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Qatar Capital Font Family - 2 Fonts
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Gambetta Font Family - 10 Fonts
Gambetta is a family of serif fonts designed for use in text. Its ten styles are spread across five weights, ranging from Light to Bold; each weight has an upright and a companion italic font on offer. Gambetta’s letterforms are drawn with diagonal stress, and they letters have visible contrast, too. The degree of contrast that is visible increases with every weight in the family. Several of the terminals on the strokes of Gambetta’s letterforms feature very prominent wedge-shapes. In the upright fonts’ uppercase, every vertical terminal has been designed with one of these ‘wedge terminals’. These have been left off of other letterforms, judiciously. For example, the lowercase ‘a’ in the upright fonts don’t have a top-left terminal. This decision results in ‘a’ counterforms that are quite open. The numerals in Gambetta are proportional lining figures; the top of the ‘3’ is very distinctive, as it is flat. The numeral height is slightly lower than that of the uppercase letters; the lowercase ascenders, in turn, are taller than the capitals. In Gambetta’s italic fonts, the lowercase ‘g’ is double-storey, while the ‘a’ is single-storey. The ear on the ‘g’ is a prominent diagonal stroke, and the top-right part of the ‘k’ is an open loop. Gambetta is intended for use in book design and in editorial design; the fonts come from Paul Troppmair.
Ekster Font Family - 18 Fonts
Ekster is a geometric sans serif typeface from the Parisian designer Ilya Naumoff. Many of its letters are simplified; you’ll find several places in the typeface where the connection of bowls to stems isn’t fussy, for example, and horizontal strokes – like those in the ‘f’ and the ’t’ along the x-height – don’t bisect their letters’ main vertical stems (but populate the left-hand side only instead). Ekster’s lowercase ‘u’ is also symmetrical. The family includes a staggering number of weights – eight in total, and these range from Thin through Black. Each weight has both an upright font and an oblique-style italic on offer. The letterforms in all of the Ekster weights are drawn with virtually monolinear strokes. Ekster’s x-height is moderate, and the lowercase’s ascenders rise up to the same height as the capital letters and the numerals. However, the best feature of Ekster’s fonts is the large number of alternates that they contain. Ekster includes alternate forms for almost every lowercase letter, and some even have more than one alternate available – like the ‘a’, ‘e’, and ‘r’. Ekster is an excellent choice for use in both corporate design and editorial design projects, both because of its range of font weights and styles as well as because of its legibility in text.
Comico Font
Comico is an informal handwriting font. Its letterforms are all-caps, and these appear as if they had been written with a slight left-lean. The design has the name Comico, of course, because its letters look very much like the style of lettering used in comic books. Comico’s character set is quite large, and it includes almost 1,000 special glyphs – these are ligatures and alternate versions of letters. Comico’s significant variety of extras will be automatically substituted into any text where the OpenType ‘contextual alternates’ feature has been applied. Indeed, the use of this feature is especially recommended for Comico (it is is for all glyph-rich fonts like it), since having multiple versions of each letter in a text make it more likely to appear handwritten. Most of the counterforms in Comico’s letters are large, and all of the letters’ minute details is drawn with straight lines. While the font is intended for use at natural handwriting sizes, if it is used very big, text set with Comico will actually appear pixelated. Comico is the work of Frode Helland, a type designer from Norway.
Britney Font Family
This is a quirky display family with very high contrast and double strokes on the stems. It lives on the border between sans serif, cursive, and script typeface. The shapes are loosely based on experiments we made with the pointed brush, but we kept the Britney very clean and crisp as opposed to giving it a handwriting feel. Unlike other typefaces inspired by the pointed pen, capital letters have been kept rather simple, without loops or flourishes. That way, the used can even use words in all-caps if wanted.
Didac Font Family
Didac is a serif family whose letters follow the archetype for ‘modern’ or Didone-style serif faces. They feature a vertical axis and are high-contrast. However, Didac’s structure has a different ductus than some of the most-common moderns; it has a more humanist feeling and is closer to transitional typefaces like Baskerville than one might expect. The family has five weights on offer, ranging from Light through Black. Each weight has a companion italic, too. Didac is a typeface for displays purposes like headlines, but it is efficient in short texts, too. The more extreme weights – like the Thin and Black – are especially suited for headlines and display typography, while the Regular and Italic styles are more likely to hold up well in book and magazine typesetting.
Aktura Font
Aktura is a medieval-style blackletter font. Its lowercase letters are a new digital/calligraphic take on traditional ‘gothic’ or textura-style forms. They look very much like the kinds of letters used on a lot of newspaper nameplates, or for certificate and diploma designs. Aktura’s uppercase is much more ornate; you could call the letters ‘lombardic’ capitals. Since gothic letterforms, historically speaking, were something of a unicase writing system – they were only really paired with matching caps after printing came along in the 15th century – Aktura reaches back to an occasional form of style-mixing practiced in the past, in which lombardic caps were used as the uppercase forms for gothic lowercase letters. The lombardic caps are so elaborate that they should almost never be used to set all-caps text; however, if you apply a lot of tracking, you might be able to get away with this for a logo, or in a headline that is about three-words-long. They will work just fine when they are used as presented in this font: as uppercase letters for otherwise mixed-case text. Aktura’s lombardic caps are a bit more calligraphic and playful than lombardic caps you might find in fonts based on more-specific historical source material. Like all ornamental capitals, Aktura’s uppercase can also be used as drop caps or initial letters for body text set in an otherwise completely different font, especially if that other font is a serif typeface, good for setting long passages of text.
