Typedesigner Hannes von Döhren created Brevia, a soft sans serif type family consisting of seven weights plus matching italics. The fonts have a hint of a brushed feeling and come across casual and friendly. Nevertheless Brevia’s architecture is straight, making it perfect for longer texts. Because of its big x-height, it also performs nicely in very small sizes. Brevia’s heavier weights are slightly more curved and have an eye-catching appearance. They unfold their strength especially in bigger sizes. This contemporary type family is intended to be used in applications like: Cosmetics, Service, Food and Advertising – basically everywhere where a pleasant feeling should be conveyed.

More…

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.

More…

Back in 1936 the German Standards committee Deutsches Institut Normung (DIN) proposed DIN 1451 as the standard type of lettering for road signage. As the original manual states ‘the purpose of this standard is to lay down a style of lettering which is timeless and easily legible’.

More…

Calibri is a modern sans serif family with subtle roundings on stems and corners. It features real italics, small caps, and multiple numeral sets. Its proportions allow high impact in tightly set lines of big and small text alike. Calibri’s many curves and the new rasteriser team up in bigger sizes to reveal a warm and soft character.

More…

Houschka has the humanist qualities reminiscent of Gill and Johnston but is quite unique. It is more monolinear with rounded corners giving it a softer appearance, and has a few interesting character quirks like the capitals A, G, Q, W and lower case u and w.

More…

Gloriola is a monolinear sans serif, whose extremely broad range of nine cuts offers endless creative possibilities.

More…

Dederon Serif has been specifically designed for book setting. Preliminary sketches were drawn in 2004. Its inspiration — particularly its weight and width proportions — can be traced to the Liberta typeface from the TypoArt type foundry in former Eastern Germany. After a careful study of the model, the design of Dederon branched off into its own direction, finding its distinctive voice and becoming a wholly original type family. Dederon Serif kept most of the elements typical for the Old Style Roman lettering, such as the angle of the stress, the medium x-height, and lower contrast. In large sizes, the typical shapes of the letters stand out — the calligraphic feel characteristic for the Czech typefaces by Oldrich Menhart, the unusual serifs hinting at the angle of the pen, the shapes of the stems, or the terminals of dots and ears.

More…

Clarendon Text is a contemporary remake of the truly classic slab serif typeface with a distinctively clear and legible visibility. It is a widely usable text type suited equally well to advertising, books, publications, and a wide range of corporate literature where large amounts of reading matter call for distinction and style without sacrificing readability.

More…

The eight-part Belizio series updates the first Font Bureau typeface.

More…

While Din Display seems to retain DIN’s basic characteristics, it shines with its sharper corners and contemporary look. Completed in 2002, it was first released and published in Parachute’s award-winning 2003 catalog and immediately was a hit.

More…

Originally released in 1987, Charter incorporates three important features: compact set width to give economical copyfit; generous x-height to give readability at small point sizes; and sturdy open letterforms to give reliable reproduction at both typesetter and laser printer resolutions. The design brings a clarity and freshness to everyday documents, such as newsletters, textbooks, directories and technical manuals, where the reader’s concentration must not be interrupted by unfamiliar letterforms but where typographic dullness can itself impair comprehension. The Italic has cursive letterforms - so is instantly distinguishable, while being readable enough in its own right for continuous text.

More…

Karmina Sans follows the steps of its successful award winner cousin, Karmina Serif. It shares the same technical excellence and it achieves similar stylistic features, but the new sans serif version proposes a much more versatile tool for editorial designers.

More…

Oksana Text is the demure version of Oksana, with shorted serifs, higher contrast, more slender proportions.

More…

Parisine Plus Std Sombre is a set of heavy variants of the Parisine Plus family.

More…

Parisine Plus was created in 1999, alongside its brother, Parisine Ptf.

More…

Centro Pro is the winner of the prestigious European Design Awards 2008 for original typeface.

More…

The first version of Libris I designed in London in 1997 when I worked for Frank Magazine. Later Libris was used in the magazine for text and display.

More…

Back in 1936 the German Standards committee Deutsches Institut Normung (DIN) proposed DIN 1451 as the standard type of lettering for road signage. As the original manual states ‘the purpose of this standard is to lay down a style of lettering which is timeless and easily legible’.

More…

Sauna, a typeface for all sizes.

More…

Eksja is a modern slab serif available in four weights, each with a corresponding italic. All the fonts in the family have small caps, the extended latin character set, diacritical f-ligatures, enclosed numerals (numbers in circles) and case-sensitive punctuation.

More…

Mr Jones was originally conceived as a family for print design consisting of a sans and a headline. The lowercase are wide for legibility at small sizes while the caps are narrower to save space and keep an even balance of negative space when used in body copy. The overall widths of certain characters have been adjusted to almost extremes to keep an even balance of white space around each letter. He works well in body copy, but will need decreased tracking for larger settings. He comes with proportional, oldstyle, and tabular figures and discretionary ligatures.

