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| Designed by Deepak Dogra, Agenor Neue is a sans serif font family. This typeface has seven styles and was published by Graphite. |
Agenor Neue is a geometric sans serif with a slight twist. The selective use of rounded edges gives it a unique and distinct character. Agenor Neue family comes in 7 weights and works great for logotype, headers, titles and any other display usage.
The Regular weight is available for free and can be used for any commercial or personal project.
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| Designed by Francesco Canovaro, Bakemono is a sans serif font family. This typeface has twenty-two styles and was published by Zetafonts. |
Francesco Canovaro created Bakemono as a way to explore the design space around the duality of fixed/proportional width. He was also interested in the concept of monowidth design, inherent in monospaced typefaces, that can bring flexibility and ease of use also to proportional type - allowing you to change the weight of a word without losing the text alignment. In his research on fixed width type design he mixed the lessons of mechanical typewriter technology with the intuitions of eastern brush calligraphy, which has been dealing with for centuries with fixed space grids.
The name of the typeface comes from the Japanese shape-shifter yokais that could change their form freely between human and animal, and aptly describes the metamorphic nature of this wide superfamily coming in proportional, monospace and intermediate subfamilies. With a design mixing the expansion principles of the brush with the sharp technicality of typewriter and system fonts, Bakemono can both excel at text size in its regular widths optimised for legibility as well as owning the page at display size with its uncommon design details.
Bakemono reflects its multicultural nature with its extended latin + cyrillic charset, soon to be expanded with Bakemono Arabic (exploring the fascinating world of monospaced arabic script) and Bakemono Kana (our first experiment in cjk scripts).
• Suggested uses: born to allow you to change the weight of a word without losing the text alignment, Bakemono can both excel at text size in its regular widths optimised for legibility as well as owning the page at display size with its uncommon design details. Perfect for contemporary branding, web design, packaging and countless other projects;
• 21 styles: 7 weights x 3 different styles + 1 variable font;
• 839 glyphs in each weight;
• Useful OpenType features: Access All Alternates, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Ordinals, Scientific Inferiors, 7 Stylistic Sets, Subscript, Superscript, Slashed Zero
• 217 languages supported (extended Latin and Cyrillic alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Vietnamese, Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük
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| Designed by Hendry Juanda, Givonic is a sans serif font family. This typeface has seven styles and was published by Letterhend Studio. |
Givonic is a new geometric sans serif and clean variable font. The typeface is versatile to blend in your design- with 6 weight, ranging from regular, medium, thin, bold, semibold, extrabold, light, extralight and black & 18 styles + variable type to touch a lot of personality. Perfect anywhere you need a right finas touches for branding, publishing, titles, book, magazine , and use on UI/UX design.
Features:
Variable Font
uppercase & lowercase
numbers and punctuation
multilingual
9 weight & 18 Style
PUA encoded
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| Designed by Keith Bates, Oxford Street is a sans serif font published by K-Type. |
Oxford Street is a signage font that began as a redrawing of the capital letters used for street nameplates in the borough of Westminster in Central London.
The nameplates were designed in 1967 by the Design Research Unit using custom lettering based on Adrian Frutiger’s Univers typeface, a curious combination of Univers 69 Bold Ultra Condensed, a weight that doesn’t seem to exist but which would flatten the long curves of glyphs such as O, C and D, and Universe 67 Bold Condensed with its more rounded lobes on glyphs like B, P and R.
Letters were then remodelled to improve their use on street signs. Thin strokes like the inner diagonals of M and N were thickened to create a more monolinear alphabet; the high interior apexes were lowered and the wide joins thinned. The crossbar of the A was lowered, the K was made double junction, and the tail of the Q was given a baseline curve.
K-Type Oxford Street continues the process of impertinent improvement and includes myriad minor adjustments and several more conspicuous amendments. The stroke junctions of M and N are further narrowed and their interior apexes modified. The middle apex of the W is narrowed and the glyph is a little more condensed. The C and S are drawn more open, terminals slightly shortened.
The K-Type font adds a new lowercase which is also made more monolinear so better suited to signage, loosely based on Univers but also taking inspiration from the Transport typeface both in a taller x-height and character formation. The lowercase L has a curled foot, the k is double junctioned to match the uppercase, and terminals of a, c, e, g and s are drawn shorter for openness and clarity.
