Minor is contemporary simple equable text grotesk in 6 weights with italics. It combines the best features of neo- and humanist sans types for legibility and easy reading. Clean design and balanced white spaces enables using Minor for long texts. Or in any other work as secondary invisible type in pair with display face. Using as primary type in large sizes it, static and non-emotional, will focus attention to text content. Minor family supports Latin Extended-A (Western, Central Europe, Baltic, Turkish) and Cyrillic Extended encoding languages. All styles contain basic OT-features and numeric forms for text typography.

SK Greenland is a humanist sans serif font family with geometric and organic forms. Synthesizing Greenland's thousands of years of organic history and modern period, this font combines the organic nature of Greenland with the geometric structure of its urban areas. This font family, which contains 14 fonts and 9856 glyphs in total, contains all the typographic elements you will need in your designs. You can use this font family, which includes many unique ligatures, without any problems, from headlines to long text. Greenland offers full support for the Latin alphabet while also supporting many other alphabets.

Proza is a humanist sans serif typefamily, consisting of 12 styles (6 weights + italics), with roots in serif designs from the Renaissance, such as Garamond and Jenson. Proza was made to function well at a large range of sizes, from the smallest of text sizes, to gigantic posters, making it a highly versatile type family. Its large character set (support for 100+ languages) and opentype features do all the heavy lifting for you, while its elegance and refined details ensure to deliver a punch of class to your designs. A detailed article about the development and design of Proza on ilovetypography.com.

Linotype Syntax™ Serif is the serif typeface that complements Linotype Syntax™, both created by Swiss type designer Hans Eduard Meier in 2000. With this new design, Meier has at last given shape and structure to the invisible muse that inspired him in the 1950s when he conceived his monoline sans serif based on humanist or Oldstyle letterforms. The calm legibility of this workhorse text family is accented by Meier’s signature of subtle dynamic movement, making it ideal for longer texts in books and magazines. It combines harmoniously with the other Syntax typefaces, Linotype Syntax™ and Linotype Syntax™ Letter.

Lupio comes as 102nd family in our catalogue. It is geometric sans serif family with humanistic elements. Lupio family contains variable and classic versions, so you can pick which one suits better for you and your project. Classic version is additionally fine tunned to get overall character look more equalised and uniform. When it comes to distinction – in sea of dozen other sans serif famlies, we made Lupio decently recognizable. You won't mistaken him with others. Lupio is designed as working horse family, to be used in all possible situations – from websites to packages, editorial design and applications.

A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial-style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

RooneySans is a humanist sans-serif typeface, and the latest addition to the Rooney family. It shares the same attributes as its seriffed companion – softly rounded terminals and a moderate contrast, thoughtfully applied to classical sans-serif proportions. Although RooneySans was developed as a stand-alone typeface family, it combines well with Rooney since both typefaces share the same stem weights and an equal gray value. RooneySans is suitable for any task in branding and packaging design and gives long texts a warm and inviting feel. All six weights from Light to Black come with matching real italics.

Nuematic Gothic is a condensed sans-serif family. It has a tall Cap Height and an x-height to balance it. Neumatic Gothic is versatile in use as a Headline font or as a text font. Neumatic Gothic has loads of options to play around with, included in the glyph set is small caps a stylistic uppercase superscript, stylistic alternates and circled numbers to name some. The typeface was designed with the graphic designer in mind to make beautiful typographic pieces with more ease with all the options you have in Neumatic Gothic.

This is a display version of a stylized sans serif font family that is very high-waisted and sleek called Bergsland Fashion. This four-font set has a Regular and a Black plus the italics. The stroke is only slightly modulated. The letterforms are higher, with a more open aperture, and sprinkled with breaks to add light and sparkle. This an attempt at a readable sans serif for text. It has many OpenType features and 465 characters per font: Caps, lower case, small caps, old style figures, numerators, denominators, accents characters and so on.

When merely “extended” just would not do, here is Paragraph Stretch™: a super extended or elongated geometric display typeface. It is a typeface with an unicase effect: the capitals and lower case fit the same height and a similar width, so they are interchangeable: fancy a round “W” in all caps? Use the lower case. Want a straight “x” in lower case? Use the cap. And so on. Designed for use at larger sizes for logotypes, short titles or headings. It supports Western plus Nordic, Eastern European and Turkish languages.

