http://www.myfonts.com/fonts/typogama/auro/

Auro is a friendly, rounded sans serif that was created as a contemporary typeface solution for branding, editorial use or any other application that requires legibility with a touch of personality

http://www.myfonts.com/fonts/brownfox/geometria-narrow/

Geometria is a typeface of clean shapes that is well-suited for continuous reading, and it sets remarkably well. At the same time, it can be friendly, even flirtatious. Its distinct personality combines seeming opposites. At times it may appear serious, at times playful. On occasion, it may be deliberate, other times dynamic. It could seem rigid, then elegant. It is a typeface that could be perceived either as cutting-edge, or as nostalgic. A careful and discerning typographer will bring out and emphasize those aspects of its multifaceted personality that are needed to solve the problem at hand.Geometria Narrow was designed as an extension to the Geometria typeface, wich consists of 16 fonts — eight weights with matching italics — and is available as a separate type family. The font includes multiple sets of figures and currency signs, alternate glyphs, a variety of experimental ligatures, and punctuation marks for the two cases. The 835 glyphs support 72 languages.

http://www.myfonts.com/fonts/martin-gnadt/sumply/

Sumply is a multi-layered type family based on geometric forms. A monospace display typeface which comes as a family of four. It is equipped with OpenType features and contextual alternatives to create a versatile and fresh output.Sumply initially was designed to be used in personalization processes in digital printing. By choosing the basic geometric cut (FOUR), patterns and various graphic elements can be created just by importing text variables into the indesign data merge. If combined with the other cuts the possibilities are sheer endless.Sumply was selected to be in the 2016 edition of Typodarium.

http://www.myfonts.com/fonts/associated-typographics/sagan/

Sagan was designed as an alternate to Ramsey; you could call them brothers. It was drawn, redrawn, and expanded on, to put it lightly. It boasts 770 glyphs in each weight, covering all European languages, and also contains an extended Cyrillic. Sagan provides advanced typographical support with features such as case-sensitive forms, old style numerals, fractions, and many alternate glyphs.Like all of our typefaces, Sagan is fun to use.Sagan has 7 weights, with accompanying italics for each weight, ranging from Extra Light to Black. It is ideally suited for branding, editorials, advertising, packaging, posters, billboards and digital screen design. Sagan will work hard for your brand or project. Make a statement that demands notice.

http://www.myfonts.com/fonts/pintassilgo/sunbeat/

Sunbeat is a quite groovy face, but that’s not all: this upbeat family is packed with cool interlocking pairs for adding that twist when you need it. Available in three tones, suitable ?only ?for projects that sound great. Hell yes!

http://www.myfonts.com/fonts/typetanic-fonts/conglomerate/

Sans or serif? Square or rounded? Calligraphic or geometric? Conglomerate is both all and none of these things — a subtle yet unorthodox blend of typographic traits resulting in a clean, unique, and versatile font family with large, open counters for legibility in text yet crisp, sharp details that sparkle at display sizes. Conglomerate is sturdy but never stiff, crisp but never stark — perfect for projects that require a more contemporary feel than either a traditional serif or geometric sans might bring.Each style also contains an extensive set of OpenType features for quality typesetting — including small caps, proportional, tabular, lining, and oldstyle numerals, case-sensitive punctuation, ligatures, arbitrary fractions, localized forms, and elevated, underlined ordinal indicators for English, French, Spanish, Italian, and other languages. TTF versions have also been manually hinted for optimum screen clarity on Windows and the web.

http://www.myfonts.com/fonts/tetradtype/text-tile/

TextTile is a system of heavy sans titling faces which can be utilized to carry a repeating chromatic pattern across words and letters. It stands apart from other chromatic faces, where layered effects typically interact only within each letter and do not carry through from one letter to another.The pattern repetition across letters of varying widths is achieved through OpenType substitution, using conditional alternates for each successive letter to allow for a seamless appearance across words, regardless of letter combinations. Though the pattern exists on a strict grid and the letters' widths and spacing must be highly regular in order to preserve the pattern repeat, the letterforms themselves are not rigid; rather, they appear organic, lively.The initial release includes patterns inspired by a classic buffalo plaid, separated into its horizontal and vertical components to maximize the creative possibilities for layering one-, two-, three-, and even four-color plaid patterns. Kits are available to produce the plaid pattern in detail—with overlapping diagonal hatching fully visible—or as a simplified version in which transparency can be used to simulate plaid or to create a checkered or striped effect.

http://www.myfonts.com/fonts/thefoundry/foundry-wilson/

Foundry Wilson is a lovingly drawn revival of a 1760 font from Scottish type founder Alexander Wilson, a learned and cultured man who crafted his types with care and skill. Many of Wilson’s fonts were produced exclusively for the Foulis brothers' classics published by Glasgow University Press. This creative relationship produced typography that earned the praise of their peers. A fresh alternative to the contemporary Baskerville, with a taste of the incised letterforms of its time, Foundry Wilson is a robust and lively type design that displays a beautiful colour and texture on the page.

