Ultima Pro is a geometric sans serif typeface family of eight styles – light, regular, bold and black in roman and italic respectably. Ultima Pro typeface is an upgrade addition to Ultima family (2010). All glyphs have gone through shape refinements, and the amount of glyphs was significantly extended, which enabled support of more Latin languages as well as full support of Cyrillic. Fonts released in OpenType format with some opentype features. The typeface is ideal for use in display sizes though is quite legible in text.

Introducing Blonden: A condensed sans-serif font that fuses modernity with streamlined efficiency. Blending style and compactness, Blonden brings a dynamic edge to any design. Experience the sleek versatility of Blonden's condensed form, perfect for making bold statements in tight spaces. This typeface is ideal for greeting card, packaging, brand identity, poster, or any purpose to make your design project look eye catching and trendy. Feel free to play with this typeface!

Kame has a unique character and comes with 2 styles, allowing you to play with combinations to create a stunning display. This font is suitable for many design formats, such as posters, cover art, logos, magazines and anything with a futuristic theme.

Imagine America in the 1930s. A gangster flick with Al Capone, a crime novel featuring Philip Marlowe. Our hero in a fedora sits in a classy bar, orders a double bourbon, lights a cigar and eyes the evening paper. He turns the pages, reading about a bank heist over on Third Avenue, a scandal involving a baseball player, a small ad for a general practitioner and a large spread about a famous law firm. What do the bottle of booze and the majestic facade of the bank have in common? The elegant baseball uniform and trustworthy attorneys? - Copperplate Gothic - When Frederick William Goudy created his legendary typeface in 1901, it went on to literally become the symbol of early 20th century America. Tiny serifs, characteristically broad letterforms, and particularly bold titles decorated calling cards at 6-point size, enormous bronze-cast logos, newspaper headlines, restaurant menus and more. This was the golden age of Copperplate, lasting up until the arrival of die neue Typografie and monospaced grotesques in the 1960s. Then the typeface almost completely disappeared. It made a partial comeback with the advent of the personal computer; digitizations of varying quality appeared, and one version even became a standard font in Adobe programs. This may have played a role in Copperplate later being used in DIY projects and amateur designs, which harmed its reputation. Copperplate New has been created to revive the faded glory of the original design. Formally, the new typeface expands the existing weight and proportional extremes. The slight serifs are reduced even further, making the typeface sans-like at smaller point sizes and improving readability. In contrast, at large point sizes it retains all of its original character. Decorative inline & shadow styles have been added and both have been created in all five proportions, making it easy to adapt the typesetting to the format you need. Despite these changes and innovations, Copperplate New remains true to Goudy’s original design and represents a snazzy way to evoke a golden era in American culture. Specimen: http://carontwice.com/files/specimen_Copperplate_New.pdf

Funfont is a sans serif fantasy font with funny spirit designed to recreate an style of good humor. FunFont comes in three styles: Normal, Outline and Shade.

Urania is a new approach to early sans serif typefaces, in particular Ferdinand Theinhardt’s types which came out at the beginning of the 20th century. Urania is not an adaption, but a new interpretation of familiar and successful formal features, transformed into a contemporary look. The Urania family consists of 18 styles and it comes in OpenType format with extended language support for more than 40 languages. All weights contain ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternative characters.

Modena is a beautiful high fashion font duo that makes for gorgeous logos, posters, wedding invitations, blog posts, social media, and more! I love using them together with layer masks in Photoshop, so it looks like the script is running through the lines of the sans serif. The sans looks stunning with tracking set to 220, as well as where it falls normally at 0! Modena Script includes over 50 ligatures to make everything look totally hand-done, and alternates for each letter.

Metric Navy PRO is a lightweight monoline developed for short texts and loose phrases in versions: thin, light, normal, regular, bold and black.

Rohyt is a contemporary Sans-serif typeface made up of 32 fonts across 8 weights with normal and slim options. It’s a unique and modern sans typeface, which is well suited for a variety of typographic applications such as headlines and small texts. The Brilk font family supports multiple languages and is available as both webfont and desktop font.

Nordt is a wide sans serif typeface made up of 40 fonts across 10 weights with normal and slim options. It’s a unique and modern sans typeface, which is well suited for a variety of typographic applications such as headlines and small texts. The Nordt font family supports multiple languages and is available as both webfont and desktop font.

Prayuth is a contemporary sans-serif typeface made up of 32 fonts across 8 weights with normal and slim options. It’s a unique and modern sans typeface, which is well suited for a variety of typographic applications such as headlines and small texts. The Prayuth font family supports multiple languages and is available as both webfont and desktop font.