Borden is a rounded hand-printed caps font ideal for your graphic project. Usage recommendations : Title, short text, children’s book, poster, book cover, brochure, label, magazine. "The friendly hand-drawn charms of the Borden family […] Designed by Ewen Prigent, the Borden family is a hand rendered, all-caps design ideal for all sorts of playful settings. With its narrow condensed letterforms and rough rendering, this family is a good fit when space is limited in your design but you don’t want to compromise its friendly tone." www.fonts.com - newsletter - march 2014

AggressIan is the release of the first font I ever drew. It was done by hand with triangle and parallel rule back in the mid-1980s. I originally called it Aggressor, but I never liked it. My local type designer friend, Ian Roberts, really likes this type of drawing and told me I had to release it. So I named it after him. The small caps should work well if you need a bolder version. It has oldstyle and lining figures, plus the small cap figures. I hope you like it.

Here's another gem from perennial Speedball penmaster Ross F. George, originally called Split Caps. George's original design has been enhanced with the addition of lowercase characters, borrowed from another of his alphabets, and adapted to the style of the caps. This font derives its name from one of the catchphrases of the estimable Stooge-in-Chief, whose signature hairdo can be found in place of the Section mark. Both versions of the font include complete Latin 1252, Central European 1250 and Turkish 1524 character sets, with localization for Moldovan, Romanian and Turkish.

Aldus was designed by Hermann Zapf and appeared with the font foundry D. Stempel AG in Frankfurt am Main in 1954. Zapf named this font after the famous Venetian printer Aldus Manutius, whose work is among the most important of the Renaissance period as well as Zapf’s inspiration for Aldus. Linotype Aldus was introduced by Linotype Library as a text font lighter than Palatino. Zapf’s goal with his Palatino and Aldus was to create a new form of Old Face typeface. This font gives text the feeling of elegance which was typical of the Renaissance.

2018 Update: We extended the language support, added a Black version and added new ornaments. Thank you! Papercute is a cute hand-drawn font designed by Fanny Coulez and Julien Saurin in Paris. Inspired by paper cutting, this font is easy to read, easy to play. Small caps are a little different than caps to create alternative glyphs. We also designed a set of cute paper ornaments, to enhance your designs. We also designed an inline version of this font: Papercute Inline . You could follow us on our Instagram: instagram.com/sc.type Merci beaucoup!

ฟอนต์sหน้าหนึ่ง เป็นอักษรแบบแซนเซอริฟที่แบบอักษรโดยรวมมีความเป็นสีเหลี่ยม ซึ่งแบบอักษรจากหนังสือพิมพ์เป็นแรงบันดาลใจ ดูแข็งแกร่ง มีความเป็นเครื่องกล เครื่องจัก ทันสมัย เหมาะสำหรับการใช้พาดหัว รองพาดหัว มีทั้งหมด 9 น้ำหนักและตัวเอียงของแต่ละน้ำหนักรวมทั้งหมดมี 18 สไตล์ และมีฟีเจอร์อื่น ๆ เช่น Small Caps หรือ Stylistic Set 01 และฟีเจอร์อื่น ๆ พร้อมให้คุณได้เลือกใช้งาน รองรับหลากหลายภาษา Nanueng is a sans serif display typeface with square shape base. Inspiration from typeface on the Thai newspapers. Look strong, machine and modern feel. Suitable for headline, sub-headline Comes with 9 weights and italics of each weight total 18 styles, and there are features such as Small Caps or Stylistic Set 01 and many features available for you. Support multi-languages.

A typeface based on early Constructivism Design and Early 20th Century Type form the Modernist Movement. Cap Height for the font has been extended to represent early 20th century typography more closely, while rounded shoulders add a contemporary, modern feel, allowing the design to bridge both centuries. Cobalt Bold works best for headers and titles, while Cobalt Medium and Regular lend themselves to body text. Cobalt Text has smaller Cap Heights, Ascenders, and Descenders, and has been designed where smaller leadings in a body of copy is needed.

