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Marilyn Font
TTF
Romantisk Font Family - 2 Fonts
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Velocity Font
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United Stay Font
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Under My Umbrella Font Family - 2 Fonts
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Boeing 24 Font
Boeing 24 is a caps-only display font. Its letterforms are sans serif, and they look like they come from a monospaced font. However, Boeing 24’s monospaced-appearance is just a strong look ; in actuality, its letters have proportional widths. These appear quite industrial and constructed, too – almost as if they had been made by a machine, rather than by Deni Anggara, the Bandung/Indonesia-based type designer behind Boeing 24.
Claire Font Family - 12 Fonts
Claire is a family of fonts with sturdy serifs. Several of the weights in the family are optimal for setting large amounts of running texts; the extreme light and heavy fonts, on the other hand, work great together in display applications. The letterforms in Clair have a vertical axis, and their design is reminiscent of contemporary newspaper fonts, as well as late-nineteenth century typefaces along the Century model. Claire includes 12 styles ranging in weight from Thin to Black. Each of those six weights has a companion italic font, too. Claire’s letterforms feature thick slab-like serifs that are bracketed onto their stems. Since the proportions of its uppercase letters are nineteenth-century, they optically feel like they are all almost the same width. The same is true for the numerals, which share the same height as the capitals. The numerals include nice, decorative features, such as flag-like strokes on the bottom of the ‘2’ and the top of the ‘7’. The ascenders of Claire’s lowercase letters rise slightly above the tops of the uppercase letters and numerals. Claire}s x-height is also rather tall. The lowercase ‘g’ in the upright fonts, which is double-storey, has a lovely ear that ascends above the x-height. In the italic fonts, both the ‘a’ and the ‘g’ are single-storey. The italic letterforms also feature especially-prominent ball terminals. Claire is the work of a team of Paris-based type designers including Jérémie Hornus, Gaetan Baehr, Jean-Baptiste Morizot, Alisa Nowak and Théo Guillard.
Gambarino Font
Gambarino is a condensed, single-weight serif face for headlines. The font is designed by Théo Guillard. Stylistically, you could call it a post-modern interpretation of the Garalde genre.
Cosmetic Font Family
Cosmetic is a very high-contrast family of sans serif fonts. As its name implies, it has been developed for exquisite applications, like the corporate identity of fashion or beauty product firms, or for cosmetic product packaging design. For centuries, the fashion world has looked to France for inspiration.
RAY Font Family - 5 Fonts
Ray is a light-hearted family of display fonts. Its letterforms were inspired by the kind of typefaces used on digital displays. The family includes five variants, each of which shares the same character width, inter-character spacing, and OpenType features. They are each derived from a strict grid. Ray One’s letterforms make use of a series of dots overlayed on top of a background grid. The capital letters, lining figures, and lowercase ascenders are nine dots tall. The x-height is seven dots. The descenders have two dots worth of space available below the baseline. The Ray Two fonts uses squares instead of dots. These all run into each other, but still present a pixelated effect to the texts they set. Those squares are rounded off in Ray Three, making this style appear like a combination of the Ray One with the Ray Two font. Ray Four adds bridges between many of the gaps found between the grid units visible in Ray Three. These rounded elements from Ray Four are in turn re-squared in Ray Five, making that font look like a cross between Ray Two and Ray Four. The fonts in the Ray family include both lining and oldstyle figures, as well as several alternates for letters like the ‘Q’, ‘R’, ‘S’, and ‘g’. Ray come from Satya Rajpurohit, the Ahmedabad-based type designer who co-founded the Indian Type Foundry.
Monorama Font Family - 4 Fonts
Monorama is a family of caps-only display fonts. Its letterforms are sans serif and quite industrial-looking. While text set in the four Monorama fonts appears at first glance to be monospaced, that is just a strong look ; in actuality, the letters have proportional widths. Monorama contains a number of constructed-design hallmarks. The fonts’ ‘M’ and ‘W’ share a nearly-identical form, rotated 180°. Letters that are traditionally rounded, like the ‘C’ or the ‘O’, are all straight-sided. In fact, the Monorama fonts do not include any curves in at all. Stroke-endings are mostly modulated, looking a bit like the ends of strokes in ‘rounded’ fonts (but also like ‘college’ or sports fonts). The ‘Q’ doesn’t descend below the baseline, but still has a tail. The ‘J’ has a non-descending tail of its own, too. The zero features a slash inside of its counter to distinguish it from the ‘O’. Monorama includes a full range of numerators and denominators for typesetting fractions, as well as ten directional arrow glyphs per font. Each font also has two different ampersands to choose from. Monorama is an excellent choice for headline-typesetting and logo design, but will certainly be used for concert and event flyers, too. It would even be great for branding a sports team. Monorama was developed by Deni Anggara, a type designer based in Bandung/Indonesia.
