Kandel 205 is a geometric, tri-line, display and headline font available in a family of three weights. Its bold, graphic styling gives it great stand-out qualities and a highly individual look. It’s particularly well suited to bringing energy to designs, or for designs with a sporting theme.
OTF | 6 Fonts | JPEG Preview | 5.5 Mb RAR
OTF | 1.85 MB
Composed, clean and slightly angular, as its name says. It’s organic, warm and round in the right places too. A sanserif typeface family Vinkel is a handsome androgyne with an excellent balance of Neo-grotesque and Humanist DNA.
Vinkel comes in eight weights from Thin to Extra Black, all with italics, small caps, several sets of numerals, arrows, alternate characters, and more.
The dominant trend of the mid twentieth century simple sans serifs still reverberates in visual culture. Graphik proves that it is still possible to create something refreshing inspired by this era. Taking cues from the less-known anonymous grotesques and geometric sans serifs, Graphik is perfectly suited for graphic and publication design. Originally designed for Schwartz’s own corporate identity, it was later finished for Conde Nast Portfolio and then expanded for Wallpaper* and later T, the New York Times Style Magazine.
OTF | 18 Fonts | JPEG Preview | 10.9 Mb RAR
The Journal Sans typeface was developed in the Type Design Department of SPA of Printing Machinery in Moscow in 1940–1956 by the group of designers under Anatoly Schukin. It was based on Erbar Grotesk by Jacob Erbar and Metro Sans by William A. Dwiggins, the geometric sans-serifs of the 1920s with the pronounced industrial spirit. Journal Sans, Rublenaya (Sans-Serif), and Textbook typefaces were the main Soviet sans-serifs. So no wonder that it was digitized quite early, in the first half of 1990s. Until recently, Journal Sans consisted of three faces and retained all the problems of early digitization, such as inaccurate curves or side-bearings copied straight from metal-type version. The years of 2013 and 2014 made «irregular» geometric sans-serifs trendy, and that fact affected Journal Sans. In the old version curves were corrected and the character set was expanded by Olexa Volochay. In the new release, besides minor improvements, a substantial work has been carried out to make the old typeface work better in digital typography and contemporary design practice. Maria Selezeneva significantly worked over the design of some glyphs, expanded the character set, added some alternatives, completely changed the side-bearings and kerning. Also, the Journal Sans New has several new faces, such as true italic (the older font had slanted version for the italic), an Inline face based on the Bold, and the Display face with proportions close to the original Erbar Grotesk. The new version of Journal Sans, while keeping all peculiarities and the industrial spirit of 1920s-1950s, is indeed fully adapted to the modern digital reality. It can be useful either for bringing historical spirit into design or for modern and trendy typography, both in print and on screen. Designed by Maria Selezeneva with the participation of Alexandra Korolkova. Released by ParaType in 2014.
OTF | 6 Fonts | JPEG Preview | 5 Mb RAR
OTF | 904 KB
Kautiva is a comprehensive modern sans serif family that includes true italics, small caps, and unicase variations.
Kautiva was developed to be efficient in both text and display environments. Kautiva serves as a refreshing middle ground between serious geometric and overly humanistic design. This gives it a balance, allowing significantly more flexibility than is normally expected from a sans serif typeface.Versatile in its functionality, Kautiva is also extensive in its features. The OpenType format Kautiva Pro family is available for layout architects who want to take advantage of the numerous features of the format: from true small caps to a variety of ligatures and stylistic alternates, through proportional and tabular figures and complete support for a multitude of Latin-based languages, as well as Cyrillic and Greek scripts.
OTF | 594 KB
Fiancé is a new extra bold sans italic font with a lot of lovely alternate glyphs to play with. Specially developed for packaging, logotype & poster design projects.
OTF | 891 KB
Mingray Mono is a stylish Monospaced family in three weights. It contains old-style figures, small caps, fractions, ligatures, pictograms and arrows. Mingray Mono supports 85 Latin-based languages
OTF | 1.66 MB
Sina Nova is the slimmer sister of Sina. It has a slightly vertical tendency, a higher x-height which makes it more open in small text sizes. Its economical proportions allow an even more universal application.Sina comes in 12 styles and in OpenType format. All styles contain standard and discretional ligatures, small caps, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals. Sina supports Western European, Central and Eastern European languages.
Gluten is an experimental font family designed by Carlos Fabian Camargo. It includes irregular shadows to communicate craftsmanship. Its multiple upper cases with condensed width and naive lines are notable for their expressive drawing with a high amount of contrast between thick and thin strokes.
OTF | 7 Fonts | JPEG Preview | 5 Mb RAR
Ethnocentric, a robot-friendly futurefont originally created in 1999 has been rebuilt and expanded: more languages, more symbols, no more ugly Q, greatly improved M and W, fractions, ordinals, new kerning, new accents, better proportions, six weights + italics, even more futuristic.