Thomas Oldfield’s typeface, Reaper, is reminiscent of inscribed Greek letterforms but he claims that its origin is much simpler than that. “I recall”, Tom says, “that I just began the design by making the uppercase ‘I’ and continued using it to make up the other characters.” The cap only typeface has alternate cap forms in the lowercase positions, including a vastly scaled downed O and Q that make for some unusual text settings. Contrary to what the name might have you believe, there’s a lot of life in this quirky typeface.

Griffo Classico™ was produced by Franko Luin in 1993. It is a revival inspired by the types cut by Francesco Griffo for the Venetian printer Aldus Manutius at the end of the fifteenth century. The roman is based on the type Griffo cut in 1496 for Bembo's de Aetna," and the italic on a type he cut in 1501 for an edition of Virgil. Griffo did not make separate italic caps, so Luin designed his own for Griffo Classico. This is a serviceable family with five weights, including small caps.

Stupid Meeting is an all caps display sans that didn't quite get its full 8 hours of sleep. A lot of attitude went into the design process and it shows throughout the entire character set. From a distance it looks fairly pedestrian but the closer you get, the rougher it gets around the edges. It's very simple, yet extremely playful. This family is available in 3 different styles. Use Stupid Meeting for a cartoon, product packaging, or a logo. Try the Eroded version for menu lettering or a band poster. Caps only Fonts.

Breuer Headline exhibits a modern geometric structure tempered with subtle strokes of friendly humanism. Its neutral forms and sturdy rhythm are convincing without being forceful. The lowercase has a slightly casual feel. Set in all caps for a sterner message. Breuer Headline is the display complement to the Breuer Text family. Differences are found in the inside curvature of the lowercase arms and the simplified Oblique as opposed to the Text Italics. Breuer Headline is equipped with Small Caps, Old Style Figures, Tabular Figures, and a selection of dingbats.

Mixcase font family is suitable for creating logos, wordmarks, titles, taglines. The properties of uppercase letters, numbers, punctuation and extra characters in Mixcase Mixed font are the same as those of lowercase letters, which allows to combine letters of both cases in different ways. All characters in Mixcase Unmixed font have normal ratios, so it can be used as typesetting font. The combination of both fonts provides additional use cases in the form of small caps and mixed small caps. For any questions about the font please contact: arbuzzu@gmail.com

Ossuary is a font in which each letter is formed using a uniquely arranged pile of skulls. The font was originally designed to be caps only, but small caps were added for convenience. There is now a character for each typeable letter of the American English keyboard. The font was inspired by images from the Kostnice ossuary in Sedlec, Kutna Hora near Prague. (Google it.) Whether you are fascinated or repulsed, such images have a mystery about them. They demand your attention. That is the feel this font was intended to capture.

Crooked Hooks is all caps font with street style brush. It's contain uppercase and lowercase in different style, number, symbol, and also with multilingual support! Caps Only Fonts. There is a lot of stylistic ligatures in this font. This font also contain opentype feature for adding line under a word, You can access it from ligature, simply type underscore + number (1-3) in the middle of the text. For example: Mar_3ker. You can use this font for any project such as a branding, poster, or quotes! Happy Creating!

CushingTwo is the 6-font family designed for Fontographer: Practical Font Design for Graphic Designers: Regular, Oblique, Demi, DemiOblique, Bold, and BoldOblique. The two Demi variants will be listed separately in InDesign and the Creative Suite to keep things compatible with Office and such. The inspiration was a scan of the old Cushing No. 2 font in Felici's article on CreativePro about 100 year oldtype. It's a fun, open, large OpenType font of 370 characters with oldstyle figures, small caps, and small cap figures. It needs polishing, but it's good looking.

Portsmouth Second Fleet is the rag tag, wild bunch companion to Portsmouth. It is a strong, sturdy typeface with historical character. Its inspiration comes from the height and strength of the wooden tall ships that sailed into port in their day. With caps and small caps, this typeface is great for headlines or subheads for design projects that need a historical or retro feel, such as from the 1940s and earlier. Two different styles that can be layered allow for different colored drop shadows, outlines and fill for even more customization.

