The thing is that many sans-serif typefaces are usually intended for universal usage. But sometimes faces that work fine in body text look not so good in large point sizes for display purposes when all the contrast in non-contrast sans-serif, or ink traps, become visible to the naked eye. Every designer solves this problem in his own way. We offer a drastic solution in our Stem: a sans-serif with optical sizing. The first part of the type family, Stem Display, is for use in largest point sizes, from 36 pt indefinitely. Stem Display consists of 12 faces of widths from Hairline to Bold, and it has true italics. The development of Stem type family will include Stem Text for body text and “traditional”, universal use, and Stem Caption for small point sizes. Stem is a geometric sans-serif with semi-closed aperture, large x-height and modern proportions of uppercase letters, like in famous Avenir and Gotham. Its important feature is a professionally designed and carefully tested Cyrillic glyph set.

Escuela typeface is born in an attempt to reflect so many current influences of modern grotesque fonts that are trying to better reflect the values of today's world. Its compact proportions and high x-height, but at the same time with sort kind of modulation and open inktraps, propose a visual game that is worth enough to use it many places; Escuela can be striking and ideal for headlines in large text and heavy weights, but at the same time serious and readable in smaller bodies or regular and fine weights. Its wide range of characters, which includes a set of emoticons ideal for signage, work and evaluation documents, as well as inclusive, is ideal for educational centers, whether they are more playful (schools) or more pragmatic (universities). In fact, "Escuela" means “School” in English. For this reason, Escuela is your best ally when it comes to preparing texts that transcend students through a contemporary and different, but functional, character. Designed by Carlos Campos www.cuchiquetipo.com Dummy text from wikisource.org (1911 Encyclopædia Britannica/Universities).

This typeface is primarily optimized for the setting of belles-lettres. The regular styles are balanced to suit small text sizes and enable the reading of long portions of text. The development of the typeface was guided by the goal of creating a contemporary, discreet book serif, with modern expression and numerous functions. Letters feature reduced contrast, the lighter styles may evoke wired letters, while the heavier ones bear distinct slab serif references. The extremes thus work in harmony and fulfil the demanding requirements of advertising and magazine layout. The typeface is suitable for bottle labels, invitations, exhibition catalogs and posters, for printed and online presentations alike. The name Pepone was chosen as an homage to Josef Kroutvor. Of course, the typeface isn’t solely reserved for the setting of the works of Josef K. On the contrary – we’d like to present a universal typeface suited for literature, catalogs and magazines. It wouldn’t be the first and the last example of a typeface created with a specific purpose in mind, which later became used universally.

The Vtg Stencil series of fonts from astype are based on real world stencils. The UK No. 76 design was derived from authentic stencil plates from Great Britain. UK No.76 comes in four flavours – the Regular style and the Alt style with alternate and shorter forms of the letters M, W and the figure eight. Since summer 2015 both styles are now available in a Rough version with an extended glyph randomizer. PDF Specimen

FF Marselis crossbreeds geometric and humanistic forms, creating a freshly dynamic sans serif family. All of the counters in the typeface are open; this aids readers’ eyes quickly flow across lines of text, without experiencing hang-ups. Certain superfluous strokes have been eliminated – there are no spurs on the b or q, for instance. The alphabet’s diagonals all bow outwards slightly, adding flavor to the “A”, “K”, “R”, “V”, “W”, “X”, “Y” and “Z”.

Graffix is best described as a modern classic. A crisp geometric sans serif with just a hint of Art Deco in the roll of the capital A, D & R, and the curvaceous lines of the capital M, V & W. The distinctive tear shaped counters of the lower case a, b, d, p & q give it its essential character, together with such quirky features as the angular descenders of the lower case g and j.

Goudy Stout was designed by Frederic W. Goudy in 1930. This version was created by Vincent Connare while at Microsoft. Goudy Stout is a decorative typeface that is quite unusual, a novelty of sorts among Goudy's many typographic achievements. The Goudy Stout font is considered a frivolous typeface. Goudy wrote In a moment of typographic weakness I attempted to produce a 'black' letter that would interest those advertisers who like the bizarre in their print."

The classic font as designed by F. W. Goudy for ATF in 1901, now in a hand-drawn version for a little bit of variation. Everybody else just offers another version of the same old Copperplate, but I now have a new rough one. Oh, just for the record, I have a couple of other versions of this font in my collection of the Copperplate Classic fonts. Your rough designer Gert Wiescher

Bertham Pro Family (4 fonts) is a revival of Frederic W. Goudy’s Bertham typeface. Steve Matteson produced this unique typeface and added bold, italic and openface styles. The fonts include a variety of OpenType features including swash capitals, small capitals and old style figures. It is unmistakably American in appearance recalling a day of quality craftsmanship and hard work. Publishing, branding and packaging materials will draw inspired attention due to its grace and distinctive appearance.