A full repertoire of Latin Extended-A characters features low-rise diacritics that keep congestion to a minimum in multiple lines of text.
The font tips the hat to signage history by including stylistic alternates for M, W and w that have the pointed middles of the earlier MOT street sign typeface.
Incidentally, Alistair Hall (‘London Street Signs’, Batsford, 2020) notes that when the manufacturer of signs was changed in 2007, Helvetica Bold Condensed was substituted in place of the custom design, “an unfortunate case of an off-the-peg suit replacing a tailored one” and a blunder that has happily since been rectified, though offending nameplates can still be spotted by discerning font fans.
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| Designed by Aga Silva, Timernis is a display sans and sans serif font family. This typeface has nine styles and was published by Aga Silva Fonts. |
Timernis is humanist multilingual contrast sans serif available in nine weights from thin to extra black.
All caps have this super elegant, classic proportions old school look and is based on 1940 stone engraving commemorative plaque. The engraving itself boasted sophisticated clean look and was a joy to look at.
All caps: Would suit display usage such as: signage, titles, headers, engravings, high end packaging. Do try putting space between the letters in your selected word for suave and chic feel.
Expanded round shapes are prevalent in lowercase, which is legible in small sizes and pleasant to the eye.
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| Designed by Oğuzhan Cengiz, Rapor is a sans serif font family. This typeface has twenty styles and was published by Hurufatfont Type Foundry. |
Rapor is a powerful and elegant combination, built from a combination of sans serifs with strong gemometric foundations such as Futura, and grotesque fonts based on the equal-width system. Its slightly softened evenly converging diagonal corners add distinctiveness to it.
It has 10 weights ranging from Thin to Black. It consists of twenty styles with matching italics.
Rapor is equipped for professional typography with rich opentype features.
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| Designed by Oğuzhan Cengiz, Rapor is a sans serif font family. This typeface has twenty styles and was published by Hurufatfont Type Foundry. |
Rapor is a powerful and elegant combination, built from a combination of sans serifs with strong gemometric foundations such as Futura, and grotesque fonts based on the equal-width system. Its slightly softened evenly converging diagonal corners add distinctiveness to it.
It has 10 weights ranging from Thin to Black. It consists of twenty styles with matching italics.
Rapor is equipped for professional typography with rich opentype features.
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| Garino is a sans serif font family. This typeface has twenty styles and was published by Julien Fincker. |
Garino is a modern sans-serif typeface. It gains its expressive character from a dynamic sweep in the curves and high-contrast transitions. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. As a result, it can be used in a reserved as well as an expressive way. Thanks to an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more.
Features:
The Garino family has a total of 20 styles, from thin to heavy with matching italics. With over 1165 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few.
Arrows and numbers:
In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply “written” without first having to select them in a glyph palette.
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| Designed by Joël Carrouché, Riveta is a sans serif font family. This typeface has eighteen styles and was published by JCfonts. |
Riveta is a sharp type family available in 18 styles, designed in 2021 by Joël Carrouché. Medium and medium italic styles are 100% free to use.
The typeface features a simple and solid geometric construction, with straight terminals and a very discrete triangular serif that gives the font some extra spice in big size.
Riveta is equipped for advanced typography, with features such as ligatures, tabular and proportional figures, arrows and icons, stylistic alternates, case-sensitive forms, fractions, scientific inferiors and superiors, and circled figures.
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| Designed by Kaja Słojewska, Rupert is a sans serif font family. This typeface has sixteen styles and was published by Nomad Fonts. |
Rupert is your new best friend! the type who’s truly happy when you’re happy, excited when you’re excited, and sad when you’re sad. He’s always has your back and is never judgemental.
Rupert is a geometric sans-serif consisting of 8 weights, ranging from Thin to Black with matching italics. At the moment he supports extended Latin and plans on growing in the future to cover all of your needs. Rupert’s OpenType features include tabular and old-style figures, fractions, ligatures and case-sensitive forms.
He’s flexible to accommodate all of your graphic needs including display, corporate, editorial, web and many more environments. And the best part is… Rupert Light is free to download! So grab it now and begin building great work together.
