The powers of the SparkyType and PizzaDude combine to bring a font straight from the future.

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The design of Beau Sans was inspired by Bernhard Gothic which is considered one of the first contemporary American sans serifs and was designed by Lucian Bernhard in the late 1920s.

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The Sommet series has been updated with a rounded variant.

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This typeface is based on ISO 3098, a technical documentation issued in 1974 by ISO (International Organization for Standardization), which proposed a set of characters for use on technical drawings and associated documents. Isotext is based on the original standards but is completely redesigned to fit typographic requirements. This new ‘Pro’ version is further improved and now comes with a complete set of redesigned true-italics. Furthermore, the width of the glyphs has increased in order to establish a more balanced and readable text. The result is a contemporary font which works well in small sentences as well as long texts. Isotext Pro is loaded with all the good stuff a designer needs to create documents with attitude. It supports 19 special OpenType features like small caps, fractions, ordinals, etc. and offers multilingual support for all European languages including Greek and Cyrillic. Finally, every font in this family has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life.

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This font takes its name and the overall shape from modern bentwood furniture, namely Scandinavian designs since the 1940s. The curved corners of the letterforms are practically hyperbolic, to convey the tension and strength of the bent plywood. These curves are meant to appear more dynamic than circular or elliptical segments of traditional sans serif fonts.

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Uniwars is 16 styles of Japanese corporate technical minimalism: ideal for electronics, military, robots, spacecraft, videogames, construction or sci-fi.

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Milibus is a smart, anti-retro sans with battleship styling, technical proportions and even colour. The Milibus family includes Light, Regular, SemiBold, Bold & italics.

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A paper-clip-inspired typeface with character.

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A linear modern typeface suited for branding & advertising projects. The variations in weight give great contrast when used across body
copy & headlines.

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After Headline was designed to carry the most innovative concepts.

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After Text is a relative of After Headline, providing confortable reading experience without loosing the spirit of the innovative headline version.

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Gendouki is a wide, futuristic sans-serif display font with filament stencil lines inspired by spaceship access panels.

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Mecatoque is a sharp, futuristic display font and works best in text and display applications, such as posters, headline, magazine, logos and titles.

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Outlander Nova is a reworking of Outlander, and adds uppercase characters in addition to the previously available unicase versions.

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Softrobo Pro is the further development of Softrobo font provided by Koval Type Foundry in 2008.

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Changeling Neo is an expanded and enhanced version of Changeling (2003) which in turn was a redesign and expansion of China, a Visual Graphics Corporation typeface from the mid 1970s designed by M. Mitchell.

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Lunarmod is an attempt at creating a full font from a single basic shape, a box with oval ends.

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Very light and italicized, this font was created as a somewhat futuristic interpretation of a modern font.

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Bomb is a heavy futuristic industrial font that doesn't like being pushed around.

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The character set is short but make no mistakes, it is complete.

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With its strong diagonal emphasis, Gentry is a humanised techno face that manages to also incorporate some strong calligraphic touches.

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Alepholon is futuristic techno font with a tip of the hat to a 1970s classic: Handel Gothic.

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If you were a superhero, wouldn't you want your unitard to sport Set Theory, big and bold, on the front?

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Was God an Ancient Astronaut? Are crop circles signposts for UFOs? Are we or are we not alone? Do you Want To Believe?

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Neuropol is a futuristic font family inspired by science fiction video games and flatbed plotters. Designed by Ray Larabie in 1997, the original Neuropol was an instant hit with younger graphic designers, neatly filling the void between Microgramma, the universal geometric sans serif of the late 20th century, and the fast approaching 21st century.

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Zolano Sans is a futuristic, sans serif font family that takes a clean, simple straightforward approach to legibility.

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Originally this blocky sci-fi font was only available with purchase of the Blambot hat—well, the hat is sold out, but the font lives on!

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Dexy is an interesting font that seems reminiscent of car model brandings.

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Good for small screen resolutions and nice output at larger sizes.

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The BOT font package includes two character sets, BOT-Regular and -Stencil. The futuristic looking characters are designed to work in both large scale and small sizes; it works very well as a comfortable, readable lettering on machines of any kind as much as in print and screen publications. In addition, the BOT-Stencil letters can easily be cut out and work as a template for painting type on any surface.

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Paris ND is part of Neufville Digital’s GRAFÍA LATINA Collection.

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Hexagona Digital is based on a net of regular hexagons, thinking of a Liquid Crystal Screen whose pixels are illuminated to conform the letters.

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I just loved the design idea behind this font, but the original font had a lot of ugly artifacts - so I have completely redrawn ALL the letters, before expanding the character set.

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This is an updated version of my old Never Say Die font, it comes in 4 versions!

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Herbert Bayer of the Bauhaus School in Dessau, Germany, designed the inspiration for ITC Bauhaus, known as the Universal typeface, while he was teaching there in 1925. Ed Benguiat and Vic Caruso redrew the typeface in 1975. ITC Bauhaus is a rounded sans serif design whose forms were developed from the straight edge and compass. ITC Bauhaus can be used in period pieces reminiscent of the 1920s and the Art Deco era; its simple, clean lines and not-quite-closed counterforms make it noticeable in display settings.

