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Nordt Nordt is a wide sans serif typeface made up of 40 fonts across 10 weights with normal and slim options. It’s a unique and modern sans typeface, which is well suited for a variety of typographic applications such as headlines and small texts. The Nordt font family supports multiple languages and is available as both webfont and desktop font. Nordt Download Now View Gallery

Statement Sans Statement Sans is a versatile sans serif font family created by the Sudtipos team in the spirit of modern neo humanistic fonts, with a deep grotesk and industrial influence that can be discovered along the system. Developed to express its potential in UX and UI projects, corporative interfaces or editorial web and print layouts, Statement is available in 9 weights with matching real italics, extended latin language support, and also including classic and old style figures as well as plenty of stylistics alternates. Last but not least, Statement Sans includes a one file variable font to join the party. Statement Sans Download Now View Gallery

Rupert Rupert is your new best friend! the type who’s truly happy when you’re happy, excited when you’re excited, and sad when you’re sad. He’s always has your back and is never judgemental. Rupert is a geometric sans-serif consisting of 8 weights , ranging from Thin to Black with matching italics. At the moment he supports extended Latin and plans on growing in the future to cover all of your needs. Rupert ’s OpenType features include tabular and old-style figures, fractions, ligatures and case-sensitive forms. He's flexible to accommodate all of your graphic needs including display, corporate, editorial, web and many more environments. And the best part is... Rupert Light is free to download! So grab it now and begin building great work together. Rupert Download Now View Gallery

Klaud Klaud is our new slab serif family with 14 styles. It is compact, stable typeface that's carefully designed to suit in every possible situation where an working horse typeface could be used. Klaud is good balanced, visually equalized family that looks and feels smooth in longer texts and paragraphs, but works well in headlines also cause it's gentle decorative letter parts. Strong look is achieved by more squared then rounded characters design.  As mentioned, Klaud is perfect to fit into any designer's project – from editorial use as the main typeface to situations where you are looking for a couple of words only like posters or packages. It is fully legible and versatile as web font also. Klaud is offered with OpenType features like Numerator, Denominator, Fractions, Small Caps, Oldstyle Figures, Lining Figures, Standard Ligatures, Case Sensitive Forms, Arrows, Alternate Annotation Forms. Klaud Download Now View Gallery

Spiegel Sans Spiegel Sans combines the shapes and proportions of an American-style gothic – the ultimate industrial typeface – with subtle diagonal stress and almost imperceptible traces of handwriting. Spiegel Sans Download Now View Gallery

Organica Pro Just as most buildings are based on a structure of vertical columns, horizontal floors, square angles and the occasional arch, most Latin typefaces are designed within a largely uniform, static, alphabetic structure that provides a framework for playing with the style of the terminals —serif, sans-serif, slab-serif, flared, Tuscan— without significantly modifying the deep anatomy of the letters. Orgánica Pro, by contrast, proposes a different structure: curvilinear, subtle and sophisticated, beyond the typical «sticks and balls» model. Organic anatomy, in one word; deliberately dynamic and asymmetrical. Over this radically distinct structure, terminals play a characteristic, expressive role that challenges easy classifications: Is this a serif or a sans font? A semi-serif? A semi-sans? For text or display? Modern or ultra-modern? Joke or serious? All answers are valid. Anyway, its six stylistic variants allow for multiple, diverse uses in text setting, headings and l

Megumi Megumi was originally commissioned as a headline face for a fashion and lifestyle magazine with a heavy Japanese influence. The uppercase letters are narrow and have an almost monospaced aesthetic, being influenced by Romaji letterforms. Serifs are severe, and curves sinuous. Although experiments were made with extra weight, it was decided that only this ultra light weight would be developed, to be set large in headlines. The italic has an over-the-top 35° slant (so slanted in fact that the backslash from the italic is the exact same shape as the forward slash in the Roman) and a discretionary ligature feature that can be engaged to add extra interest to headlines. The Roman has a few wide alternate glyphs for round uppercase characters. Both styles have a stylistic set (ss03) feature which switches regular parentheses for angle brackets, which the Art Director thought “looked cool”. In a mess of venture capitalist pull-outs and Covid related issues, the publication never

