Heretic surrounds itself with an atmosphere of evil, carnival freakshow and no-nonsense thuggery. Mix the black and condensed weights of this octagonal blackletter together for more interesting, yet disconcerting results.

Polish type designer Lukasz Dziedzic created this sans FontFont between 2006 and 2008. The family has 84 weights, ranging from Thin to Ultra in Compressed, Condensed, Narrow, Medium, Wide, and Extended (including italics) and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design. FF Clan provides advanced typographical support with features such as ligatures, small capitals, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

Along Sans Grande is an ultra condensed sans serif font family developed based on the typeface styles of the Along Sans Geometric Font Family. In the case of the black weight with the largest change in the size of the stem, the size is 180:140:100, respectively. And, the thin weight style has the same proportion of stem size. Some Glyphs that need to support the stem alone remain a size 222 for Black Weight. These interpolation rules are sufficient to complement the rhythm and readability of the whole family. This family is perfect for special titling works, logo designs, and cool showcases.

This unique ultra wide font family has its outstanding forms to create a great title.

Ultra heavy

Armetica is an ultra condensed sans serif typeface with a unique personality. It comes in normal and display versions, with 9 weights, as well as italics totaling 18 fonts. Armetica is a modern elegant typeface that would be perfect for branding, logos, headlines or captions. The font could also work as a stylish text overlay on any background image you like, minimalist and warm while still being versatile enough to use anywhere!

Masifa Rounded has compact, simple, functional and neutral body structure. It has 5 widths from Normal to Ultra Condensed. Each width includes 9 weights from Hairline to Black and their matching italics. Also, every weight includes rich OpenType Features like Small Caps and custom number styles. Due to its large family, it is ideal for a wide range of usage from large-scale designs to small product labels. Masifa Rounded updated on September 25, 2021.

Otoiwo Grotesk is an extremely versatile sans-serif typeface with a closed aperture. It features whopping 126 styles over 7 widths, each containing 9 weights with corresponding italics. The mood of the family ranges from fairy neutral in Normal and Condensed widths to very flavorful Compressed and Ultra Wide. Rich language support, which includes Cyrillic and spans 131 language ovarall, makes Otoiwo Grotesk a worthy choice for brands that strive to reach international audience.

I have always wanted to create the world's biggest and heaviest font. I admit that I was visually inspired by contenders like Akimoto, Champ Ultra, Blackoak and Bloque. However, I not only wanted a real heavyweight, but a really good looking and readable font as well. Look out—Big Boy is here. This powerhouse can get the job done. Try it out and get the attention you deserve.

Exter is a geometric Sans-Serif font inspired by the work of Russian artist Alexandra Exter that combines geometric and angled forms. Exter has been designed for advertising, posters, web, branding, packaging or any place where you need a clean and forceful voice. This personal character of its forms is due to the variety of weights it has (Black, Ultra Bold, Bold, Semi Bold, Regular, Light, Ultra Light, Extra Light and Thin). All are fully The character set is robust, covering extended Latin.

Clean and geometric deco sans typefaces have been used in a range of scientific publications, corporate logotypes, and beauty products over the years. However, a typeface of this style has yet to have an expansive range of widths and weights to become a design workhorse, until now. The Sunblock family finds its origin of inspiration in the Coppertone sunscreen company logo, and from there expands to type megafamily. Sunblock celebrates the rounded geometric forms of deco and bauhaus lettering through a compressed lens, transcending its brand inspired origin to give birth to a font family that pulls on modern and historical styles. It inherited its soothing tone from the limited character logotype that inspired it, and goes on to include a lowercase, small caps, and a comprehensive range of widths and weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here's what's included with the Sunblock Collection bundle: 643 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 7th graphic for a preview of the characters included) 21 fonts in 5 width subfamilies: Ultra Condensed, Extra Condensed, Condensed, Semi Condensed, & Standard. 5 weights per subfamily (except Ultra Condensed): Thin, Light, Regular, Bold, & Black. Fonts are provided in both TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Sunblock Collection is for you: You're in need of a deco geometric font family with a big range of weights and widths You're love that Coppertone letter styling, and want to design anything within that genre You're looking for an alternative to Chalet Comprime with a more versatile range of styles You're looking to start up your own derivative Sunscreen product line You just like to collect quality fonts to add to your design arsenal