http://www.myfonts.com/fonts/thefoundry/foundry-sans/

This humanistic sans serif design was inspired by a conversation that David Quay had with renowned type designer Hans Meyer, during ATypI in Paris, 1989. Meyer revealed that Sabon, designed by Jan Tschichold, was the inspiration behind his Syntax font. This approach formed the basis for the design development of The Foundry’s very first sans serif typeface family; the inspiration for Foundry Sans comes from Stempel Garamond. Foundry Sans was the second typeface to be released for The Foundry typeface library in 1990.

http://www.myfonts.com/fonts/catharsis-fonts/quinoa/

Quinoa is display typeface by Catharsis Fonts that unites the seemingly opposed concepts of clean geometric architecture and organic humanist warmth. While it is designed for display and editorial purposes, its accessible forms make for comfortable reading even at text sizes. Its exuberant adaptive «f», «j», «Q» and refreshing titling alternates bring display text to life. Quinoa covers multilingual Latin, Cyrillic, Greek, Hebrew, Arabic, and Armenian.The Quinoa family spans three stylistic cuts (Quinoa, Quinoa Titling and Quinoa Round) with matching hand-slanted obliques, each of which comes in six weights. The Titling cut offers a number of alternate capital letter designs with lowercase-inspired forms for a refreshing unicase look, and the Round cut additionally removes the spurs from arched letters like n. A host of other OpenType features including ligatures, contextual alternates, small caps, figure sets, and character variants are built into all cuts. Furthermore, the small caps of Quinoa and Quinoa Titling are available as dedicated font files under the names «Quinoa SC» and «Quinoa Unicase» for ease of use.

ViabellaT H Pro Font Family - 8 Fonts $999
OTF
The script version of the typeface Viabella introduces us to the calligraphic side of the Berlin type designer and typographer Karl-Heinz Lange. The sketches for this script typeface, which resulted from the close cooperation with Veronika Elsner and Günther Flake, found their roots in sketch drawings which Karl-Heinz Lange had already drawn in the 1980’s.
For the Viabella design, Karl-Heinz Lange drew the basic letterforms of the Black and Regular cuts with a brush. He then re-worked the drawings and transferred them on to tracing paper. The design studio Elsner+Flake in Hamburg cut these typeface extensions and later digitized them manually with the help of the IKARUS Sustem. With the Regular cut as a basis, Elsner+Flake extended the family with the Light version and interpolated and re-worked the Medium weight. The completion of the family was taken over by the type designer Björn Gogalla who had done the same kind of work on Rotola, a design which Karl-Heinz Lange had also created for Elsner+Flake.
While Viabella was originally conceived as a headline typeface, its lighter weights can certainly be used for shorter text applications. The Black version creates powerful headlines with highly effective accents. With the help of swashes, which are available for all weights, the user can lighten up longer texts and add special character to titles.
In contrast to pure headline fonts, Viabella has been enriched by an extensive complement of special characters. In addition to the Europa-Plus character set which allows setting type in over 70 latin-based languages, the user will find multiple versions of numerals as well as oldstyle figures, tabular and proportional lining figures, diagonal fractions, and a complete set of superior and inferior figures and fractions (60%).
With such a rich character set, Viabella is not only ideal for many different uses in the areas of newspaper, magazine and advertising but it will surely be chosen for the design of greeting cards, invitations and other design projects within the privat sphere.
Previews

http://www.myfonts.com/fonts/textaxis/eina/

Eina was designed as a corporate typeface for the design school “EINA, University Centre of Design and Art.” It’s not just a font to be used — Eina embodies an educational concept that transcends simple typographical use. Eina is a typeface to be explained and used to teach typography. The whole process of design and development is reflected in the publication “Four nuances of a typographical standard: A typeface for EINA.” Eina is a versatile and multipurpose sans-serif typeface, consisting of 32 original styles, organized into four categories: rational, humanist, geometric & industrial. Each category contains four weights with their corresponding italics. You can purchase the full family, each individual weights, or four packages with each categories.

http://www.myfonts.com/fonts/abc-litera/abc-allegra/

Allegra by Jost Hochuli is a sans-serif mo­noline with classical proportions, in seven weights, roman and italic. It was designed principally for book typography. As the counters are open, Allegra is also suited for signage and lettering. All fonts are provided with sufficient accents to be usable for virtually all scripts based on the Latin alphabet.

http://www.myfonts.com/fonts/mawns/ave/

The Ave family is a soft, flowing script typeface. It comes in three thicknesses; the thin Ave Utan, the medium Ave Betwan, and the bold/fat Ave Fedan. All the fonts contains OpenType swashes and contextual alternates to give you the option to add a natural, custom and decorative touch. The swashes can also be found in the included Swash version.

