Showing posts with label grotesque. Show all posts
Showing posts with label grotesque. Show all posts

[ygw] Download Monalibra font by Keristyper Studio

Monalibra
Monalibra MonalibraMonalibra



Introducing Monalibra, an elegant vintage handcrafted font. Designed with a really clean and clear monoline cursive script typeface that is easy to read while keeping a sense of personality. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with sans or serif.


**Featured:**

* Standard Uppercase & Lowercase

* Numeral & Punctuation

* Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡

* Alternate & Ligature

* PUA encoded


We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs.

Hope you enjoy our fonts!





[vkndd] Download Portland Grotesk fonts from QUADRAAT

Portland Grotesk


Portland Grotesk is a grotesque sans serif typeface with chubby proportions in 5 weights Light - Regular - Medium - SemiBold - Bold and supports all latin languages. Easy to use and easy to read.

The character set contains 1109 glyphs with a wide range of alternates characters and includes:

- Small Capitals

- Fractions

- Superiors, denominators

- Open type features such as case sensitive, standard ligatures and several stylistics sets


Portland Grotesk fits perfectly for all types of communication (Books, magazines, posters)



Portland Grotesk


[rnkzi] Download Alfreda fonts from Santi Rey

Alfreda


Alfreda grotesque is not just another grotesque typeface. Its morphology mixes modulated and unmodulated strokes, and natural and reverse contrast. All that with a humanistic touch and subtle ink traps. Weird.


Alfreda comes in 6 weights, it has open type features, more than 400 glyphs and 18 stylistic sets. 



Alfreda


Download Nisse Fonts Family From Typoforge Studio

Download Nisse Fonts Family From Typoforge Studio

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Say hello to a new Typoforge member! Nisse is a display font family that consists of 4 styles (including italics). The regular and rough versions differ in the amount of wear. It’s inspired by Rex typeface first published by „The Jan Idzikowski and Co. Foundry“ in 1930. 

Nisse has a high amount of detail making it ideal for large prints and poster design. It is specified by a huge amount of automatic alternates. Each basic latin letter has five versions, the numbers have thee versions and extended latin letters have two versions.


Download Nisse Fonts Family From Typoforge Studio
Download Nisse Fonts Family From Typoforge Studio



Download Nisse Fonts Family From Typoforge Studio


Download WT Volkolak Fonts Family From Wraith Types

Download WT Volkolak Fonts Family From Wraith Types
Download WT Volkolak Fonts Family From Wraith Types Download WT Volkolak Fonts Family From Wraith TypesDownload WT Volkolak Fonts Family From Wraith Types



Volkolak is the ultimate serif-sans-grotesque tribrid, its numerous cuts will give you many options to go crazy on typesetting! Volkolak is a workhorse type family, a living project. We will constantly update it and improve it to time’s evolving standards, adding features and correcting eventual compatibility issues as they arise. Updates will be free to download once the font/family has been purchased once.



Download WT Volkolak Fonts Family From Wraith TypesDownload NowView Gallery


Download Fracktif Fonts Family From Degarism Studio

Download Fracktif Fonts Family From Degarism Studio


Fractif typeface a modern contemporary Grotesk, Fractif Typeface reveals a strong constructivist identity with classic type character proportions. Inspired by Mid-century modern geometric architecture develops radical shapes through many distinctive letters with clear modernist roots and a strongly contemporary finish, It works from footnote to poster size. Fractif typeface family consists of 7 weight plus matching italics, Designed with powerful OpenType features such as alternate characters, Standard ligatures, discretionary ligature, case-sensitive forms, fractions, super- and subscript characters. also included with various arrows and symbols.


Download Fracktif Fonts Family From Degarism Studio


Download Schism One Font Family From Alias

Download Schism One Font Family From Alias


Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.


Download Schism One Font Family From Alias


Download Schism Three Font Family From Alias

Download Schism Three Font Family From Alias


Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.


Download Schism Three Font Family From Alias


Download Schism Two Font Family From Alias

Download Schism Two Font Family From Alias


Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.


Download Schism Two Font Family From Alias