The Ascent of Rum Doodle is short story written in 1956 by W. E. Bowman. The story is a parody of the many non-fictional mountaineering chronicles and tells the adventures of a group of incompetent climbers, trying to conquer the highest mountain in the world. Rum Doodle is an angular, uneven font, ideal for posters and book covers. The lower case letters all have alternates and it comes with a mountain of language support.

Gravure was designed by Morris F. Benton in 1927 for American Type Founders and was also released in 1929 by the London foundry of C. W. Shortt. This luminous face has a slightly naïve charm seldom found in incised typefaces. Ornamental and engaging, it’s a perfect choice for headlines with warmth and grace. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

Inspired by Henry W. Troy, BLAQ is a new version of Trojan Text not available as font. Is an ornamental blackletter alphabet. Works great in headlines and other ‘masculine’ like design settings. The Victorian Gothic or Neo-Gothic is an architectural movement that began in the 1740s in England. Its popularity grew rapidly in the early nineteenth century. The revived Gothic style was not limited to architecture. We recommend to combine Blaq with: Turquoise Nautica

🏆 Selected for Tipos Latinos 7 with a Certificate of Excellence. With semi-rounded terminals, Graviola is soft and friendly. The family consists of 16 fonts, from Thin to Black and matching italics. While the intermediate ones are suited for body text, the extreme weights look specially beautiful at display sizes. Each font contains 530+ glyphs, supporting more than 90 languages. Stylistic sets provide alternates in two groupings (a, v, w, y and G, g, &).

Nutmeg is a geometric typeface with a slight flavored touch. Although its structure is stick to the traditional forms, its details transform this typeface in a boldly project that separates it from other geometric fonts. Nutmeg’s texture can be perceived as a clean typeface that is comfortable to the human eye, furthermore, if you use it in big sizes Nutmeg’s details can be seen as a display font. Under these two ways of perceiving this typefamily, we took the decision of split this type project in two families: a cleaner and more rational Nutmeg versus a Headline version that has more flavored details at the end of the characters. Designed with powerful OpenType features in mind, each weight includes alternate characters, ligatures, fractions, special numbers, arrows, extended language support and many more… Perfectly suited for graphic design and any display/text use. The 36 fonts are the first part of a larger Nutmeg family. We’re proud to introduce: Nutmeg. Learn about upcoming releases, work in progress and get to know us better! On Instagram W Foundry On facebook W Foundry wtypefoundry.com

Cenzo Flare is a mixture of modern sans serif base with a touch of flare to it. The inspiration is drawn from all kinds of old Americana advertising, Italian posters, old century logos and signs. All that plus the strong trend on retro fonts now displayed on tv series and current music imagery results on Cenzo Flare. A typeface designed for headlines, posters, advertising and corporate identity. With its appealing curvy smooth edges it is sure to catch the eye. Also enjoy multiple styles that work on their own or as overlapping layers with the InLine & Line variants to create colorful designs. This 40 font family consists of four 5-weight subfamilies: Regular, InLine, Line & Condensed. All of them with matching italics. Designed with powerful opentype features, each weight includes alternate characters to play with, extended language support and many more. We’re proud to introduce: Cenzo Flare. Learn about upcoming releases, work in progress and get to know us better! On Instagram W Foundry On facebook W Foundry wtypefoundry.com

Sonny Gothic is our most rational-geometric typefamily until so far. It’s inspired by the geometric style of the 70s, specifically by Herb Lubalin’s work. Since we were students, we have been gazing Lubalin’s logos, typefaces and magazines as inspiration that still lives in our subconscious. At first, we made a pure geometrical typeface with modern caps proportion, then we combine those proportions with the 70s traditional caps ligatures. It was at that point that we knew Sonny Gothic was ready to arise. Even though Chile is not the origin of a modern visual culture, for us geometric typefaces and Lubalin’s work are one of the most attractive aesthetics of the creative realm, and therefore, this is our homage. Designed with powerful opentype features, each weight includes alternate characters, ligatures, fractions, special numbers, arrows, extended language support and many more… Perfectly suited for the several areas of graphic design. Learn about upcoming releases, work in progress and get to know us better! On Instagram W Foundry On facebook W Foundry wtypefoundry.com

Mirella Script is a modern and clean approach of the classic French Bastarde script style. Mirella has the follow resources : - Lots os ligature forms (using contextual alternates open-type feature), - many stylistic alternates for each letter (upper- and lowercase and all accessed with the glyph palette), a set of 55 ornaments and fleurons accessed with the glyph palette or using the Ornaments feature); - initial and final letters with artistic variations accessible using the initial and final form open-type features - a tour-de-force kerning work: almost 700 gliphs in this font was adjusted to your kern pairs handly. In non-OpenType-savvy applications it works well as an unusual and beautiful script style font. We ever suggest the use of the glyph palette to find ideal solutions to specific designs, because the high number of gliphs. The sample illustrations will give you an idea of the possibilities. You have full access to this amazing stuff using InDesign, Illustrator, QuarkXpress and similar software. Mirella Script has original letters designed by Iza W and overall creative direction plus core programming by Paulo W.

