Mainland is a high-quality sans-serif typeface, drawn by Måns Grebäck.
The typeface family comes in five weights, from Thin to Black.
In addition to that there are Italics, totaling 10 styles.
Extensive language support makes the font possible to use for any European Latin based language.
Ballinger began life as a single-weight proprietary typeface called baasic, designed for Dublin-based design office aad. baasic was intended as a plain, hardworking grotesque: a simple tool for clear communication. We’ve developed it into a fully-featured eight-weight family with matching italics. Sources include early 20th century jobbing sanses like Morris Benton’s News Gothic and Candia, a 70s-era typewriter face Josef Müller-Brockmann designed for Olivetti, which had unusually deep junctures that added energy to letters like m and n.
The family takes its name from Raymond A. Ballinger, the great mid-century American designer, author of ‘Lettering Art in Modern Use,’ and champion of elegance and readability. Ballinger has large counters and a generous x-height. Letters like a, e, and s open out gradually as they move from Thin to Black to maintain ample apertures, even in the darkest weights. Semi-oldstyle figures are available, as well as case-sensitive punctuation and delimiters. Italics incorporate subtle ogee curves to lend warmth and energy to the page or screen.
Scholar Sans is inspired by humanist sans. Scholar Sans Family consists of 8 weights (Thin, ExtraLight, Light, Regular, Medium, SemiBold, Bold, Black), and Italics for each format.
Bega is a simplified sans serif typeface. Formal reduction plays a strong role in its design. This is most visible in its ‘spurlessness.’ The visible strokes (or spurs) have been eliminated from the letterforms that would typically feature them. The lack of spurs in Bega is most-clearly visible when you look at the top-left corners of letters like ‘m’, ‘n’, and ‘r’. The Bega family includes eight weights, which range from Thin through Black. Each weight has two fonts on offer: An upright font, and an italic. Bega’s italics are obliques; their letterforms are slanted. The strokes of Bega’s letterforms all appear to be monolinear; that doesn’t mean that Bega is without contrast, however. Thanks to the family’s large number of weights – eight really is a lot – you can combine two or more of them with each other to create headlines that exhibit quite a bit of contrast! Each of Bega’s fonts includes a full range of numerators and denominators, to use when typesetting fractions, etc. The font’s numerals are proportional lining figures; these have the same height as Bega’s uppercase letters. The lowercase letters’ ascenders are tall, and they rise up above the tops of the capital letters and numerals. Bega’s friendly look makes it an ideal choice for use in corporate communication design. The typeface was designed by Sabina Chipară and Diana Ovezea.
Sid is big, a little rough hewn, and just off kilter enough to provide some visual interest that most sans serifs don't have. Use it where you need something that makes a real impact.
Do you need a big font? Try Syd. It’s smooth, symmetric, bold, and beautiful. Put it on a poster, a sign, a wall,... heck, put it on a building! It will hold up to the elements, draw the eye, and make a statement.
Lisboa Hebrew is humanist sans-serif typeface base on the same design as the original Lisboa (2005). The main structure is more close to the Sephardic proportions, where the letterforms contains reverse contrast and the terminals following the same calligraphic approach (Humanist). There are some characters and figures designed as small caps which have the same proportions from Hebrew. Latin transliteration characters were also included.
Auster, A Sans with Flair!
Auster packs sensational personality in its fine-tuned forms. Confident and quirky, yet comfortable to read, this distinctive san serif family stands out from the crowd. The curves cinch and strokes flair in unconventional places making Auster an unashamed rebel sure to turn heads.
Originally designed during the TipoBrda Workshop in Slovenia. Resistenza spent 3 years developing this 2 style (roman & Italic), 20 weight family. The subtle reverse contrast characters were first painted with a flat brush, then polished in pencil on tracing paper before being carefully digitized, to include language support and all the opentype features you expect in a quality contemporary font.