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Accelerator is a custom made typeface for a package line for Sirius Products. It’s a 100 percent power generator for the NXT generation of typographers.

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Tachyon is a family designed by Ethan Dunham that has clean simple lines.

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Visoko is a playful, geometric typeface inspired by post-modern fonts designed by Mecanorma from the 80s.

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Changeling is a redesign and expansion of China, a Visual Graphics Corporation typeface from the mid 1970s designed by M. Mitchell. The original face had only one weight (similar to Changeling’s Bold), caps only, with a few alternates. In Changeling, many characters have been redesigned for better setting and more even color. Lowercase-style variants have been added to nearly all the uppercase forms, offering endless “unicase” combinations. Four more styles--Light, Regular, Stencil, and Inline--were added, as well as full character sets, alternate characters for A, M, V, and W, and extensive kerning tables for perfect '70s-style “tight but not touching” spacing.

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Designed in 1984 by British designer Neville Brody for a magazine called The Face, Industria is an ultra-condensed sans serif display face that comes with an inline version.

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Runway is the font that will satisfy the need for speed in your design. Simple lines and curves, a commanding slant, and big sturdy shapes made to cruise at any speed or altitude, through summer breeze or horrible snowstorms.

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Codiga is perfect for titles and badges that need to show a futurist and space sensation. Its angles formed by straight lines and its san serif monolineal design allows its solid and rigid shapes stress its industrial and technology Look.

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Plan is a corporate typeface made for ‘Plan A Ontwerp’, a graphic design studio based in Eindhoven, The Netherlands.

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Stencille Une is that long-sought delicate and refined stencil font. Unique but not gimmicky, giving it the legibility often lost in most stencil fonts.

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Based on a rounded square, ER9 is a very versatile futuristic feeling typeface.

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Xenara is a technical font with rounded ends inspired by 1970s calculator keys and electric typewriters. Xenara is available in OpenType, Mac PostScript and Windows TrueType format in regular and bold styles. The OpenType version features class-based kerning.

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Your Mama told you not to do it, so you just KNOW this font will be good for you! In fact, you might say it’s a Cut Above the Rest!

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Refrigerator is a condensed, geometric sans serif inspired by mid-20th century vernacular styles from America and Europe.

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Wevli is a revival from Ray Larabie’s earlier foundry, Larabie Fonts. The design was rebuilt from scratch to make a quality practical typeface free from constraints of the original design. Lower x-height, longer descenders, simplified glyphs and vital corrections to the vowels increase legibility without defeating the character of the original. Style-wise, Wevli has an inky technical pen look that leans toward futurism. Razor-sharp vertices mingle with quarter-squared bowls to contrast with the profusion of rounded forms yet compliment them at the same time. Wevli is deliberately inconsistent with one effect in mind; to get the eye’s attention and force the consumer (victim) to read your message. Wevli italics depart from the normal set with freer forms and cues from widely differing sources, including a cursive s and curled l-a current favourite of many designers. Wevli is an extended family of eight weights, including bold and condensed versions. A bonus Wevli dingbat font can be used in-line for consistent results.

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Dynamic by name, and dynamic by nature - this sleek font is perfect for logos and hightech quotes.

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Stan Davis drew this face for VGC in 1967, following the structure of the MICR figures to suggest a ‘computerized’ effect.

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Common use(s) of Comicraft’s All-new, All-different SENTINEL font include FACTOR-X, X-MAN, GENERATION NEXT and X-CALIBRE.

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Rhodaelian Retour expands the original Rhodaelian into a powerful, feature-packed display typography system.

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This font has nothing to do with the delicious coffee-flavoured Italian dessert treat. Instead, it’s a future-inspired display face.

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Taboo is a versatile font family inspired by the magnificent geometric experiments made by Armenian lettering artist Fred Africkian during the late 1970s. Virtually unknown in the west, Africkian was one of the most talented eastern block artists. Though mainly a calligrapher working with traditional tools, he embraced geometry on multiple occasions for the sake of drawing simple modern Armenian and Cyrillic alphabets. Though he normally tried to maintain in his work a certain homage to Mesrop Mashtots (5th century Armenian monk who invented the Armenian alphabet), his late 1970s experiments made use of so many modern elements that the results were hailed as “real art mingled with science.”

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A chunky font for headline use.

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A plain typeface with a solid construction. A reconstruction of an earlier font called Brassiere

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How much more multi-cultural can you get, than a Japanese-style Roman font from Denmark?

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The Chromium Yellow family is based, very loosely, on Electro-type Serif, designed by John Wu of Hong Kong’s Archetype foundry.

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P22 Basala was created using straight horizontal and vertical lines, but with large rounded corners to create an unconventional softness for a bold face. The naming of the font reflects this juxtaposition: Basara= Basala= (in Japanese) free and unrestrained, unconventional.

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