Andes, designed by Daniel Hernández, is a display typeface that has neo-humanist characteristics. Its different terminals, among other elements, give it a look of mixed typography. Andes is a typeface with 10 Upright weights, 10 Italics & Condensed version , ranging from Ultra Light to Black, each of the same x-height. This typeface contains additional italic glyphs (a, y, z, g) that help to emphasise text or words. Andes is based on the design of Merced and both of them share several features. This type is well-suited for use in retail, magazines, logotypes, books, etc.

Andes, designed by Daniel Hernández, is a display typeface that has neo-humanist characteristics. Its different terminals, among other elements, give it a look of mixed typography. Andes is a typeface with 10 Upright weights, 10 Italics & Condensed version, ranging from Ultra Light to Black, each of the same x-height. This typeface contains additional italic glyphs (a, y, z, g) that help to emphasise text or words. Andes is based on the design of Merced and both of them share several features. This type is well-suited for use in retail, magazines, logotypes, books, etc.

Andes Rounded, designed by Daniel Hernández, is a display typeface that has neo-humanist characteristics. Its different terminals, among other elements, give it a look of mixed typography. Andes is a typeface with 10 Upright weights, 10 Italics & Condensed versions, ranging from Ultra Light to Black, each of the same x-height. This typeface contains additional italic glyphs (a, y, z, g) that help to emphasise text or words. Andes is based on the design of Merced and both of them share several features. This type is well-suited for use in retail, magazines, logotypes, books, etc.

a victorian ultra slim typeface

MUGUET is a reinvention of the Skin typeface designed by Max Prive in 2016. MUGUET features reimagined capital letters and improved kerning. It’s ultra clean, ultra minimalist with a hint of retro aesthetics.

Extenda is a variable width sans serif type family designed by Francesco Canovaro with Andrea Tartarelli and Cosimo Lorenzo Pancini.It been created to provide designers with a powerful but flexible tool to create strong headlines, logos, and display text with tight spacing and maximum space coverage. Rather than providing a family of weights, it gives you a fine-grained range of widths to choose from, allowing maximum control in display editorial uses, and proportional size variation in logo design, keeping consistent appearance and readability. From the vertical, ultra-condensed and thin Pica, Nano and Micro weights to the wide and ultra-bold Peta, Exa and Yotta weights, all Extenda fonts include an extended character set covering Latin languages as well as ones using Cyrillic and Greek for a coverage of 200+ languages. Full Open Type features are included, from small caps to stylistic alternates, positional number forms and discretionary & standard ligatures. The 11-weights family is complemented by the Extendable special weight, that uses Open Type scripts to create a dynamically scaling typeface where each letter becomes automatically tighter or wider than the previous one.

Ultra light sans serif for labelling.

Font family Titla Brus was developed as an extension of Titla, released earlier in 2009. New slab serif family consists of 20 members the normal and condensed proportions that present 6 weights from Light to Ultra. The fonts can be used in combination with Titla or by itself in different display matters. Typefaces demonstrate original and catchy way of using serifs -- in some places there are traditional slab serifs, in other places -- one-sided and often there are no serifs in the places where they normally should be. This approach brings to the letter shapes an unusual appearance and peculiarity. Design was developed by Oleg Karpinsky. Released by ParaType in 2011--2013 at first as a set of ten condensed styles and later in extended version enhanced by ten normal styles.

High Fidelity is our funky new variable font that was inspired by an incredible vintage poster we saw at the NYPL (sadly, the designer wasn't credited.) First we developed the ultra wide top-heavy style. Then, unable to resist the dynamics of variable type, we added the narrow width and violà our first variable font was born. We then added "drip" and "stretch" axes so you can play around and customize it to your heart's content. We think it works for anything from album covers, posters, social media, apparel - really anywhere you need a fun, expressive look.