Sharpie Font Family - 5 Fonts
Sharpie is an informal family of script fonts. It includes five different styles, ranging in weight from Light to Black. The typeface, named after a kind of marker, looks very sign-painterly – almost as if its letters had been written out quickly with a flat brush. All of its letterforms are slanted, and they do not connect with the characters that come before or after them. Sharpie’s strokes are very angular in their appearance. The stroke-contrast is rather modest in the Light weight, but by the Black, it is very strong (really quite awesomely so). Sharpie’s lowercase letters don’t have a very tall x-height. The tops of the ascending-lowercase letters, the capitals, and the numerals all rise to about the same point. The ‘a’ and the ‘g’ in Sharpie are both single-storey in their forms. The typeface is designed by Théo Guillard.
Locomo Font Family - 7 Fonts
Locomo is a seven-weight family of constructed sans serif fonts. The sides of each letter in Locomo are flat. Many of the typeface’s characters have rounded tops and bottoms; however, in the case of letters where these are traditionally flat – like in ‘E’, ‘F’, ‘I’, ‘L’, and ‘T’ – Locomo keeps these flat, too. The family’s range of weights begins with Extralight and expands to Black. In all of the fonts, characters are drawn with monolinear strokes. In each of the weights, the fonts’ inter-character spacing is very tight. Locomo is a little wide, especially in the lowercase. The lowercase letters also have a tall x-height. For their design, simple forms have been favored. The ‘a’ and the ‘g’ are both single-storey, for instance. Jean-Baptiste Morizot designed Locomo for display applications; the larger the size, the better. This will give Locomo’s unique design language enough space to make the intended statement
Associate Slab Stencil Font Family
Associate Slab Stencil is a family of ten slab serif fonts with a stencil optic. Part of FontStore’s larger ‘Associate’ type system, Associate Slab Stencil is an extension of the Associate Slab design for use in headlines and logos. The Associate Slab Stencil letters are generally monolinear. The ‘stencil’ optic that the characters all have comes from breaks, or ‘bridges,’ applied to parts of each letter.
Pramukh Font Family
Pramukh is a very condensed sans serif typeface. As a family of fonts, it is particularly large; its 16 styles include a range of eight weights: ExtraLight, Light, SemiLight, Regular, SemiBold, Bold, ExtraBold, and Black. Each weight has a companion italic font, which is oblique in style. Pramukh makes use of a very modernist typographic vocabulary. As a result, the typeface is in an excellent choice for corporate identity and editorial design projects where a formal sans serif is needed, especially one whose narrow letters can pack a lot of text into a tight space.
Associate Sans Mono Font Family
Associate Sans Mono is a family of ten sans serif fonts, in which all of the letters are monospaced. Each of the characters in the family’s fonts share the same common width; the capital ‘W’ is just as wide as the lowercase ‘i’. Indeed, the same character width is used for all of the glyphs in each of the family’s ten fonts. Designer can swap out text set in Associate Sans Mono’s ExtraLight weight for letters from the Bold Italic font, without text-length or line-wrap being affected at all.
Litmus Font Family - 5 Fonts
Litmus is the newest typeface from Fontstore founder Satya Rajpurohit. It is a slightly condensed humanist sans serif design, with a tall x-height and strokes that end with either horizontal or vertical terminals, instead of diagonals. Ascenders rise noticeable above the tops of capital letters, while the fonts’ numerals are slightly shorter than the caps. Litmus’s interior counterforms are rather open. There are five weights on offer: the Light is monolinear, but the stroke-contrast grows with every weight. The amount of contrast in the Bold is quite high. Each Litmus font makes use of a double-storey ‘a’ and single-storey ‘g’. The fonts may be put to excellent use for text on websites, or in print – especially in documents where a little space-saving is necessary.
Snooze Font Family - 3 Fonts
Snooze is a fun, three-weight font family that looks like the numbers from your alarm clock. That’s right, Snooze is an LED-style typeface! These gained popularity in the home on appliances decades ago, but have since been used all over our urban environment for displays inside buses, tram cars, trains, etc. While there are plenty of LED-style fonts available, Snooze is rather unique in that its design exists in multiple weights: Light, Regular, and Bold. But that isn’t its only variety on offer: each font includes a range of alternate numerals in a Stylistic Set. So there are two options for each of the ten digits! This will help you fine-tune whatever LED-style design you’re working on, whether it is a printed advertisement, or the timer inside a mobile app. Snooze is designed by Morgane Pambrun
JH Lea Font
JH Lea cursive is a school kids typeface; it is designed based on cursive handwriting , typical for children books, first hand calligraphy experience.
