Globe Grotesk Display Font Family $265 | 8 x TTF and OTF
http://www.myfonts.com/fonts/jan-charvat/globe-grotesk-display/
Globe Grotesk is modern art deco inspired sans serif. Its root goes to beginning of last century into Czechslovakia. The design is inspired in Universal Grotesk – font made by unknown designer. There are some really unique details in the font, especially letters a, g, u, E, F, R, & and many more. It primary intended for display usage or rather shorter texts. The original is extended with full latin support, ligatures, small caps, alternates, inktraps, oldstyle figures and many more features necessary for contemporary type design. Also true italics are no doubt in this font.
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Clash Grotesk Display is a family of sans serif fonts for use in large sizes. While the design of the family’s six styles – ranging in weight from Extralight through Bold – is generally neo-grotesk in style, one feature immediately sets them apart from other typefaces of that genre: The letterforms have very small ‘apertures’. These are the openings at the edges of counterforms; if you look at the ‘c’, for instance, the space between ends of the arms on the letter’s right-hand side is very small. It almost looks like that aperture is about to close shut. Clash Grotesk Display is eye catching, but its ‘design trick’ does not go overboard. The typeface is tame enough to be used in corporate identity work, while remaining exciting enough for editorial designers. Clash Grotesk Display has a companion family available for use in smaller-sized text: Clash Grotesk. In terms of design, the biggest difference between Clash Grotesk Display and Clash Grotesk is that the later typeface’s letterforms are drawn with strokes that are optically monolinear, while the letterforms in Clash Grotesk Display have much more stroke-contrast. As the Clash Grotesk Display family’s weights get heavier, the contrast in the letterforms’ stroke connections becomes very prominent. Their appearance becomes quite ‘pinched’. Clash Grotesk Display’s numerals are proportional lining figures, just as tall as tops of the uppercase letters. The lowercase’s ascenders rise up to this common capital/numeral height, too. The fonts’ x-height is tall. Clash Grotesk Display’s lowercase ‘a’ is double-story, while its ‘g’ is single-storey.
https://www.myfonts.com/fonts/benbenworld/grotesk-remix/
Grotesk Remix — remix of a Grotesk typeface in 4 styles (light - regular - medium - bold)
Sharp Grotesk Global is Sharp Type’s largest superfamily to date. It’s our most comprehensive Latin typeface, with twelve weights and seven widths in Roman and Italic styles. Sharp Grotesk now also represents our first multi-script release, with extensions in Greek, Cyrillic, Hangul, and Thai. Finally, a Latin variable font rounds out the collection. What began as a hand-drawn lettering poster in 2011 is arguably our most versatile typeface, endlessly adaptable and scalable. It’s the culmination of years of work, and it’s a prelude for what’s to come at Sharp Type.
https://www.schick-toikka.com/scto-grotesk-b
By the late 1800s, the grotesque had matured from a display novelty into a no-nonsense style that could be used for a range of applications. The mid-20th century saw a reappraisal of these classic sans serif forms. Fueled by modernist ideas, they were rethought and redrawn, now with consistent details and even text color. Transferred into systematic families of numerous weights and widths, the neo-grotesque became an essential ingredient of the International Typographic Style. To this day, it remains the go-to option for designers who are after a self-evident, transparent vessel for communication.
https://www.schick-toikka.com/scto-grotesk-a
By the late 1800s, the grotesque had matured from a display novelty into a no-nonsense style that could be used for a range of applications. The mid-20th century saw a reappraisal of these classic sans serif forms. Fueled by modernist ideas, they were rethought and redrawn, now with consistent details and even text color. Transferred into systematic families of numerous weights and widths, the neo-grotesque became an essential ingredient of the International Typographic Style. To this day, it remains the go-to option for designers who are after a self-evident, transparent vessel for communication.
https://store.typenetwork.com/foundry/fontbureau/series/neue-haas-grotesk
Christian Schwartz sees his version of Max Miedinger’s seminal Swiss Modern sanserif as “primarily a restoration.” Reclaiming the warmer personality of the Haas original, he reinstated smoother curves and undid the compromises of intervening technologies and a one-size-fits-all approach. In a range of weights tailored to today’s publications, separate fonts for Text and Display now excel at their respective tasks;
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