Harri –“stone” in Basque language– is a display font based on the peculiar letter forms used in signs and fascias all over the Basque Country. This idiosyncratic lettering style, very often used as an identity signifier, evolved from ancient inscriptions carved on gravestones which can still be found in the French part of the Basque Country (Behe Nafarroa, Lapurdi and Zuberoa).Harri takes some of its more significant features from those engraved letter forms, but also from the current overemphasized shapes derived from them, while keeping in sight their antecessors: the Romanesque inscriptions and ultimately the Roman Capitals. Gerard Unger once said “the black version of a font is a caricature of the regular”. This may explain how the odd heavy shapes in use in the Basque Country today might have evolved from their engraved roots, which are already an interpretation of Romanesque and Roman letter forms. This evolution is echoed in Harri through its weights, from the clean formal Roman-inspired light to the extreme expressive Basque-style extra bold.

Tierra Script is a connected script typeface with a simple structure and organic contour. Its naivety and fluency makes it easy to read and close to everyone. The system has two main styles, one more formal than the other, then could be used in a wide diversity of designs applying the appropriate look. Also has other features, like swashes, alternative characters and contextual replacements. All that features are supported by a careful Open Type programmation, then is just needed to play a little with the font to obtain lovely words and phrases. Some features are present in all the fonts but the "Plus" version contains all of them.

The Glint font family is a refined and redesigned version of the BigBang font. Family contains 6 fonts - Glint Black, Bold, Light, Regular, Rought, SemiBold. Glint font is a geometry, modular sans serif font, square glyphs looking. It’s suitable for use in all areas of natural sciences, architecture, urban planning, technology, electronics, medicine, sports, advertising, futuristic themes, modern art, film, multimedia, logo design... Glint contains Cyrillic characters and Latin glyphs of all European languages.

At the turn of the 20th century monolinear alphabets were often despised for their dullness. Typographers, therefore, took great pains to breathe some kind of individuality into the monotonous sans-serif scheme. They started with subtle differentiation in the thickness of vertical and horizontal strokes and finished by improving details. By this they arrived at a more decorative appearance of the type face which thus became more regardful of the eye of the bourgeoisie. Ideal Gothic is no exception. It is characterized by a correct stiffness which will improve the morals of every idea printed by this type face. The awkward curves of the italics are a little suggestive of openwork iron products or the bent iron of the decorative little railings in a Prague park. The so-called "hidden" and, furthermore, curved serifs complete the inconspicuous "charm" of this type face. All its above-mentioned features, however, suddenly turn into advantages when we need to design a magazine, a brochure or an annual report, in short whenever illustrations dominate. It is not by accident that the basic design of "Ideal Gothic" has such a light tonal value - it competes neither with fine pencil sketches, nor with sentimental landscapes. It is very suitable for business cards and corporate identity graphics.

Angelliey is a beauty script based on a modern calligraphy with natural hand writing look and feel. It can be used as digital signature as well. It has many alternates and ligatures which contain many swashes that you can play with. This type of font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual alternates and ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Although ITC Styleboy has a retro feel, it isn't based on any earlier typeface. As far as inspiration goes," says designer Chester Wajda, "I'd have to say comic strips of the '20s and '30s, and silent-film marquee lettering from the '20s - with a hint of a Chinese brush?" He originally created the typeface for a children's book he was working on. "I wanted it to be fun, but still somewhat formal in its underlying structure," he says. "It's largely based on right and 45-degree angles, with slight tucks inward on the stems and bowls, and a few flourishes here and there." Styleboy's top-heavy look is most noticeable in the caps, but it's exaggerated too in the "8" and the lowercase "g." Styleboy is Wajda's first typeface design."

Core Slab M is the serif companion to Core Sans M (Text family of the month. May, 2013). This font family has open and square letter shapes, and overall rounded finishes and serifs provide a soft and friendly appearance but also it is strong in headline. Simple and modern shapes with a tall x-height make the text legible and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Core Slab M Family consists of 2 widths (Condensed, Normal), 7 weights ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy), and Italics for each format. Combination fonts such as Core Slab M Ice, Berg and Iceberg are also available. Each font includes support for Superiors and Inferiors, Fractions, Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Tabular Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. We highly recommend it for use in books, web pages, screen displays, and so on.