Segment Font
Segment is an LCD-style display font from Frode Helland, an Oslo based designer. True to its name, all of the letterforms in the font are constructed out of segments. This is a perfect choice for use in poster design, as well as for identity work for small businesses inside of cities with good public transit systems. The font would also work well in headlines for articles that touch on digital subjects. Despite the late-twentieth century technology whose style this font is based on, Segment’s design language is actually older and more eclectic. To begin with, for an experimental display font, Segment is most unusual because its letters have serifs. Its old-fashioned style is also particularly apparent in the top-half of the “7”, which approximates a wavy horizontal stroke, as well as on the bottom of the “2” and in the Pound Sterling currency symbol. The capital “R” has a long, sweeping diagonal tail. As you would expect from a classic electronic display font, Segment’s characters are monospaced. All of its glyphs share a common width. The font is also caps-only; the lowercase slots are filled with duplicates of the uppercase letters. None of the base letters like “J” or “Q” have descenders, but the design leaves ample room above and below for the diacritic marks required by various European languages. There are five glyphs in Segment representing the base grids on which either all, or some, of the “segments” in the font have been designed. The character set also contains over a dozen different currency symbols and two OpenType Stylistic Sets, which each offer alternate forms for the font’s range of punctuation marks.
Passenger Serif Font Family - 14 Fonts
Passenger Serif is a Clarendon-style font family designed for use in long passages of text intended for immersive reading. It takes the idea of mid-nineteenth century English Clarendon types – like vertical axes of stress, lots of ball terminals, and chunky bracketed-serifs – and channels them into a face that is very legible in small sizes. It is comfortable to read, too. Passenger Serif is ready for use in editorial design, and for body text in novels and other books, too. The family includes seven weights, ranging in style from Extralight through Extrabold. Each weight has both an upright font and an italic on offer. The fonts’ default numerals are proportionally-spaced lining figures. Via the OpenType features, there are also oldstyle figures and tabular figures available, as well as a full range of numerators and denominators for typesetting fractions. The ascenders of the lowercase letters rise up above the tops of the capitals. In the upright fonts, the ‘a’ and the ‘g’ are double-storied. In the italics, they are single-storied. Each font includes 13 f-ligatures. Passenger Serif has a companion typeface available for larger-sized applications: Passenger Serif Display. Passenger Serif and Passenger Serif Display can be used together to powerful effect in magazine layouts, or in exhibition design graphics. The Passenger Serif families were designed by Diana Ovezea and Samo A?ko.
Plein Font Family - 10 Fonts
Plein is a family of humanist-style sans serif fonts. The typeface’s clear and open forms are very legible and pleasant to read, too. The fonts’ letters are drawn with virtually monolinear strokes. The family has ten font styles available; there are five weights, ranging from Light to Black, and each weight has an upright and and italic font on offer. In Plein’s upright fonts, the lowercase ‘a’ and ‘g’ have double-storey forms; in the italics, these are single-storey. The stem of the ‘f’ in Plein’s italics descends below the baseline. The default numerals in the fonts are proportional oldstyle figures. Lining figures are also available, via an OpenType feature. The fonts also include case-sensitive punctuation, which can be substituted into all-caps text. Humanist sans serif typefaces are used in a wide variety of design projects today. Therefore, Plein is an excellent choice for work in branding and corporate design, but you could also use it to set texts of medium length in editorial design work. It might even be worth trying it out on signage and in navigation design projects. Plein comes from Inga Plönnigs, an independent type designer in Berlin and a graduate of the Type & Media program at the Royal Academy of Art (KABK) in The Hague.
Associate Slab Font Family
Associate Slab is a large family of ten sans serif fonts. Part of FontStore’s larger ‘Associate’ type system, Associate Slab was developed as the slab serif counterpart for Associate Sans. Nevertheless, its fonts could be used entirely on their own, too. Like its relatives in the overarching Associate type system, Associate Slab is a typeface intended for Editorial designers.
Syphon Font Family
Syphon is a family of sans serif fonts designed in the neo-grotesk style. It also includes a little kick, separating it from other typefaces in that genre: its diagonal letters feature stark contrast. The diagonals that are typically written with thin strokes in classic serif typefaces maintain thin strokes in Syphon as well, even in the family’s lightest weights. Speaking of weight, Syphon features ten font styles spread across five weights; these range from Thin through Bold.