Final Six FinalSix is the typographic adaptation of a lettering. Working on the graphic image for a sports event (the European Waterpolo Final in 2014) we had the idea of creating a character set that reflected the idea of the undulating movement of water in a pool. In practice, we draw characters with rounded tops, bottoms and diagonals and using the word WATERPOLO as a visual reference for a wavy feeling, in a process that we could define as “form follows meaning.”  To preserve its personality as much as possible, the most idiosyncratic characters are found in the Default set, while we can find more standardized variations for editorial use in a Stylistic set. Final Six Download Now View Gallery

Final Six FinalSix is the typographic adaptation of a lettering. Working on the graphic image for a sports event (the European Waterpolo Final in 2014) we had the idea of creating a character set that reflected the idea of the undulating movement of water in a pool. In practice, we draw characters with rounded tops, bottoms and diagonals and using the word WATERPOLO as a visual reference for a wavy feeling, in a process that we could define as “form follows meaning.”  To preserve its personality as much as possible, the most idiosyncratic characters are found in the Default set, while we can find more standardized variations for editorial use in a Stylistic set. Final Six Download Now View Gallery

Final Six FinalSix is the typographic adaptation of a lettering. Working on the graphic image for a sports event (the European Waterpolo Final in 2014) we had the idea of creating a character set that reflected the idea of the undulating movement of water in a pool. In practice, we draw characters with rounded tops, bottoms and diagonals and using the word WATERPOLO as a visual reference for a wavy feeling, in a process that we could define as “form follows meaning.”  To preserve its personality as much as possible, the most idiosyncratic characters are found in the Default set, while we can find more standardized variations for editorial use in a Stylistic set. Final Six Download Now View Gallery

Final Six FinalSix is the typographic adaptation of a lettering. Working on the graphic image for a sports event (the European Waterpolo Final in 2014) we had the idea of creating a character set that reflected the idea of the undulating movement of water in a pool. In practice, we draw characters with rounded tops, bottoms and diagonals and using the word WATERPOLO as a visual reference for a wavy feeling, in a process that we could define as “form follows meaning.”  To preserve its personality as much as possible, the most idiosyncratic characters are found in the Default set, while we can find more standardized variations for editorial use in a Stylistic set. Final Six Download Now View Gallery

Plethora A few years ago I've discovered the work of one of the most prolific typeface designers of the Bruce type Foundry in NYC during late nineteenth century. Browsing Julius Herriet's work I found a very unique kind of ligatures in his patented "Old Style Ornamented" type design. Some letters were designed with a little top tail that allowed them to connect to each other. After that, I found that he also designed a single italic weight of the same font 7 years later.  Since the beginning of the Opentype days I’ve been deeply obsessed with exploring different ways to build ligatures, so that lead me up to this point where I felt the need to create “ Plethora ”, this new font inspired by Herriet’s work. Extrapolating weights, adding variable technology and playing with additional interconnected letters and alternates. Definitely, Plethora means a large or excessive amount of something, and this font tries to bring back this abundance of details two centuries

Download Now Server 1 Download Now Server 3 Download Now Server 2 Cantilever is a variable, 20 style display typeface designed by Stew Deane. The idea came from using variable type mechanics to create a typeface that became more than type — it's designed to be impactful, fill space and turn text into something graphic and visual. Being fixed-width (at whatever width you choose) means it is perfect for stacking, as well as stretching ultra wide. It's a typeface designed to take centre stage and own space. By using the variable sliders in your design software you can give your typography a bespoke, ownable aesthetic. The sliders in Cantilever are Weight and Width, and are designed for maximum impact in any space. Play around. Download Cantilever Fonts Family From Meat Studio

Download Now Server 1 Download Now Server 3 Download Now Server 2 Benzin  is a geometric sans serif family that comes in 5 weights. This is a universal font that can be used for both headings and paragraphs, thanks to the customized kerning for bold and thin style. In the thin style, the kerning is more sparse, in the bold style it is more dense. This allows you to immediately use a bold style in large headlines and posters, and a thin style in small texts and paragraphs. This is very convenient and you don't need to think about setting up kerning. Download Benzin Fonts Family From Supremat