Quire Sans Font Family
"My goal was to make a design that might fit in anywhere,” says Jim Ford about his Quire Sans™ typeface. “I wanted it to be highly functional and sexy at the same time.” With one foot comfortably in the realm of oldstyle design and traditional book typography, and the other in evolving electronic media, the Quire Sans family does, indeed, fit in just about anywhere. As for sexy, someone once quotably wrote, “A great figure or physique is nice, but it’s self-confidence that makes someone really sexy.” Yes, Quire Sans is sexy, performing confidently in virtually any setting.
OTF | 20 Fonts | JPEG Preview | 6.6 Mb RAR
The Stroke Sans Font Family - 4 Fonts $140
OTF | 630 KB
Adagio Sans Font Family
The Adagio Family is a part of Mateusz Machalski’s, Warsaw Academy of fine arts Master Degree Diploma in multimedia studio, conducted by Professor Stanislaw Wieczorek and his brave PHD Jakub Wroblewski. Adagio is a modern type family. It consists of 3 main varieties: sans, serif and slab. Each one of them has it’s own “true italic” set. All of the styles together have over 400 characters in 9 different thicknesses. The Adagio family was created mostly for company identities. The idea was to create a wide range of different varieties which are stylistically consistent. Adagio Sans - In its character, inspired by classical English typefaces. Sharp chamfers add a strong character. Thanks to delicate contrast and proportions of capitals, this variety has features of humanist grotesque. Thanks to large x length, and highly stretched descenders, it also works correct in longer text, while it’s strong detail is good for headlines.
OTF | 18 Fonts | JPEG Preview | 4.4 Mb RAR
Novel Sans Pro Font Family - 11 Font $759
OTF | 1.13 MB
Novel Sans Condensed Pro Font Family - 12 Font $825
OTF | 1.37 MB
Neo Sans W1G Font Family
The branding agency's client wanted an "ultra modern" typeface that was "futuristic without being gimmicky or ephemeral," according to the design brief. Designer Sebastian Lester took on this intriguing custom font assignment, but soon, a bureaucratic decision cancelled the project. "I was left with a sketchbook full of ideas and thought it would be a shame not to see what came of them," says Lester. He decided to finish the design on his own. Lester's research confirmed that the principal ingredient of an "ultra modern" typeface was simplicity of character structure: a carefully drawn, monoline form, open letter shapes and smooth, strong curves. To conceive a typeface that crossed the line from modern to futuristic, Lester decided to amplify these qualities. About a year after Lester's initial conceptual work, two highly functional and versatile typefaces emerged. These are Neo Sans and Neo Tech, designs Lester describes as "legible without being neutral, nuanced without being fussy, and expressive without being distracting." Both the Neo Sans and the more-minimalist Neo Tech families are available in six weights, ranging from Light to Ultra. Each has a companion italic, and Neo Tech offers a suite of alternate characters. While engineered to look modern as tomorrow, Neo Sans and Neo Tech display the functional and aesthetic excellence that earns them a place in the list of classic designs from the Monotype typeface library. Neo is a trademark of Monotype Imaging Inc. registered in the U.S. Patent & Trademark Office and may be registered in certain other jurisdictions.
OTF | 12 Fonts | JPEG Preview | 4.3 Mb RAR
Adelle Sans Font Family - 14 Font $910
OTF | 1.79 MB
Logo Sans Font Family - 10 Fonts $200
OTF | 1.13 MB
Journal Sans New Font Family
The Journal Sans typeface was developed in the Type Design Department of SPA of Printing Machinery in Moscow in 1940–1956 by the group of designers under Anatoly Schukin. It was based on Erbar Grotesk by Jacob Erbar and Metro Sans by William A. Dwiggins, the geometric sans-serifs of the 1920s with the pronounced industrial spirit. Journal Sans, Rublenaya (Sans-Serif), and Textbook typefaces were the main Soviet sans-serifs. So no wonder that it was digitized quite early, in the first half of 1990s. Until recently, Journal Sans consisted of three faces and retained all the problems of early digitization, such as inaccurate curves or side-bearings copied straight from metal-type version. The years of 2013 and 2014 made «irregular» geometric sans-serifs trendy, and that fact affected Journal Sans. In the old version curves were corrected and the character set was expanded by Olexa Volochay. In the new release, besides minor improvements, a substantial work has been carried out to make the old typeface work better in digital typography and contemporary design practice. Maria Selezeneva significantly worked over the design of some glyphs, expanded the character set, added some alternatives, completely changed the side-bearings and kerning. Also, the Journal Sans New has several new faces, such as true italic (the older font had slanted version for the italic), an Inline face based on the Bold, and the Display face with proportions close to the original Erbar Grotesk. The new version of Journal Sans, while keeping all peculiarities and the industrial spirit of 1920s-1950s, is indeed fully adapted to the modern digital reality. It can be useful either for bringing historical spirit into design or for modern and trendy typography, both in print and on screen. Designed by Maria Selezeneva with the participation of Alexandra Korolkova. Released by ParaType in 2014.
OTF | 6 Fonts | JPEG Preview | 5 Mb RAR
Carter Sans Pro Font Family - 8 Fonts $432
OTF | 696 KB