Folito Font Family
Folito is a modernist sans serif typeface. Its design combines typically grotesk-style letterforms, with some characters that are quite geometrically-designed. In terms of its appearance, Folito was inspired by Modernism and Industrial-Era graphic and typographic design. The family has five weights on offer, ranging from Light to Black. It is an excellent choice for use in branding, editorial, and poster design. Folito’s lowercase ‘a’ and ‘g’ are double-storied; however, single-storied alternates are available, through an OpenType feature.
Astrup Font Family
Astrup is a rationalist sans serif typeface. Its letterforms feel like the France of the 1950s; they are very orderly, but also a bit spritely. The letters’ apertures are very small, making the counterforms in typeface feel like they are being completely enclosed within their surrounding characters. The Astrup family has six weights that range from Extralight to Bold. The lowercase letters’ ascenders rise up to the exact height of the tops of the capital letters.
Indikator Font Family
Indikator is a family of humanist-style sans serif fonts. There are five weights in the Indicator family; these range from Light through Bold. Each weight has both an upright as well as an italic font on offer. The italic fonts contain slanted, or oblique-style letters. The letters in each of Indikator’s weights appear virtually monolinear, in terms of stoke contrast. Strokes end in either horizontal or vertical cuts, rather than in diagonals.
Neco Font Family - 8 Fonts
Neco is a family of serif fonts, designed for use in headlines as well as smaller-sized texts of short and medium length. The fonts’ serifs have been designed with chunky, prominent wedge-shaped forms. The letterforms feature a diagonal axis of stress. As a family, Neco includes four weights, ranging from Regular through Black. Each weight has an upright and an italic font on offer. Neco’s letterforms have a high amount of stroke contrast, and the degree of contrast really increases from weight to weight. The Black and Black Italic fonts are particularly dynamic, in terms of their appearance. Neco’s lowercase letters have a tall x-height, and their ascenders rise up above the height of the fonts’ capitals. The letterforms in the Italic fonts are not oblique versions of the upright’s glyphs, but true cursive forms. The default numeral style in each font is proportional oldstyle figures, but tabular figures, lining figures, small cap figures, as well as a full range of numerators and denominators for typesetting fractions are in the character set as well. There are also several f-ligatures, substituted into the text by the fonts’ OpenType features. Neco is an excellent choice for use in editorial design, or for typesetting invitations and event-graphics. The fonts were designed by Jitka Jane?ková.
Styro Font Family
Styro is a family of modernist-style stencil fonts. There are eight weights available, ranging in color from Thin through Black. All of the typeface’s weights are virtually monospaced, and with each weight of the family, the outside ‘strokes’ building up the letterforms increase in thickness. Styro’s characters are very condensed, and their design employs a reductionist formal vocabulary. For example, the counterforms are expressed by thin lines that run inside of the letters, from their tops to their bottoms.
Rustic Font Family
Rustic is a family of serif fonts ideal for use private-press—style book design, or in restaurant menu design. It is inspired by Ehmcke-Rustika, a 1914 typeface of Fritz Helmuth Ehmcke’s. The Rustic family includes five weights, ranging from Regular through Heavy. The default numerals in each font are proportional lining figures, but oldstyle figures are available via an OpenType feature. Each font also includes several Stylistic Sets. The first offers an alternate lowercase ‘e’, with a rounder beak.
RX100 Font
RX100 is a monospaced sans serif font. Its letterforms are quite condensed, even for a fixed-width typeface. Because of its narrow width, the capital letters look particularly compressed, offering an interesting look in mixed-case text. RX100’s ascenders are quite tall; they really reach over top of the capitals. The same is true for the font’s diacritical marks: they are very large and will not be overlooked in a text – nor is one diacritical mark likely to be confused for another.
Rowan Font Family
Rowan is a family of serif fonts intended for setting long passages of text for immersive reading. It can be used in both normal text sizes, and really small sizes, too. This is due to its particularly chunky serifs and stroke-endings. The family features five different weights, ranging from Light through Bold. Even in the Light weight, Rowan’s unique serif and stroke-ending-structure give the text a degree of visible stroke contrast. Each weight has an upright and an italic font on offer. The default numerals in each font are oldstyle figures; however, lining figures are also available via an OpenType feature.
Ulm Grotesk Font Family
Ulm Grotesk is a family of geometric-style fonts for use at display sizes. Its design is so simplified that it feels quite futuristic. There are five weights on offer, ranging from Light to Extra Bold. The characters have been drawn with optically-monolinear strokes. The capital letters contain quite a lot of character; some of them are markant, too.
Kola Font
Kola is a technoid stencil-style sans serif font. All of the stroke endings in Kola’s glyphs are rounded, and the overall effect of Paris-based type designer Jean-Baptiste Morizot’s stencilling is a bit reminiscent of the kind of lettering used on LED displays. Kola’s lowercase letters have a large x-height, and the ascenders rise up to the same height as the tops of the font’s capital letters and numbers. Despite the x-height being tall, Kola’s diacritical marks are still huge.
Zanya Font Family - 5 Fonts
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Marilyn Font
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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.