Labour Grotesk is a versatile, modern grotesque family of six weights, boasting numerous alternates to help you stand out or blend in. It boasts wide counters, perfectly horizontel ascenders and descenders, creating a typographic aesthetic that is distinct and clean.
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.
Galderglynn 1884 is a nineteenth-century style sans-serif typeface. This is a refined expansion of another typeface called Galderglynn Esquire. Galderglynn Esquire was an intentionally rustic looking typeface based on a mixture or several pre-twentieth century grotesques employing deliberately unrefined weight and spacing. Galderglynn 1884 has at its base that same pastoral design but polished into a practical workhorse font family. The condensed fonts are slightly squared off with careful effort employed to keep the style squarely in the nineteenth-century—more like a typical condensed newspaper headline type than a twentieth-century superellipitcal like Eurostile or Univers. The extra-condensed “squeeze” fonts are completely flat-sided, not unlike old wooden poster types or extremely tight metal newspaper headline fonts.
If your application supports OpenType features, you can access tabular and lowercase (old-style) numerals. A Cyrillic alphabet is included as well as accents for common Latin languages. There are three special effect fonts available: all-capitals shadow and engraved regular and condensed styles.
Ramen Sans is a friendly grotesque type family with the warmth of serif types and a little bit of the edginess of geometric sans! Designed with body text in mind, it offers 5 weights (and their italics), small caps, lining figures, fractions, numerators, denominators, and supports the Adobe Latin 3 character set (most western and central European languages).
Introducing our foundry with the new Sans Serif typeface, Kommon™Grotesk, a super family with 96 styles. Different width from Extended to Compressed, variety of weights from Thin to Super, made Kommon™Grotesk suitable for multiple usage. The typeface was crafted till clean and simple. It has high ligibility with modern and clear look to be use as text or display font. Kommon™Grotesk is effective displaying on many medias, both print and on screen.
Coltan Gea is a Slab Serif typographic family with 6 Weights plus the italic versions all include small capital letters and cryptocurrency symbols.
It is a geometric, minimalist typeface, with neo-grotesque modulations and slightly rounded corners. The typeface has alternative letters and numbers, small caps and advanced OpenType functions. The proportions, metrics and kerning I have configured meticulously for a perfect reading in any size.
Galatea is a universal sans serif family – clean and timeless. Both iconic and legible, Galatea is suited to cover many needs from brand identities to editorial design, advertising, logos and beyond. Cyrillic characters are featured and a wide range of languages is supported.
Open Type features are abundant – from built-in small capitals to various numeral styles (linear and old style; tabular and proportional, subscript and superscript).
Galatea comes in three widths – each featuring eight weights and corresponding italics.
Kruda is a Handcrafted display sans with 3 widths and 5 weights with accompanying slanted version. inspired by a vintage grotesk on a worn out signs and this was an initial sketch for our typeface Naratif, but it went too far. so we completed the language support for LATIN, CYRILLIC, and GREEK. and decided to take the risk to release it.
The addition of a monospaced version returns the Ballinger family to (some of) its roots: a 70s-era typewriter face called Candia, which Josef Müller-Brockmann designed for Olivetti. Ballinger Mono is designed on the same principles as its sister face: plain, sturdy forms with large counters, open apertures, deep junctures, and a generous x-height. It matches Ballinger’s eight weights, which makes it unusually versatile for a fixed-width face, and has been carefully rebalanced for ease of reading, like the classic jobbing sanses that inspired it. Oldstyle, inferior, and superior figures are available, as well as old-fashioned nut fractions.