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| Designed by Anita Jürgeleit, Headlines is a sans serif font family. This typeface has twelve styles and was published by Anita Jürgeleit. |
Headlines font family was designed for optimized headline settings.
The condensed letters are designed for clear and straight headlines and also allow longer words and headlines to find the space they need for a well-composed headline. The exciting plus of this font are its discretionary ligatures. The Headlines font family contains a number of special ligatures for certain combinations to fill common visual gaps such as tty, rv and many more.
Type perfect headlines — now and forever!
- 632 Glyphs
- 10 Styles: Thin, Light, Regular, Medium, Bold + matching Italics
- Variable Fonts for countless weight variation*
- Full Latin Language support including Vietnamese
Open Type Features:
- Numerators/Denominators
- Sub- and Superscript
- Fractions
- Ordinals
- Discretionary Ligatures
- Slashed Zero
*Variable fonts work well in software that supports variable font technology.
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| Designed by Iqbal Firdaus, TG Reglic is a sans serif font family. This typeface has eight styles and was published by Tegami Type. |
TG Reglic is a new contemporary sans serif, influenced by grotesque and geometric typeface letterforms. It comes with four weights, matched with Italic styles. TG Reglic has several OpenType features such as various ligatures, lining figures (proportional, superior, inferior, denominator, numerator & fraction), stylistic features from 01-04 and covered more than 100 languages Latin based. TG Reglic would be the ideal alternative choice typeface for small or large text sizes with unique characteristics.
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| Designed by Hendry Juanda, Glorify Sans is a sans serif font family. This typeface has eight styles and was published by Letterhend Studio. |
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| Designed by Neil Summerour, Organic Pro is a sans serif font family. This typeface has sixteen styles and was published by Positype. |
When I released the original Organic in 2009, I was satisfied with it. It was what was possible from me and the technology at the time. The Organic Pro of 2021 takes those original desires of delivering a highly legible and friendly sans serif, and doubles down on those notions, while exploring what further infusing warmth in a highly structured sans serif can really do for a client.
Free of distracting and potentially dating visual traits and cues that could be seen as endemic of a specific time period or ‘type trend’, Organic Pro is its own person—take it or leave it. Inviting warmth, assured reliability, and a head nod of confidence is what you walk away with—a stark contrast to the cold, impersonal geometrics and grotesques proliferating the design annuals currently. Releasing this typeface now, completely redrawing the masters, as well as expanding the weight and language options, should be seen as a laid back challenge that we need to do less with type, let it communicate confidently and warmly when it needs to, and stop forcing one-size-fits-all type trends on everyone.
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| Designed by Connary Fagen, Greycliff Hebrew CF is a sans serif font family. This typeface has nine styles and was published by Connary Fagen Type Design. |
Greycliff Hebrew CF adapts Greycliff’s soft, geometric design to the Hebrew script. Both Latin and Hebrew glyphs are included, allowing for visually cohesive multiple-script applications. Greycliff’s original nine weights are covered, alongside diacritics, cantillation marks, and wide Hebrew-script language support.
Greycliff Hebrew CF works as a complete, self-contained type system, with both Hebrew and Latin scripts included and designed to compliment one another.
All typefaces from Connary Fagen include free updates, including new features, and free technical support.
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| Designed by Connary Fagen, Greycliff Hebrew CF is a sans serif font family. This typeface has nine styles and was published by Connary Fagen Type Design. |
Greycliff Hebrew CF adapts Greycliff’s soft, geometric design to the Hebrew script. Both Latin and Hebrew glyphs are included, allowing for visually cohesive multiple-script applications. Greycliff’s original nine weights are covered, alongside diacritics, cantillation marks, and wide Hebrew-script language support.
Greycliff Hebrew CF works as a complete, self-contained type system, with both Hebrew and Latin scripts included and designed to compliment one another.
All typefaces from Connary Fagen include free updates, including new features, and free technical support.