OTF | 12 Fonts | JPEG Preview | 4 Mb RAR
Graphic designers with a lust for lettering are constantly seeking scripts balanced neatly on the sweet spot suited for exuberant editorial work and messages of cheer. Neither frivolous nor strict. My typeface, Gioviale, satisfies that need. Your work may call for a script that is handsome without being overly formal, that is merry, playful, and, like a good Italian pastry dough, hasn't been overly handled until it is left stiff and flat. Use Gioviale to create something tasty, al dente, a touch ornate yet fluent and full of life. Its versatility is exemplified in its greater readability at small sizes compared to other scripts, as well as the included alternates and swashes. Scripts with a hand-lettered look often take on one of two personalities. Some are formal, with heavy flourishes that threaten to sacrifice readability. They are regal, make a statement, yet are so meticulously constructed that they seem chiseled in stone and inflexible. But, oh how exquisitely beautiful they can be. What’s the usual alternative? Italic text faces. Though modern and readable, with the little twist that italics carry, they can have a manufactured appearance, a mass-market profile that robs your work of the personable quirkiness of the handmade and unique. But, still, they cast a respectable, clean, and professional profile. What inhabits the space between these, an uncompromising tool that, in your hands, conveys conviviality, grace, and spunk? Gioviale glides in to fill that formerly scanty typographical niche, a hybrid of an italic text face and a script, flowing with flair and elegance, and, somehow, carrying just a hint of tailored and clean, structured underpinnings. It reveals that elegance needn't be serious, just the result of serious craftsmanship. Indeed, Gioviale was inspired by a simple and spontaneous burst of joy in my own craft. Conceptually, my process was reflected precisely in the outcome, perhaps because it mirrors my own personality in so many ways. Despite the due diligence required, this typeface came more easily and naturally to me than virtually any other I've created. The heart of it burst onto the page breathtakingly fast compared to my other typefaces. I wanted the look of a roman italic without pausing to build a roman counterpart (perhaps I'll design one in the future). I looked to the Italian Didones, popularized by Didot and known for their very high contrast thin thins and thick thicks. True to its nature, Gioviale is a less serious interpretation of the Didones, and its uppercase letters are a departure from classic precursors. Gioviale includes a User’s Guide, 1008 glyphs, an entire alternate set of swash caps, 20 ornaments, 20 discretionary ligatures, and an unusually high number of swashes (300), which include a standard uppercase set for more traditional text settings, and a swash uppercase set which are even more flourished. Why not? To joy!
OTF | 2 Fonts | JPEG Preview | 5.1 Mb RAR
Eterea is a formal font inspired in the monumental inscriptions of classic Rome, but not strictly sticking to the ancient roman typographic characteristics. Its unique look is the result of mixing diverse typographic styles, but mostly having traces from the 16th century transitional style. It bears a big difference of proportion between upper and lower case, additionally to the upper case having much more ornamental traces. Eterea has four different flavors of capitals which change very slightly in the cursive versions. In the italic versions, the lower case (actually small capitals) changes substantially its characters to make its reading more flowing and is not simply an inclined version of the letters. Eterea is a very expressive font, ideal for tittles and short texts of sober and elegant appearance.
OTF | 12 Fonts | JPEG Preview | 4.5 Mb RAR
Fiesole was inspired by calligraphic models; it is a bookface font family to be used for text, display and caption. Fiesole has three different lengths of items (ascenders-descenders). Old style figures have been included in the fonts. Spacing of Small Caps has been adjusted to obtain good legibility and integrity with Capitals and lower cases. They include also CE languages, swashes, small caps, ligatures, discretionary ligatures, alternates, old style figures and case sensitive forms.
OTF | 17 Fonts | JPEG Preview | 5 Mb RAR
Dobra is a redesign of the previous released Dione. Dobra is a very geometric and robust sans typeface, specially suited for magazines and newspapers, but it works great as a corporate typeface.
TTF | 10 Fonts | JPEG Preview | 4.7 Mb RAR
In the beginning, this font had been designed for an affiche work as wood pattern which includes one font and medium weight. The stylish design of this font had been inclined us to create more weights and more styles. Daphne Font Family comes in three weights; normal and italic. Plus two additional styles which are wood pattern and shadow. You can get great wood pattern results with Daphne Font Family; also with colored shadows, you can get gorgeous results in poster works and t-shirt prints. Even in very small type sizes, it can be legible.
OTF | 12 Fonts | JPEG Preview | 4.2 Mb RAR
The Eagle series realizes the ideas behind Morris Fuller Benton’s famous titling, Eagle Bold, the symbol of American recovery, drawn in 1933 for the National Recovery Association. Font Bureau Eagle was started in 1989 for Publish. David Berlow designed a lowercase, finished the character set, and in 1990 added Eagle Book for setting text. In 1994, Jonathan Corum added Eagle Light and Eagle Black to form a full series.
TTF | 4 Fonts | JPEG Preview | 5.1 Mb RAR
OTF | 1.74 MB
Kefa II Pro is an elegant modern typeface with slab-serif origin, large x-height and relatively condensed letterforms that is suitable for both display and text sizes, and performs well on-screen.
Kefa II Pro is a redesign of the Apple system font Kefa. It has an extended Latin languages support and comes in 8 roman styles with their italic companions, small capitals and multiple figures sets.
Briko is a legible hand-crafted type family that comes in two weights. Its little bit bumpy outline and soft edges give it friendly feelings. There are two versions of Briko Family; Briko and Briko Rough(textured). Perfect for a header for an article, posters or for anything needing a legible and neat hand-written type family.
OTF | 12 Fonts | JPEG Preview | 4.5 Mb RAR
Quiroga Serif began in 2007 with the name Quadratta Serif. This typography was designed for continuous text, legible at medium and small sizes, with great saving of space, optimized for 6, 8, 10 and 12 points. The morphology is a mix between tradition and innovation; it has a vertical axis, thick serifs, tall x-height, light modulation and a lot of internal space between letters: key to improve legibility at small sizes.
OTF | 6 Fonts | JPEG Preview | 6.7 Mb RAR
St Patrick is a typeface inspired by medieval inscriptions but adapted to modern typography. In addition to the regular style there are 4 variants that can be combined in layers. Includes smallcaps and alternatives. This typeface is the oblique variant of the font San Benito (also from TipoType).
OTF | 5 Fonts | JPEG Preview | 7.6 Mb RAR