Gimlet Superfamily 112 Styles

• Gimlet draws its inspiration from Georg Trump’s 1938 typeface, Schadow. At the behest of Nick Sherman, I reimagined the oddball serif as an energetic contemporary workhorse, complete with three optical sizes and a flexible set of widths tailored for responsive layouts. A multifaceted series that speaks with a singular voice, Gimlet is a rare find: a typeface that is as funky as it is functional.

Layla Pro Arabic Font Family

Layla pro Arabic typeface is a modern Arabic typeface designed by Ahmed Zaza. the design is inspired by the Kufi calligraphic style and influenced by the Naskh style. The result is a hybrid that combines modern proportions with Classic Arabic scripts. it’s suitable for branding, editorial, packaging, and advertising. Layla pro Arabic Features five weights from Light to Bold.

Leidener Font Family - 6 Fonts $240

6 Fonts | OTF | 1.25 MB | http://input.fontbureau.com/

https://www.myfonts.com/collections/nova-grotesk-font-untype

Nova Grotesk is a contemporary interpretation of the classic sans serif model born in the early 19th century that flirts with a humanist spirit, becoming a cozy Grotesque full of personality and functionality. Ranging from Thin to Black, offers 7 weights plus matching obliques on 3 widths for a total of 42 styles, a wide horizon of possibilities for a typeface that includes more than 800 glyphs per style, more than 20 Opentype features, smallcaps, oldstyle and tabular numbers, stylistic alternates, ornaments and plenty of other attributes for your typographic delight and delirium. Nova Grotesk is an excellent option for use in corporate identity and branding, also works perfectly on signage and information design, its ubiquitous essence and affable scent make Nova Grotesk a typeface for every occasion.

https://type-department.com/collections/sans-serif-fonts/products/non-natural-grotesk/

Meeting functionality with subtle, purposeful quirks, Non Natural Grotesk first presents as pretty straightforward. But, what’s so compelling about this typeface is that it only takes a millisecond and you’re drawn into its fascinating details and deviations from conformity. Designed by Jonathan Saucedo, intricate, subtle touches—such as the width of the counters and comfortable, breathable apertures—mean that throughout weights and sizes, Non Natural Grotesk sits calmly and confidently. The typeface has great legibility and good contrast between black and white, making it stunningly versatile; showing off its seamless combination of contemporary details and classic styles.

https://fonts.floriankarsten.com/fk-raster-grotesk

FK Raster Grotesk is a pixel-based sans-serif typeface, sharpest at the 12-pixel size. Its Compact variant partially abandons the pixel grid and serves as a tightly spaced display typeface, carefully kerned to leave no superfluous gaps. The variable font smoothly transitions between sharp, pixelated form to completely rounded shapes, creating strong contrasts between the two states. FK Raster Grotesk supports Latin Extended-A character set (i.e. Western European, Central European and Southeastern European languages) and several OpenType features.

https://www.myfonts.com/collections/fud-grotesk-font-ilya-bazhanov

• A narrow sans serif, FUD Grotesk was inspired by brutalist architecture and modernist typography. There is a subtle stroke contrast, many inktraps, and even some microserifs (look for them in the main strokes!). Note the closed bowl apertures, exaggerated in the alternate forms, which result in a dense, ornate typeset. Five weights (from Light to Bold), and a large set of discretionary ligatures.

Neue Haas Grotesk Font Family - 44 Font $2376

OTF | TTF | 8 MB

• The first weights of Neue Haas Grotesk were designed in 1957-1958 by Max Miedinger for the Haas’sche Schriftgiesserei in Switzerland, with art direction by the company’s principal, Eduard Hoffmann. Neue Haas Grotesk was to be the answer to the British and German grotesques that had become hugely popular thanks to the success of functionalist Swiss typography. The typeface was soon revised and released as Helvetica by Linotype AG.As Neue Haas Grotesk had to be adapted to work on Linotype’s hot metal linecasters, Linotype Helvetica was in some ways a radically transformed version of the original. For instance, the matrices for Regular and Bold had to be of equal widths, and therefore the Bold was redrawn at a considerably narrower proportion. During the transition from metal to phototypesetting, Helvetica underwent additional modifications. In the 1980s Neue Helvetica was produced as a rationalized, standardized version.For Christian Schwartz, the assignment to design a digital revival of Neue Haas Grotesk was an occasion to set history straight. “Much of the warm personality of Miedinger’s shapes was lost along the way. So rather than trying to rethink Helvetica or improve on current digital versions, this was more of a restoration project: bringing Miedinger’s original Neue Haas Grotesk back to life with as much fidelity to his original shapes and spacing as possible (albeit with the addition of kerning, an expensive luxury in handset type).”

