Showing posts with label grotesk. Show all posts
Showing posts with label grotesk. Show all posts

[uvkfq] Download Portland Grotesk fonts from QUADRAAT

Portland Grotesk

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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
Portland Grotesk



Portland Grotesk


Download DXOldStandard Grotesk No2 Fonts Family From DXTypefoundry

Download DXOldStandard Grotesk No2 Fonts Family From DXTypefoundry


The font DXOldStandardGroteskNo2 was developed on the basis of the Grotesk Condensed font, which was issued by Russian type foundry from the beginning of the 20th century.



Download DXOldStandard Grotesk No2 Fonts Family From DXTypefoundry


Download Nisse Fonts Family From Typoforge Studio

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



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.



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Download Fracktif Fonts Family From Degarism Studio

Download Fracktif Fonts Family From Degarism Studio
Download Fracktif Fonts Family From Degarism Studio Download Fracktif Fonts Family From Degarism StudioDownload 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 StudioDownload NowView Gallery


Download Wood Stencil Fonts Family From Jeff Levine

Download News Sans Compressed Fonts Family From CharacterType

Download News Sans Compressed Fonts Family From CharacterType

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NewsSans Compressed is a multi-tool typeface system. It works well in all corporate, editorial, analog and digital settings. The News Sans family was designed to allow for a maximum range of visual shades when creating a typo­graphic look, effortlessly ranging from loud and expressive, to subtle and reserved. The large x-height combined with low as­cenders and descenders allows for tight and efficient designs. All sharp corners were trimmed off to add character and a nuance of extra space. NewsSans’ strokes link humanist curves with ‘American Grotesque’ details and solid square stems. NewsSans is optimized (hinted) for best screen performance.

Download News Sans Compressed Fonts Family From CharacterType
Download News Sans Compressed Fonts Family From CharacterType



Download News Sans Compressed Fonts Family From CharacterType


Download Sigma Fonts Family From Wiescher Design

Download Sigma Fonts Family From Wiescher Design

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»SIGMA« is the name for the Greek voiceless »S«. It is also called the »Lunar Sigma«, in Hellenistic times the letter was simplified to »C«. I thought SIGMA was a nice name for my new, very readable and friendly Sans typeface. »SIGMA« has that classical Sans beauty with friendly touches that make it unique. You will love this font. It is a great everyday workhorse with seven weights from Thin to Bold and all the necessary weights in between. Great for body copy and headlines! With 875 Glyphs it is a truly European font designed for all Central European and Latin using countries. »SIGMA« has a set of Cyrillic that is – besides Russia – also good for Serbia, Macedonia and Ukraine. It has oldstyle- and lining-, tabular- and tabular-oldstyle-figures, many ligatures. »SIGMA« comes in Normal and Oblique, I made it Oblique instead of Italic which would have been too playful for this friendly font. Enjoy!

Download Sigma Fonts Family From Wiescher Design
Download Sigma Fonts Family From Wiescher Design



Download Sigma Fonts Family From Wiescher Design


Download Generisch Mono Fonts Family From Akufadhl

Download Generisch Mono Fonts Family From Akufadhl

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Generisch Mono is a monospaced version of Generisch Sans. Generisch - a german equivalent of generic - sans serif typeface has gain its own place among designers and earn such popularity due to its "simple" design. Generisch is influenced by early grotesk typefaces from early 1900's when sans was starting to get popular and used as a body type. Some old ligatures such as ch ck and ng are present in generisch (not the ct and st tho), old style numeral for better typesetting experience and more.

Download Generisch Mono Fonts Family From Akufadhl
Download Generisch Mono Fonts Family From Akufadhl



Download Generisch Mono Fonts Family From Akufadhl


Download Motiraw Font Family From Typesketchbook

Download Motiraw Font Family From Typesketchbook

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Motiraw is contemporary sans-serif typeface made up of 28 fonts across 7 weights with normal and alternate 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. Motiraw font family supports multiple languages and is available as both webfont and desktop font.

Download Motiraw Font Family From Typesketchbook
Download Motiraw Font Family From Typesketchbook



Download Motiraw Font Family From Typesketchbook


Download Schism One Font Family From Alias

Download Schism One Font Family From Alias

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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 One Font Family From Alias



Download Schism One Font Family From Alias


Download Schism Three Font Family From Alias

Download Schism Three Font Family From Alias

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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 Three Font Family From Alias



Download Schism Three Font Family From Alias


Download Schism Two Font Family From Alias

Download Schism Two Font Family From Alias

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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
Download Schism Two Font Family From Alias



Download Schism Two Font Family From Alias