Framer Sans is sans-serif condensed type-family, created by June 23 Foundry. It is a geometric, lightly robust, simple and clean font, with a low contrast width. Framer Sans perfectly conforms to the ever-increasing demand for a diverse set of weights and additional support for non-Latin languages. The type system consists of 7 weights that for the clarity and users convenience is labelled with numbers from 100 to 700 (100 for “Thin”, 200 - “Ultra-Light”, and so on till 700 for “Bold”). It supports full Latin (European) character set, as well as Turkish, Vietnamese, Greek (basic) and Cyrillic languages. Framer Sans includes alternate characters, ligatures, symbols and 253 country codes that perfectly expand the design’s capabilities. Numerals contain six figure sets and Roman numbers. The variety of choices is expanded with additional stylistic sets for lowercases "a" and "g", as well as 3 stylistic sets for Latin uppercases with crossbars and letter “Q”.

A new, ultra-modern classic serif typeface.

Matricule 59 is a typeface whose design is inspired by license plates and by the deformations due to the stamping in the metal plates. These deformations give a very specific style, especially concerning the hairlines. It is the Ultra Condensed version of Matricule, a Typeface designed by Loïc Choquet. It consists of 4 fonts : Light, regular, bold and black. For Mac or PC. Well-suited for edition, logotypes, posters, etc. Each font contains 359 glyphs and supports up to 89 different languages.

In 2011, while tutoring an exercise on Slab Serifs, Josema discovered Robert Thorne’s work for Thorowgood. Specifically, he was fascinated by the extraordinary density of the 6-line Egyptian Pica from 1820-21. As a simple exercise, he wanted to test the limits of readability within the context of a contemporary alphabet. Rothwood Ultra is the result of this experiment. As a way of developing the series, he found it interesting to go to the opposite end of the spectrum and discover how to evolve the extra-black Ultra’s DNA into a super lightweight model. The Hairline and Thin styles are her slim sisters. The third challenge has been the creation of the text version. Light, Book, DemiBold and Bold, including italics and Small Caps close the Rothwood cycle for editorial use.

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though; in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from ultralight to heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic.

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though; in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from ultralight to heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic.

Unisketch is an homage to my favorite font Univers when I was at design college. Univers is a neo grotesk font by famous Swiss typeface designer Adrian Frutiger. Unisketch, with its worn, misaligned and slightly tilted characters, still retains some of the qualities that workhorse body copy requires: It is legible at small sizes and produces a compact ‘Schriftbild’.

Cut by Monotype between 1900 and 1902, the Monotype Modern font family was based on Miller & Richards News 23 and 28; slightly condensed news text types of the 1890s. Monotype Modern is a lively typeface, with long, fine hairlines and well rounded letterforms, representing the best of nineteenth century modern face design. A classic text face, and typical of the moderns that were produced in the United Kingdom at that time, being less extreme in its rendering than some of the models of purer form being produced elsewhere. Monotype Modern is an excellent text face for magazines, newspapers and books, the heavier and more condensed versions are useful in headlines and display.

Cut by Monotype between 1900 and 1902, the Monotype Modern font family was based on Miller & Richards News 23 and 28; slightly condensed news text types of the 1890s. Monotype Modern is a lively typeface, with long, fine hairlines and well rounded letterforms, representing the best of nineteenth century modern face design. A classic text face, and typical of the moderns that were produced in the United Kingdom at that time, being less extreme in its rendering than some of the models of purer form being produced elsewhere. Monotype Modern is an excellent text face for magazines, newspapers and books, the heavier and more condensed versions are useful in headlines and display.

Cut by Monotype between 1900 and 1902, the Monotype Modern font family was based on Miller & Richards News 23 and 28; slightly condensed news text types of the 1890s. Monotype Modern is a lively typeface, with long, fine hairlines and well rounded letterforms, representing the best of nineteenth century modern face design. A classic text face, and typical of the moderns that were produced in the United Kingdom at that time, being less extreme in its rendering than some of the models of purer form being produced elsewhere. Monotype Modern is an excellent text face for magazines, newspapers and books, the heavier and more condensed versions are useful in headlines and display.