http://www.myfonts.com/fonts/astrolux/tin-sign/

A new “Trifonictype” font (Barn Owl the 1st) from astroluxtype. It’s three fonts in one. Tin Sign can be used to create special typographic “effects” in your image manipulation program and other apps as you change opacity, layering etc. to get a wide range of different looks to the three components to this font. Bold. Distressed. Vintage. Dimensional. This is a display/headline only font recommended to be used larger than 36pt. It is letter spaced open, but by using letterspacing in your app you can customize the look to your desired spacing. Tin Sign Fill, Tin Sign Shadow and Tin Sign Outline can be used together or separate to create a new look each time you use them. Shadow can be in the back or front which shows the interior shadow on the glyph. It is a minimal/basic font set. It is an all uppercase font with a small mix of lowercase glyphs in the lowercase positions. These bring an additional element/look to your design should you choose to include them. How Tin Sign works, type your headline, copy it and paste it in front or back. Choose a different component of the font, do it a third time with again a different component of the font pasted in back (or front) choose a new color at each step and see the results. In your application play with transparency and other effects to get the font artwork that you desire. Tin Sign brings multiple possibilities to your layouts and design with its modular components that lend themselves to manipulation and exploration.

http://www.myfonts.com/fonts/wiescherdesign/noticia/

»NOTICIA« is my new Sans based on the modernistic, constructivist letterforms of the »Bauhaus« era. The names Herbert Bayer and Paul Renner come to mind as design beacons of that time. »NOTICIA« is different in its proportions and long ascenders and desenders make for good readability, slanted endings on some horizontal strokes give the font more dynamic. The font also has an additional set of medieval ciphers »NOTICIA« brings the old forms up to todays standards in typography. I am now offering these 10 fonts at a sensational family price. 

http://www.myfonts.com/fonts/thefoundry/foundry-context/

Foundry Context is a sans serif family designed to be universal in many contexts – hence the name. A ‘no-nonsense’ typeface, reminiscent of 19th century sans serif faces, Foundry Context has very round, pure letterforms, crafted without being over refined, and having minimal stroke contrast in the neo-grotesque style. A hint of personality has emerged from the very drawing of the proportions, strokes, and terminals, yet Foundry Context is still neutral enough to compete in the grotesk arena, and at the same time has something new to say.

http://www.myfonts.com/fonts/nine-font/rohn-rounded/

This family is a modern squarish typefamily with a large x-height and soft feeling. Its letterforms are based on the shape of square with rounded corners.With particular details and large x- height, it is more legible at small sizes both on screen and paper.It has seven weights from Thin to Black with corresponding oblique styles and each weight includes ligatures, fractions, old style numbers, case-sensitive forms and more.Rohn Rounded is ideally suited for branding, logo, packaging, magazine, poster and editorial design.

http://www.myfonts.com/fonts/pesic/tact-slab-new/

Tact Slab New is geometrically a slab serif font, with 3 weights, condensed looks glyphs, with an alternative glyph set to improve its use in different graphic contexts. Tact Slab New is compatible with the sans serif font Tact New. It is suitable for use in the fields of science, art, architecture, urban planning, techniques, electronics, advertising, posters, corporate designs, futuristic themes, sport, film, computers, phones, video games, publishing... Contains all the Latin and Cyrillic glyphs.

http://www.myfonts.com/fonts/nowak/ripley/

Ripley is a handwritten fully connected script with ligatures and contextual alternates to help with flow and readability.Every lowercase letter has three variations. When the font is used in OpenType-savvy applications, the 3 variants of glyphs are automatically alternated to achieve a random-like effect.Language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages.

http://www.myfonts.com/fonts/type-department/scarlet/

Scarlet might have been the result. In his admiration of the graphic language of the 1960s, Jürgen Huber has designed this sans serif typeface with a matching script in 2015/16.Scarlet comes in 12 styles, Scarlet Script in 7. Both typefaces have small caps and an extended character set to support Western, Central and Eastern European languages. OpenType features help you handle ligatures, old style figures and other glyph sets, in a smart way.With Scarlet’s warm unique flavor and touch in the design of the stylish and playful sixties, you can feel where it works best, whether in the pages of magazines, on packaging, or on the screen.

http://www.myfonts.com/fonts/without-foundry/lupulus/

Lupulus is a typeface inspired by the works of german expressionist artist and type designer Rudolf Koch. Drawing inspiration from types such as Neuland and Kabel for some of its features, it possesses a gothic and contemporary essence. Its constant rhythm; strict, solemn, yet boldly exuberant keeps it clean and functional. Its expressiveness allows for a wide range of uses: short texts, headlines, posters and branding, for which it is exceptionally well-suited.Lupulus consists of 17 fonts: 8 weights, 8 italic variables and one free ornamental variable.Featuring alternate characters, it is a comprehensive and versatile set built to suit your design needs. It comes fully equipped with Opentype for any and all technical requirements.

http://www.myfonts.com/fonts/grype/offroad/

Geometric typefaces can harken back to and visually tie themselves to so many genres, from constructivist posters, to techno club flyers, to raw industrial era power. The Offroad family finds its origin of inspiration in the O’Neal MX logo for their motocross division, represented in its truest form in the MX styles of this family, and expanded to a type megafamily.Offroad grabs hold of that unique pseudo-unicase style and runs with it to create a range of widths and weights that are perfect for historical through modern use. It embodies the hardcore motocross rigidity from the limited inspiration of the original logotype and expands to include a full and expansive glyphset, 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.