Tag: content
Abandon Font
A sans-serif font family of five weights designed for headline and text use, with old style numerals and small caps, and extensive kerning. Published by Suomi Type FoundryDownload Abandon
Titillation Font
Titillation is a rounded, tall and modern styled sans, works great in both header and content uses. Published by Suomi Type FoundryDownload Titillation
Raldo Re Pro Font
Quite unusual, Musenberg started his Raldo design with the italic. However, he managed to preserve the temperament and vividness of the italic in the roman without questioning the stability of the individual characters. Raldo is a modern Sans Serif family
YWFT Pakt Font
YWFT Pakt is a condensed, sans-serif typeface consisting of ten different weights. While the design of YWFT Pakt is conservative, serious and authoritative, it still manages to maintain that fresh feeling that more venerable names just don’t have. Great attention
Kropotkin Font
Kroptokin was created just by observing. At the time I was looking at a lettering book. A certain typeface caught my eye. The typeface was introduced by Helvetica, but it didn’t come off as anything like the Helvetica I knew.
Maxima Font
Released in 1990 by German type foundry URW Studio, and designed by G. Wunderlich, Maxima is a clean, simple and effective sans-serif font design. Published by URW Type Foundry GmbHDownload Maxima
Corporate A Font
The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate A (Antiqua), Corporte S (Sans Serif), and Corporate E (Egyptian) is a
Solido Constricted Font
Solido is a very versatile and usable type system with five widths: Solido, Solido Constricted, Solido Condensed, Solido Compressed and Solido Compact, in a total of 35 fonts with many of alternate characters. Published by DSTypeDownload Solido Constricted
Heldustry Font
Designed in 1978 by Phil Martin, Heldustry is a clean, modern and great type design for corporate and or minimal type layouts. Published by URW Type Foundry GmbHDownload Heldustry
Social Gothic Font
This is the revival, repair and expansion of Thomas Hollingworth's Informal Gothic, one of the winners in VGC's National Typeface Design competition in 1965. Social Gothic is a unicase font that successfully achieves a hand-made look by combining standard sans
Corporate S Font
The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate A (Antiqua), Corporte S (Sans Serif), and Corporate E (Egyptian) is a
Dolly Font
Dolly is a book typeface with flourishes. The family consists of four fonts, which provide a healthy palette for solving most problems within book typography. Dolly Roman is neutral and useful for long texts. Dolly Italic is narrower and lighter
Air Superfamily Font
In B-movie awesomeness, Air began as Grotesk vs. Grotesque. I was trying to unify the prevailing traits of German and English Grotes(que/k)s in order make something different but familiar. I am NOT trying to reinvent Helvetica (snore), so get that
Serifa Font
Serifa is a slab-serif design originally designed by Adrian Frutiger in 1967. In this modern revival, URW brings the best version available by offering an extensive 16 weight family, including one amazing stencil option. Published by URW Type Foundry GmbHDownload
Lucida Fax Font
Designed by Charles Bigelow and Kris Holmes in 2003, Lucida Fax is a slab serif release by URW. Contains language support for West, East, Turkish, Baltic, and Romanian. Published by URW++. Download Lucida Fax
Magna Font
Designed by Herbert Thannhaeuser in 1968, Magna is a simple and clean serif release by URW. Contains language support for West, East, Turkish, Baltic, and Romanian. Published by URW Type Foundry GmbHDownload Magna
Familiar Pro Font
This family was inspired by a Type Battle over at Typophile: How would you design a font metrically compatible with Helvetica, but better than Arial? Working with preset letter widths was an interesting constraint, both a relief and a limitation