BrownFox was created because I saw a need for a condensed, loose handwriting - I used my trusty nylon marker to create this font - it is rough, yet thin and elegant. BrownFox has a few surprises like some serious ascenders and descenders with an exaggerated x-height. Caps are intentionally simple to maintain an even rhythm. BrownFox works very well in caps, upper-lowercase, lowercase only, small and large. This font will be useful in many applications from invitations through CD album covers. The name was inspired by the other ipsum lorem.:-)

DALEK is a distressed, small caps typeface based on the lettering used in the Dalek Book of 1964 and in the Daleks strip in TV21 comic. The fonts have overtones of Greek, Phoenician and Runic alphabets. The updated Dalek fonts contain a full complement of Latin Extended-A characters, and also include Greek capitals and small caps. In addition to the original Regular font, Heavy and Light weights are available, and optically corrected obliques for each weight. Also check out Dalek Pinpoint, a clean and precise version of the Dalek typeface.

Trasandina is a very unique font-family: a modern, versatile, workhorse typeface with a special personality, given by the mix of humanist and geometric models, remaining far from both extremes. This typeface has 9 styles plus their matching italics, it has an incredible wide range of weights, from very thin to an ultra thick stem. This was made following the Luc(as) de Groot’s Interpolation Theory. Trasandina’s versatility also resides in the +800 characters that each weight includes, having several open type features and language support for more than 200 languages. This font has been specially designed for web (using hinting instructions), making it work in small and large sizes on different types of screen resolutions. Trasandina’s most interesting feature is its flexibility: On one hand, is easy to read thanks to its humanistic letterforms which allow this typeface to be legible in small sizes while remaining neutral (specially around its middle weights). And, at the same time, it’s perfect for logos and posters that need a lot more personality, this is mainly due to its more geometric nature in light and bold weights. Thank you for your support! It’s people like you that allow our team to keep enjoying creating new fonts. That’s why we’d like to hear from you! Send us your work using our fonts: info@tipotype.com, and you'll have a special 50% OFF on Tipotype at Myfonts

Matahari (English : Sun) is the power source of life. The symbol of power and energy that synergies with other part of daily lives. It is one of the most fundamental thing us humans need, just like communication. And like Matahari itself, words are powerful enough to make a living. Referring to Grotesque Font and influenced by the works of Eric Gill, Matahari Typeface is available in 3 widths and 7 weights, also in Oblique version in each font. The font uses oldstyle and transitional letters (double-story ‘a’ and ‘g’). It has a humanist gesture, the thickness of the font is semi-monolinear where the horizontal and vertical size is almost equal, making the font reach its maximum optical readability even in small sizes. The font anatomy refers to the basic geometric square-sized of the letter ‘M’, while the letters of S/C/G/c/e have uneven curve shape which give the sense of humanist and flexibility. This typeface is ideal for various design needs, from Printing to On-Screen/Digital Reading, from Brand Identity, Posters, Caption, Headline, to Body Text. With the numbers of widths available, the font can be used for all kinds of purposes (Label, Signage, Packaging, Website, etc). Supported well over 75+ languages, including Greek & Cyrillic, Matahari Typeface will give you an excellent way in aesthetic communication and message-delivering.

Bague Sans is an award-winning monoline typeface with a distinct and eye-catching personality. Despite its inspiration from early 20th century geometrics, it diverts from the mechanical rigidity of those typefaces by incorporating humanist characteristics, such as subtle variations in stroke width and open counter shapes with vertical endings. This is a very clean and legible typeface with a warm and well-balanced texture which is ideal for intense editorial use in magazines and newspapers. The most remarkable feature of Bague Sans is its vast array of uppercase alternates and ligatures which truly shine when set at display sizes. This typeface is automatically transformed into a flexible, charming and stylish typeface with strong modern aesthetics. Explore its dual personality, switch from Humanist to Geometric and vice versa by using alternate characters such as the single-storey a and single-storey g. From classic to modern, from excessive to neutral, Bague Sans is a multipurpose typeface which offers enormous possibilities and variations for editorial design, branding and corporate identity while it performs amazingly well on web. This superfamily includes 18 weights from Hairline to Ultra Black with a consistent and well-refined structure. It supports extended Latin such as Central European, Baltic, Turkish, Romanian and includes numerous alternates and ligatures for unlimited text variations. You may also want to check out Bague Sans Pro which supports Cyrillic and Greek as well.