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| Designed by Connary Fagen, Greycliff Hebrew CF is a sans serif font family. This typeface has nine styles and was published by Connary Fagen Type Design. |
Greycliff Hebrew CF adapts Greycliff’s soft, geometric design to the Hebrew script. Both Latin and Hebrew glyphs are included, allowing for visually cohesive multiple-script applications. Greycliff’s original nine weights are covered, alongside diacritics, cantillation marks, and wide Hebrew-script language support.
Greycliff Hebrew CF works as a complete, self-contained type system, with both Hebrew and Latin scripts included and designed to compliment one another.
All typefaces from Connary Fagen include free updates, including new features, and free technical support.
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| Designed by Rian Hughes, Cynosure is a sans serif font family. This typeface has fourteen styles and was published by Device. |
Cynosure is a humanist sans with a subtle thick/thin stress. This gives it a clean, sharp elegance and precision that can be missing in some more familiar monoline sans faces.
The wide range of weights and the matching reweighed italics make it a versatile solution where a consistent appearance across a broad range of applications is required.
Its clear and inarguable design make it suitable for a wide variety of uses, from corporate to entertainment, text to headline, signage, logotypes, magazines and reports. The italics retain the design of the upright across all characters, again ensuring consistency. Includes tabular, lining and old-style numerals.
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| Designed by Rian Hughes, Cynosure is a sans serif font family. This typeface has fourteen styles and was published by Device. |
Cynosure is a humanist sans with a subtle thick/thin stress. This gives it a clean, sharp elegance and precision that can be missing in some more familiar monoline sans faces.
The wide range of weights and the matching reweighed italics make it a versatile solution where a consistent appearance across a broad range of applications is required.
Its clear and inarguable design make it suitable for a wide variety of uses, from corporate to entertainment, text to headline, signage, logotypes, magazines and reports. The italics retain the design of the upright across all characters, again ensuring consistency. Includes tabular, lining and old-style numerals.
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| Designed by Donald Tarallo, East is a sans serif font family. This typeface has thirteen styles and was published by Tarallo Design. |
East is a sans serif condensed font. It has six weights between Light and Extra Bold. A variable font is also available.
Clarity and versatility make East a good choice for app design, branding, film titles, information, packages, posters, and publications. It is simple, friendly, and confident.
Its condensed design makes it easy to fit text in tight spaces. The light weight has excellent clarity for easy reading, even at small sizes. The Extra Bold weight will capture attention as a headline or large body text.
The name «East» is intended to evoke optimism, movement, travel, and the sunrise. It is timeless and current with a subtle nostalgia—inspired by the charming one-off sans serifs on early Jazz albums, film titles, newspapers, and road signage.
East has many OpenType features (please see slides). It offers eight stylistic sets. These can quickly alter large amounts of text. It has a set for a one-story “a” for simpler paragraph textures, and a set for hooked letters (f, j, l, r, t, y) for a warmer and playful personality. A seriffed uppercase I and 1 along with a slashed zero offer better legibility when needed. There are also sets for a curly German eszett, cap-aligned punctuation for Spanish, and a raised colon. Other OpenType alternates include; three different uppercase German eszetts, a tapered exclamation point, an alternate 4, standard ligatures, discretionary ligatures, a tapered asterisk, and a set of bullets (round, square, and diamond).
It also contains vertically stacked pre-built fractions. Diagonally built alternatives are offered for the common fractions (one quarter, one half, and three quarters, percent, per thousand).
It will support western and central European languages as well as other Latin-based written languages (check for your language). There are some Greek math-related glyphs and math symbols beyond the common ones.
Read on if you are not familiar with variable fonts.
East is also available as a variable font. If you purchase the font family a variable font is included. It can also be purchased alone. If you want to try it, install the file “East-variable.ttf” first. See how it works and if you do not like it, remove it and install the standard “.otf” files.
What makes a variable font special is that all font weights are inside of one file and you can incrementally control the width and italic slant between Light (300) and ExtraBold (800). These changes are commonly made with slide controls in the font/type palette of the software. Variable fonts are also smaller in file size, benefitting both web and software performance.
Currently variable fonts are supported by Adobe, Sketch, Corel Draw, and most web browsers. Check for your software support here: www.v-fonts.com/support.
Designed by Teo Tuominen, Erik Bertell and Emil Bertell, Imagist is a display serif font family. This typeface has twelve styles ...