Regan Slab™ by The Northern Block Updated!

TTF | 20 Fonts | JPEG Preview | 4.1 Mb RAR
Regan Slab Font Family

• A precision cut slab serif typeface. Simple curves are combined with sharp angles to provide a readable font with subtle characteristics. Regan Slab is ideally suited to wide range of applications including magazines, newspapers and handheld devices. Details include 10 weights with italics, 540 characters, 5 variations of numerals, small caps, stylistic alternatives, manually edited kerning and Opentype features.

Nimbus Sans Round Font Family 16 Font $320

16 OTF  TTF | SALE PAGE

• The first versions of Nimbus Sans have been designed and digitized in the 1980s for the URW SIGNUS sign-making system. Highest precision of all characters (1/100 mm accuracy) as well as spacing and kerning were required because the fonts should be cut in any size in vinyl or other material used for sign-making. During this period three size ranges were created for text (T), the display (D) and poster (P) for small, medium and very large font sizes. In addition, we produced a so-called L-version that was compatible to Adobe’s PostScript version of Helvetica. Nimbus was also the product name of a URW-proprietary renderer for high quality and fast rasterization of outline fonts, a software provided to the developers of PostScript clone RIPs (Hyphen, Harlequin, etc.) back then. Also in the 80s, a new, improved version of the Nimbus Sans, namely Nimbus Sans Novus was designed. Nimbus Sans Novus was conceptually developed entirely with URW’s IKARUS system, i.e. all styles harmonize perfectly with each other in terms of line width, weight, proportions, etc. On top of that, Nimbus Sans Novus contains more styles than Nimbus Sans. Now, Nimbus Sans Novus is also available as Round (like the popular URW fonts Futura Round and Eurostile Round). The Round versions are intended to facilitate the work of designers and typographers. The fonts can be used directly, without further preparatory work in graphic programs as finished, high-quality Rounds.

FF Kievit Slab Font Family - 18 Fonts for $659

OTF + TTF | 18 Fonts | 1.4 Mb RAR

FF Kievit Slab Font Family

• American type designer Michael Abbink and Dutch type designer Paul van der Laan created this slab FontFont in 2013. The family has 18 weights, ranging from Thin to Black (including italics) and is ideally suited for advertising and packaging, book text, logo, branding, small text, wayfinding and signage as well as web and screen design. FF Kievit provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

Brownstone Sans by Sudtipos 

OTF | 3 Fonts | JPEG Preview | 3.4 Mb RAR

Brownstone Sans Font Family

Graphik Font Family

Graphik - Most Popular Commercial Typeface 18xOTF

OTF | 18 Fonts | JPEG Preview | 10.9 Mb RAR

• Graphik, a deliberately vanilla editorial workhorse, remains one of Commercial Type’s most popular families. This hybrid face offsets the round bowls typical of a geometric sans with the architecture and proportions of a European grotesk, without the baggage of more dogmatic, overused sans serifs mired in postwar modernism. Graphik’s low contrast, open counters, and compact descenders recommend it for use in tight settings like subheads, captions, labels, and running text; human touches like round dots and other details also make it ideal for larger, more impactful uses such as titles, covers, posters, and signage. Over time, the family has matured into an expansive collection of nine weights and eight widths, and has even branched out into a companion slab family: Produkt.
• 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.

Libertad Sans-Serif Typeface Family by TipoType

OTF | 14 Fonts | JPEG Preview | 8.6 Mb RAR

Libertad Fonts Family

• Design can do without images, but not without typefaces. Libertad is a sans-serif typeface that mixes humanist and grotesk models. It’s most interesting feature is the combination of balanced regulars with dynamic italics, which makes it a very versatile font for different uses. This typeface follows the Luc(as) de Groot’s Interpolation Theory, that’s why it has seven specially-calculated weights plus their matching italics, from thin to extra-bold. This allows it to be useful in big headlines and also small texts. It has more than 800 characters per weight and support for more than 70 languages.