The Metro Office family is designed after the model of the original sans serif family – Metro No.1 – produced by W.A. Dwiggins and Mergenthaler Linotype’s design studio during the late 1920s and 1930s. A distinctly new interpretation of the sans serif idea, Metro was a thoroughly “American” sans serif when it was released. However, over the ensuing decades, it became a favorite the world over. Moreover, it is one of the first “humanist” sans serif typefaces designed. While redesigning Metro in 2006, Linotype’s Type Director Akira Kobayashi drew from his own knowledge of humanistic letterforms. The result is a redefined Metro; a typeface that is finally ready for heavy text setting. The original Linotype Metro No.1 never had italic variants. Kobayashi has created oblique variants, extending its use in document setting. A double-storey a and g, as well as a wider w were features of Dwiggins’ original Metro design that were filtered out by Mergenthaler Linotype in the 1930s. Kobayashi remedied this historical slight, retooling Dwiggins’ original forms and optimizing their legibility. Kobayashi has additionally retooled some of Metro’s more troublesome letters, which has black elements that became too dense. By opening up the troublesome joins (like that on the Q), Kobayashi has given his new Metro a more even color in text, improving its legibility while retaining its original spirit.

AW Conqueror Sans was born out of this desire to fuse geometric and humanistic sans. It remains a typeface fundamentally influenced by both Bauhaus spirit — with its simplified geometric forms — and Jan Tschichold’s attempts to link this modular spirit to Eric Gill’s humanist sans serif. AW Conqueror Sans is a claimed French synthesis of Germanic Modernism and English classical tradition. Spheres of influence The core set of capitals are based on the proportions of the Roman capitals like Futura, Erbar, Nobel, Johnston, Gill Sans. During the 1930s, the Futura was a true success. Since then, Monotype offered a geometric version of the Gill Sans, and Linotype added Futura-like variants to WA Dwiggins’ Metro. AW Conqueror Sans is kind of a “fusion” of this approach. The lower case “b, d, p, q” are also directly influenced by Eric Gill’s, while the “y” is influenced by some of Jan Tschichold’s alphabets. In italics, drawn narrower, AW Conqueror Sans reinterprets Gill’s idea: a rigorous italic like a roman but which sometimes reveals some aspects of a Renaissance italic. AW Conqueror Sans and its extensions AW Conqueror Sans is the initial reference point for an extended family, including AW Conqueror Inline, Slab, Carved, Didot. The potential of these mixed families is powerful. Because AW Conqueror typefaces are based on an identical structure, and compatible proportions.

The best thing about Umba Slab is its surprise! UMBA Slab is a clean but eye-catching typeface designed by Anita Jürgeleit. It adds an amazing touch to your corporate design and titling by developing a more dynamic shape from thin to bold. It’s especially designed for a wide range of variety and to create a highly recognizable branding and titling. Twenty styles from thin to bold and matching italics help you to create design with a strong essence. Separate styles for alternate and small caps will show up in your font menu, making sure that you always stay aware of the wide range of possibilities of your new favourite font. Finally, for all those who love caps, there are extra caps-only fonts added to the collections. Would you like to see more of how UMBA can improve your design? Let’s get in touch! INSTAGRAM @anitajuergeleit +++ FACEBOOK AnitaJuergeleitTypefaces

Mailuna Pro is a family of gothic typefaces of weight and oblique stature, finding themselves on a line between modern and historical gothic styles. Originating as a revival and elaboration of a limited lettering specimen from a series of old loose spanish specimen book pages, it finds itself in the visual company of vintage transportation roll signs, wood type gig posters, financial publications, etc. What began as just Capitals, Lowercase and Numerals was expanded to a rich pro glyphset including small caps, unlimited fractionals, superiors & inferiors, ordinals, tabular & proportional figures, a Caps to small caps feature and an expanded language glyph set. From modern letterpress back to historical adverts, book covers, headlines, or anything else you want to give a dash of vintage authenticity to, the Mailuna Pro Family is here to fill your needs. Be sure to download and take Mailuna Pro AOE - Book weight for a spin for free.