Blankcho, There’s beauty in the plain version Blankcho, even without all the extras, for a clean and elegant minimal serif. Any version of Blankcho brings a touch of luxury and bespoke custom typography to modern logos, websites, social media quotes, wedding branding, and more. This font is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease!

Dotum™ features plain strokes similar to sans serif designs with proportional Latin characters, and works well for on-screen display such as user interfaces. This Dotum font file is 5.2 MB in size. Dotum is a trademark of Microsoft Corporation. Dotum font Character Set: Latin 1, Korean code page 949

DotumChe™ features plain strokes similar to sans serif designs with half-width Latin characters, and works well for on-screen display such as user interfaces. This DotumChe font file is 5.2 MB in size. DotumChe is a trademark of Microsoft Corporation. DotumChe Character Set: Latin 1, Korean code page 949

GulimChe™ features plain strokes similar to sans serif designs with half-width Latin characters, and works well for on-screen display such as user interfaces. This GulimChe font file is 5.2 MB in size. GulimChe is a trademark of Microsoft Corporation. GulimChe Character Set: Latin 1, Korean code page 949

MS Gothic™ Japanese font features plain strokes similar to sans serif designs, and works well for on-screen display such as user interfaces. This file is 4.4 MB in size. MS Gothic is a trademark of Microsoft Corporation. MS Gothic font Character Set: Latin-1, Japanese (Code Page 932)

The Pilatus font is a sans-serif standard technical font based on the ISO 3098 standard. The standard was developed for a good reading when reducing technical plans on films. The font follows clear rules and geometric proportions.

Zin Serif is a contemporary typeface designed for various situations of typographic usage. Characteristic feature is a large x-height and balance between neutral construction of letters (strictly vertical axis) and dynamic open forms (opened terminals). Another typical feature is a visually narrower connection between stems and strokes. The complete font family consist of three width proportions (Normal, Condensed and Extended). Every sub-family has 5 weights, ranging from Light to Black with matching Italics. Zin Serif can be effectively used for both text and display typesetting. It can be used especialy in magazine layouts and editorial design, as well in advertising typography, orientation systems, corporate identities and many other situations. Zin Serif is a member of the Zin super family, which also includes Zin Sans, Zin Slab and Zin Display fonts.

With Albafire, Jürgen Ellenberger has played with flames that come out of the exhausts from Michael Schumachers Ferrari, or the hot rod cars in America or at the tractor pulling contests. This gives this sans serif face a speedy and wavy flavour. It fits ideally for speedy headlines like for bikers couriers.

This family was inspired mainly (Normal and Italic style ) by a Didot pattern font used in Rennes (France, Britanny) by Cousin-Danelle, printers, for Antiquités historiques et monumentales ‡ visiter de Montfort ‡ Corseul, par Dinan... Saint Malo... etc. an historic guidebook for a journey through a part of (French) Brittany in 1820, and many other books. The present version contains 1820 Modern Normal and Italic, 1820 Modern Large Normal and 1820 Modern Narrow Normal, each style with small caps. This font may be used together with 1906 French News and/or 1906 Titrage.

Ciao! This is Maestri — a connected script family of eight weights, from thin to heavy. Maestri is initially a sans serif made into a script, hence the design that's strict, clean and sharp. The formal approach gives it a touch of cool elegance — yet Maestri is full of expression and character. This is evident in the wide array of Open Type features which will open up innumerable solutions for unique typography with a hand-written feel.  For lowercase letters, available are Ending Alternates, Standard Ligatures and Contextual Alternates. Uppercase can be used to write in caps and there are also Swash alternates that have script-like character forms for every uppercase letter.

