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.

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.

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.

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.

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.

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.

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.

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.

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. 

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.

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.

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.

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.

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.

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.

Bespoke Serif Font Family

 Bespoke Serif is family of serif fonts intended for use in text sizes: this is a typeface designed for reading. The serifs at the end of the letterforms’ strokes are wedge-shaped. The letterforms themselves feature large and open counterforms, which help maximise the typeface’s legibility. The family includes five weights, ranging from Light through Bold.

Paquito Font Family

Paquito is a small family of serif fonts for use in display sizes. Its three weights have been quite whimsically drawn by type designer Juanjo Lopez. The letterforms are condensed in width, and they all look as if they had been hand-lettered with a fine-tipped pen. This creates a high degree of irregularity in the design. Many of Paquito’s uppercase letters are top-heavy; for example, the upper counter of the ‘R’ is much larger than its lower one. The numerals are neither lining figures nor oldstyle figures; instead, their tops fall somewhere between the x-height and cap-height, and they feature some descending elements, too.