Loaded with various auto-ligatures (primarily for ALL-CAPS typesettings), Troubled has all of the rebellious custom lettered attitude of a vintage pulp paperback. Troubled PB began as a digitization of a film typeface known as Toronado by LetterGraphics, perfect for typesetting early children books, candy packaging, toy packaging, birthday invitations, or any other playful design need. It's lowercase typesetting is straightforward and casual, with a light animated feel, while the all-caps typesetting goes wild with auto-ligatures galore to create wonderful and interesting interwoven letterform combinations. This typestyle has such an offbeat appeal to it that it just draws your attention. Great for headlines (especially in all caps settings), but also great for small bodies of text in mixed case setting. So whether child-friendly design pursuits, or reminiscing of vintage pulp paperbacks novels, Troubled PB has a little something for everyone.

Salty - not fat just big boned. Salty is a hearty brush family that’s great for any kind of display use from packaging to poster & logos to headlines. Salty has bold and clear basic letterforms and lots of alternates for more customised look. Salty family consists of Script, Caps and Extras and two weights of each. Salty script is equipped with plenty of OpenType features: Keep Automatic Ligatures on to keep the flow and click Swash, Stylistic or Titling Alternates for extra goodies or manually select from even more alternates from Glyph Palette. Salty Caps is a vivid set of casual caps that play well with the script but can also be used on their own. Salty Extras is a set of ornaments and swashes designed to support the script. Some of the Extras are designed so that they can be used to customise the letters - to create your own Alternates.

Introducing Breeder Font Duo it's a handwritten script. Enjoy this playful font in your designs with Breeder Script & Breeder Small Caps! This playful font consists of a natural handwritten and signature style, so this font is perfect for logos, menu design, social media posts, packaging, poster, name card, birthday card, etc. Breeder Script has a natural flow handwritten signature containing upper & lowercase characters, numerals, and punctuation. This font also has a ligature, stylistic alternate, swashes, multi-languages support, and doodles art for the bonus of this font. Breeder Small Caps comes with a natural & simple handwritten all-caps font. Complete with a-z letters, very charming handwritten font, and perfect for combining with Breeder Script. This font also includes multi-language support. Thank you for checking and visiting our store, and feel free to drop me a message if you had any questions! Visit our Instagram :) www.instagram.com/scratchdesignbali

URW Grotesk was designed exclusively for URW by Prof. Hermann Zapf in 1985. At the same time, Zapf designed URW Antiqua to go with URW Grotesk. At that time, we were working with a large German publishing house (Axel Springer) on type design solutions to replace certain of their newspaper fonts. Test pages of large German newspapers (e.g. Bildzeitung) were printed with URW Grotesk and URW Antiqua font families. For reasons not disclosed to us, the project was dropped and Springer never used URW Grotesk and URW Antiqua for that purpose. Anyway, Zapf finished his designs and URW produced both families. Zapf’s intention for the two typefaces was to design two highly legible, open and classical fonts that could be used for any kind of typography, especially books, newspapers, magazines, etc. However, we realized later on, that URW Grotesk is very well suited for multi media applications on screen.

URW Grotesk was designed exclusively for URW by Prof. Hermann Zapf in 1985. At the same time, Zapf designed URW Antiqua to go with URW Grotesk. At that time, we were working with a large German publishing house (Axel Springer) on type design solutions to replace certain of their newspaper fonts. Test pages of large German newspapers (e.g. Bildzeitung) were printed with URW Grotesk and URW Antiqua font families. For reasons not disclosed to us, the project was dropped and Springer never used URW Grotesk and URW Antiqua for that purpose. Anyway, Zapf finished his designs and URW produced both families. Zapf's intention for the two typefaces was to design two highly legible, open and classical fonts that could be used for any kind of typography, especially books, newspapers, magazines, etc. However, we realized later on, that URW Grotesk is very well suited for multi media applications on screen.