More…

Hemingway designed by Alessandro Segalini was inspired by the prize winning novel The Old Man and the Sea by Ernest Miller Hemingway.

More…

Leksa Sans is a humanist sans-serif face with some contrast.

More…

Gesta is a friendly versatile sans serif typeface suitable for corporate and editorial purposes.

More…

Parisine Plus Std Clair is a set of light variants of the Parisine Plus family.

More…

Sky Sans is a companion to Sky Serif.

More…

Mr Eaves is the often requested and finally finished sans-serif companion to Mrs Eaves, one of Emigre’s classic typeface designs. Created by Zuzana Licko, this 2009 addition to the Emigre Type Library expands the versatility of the original Mrs Eaves with two complimentary families: Mr Eaves Sans and Mr Eaves Modern.

More…

Back in 1936 the German Standards committee Deutsches Institut Normung (DIN) proposed DIN 1451 as the standard type of lettering for road signage. As the original manual states ‘the purpose of this standard is to lay down a style of lettering which is timeless and easily legible’.

More…

Berthold Wolpe designed Albertus, his second typeface, for Monotype between 1932 and 1940. Albertus was first available only as a titling font, until 1940, when the lowercase was added. Modeled on letters that Wolpe chiseled out of bronze, the sharp serifs are formed by a simple widening of the stems.

More…

What started out as my thesis project is now a complete sans serif typeface family in 14 styles.

More…

Globale, pronounced Globaal, is designed in two roman weights with matching italics. Small capitals and old style numerals have also been designed for the roman versions. In terms of style, Australian designer Scott Carslake has managed to capture an elusive appearance which is a blend of humanistic and contemporary sans serif forms, resulting in a unique new series that is very much in step with the latest in typographic trends.

More…

Sky Serif is a clean-cut slab-serif design.

More…

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is ‘connected at the hip’ with each style—each character carries the no frills, simple architecture that endeared so many users to it.

More…

Akagi started as a rough sketch while on a really long plane ride to Tokyo in 2007. I wanted to develop a sans that was a complete departure from my successful Aaux Pro (now Aaux Next) sans serif family.

More…

Informa is a comprehensive sans serif text family based on traditional lettering in contrast, proportion, rhythm and stroke. In particular its proportions were based on a 1978 award-winning flare-serif film type called Signa, by Swiss design trio Team 77.

More…

Corbel is designed to give an uncluttered and clean appearance on screen. The letter forms are open with soft, flowing curves. It is legible, clear and functional at small sizes. At larger sizes the detailing and style of the shapes is more apparent resulting in a modern sans serif type with a wide range of possible uses.

More…

Kulturista is related to our Nudista typeface. Both faces share the elementary shapes, proportions and weight alternatives. While Nudista is a sober display face, Kulturista is a distinct linear typeface with sturdy serifs. Kulturista is a display typeface well suited for use in magazines and certain newspapers; five available weights are a perfect for the layout of various columns, titles, and supplements. The face may also work well as a basis a corporate style, it may be used on heavy machinery and equally well on the cover of a book dedicated to graphic design.

More…

An original design by Malcolm Wooden of DTP Types Limited.

More…

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is ‘connected at the hip’ with each style—each character carries the no frills, simple architecture that endeared so many users to it.

More…

Oksana Sans is a gothic sister of the Oksana Text typeface.

More…

Force is a contemporary sans serif ultra-black family designed by Ricardo Esteves.

More…

Latinaires is a 5-weight font family with some uniques characters including the ch ligature and some other Spanish language characters.

More…

Slab serif fonts are generally macho, but Bullpen is 1,000,000 times more masculine than most slab serif fonts.

More…

Fontana ND is part of Neufville Digital’s MODERN COLLECTION.
Designed for the printing of a magazine, the Fontana Sistema was based fundamentally on the Spanish language as its natural and cultural context. Due to the spanish colonization of America, the spanish language has been influenced by native american terms that enriched it and caused significant changes in both the sound and form of words. These sounds and forms had a strong influence on the identity of text, substantially modifying the nature and the characteristics of the composition. The Fontana Sistema we present is the fruit of our desire to design a font that, based on the spanish language, would endow the publication with identity and at the same time offer a framework for typographic research.

More…

Designed by Nick Shinn. Digitally engineered by Steve Jackaman.

More…

There are many wide types that look sci-fi or super chic, but where is the personality?

More…

ALS Direct is an open and dynamic typeface with clear-cut letterforms that make it instantly readable. It lends text a neutral, yet agreeable and modern feel.

More…

Endurance Pro was designed by Steve Matteson to fill the need for a more graceful, less industrial-looking neo-grotesque sans serif design.