Gundrada ML was inspired by the lettering on the tomb of Gundrada de Warenne. She was buried at Southover Church at Lewes, Sussex, in the south of England in 1085. The Latin inscription on her tomb, STIRPS GUNDRADA DUCUM, meaning “Gundrada, descendant of the Duke” may have led to the speculation that she was the daughter of William, Duke of Normandy and bastard son of Robert the Devil of Normandy and Arletta, daughter of a tanner in Falaise. In 1066 William defeated Harold at the Battle of Hastings and was crowned William I of England. More commonly known as William the Conquerer, he commissioned a string of forts around the kingdom and charged trusted Norman Barons to control the contentious Anglo-Saxon population. William de Warenne, husband of Gundrada, was one of these Barons. There has also been the suggestion that Gundrada may have been the daughter of William’s wife, Matilda of Flanders, by a previous marriage. According to the Dictionary of National Biography (Oxford University Press, Oxford, England 1921-22), both of these contentions are in dispute. Searching the past of a thousand years ago is like wandering in a heavy fog: facts are only dimly in view. Regardless, I know that I found these letterforms immediately engaging in their simplicity. Unadorned and unsophisticated, they have a direct honesty that rests well in the company of humanistic sans serifs like Franklin Gothic or Gill Sans, appealing to a contemporary sensibility. The lettering on the tomb is in upper case only. Although Gundrada does not sound Norman French to me, her husband certainly and her father probably were Norman French. Nonetheless, the man that carved her tombstone was probably Anglo-Saxon, like most of the people. For that reason, we are quite comfortable with a fairly generic lower case from an Anglo-Saxon document of the time. The time was a time of transition, of contending language influences. This font reflects some of that tension. Features 1. Multi-Lingual Font with 389 glyphs and 698 Kerning Pairs. 2. OpenType GSUB layout features: onum, dlig, liga, salt & hist. 3. Tabular Figures and Alternate Old-Style Figures. 4. Alternate Ruled Caps (line above and below, matching to brackets). 5. Central Europe, Western Europe, Turkish and Baltic Code Pages. 6. Additional accents for Cornish and Old Gaelic. 7. Stylistic alternates A, E, y and #. 8. Ligatures ST, Th, fi and fl. 9. Historic alternate longs. 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.

Mosse Thai is an extraordinary sans-serif typeface that designed for improve readability, formal but casual, with straight cut at terminal and reverse angled at spur and finial give a little bit sweet. Mosse is simple and identical, come with nine weights allowed you to use the right weight to the right proportions. Mosse Thai also support many languages, thanks to extended latin glyphs. Mosse Thai come with standard Adobe Latin 4 glyphs, world-ready and mark2mark support.

Balboat is a plain calligraphic face with a very small x-height, long descenders, and tall ascenders. Having the appearance of a pen-drawn sans serif, it has four styles: regular, bold, italic, and bold italic. Although Balboat is quite legible, it is condensed and may need to be printed at a larger point size than other typefaces.

Mettle Bilingual Arabic font, Latin-Arabic for print and web. The Mettle font family contains four weights: thin, normal, medium, and broad. This font supports Arabic, Latin, Persian, Urdu, and Kurdish languages. The digital designer can use the variable Mettle font to access wider options in working with the text.

This is an American face designed by Lucian Bernhard for ATF in 1929. An extra light face with tall ascenders and stylized bars that extend off to the left. The lower-case sits on the baseline and the much-taller-than-normal capitals have an imaginary baseline that sits about two-thirds of the distance from the real baseline to the bottom of the EM.

Introducing Westerland Grotesk, a sans serif font family that seamlessly harmonizes classic simplicity with contemporary sophistication. Its slight contrast, which can be found throughout the weights, gives it a unique and warm character while maintaining the sleekness of a true grotesque. The family consist of eight weights in roman & italic, coming up to a total of 16 styles. This variety enables a range of uses, from elegant lightness with the thinner weights to loud expressiveness with the bolder ones. Language Support Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Lithuanian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål Norwegian, Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western, Frisian, Zulu Open Type Features Standard Ligatures, Alternates, Fractions, Superscript Figures

The hands in this font are the pointing, counting, threatening, signaling, demonstrating and playing hands I use in my own design projects. I have drawn them all with a felt-tip marker, scanned and digitized for use in a font. This picture font is more user-friendly than having single ps-files. I usually convert the letter to paths once I have decided which one to use, because I might want to fill the lines or background with different colors. Yours very handy, Gert Wiescher.

Duo Heavens Children Font is a script font that contains over 450 alternatives, is very easy to play, and the best part: You also have lots of illustrations to play with, not to mention various arrows you can toggle at the start and end of each word!

George Ryan's ITC Migrate is a highly condensed sans serif display face that effectively complements ITC Adderville. Migrate represents what Ryan calls a “more highly evolved version” of a typeface he designed for Bitstream in 1991 called Oz Handicraft. “Both faces,“ says Ryan, “are based on designs of the popular early 20th-century type designer Oswald Cooper.” His inspiration came from drawing samples found in the Book of Oz Cooper, published in 1949 by the Society of Typographic Arts in Chicago. “Oz worked extensively with the sans serif form long before it became popular in the States, eschewing a popular belief of the time that sans serifs were only skeletons of letters.” Where Oz Handicraft was informal and quirky, ITC Migrate has a more restrained feel. “The uppercase characters and figures, in particular, have been reworked,” says Ryan, ”resulting in a more formal and traditional, compressed sans serif typeface.”