Suitable for separating paragraphs, or framing text, this set of swirlies ornaments is drawn with a pointed brush, for a higher contrast appearance than swirlies 1 , 2, and 4. It also has a companion member, with a rough finish, called “Sand Drift”, suitable for natural, earthy subject matter. “Sand Drift” combines well with the following PR Fonts Items: Bramble Wood 2, Bramble Wood 1, Cauldron, Swirlies 1 Sand Drift, Hallow Doodles 1, Hallow Doodles 2.

Klik is a universal sans serif family – clean and timeless. Both iconic and legible, Klik is suited to cover many needs from brand identities to editorial design, advertising, logos and beyond. Cyrillic characters are featured and a wide range of languages is supported. OpenType features are abundant – from built-in small capitals to various numeral styles (linear and old style; tabular and proportional, subscript and superscript). Klik comes in three widths – each featuring eight weights and corresponding italics.

The common Slavic word Osnova means basis in English and βάση in Greek. This universal but still distinctive typeface can make a good ground for any design project. Osnova has six weights from Thin to Heavy with Italic, Small Caps, Old Style & Tabular Figures, some ligatures, alternatives and letter variations. It supports Central European, Greek and Cyrillic codepages, and will be suited for both display and text use. Look how people use it: http://use.type.org.ua/tagged/osnova

Sequel Rounded is a post-Max Bill font, developed in close cooperation with the Max Bill Georges Vantongerloo foundation in Switzerland. MAX BILL Last universal scholar, most important design teacher of the 20th century: There are superlatives, always very enthusiastic, when the importance of Max Bill is discussed. The trained silversmith studied at the Bauhaus, with personalities such as Josef Albers, Paul Klee and Oskar Schlemmer. He worked as an architect, later as sculptor and designer.

“Ending story” is experimental vintage font style that to speak instant nostalgic and retro sensation, it was inspired by the inscription on the shop/hotel/vehicle in the 90's era. “Ending story” will help you to create special and touching typographical design for your vintage and oldschool projects.Perfect when you place them into magazines, book cover, cafe product, newspaper titles, poster, and many more. It is really universal and modern font. The owner of endless possibilities!

My father is retired from teaching after a distinguished career as a professor at the University of Texas (and other colleges). He's also retired from writing in longhand, ever since I digitized his script several years ago. Professor is a slightly modified version of my ol' dad's cursive hand -- a good, strong, helpful, friendly, personable hand, much like the man. Use Professor for all your casual handwriting needs: my father doesn't mind. Comes in a single, medium-weight style.

Ukrainian humanistic sans of universal purpose. Thanks to humanistic proportions and somewhat calligraphic sharpness, the typeface unobtrusively disturbs the eye, while remaining at the same time a “strong” modern grotesque. Asymmetric motive, distinctive letters and alternative glyphs give the font a Ukrainian flavor. The character set includes Slavic Cyrillic, European Latin and Monotonic Greek. Humus contains traditional and original ligatures, numeral variants, fractions, stylistic and historical alternatives in Cyrillic. The typeface was designed by Andrij Shevchenko in 2007-2022

Super clean, yet sophisticated! Astaneh with its 2 weights brings a modern and clean sans serif Arabic/Persian typeface to life! Shahab Siavash, the designer has done more than 30 fonts and got featured on Behance, Microsoft, McGill University research website, Hackernoon, Fontself, FontsInUse,... Astaneh text and headline font which is one of his latest designs, already got professional typographers, lay-out and book designers' attention as well as some of the most recognizable publications in Arabic/Persian communities.

Worker is a versatile family of geometric fonts with a sturdy industrial feel. It has a vintage flavor and conveys a professional and technical look. It has 5 styles with matching slants and a generous language support. Worker works very well in branding and headlines, but also renders peculiarly well in short strings of text. This design has great personality having the power to create a whole universe of meaning resorting only to a few letters.

Familiar, yet eye-catching! Hezareh with its 2 weights brings a modern and clean serif Arabic/Persian typeface to life! Shahab Siavash, the designer has done more than 30 fonts and got featured on Behance, Microsoft, McGill University research website, Hackernoon, Fontself, FontsInUse,... Hezareh text and headline font which is one of his latest designs, already got professional typographers, lay-out and book designers' attention as well as some of the most recognizable publications in Arabic/Persian communities.

Herb is based on 16th century cursive broken scripts and printing types. Originally designed by Tim Ahrens in the MA Typeface Design course at the University of Reading, it was further refined and extended in 2010. The idea for Herb was to develop a typeface that has the positive properties of blackletter but does not evoke the same negative connotations – a type that has the complex, humane character of fraktur without looking conservative, aggressive or intolerant.