Galiba Font Family - 3 Fonts
Give your voice an eye catching hand-drawn look thanks to this playful font family. You'll get three styles, along with OpenType features including alternates, ligatures and stylistic sets. Galiba Regular works very well with his small brothers Light and Thin. In addition Galiba Light can be used at smaller size along with the other styles to keep the same line thickness. To achieve a random-like effect, the regular style is packed with 4 different variants of each glyph, that automatically cycle if stylistic alternates are turned on. Also you can choose from 5 stylistic sets to easily change the look of a given string, or pick alternates by hand.
Cabinet Grotesque Font Family
Cabinet Grotesque is a family of contemporary fonts. In terms of design, Cabinet Grotesque is a sans; however, its letters feature of kind of stroke-contrast that set them apart from other sans serifs. The family includes eight styles, which range in weight from Thin through Extrabold – even the Thin weight maintains the family’s stroke-contrast model. As Cabinet Grotesque’s fonts get heavier, the stroke-contrast becomes most-prominent in the letterforms’ stroke connections. These get quite a ‘pinched’ look.
Pramukh Rounded Font Family
Pramukh Rounded is a very condensed sans serif typeface in which all strokes end in round semicircular curves. As a family of fonts, it is particularly large; its 16 styles include a range of eight weights: ExtraLight, Light, SemiLight, Regular, SemiBold, Bold, ExtraBold, and Black. Each weight has a companion italic font, which is oblique in style. On Fontstore, you’ll find a matching font family for this design: Pramukh (a non-rounded version of this design). Both Pramukh and Pramukh Rounded are designed by Aarya Purohit and ITF.
Clash Grotesk Font Family
Clash Grotesk is a family of sans serif fonts, with a twist. While the design of the family’s six styles is generally neo-grotesk in style, one feature immediately sets it from other typefaces in that genre: Its letterforms have very small ‘apertures’. These are the openings at the edges of the counterforms; if you look at the letter ‘c’, for instance, the space between ends of the two arms on the right-hand side of the letter is very small. It almost looks as if that aperture is about to close shut. Clash Grotesk is eye catching, but its ‘design trick’ does not go overboard.
Matteo Font Family
Matteo is a family of geometric sans serif fonts. Designer Diana Ovezea has given the family an Italian name so that users might call fast cars to mind when they see it. The family includes 14 styles; there are seven weights, ranging from Thin to Bold. Each of these includes a companion italic. Matteo’s italics have an extreme angle (15º), which is quite unusual for a sans serif design. These italics are oblique in form, with a single-storey ‘a’ in place of the upright’s double-storey ‘a’
Associate Sans Font Family
Associate Sans is a large family of ten sans serif fonts. The typeface is perfect for use in Editorial Design. Its letters have a strong ‘American gothic’ look. This genre has been used since the early 20th-century for the design of publications, corporate identities, and even the small print in newspapers and magazines.
Costanera Font Family - 32 FONTS
TTF
Costanera is a neohumanist typeface with both soft strokes and endings, which is inspired by 90s typefaces. It has an organic aspect and curved finials associated to the early calligraphy, while its straight angles give Costanera a technological and futuristic impression.
Griff Font Family
Griff is a family of sans serif typefaces with unusual stroke contrast. The ‘middle’ parts of many of the fonts’ letterforms are drawn with much thinner strokes than those found in the rest of typeface. The Griff family includes 10 styles; these are five weights that range from Light through Bold, each with an upright and italic font. The typeface is a bit humanist in style; its strokes end in horizontal or vertical cuts, rather than in diagonals. The letterforms’ counters are also mostly open. The fonts’ x-height is tall, and the lowercase letters’ ascenders rise slightly above the height of the capitals.
Associate Sans Stencil Font Family
Associate Sans Stencil is a family of ten sans serif fonts with a stencil optic. Part of FontStore’s larger ‘Associate’ type system, Associate Sans Stencil is an extension of the Associate Sans design for use in headlines and logos. The letterforms in both Associate Sans and Associate Sans Stencil have a strong ‘American gothic’ look. That genre of typefaces has been popular since the early 20th-century, especially for designing publications and corporate identities.
Nora Slab Font Family - 16 FONTS
TTF
Nora Slab blends a geometric inspiration with warm humanist elements, making it the perfect choice for when you need a fresh, contemporary slab serif typeface. The companion Nora Grotesque makes the Nora family a real workhorse for any use, including web, digital, print, branding and signage.
Nora Slab has a large x-height and open counterforms, making it easily readable. It supports multiple languages: Central and Eastern European as well as Western European languages. It has eight weights with related obliques.
Monotalic Font Family - 12 FONTS
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Market Font Family - 12 FONTS
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Altitude Condensed Font Family
8 x TTF & OTF
Contra Slab Font Family
Roadster Font
Roadster is a line style display typeface, it is a condensed uppercase font perfectly made for poster designs and headings.
Lariess Font
Lariess is a contemporary hand-made brush type. It will give your design a stylish look and feel. Lariess was painted on paper and carefully digitized and optimized after to give the best results for your design.