forms of its signs. This is primarily due to the specifics of its drawing and the fact that it was usually used as a heading font and was printed in large sizes. The height of the lowercase and uppercase characters of Elsevier is the same as the heights of the antiqua, but the font is more contrasting and lighter, it has a lot of white and, unlike the antiqua and the grotesque, there are a lot of sharp corners. An exclusive feature of the TT Marxiana Elzevir is an alternative set of uppercase characters with swash. • TT Marxiana Antiqua consist of 625 glyphs each and and it has 23 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, ss05, case. • TT Marxiana Antiqua Italic consist of 586 glyphs each and and it has 22 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Grotesque consists of 708 glyphs and it has 22 OT features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Elzevir consists of 780 glyphs and it has 21 OT features, such as: aalt, ccmp, locl, ordn, frac, tnum, onum, lnum, pnum, calt, ss01, ss02, ss03, ss04, ss05, ss06, salt, c2sc, smcp, case, liga. FOLLOW US: Instagram | Facebook | Website TT Marxiana language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Breton, Bulgarian (cyr), Catalan, Cebuano, Chamorro, Chiga, Cornish, Corsican, Cree, Danish, Dutch, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Galician, German, Gusii, Haitian Creole, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (cyr), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Ladin, Leonese, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Mauritian Creole, Minangkabau, Montenegrin (cyr), Mordvin-moksha, Morisyen, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Rheto-Romance, Rohingya, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Samburu, Sango, Sangu, Scots, Sena, Serbian (cyr), Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Taita, Tetum, Tok Pisin, Tsonga, Tswana, Ukrainian, Uyghur, Valencian, Volapük, Võro, Vunjo, Walloon, Xhosa, Zulu.

Get inspired with Fester Behance presentation After several years of iterations, our brand new sans family of 16 styles is ready to take over with vector excellence! Fester is a semi-condensed Grotesque developed to beam big messages across the galaxy with a clear, bold voice. Emerging as if from the future, this low-contrast sans warps slick lines and sharp terminals into unexpected geometric shapes for extra flair. Ranging from Thin to Heavy, the typeface is loaded with 8 weights + italics, one variable style, over 760 glyphs, and Extended Latin + Cyrillic for flawless work at hyper-speed. Fester syncs with designs that feature big type, sharp layouts, interfaces, outlines, and raster images to help decipher any cutting-edge idea and make a memorable first contact. Family overview: 8 weights (from Thin to Heavy) + italics Extended Latin Cyrillic 760 glyphs Variable Font 1 free font - Fester-ExraLight 130+ languages OpenType Features: Localized Forms Subscript and scientific inferiors Superscript (Superiors) Numerators and Denominators Fractions Lining Figures Tabular Figures Oldstyle Figures Case-Sensitive Forms Standard and Discretionary Ligatures Stylistic Alternates Contextual Alternates Slashed Zero

Akira Kobayashi’s Between™ typeface comes in three main states. While different from each other, they all offer human-centered design to ensure that copy set in them is affable and approachable. An added benefit is the ability to transition “between” font designs, choosing different styles – or even individual characters – to create hierarchy, contrast or emphasis. Kobayashi designed the Between typeface in response to the current popularity of rounded, humanist sans serif designs over the cool grotesques of the 20th century. Between 1 melds industrial and humanist sans ethics. Between 2 represents a sans version of Kobayashi’s Cosmiqua® typeface, striking a balance between crisp and legible, organic and friendly. Between 3 is a freestyle sans with an uplifting sprightly mien. Between has 48 styles; each has eight weights of roman with its own italic counterpart. The family offers a large set of alternative glyphs and OpenType® features. A full interactive type specimen can be viewed here: http://www.monotype.com/fonts/between/ Featured in: Best Fonts for Logos

The Core Sans N Family is a part of the Core Sans Series (Core Sans N SC, Core Sans N Rounded, Core Sans M, and Core Sans G). Letters in the Core Sans N Family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans N Family consists of 3 widths (Condensed, Normal, Extended), 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black), and Italics for each format. It also supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans N Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

Gilam is a sans serif font with semi-condensed proportions. The typeface was based on the famous DIN but combines its popular neo-grotesque look with characteristics, such as the pointed edges in the “W” and “M” as well as the outward cut terminals, which gives a distinctive look to the modern geometric typeface. The complete set of 9 weights plus italics gives to designers the absolute freedom to create anything. Perfect layouts with blocks of text, headlines, motion graphics, logos, apps, and websites are just part of the intended usage of this versatile typeface. Features: • 765 glyphs in 18 styles; • Extended Latin, Cyrillic and Greek; • Geometric forms and low contrast; • Prominent x-height which makes it legible in a text; • Perfect for headlines and logos; • Suitable for web, print, motion graphics etc. • Semi-condensed proportion; • Advanced typographical support and OpenType features including case-sensitive forms, fractions, superscript and subscript characters, and stylistic alternates; • Complete set of figures - old style and lining figures, which come with proportional and tabular variation; Gilam means “joy of people” so that you can enjoy it!