More…

Decima is a new display face designed in 2008. The designer’s inspiration was a previous creation, PR41, a monoline condensed typeface developed for use on instrument panels. This time, the intention was to create a typeface with a more modern, yet soft, look while retaining PR41 characteristics.

More…

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is ‘connected at the hip’ with each style—each character carries the no frills, simple architecture that endeared so many users to it.

More…

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is ‘connected at the hip’ with each style—each character carries the no frills, simple architecture that endeared so many users to it.

More…

Pelegotic makes you think of Scandinavian pioneer design, with its functional letterforms and architectural look. It is also a very versatile typeface, and fits easily as headline type for a magazine, or as part of a graphic profile for a company. It looks simple, but that impression is deceptive; the letters are drawn with a flair and individuality that shows the hand of a master typographer. Pelegotic Regular is rather thin, and is useful for big type like signs.

More…

Depot is a solid confident sans-serif, available in 8 weights with supporting true italics and ready for everyday use.

More…

The older brother of Depot, Alber is sturdy with added subtitles, a hard working cultivated all-rounder.

More…

Mellnik is a sans serif of humanist style (in a way) that was developed by Oleg Karpinsky and released by ParaType in 2006. The type family contains 9 styles with a number of alternate characters in each ones. For use as a text font in long text passages of advertising booklets, catalogues or magazines, as well as for accident setting. Mellnik may be also applied as a corporate typeface. Giant ink traps (or something like that) produce an original image of the family. Five condensed styles were added in 2007 by the same designer.

More…

Designs of characters that are almost forty years old can be already restored like a historical alphabet – by transferring them exactly into the computer with all their details. But, of course, it would not be Josef Tyfa, if he did not redesign the entire alphabet, and to such an extent that all that has remained from the original was practically the name. Tyfa published a sans-serif alphabet under the title Juvenis already in the second half of the past century. The type face had a large x-height of lower-case letters, a rather economizing design and one-sided serifs which were very daring for their time. In 1979 Tyfa returned to the idea of Juvenis, modified the letter “g” into a one-storey form, narrowed the design of the characters even further and added a bold and an inclined variant. This type face also shows the influence of Jaroslav Benda, evident in the open forms of the crotches of the diagonal strokes. Towards the end of 2001 the author presented a pile of tracing paper with dozens of variants of letter forms, but mainly with a new, more contemporary approach: the design is more open, the details softer, the figures and non-alphabetical characters in the entire set are more integral. The original intention to create a type face for printing children’s books thus became even more emphasized. Nevertheless, Juvenis with its new proportions far exceeds its original purpose. In the summer of 2002 we inserted all of this “into the machine” and designed new italics.

More…

Mayberry Pro is an part of an extensive set of 14 OpenType fonts from Ascender Corp. Mayberry Pro was designed by Steve Matteson for use in set top TV devices, User Interfaces, Web Pages and documents designed for presentation on screen and in print.

More…

Pragma ND is part of Neufville Digital’s MODERN COLLECTION.

More…

Miramonte Pro was designed by Steve Matteson in 2006 as a friendly sans serif design suitable for user-interface design, corporate branding and publishing.

More…

Originally ZionTrain was built as a Cyrillic typeface for public transport navigation system. We wanted comprehensible, distinctive letterforms, that can help everybody on the way from Babylon to Zion.

More…

Mezzo is a slender, humanist sans serif with four font styles.

More…

Mymra Piano is a monoline serif Roman face, inspired by Charles Robinson lettering from the Art Nouveau period. The enchantment of some of the characters' flamboyant shapes has created an idea to rework the face and bring it to life as a contemporary typeface.

More…

An interpretation of the modern serif.

More…

Tempera Rose is a soft contemporary sans typeface with rounded corners.

More…

The Tang family came to be, when I started studying fonts made for use in very small point sizes, like Bell Gothic. I studied the use of ink traps and went to town with them. Instead of just using them for their purpose: trapping ink to prevent the type getting blotted; I used them as a design feature.

More…

The Vekta Type System is part of a larger, interconnected grouping of 3 families: Neo, Sans and Serif. The goal was to develop a family designed along a common skeleton and matrix that would allow for interchangeable usage along a cohesive visual system.

More…

Unita is my version of a classic Grotesk or Sans typeface.

More…

Designed for ParaType in 2007 by Isabella Chaeva.

More…

An original text and display type family was designed for ParaType in 2008 by Manvel Shmavonyan to be used together with Susan, earlier released sans by the same author.

More…

Tempera Biblio is a serif text typeface available in three weights: Book A, Book B and Book C.

More…

Klavika is a flexible family of sans serifs for editorial and identity design.

More…

Centro Pro is the winner of the prestigious European Design Awards 2008 for original typeface.

More…

Besides all the display and script typefaces I design, my real passion is to design typefaces for copy.

More…

Because we all need a “werk” horse font that is simple, useful and with just enough character not to be too dominant.

More…