Alexandra Oldaker

Sfera is inspired by bullet resistant combat helmets of titanium. It is based on geometric object, like sphere. Sfera in various styles - Regular, Italic and Stencil - each with its own unique personality.

Falena is a type family designed by Gianluca Boffito. This simple, easy-to-read, geometric-style sans serif family is published by Typoforge Studio and consists of 18 weights (together with italics).

It has more than 300 glyphs per style (including special characters). Falena works equally well in long form type settings and for titles, headings, posters. It comes with two sets of original dingbats (set 1 contains 52 ornaments, set 2 contains 52 truly distinctive and stylish icons).

Octagen is a family of 16 condensed Sans Serif fonts of geometric construction and neo-Gothic style with short descenders and a humanistic finish in the curves and auctions of the tiny letters to avoid the coldness of the grotesque typographies, providing expressiveness, energy, warmth and docility , resulting in a friendly typography with a lot of personality and readability, specially drawn for the composition of short and medium texts, signage or headlines where horizontal space saving is needed.

The typography has 529 glyphs (Latin Extended-A) with advanced OpenType functions, several number games, a complete set of neutral-style alternative lower case letters and the Bitcoin symbol.

More For Octagen cursive styles I used a set of lowercase letters without terminal finishes, more neutral than the regular versions, this being compensated by the expressiveness of the italics inclination, thus achieving important morphological, coherent differences within the conceptual development of this typographic family.

Zierde is a take on early advertising, small-copy grotesks of the late 19th/early 20th century, and is largely inspired by Miller & Richards own range of Grotesques.

More importantly, Zierde is accompanied by a large set of ornaments (+200) which hark back to the look-and-feel of the early-modernist arts and crafts movement.

The ornaments in, and presentation of, Zierde owe much credit to J.G Schelter & Gieseckes 1913 type specimen book Die Zierde. The strong functional uppercase sans-serifs alongside luscious, beautiful patterns in Die Zierde make for beautiful combinations.

This early-modernist use of grotesk alongside ornament looks bizarre in the eyes of us used to seeing sans-serifs in more formal, sterile settings.

The face itself retains some historical flourishes such as the eccentric leaning angle of the italics, the long cross-bar on the G, the gammy-leg of the R, a strange ampersand and some irregular terminals across the weights.

Zierde is display face meant for headlines, titles, short-copy, labels and logos.

It comes in caps and small caps, Latin and Cyrillic.

Sequel 100 Black was designed in 2018 by type designer Jeschke in Berlin. It is based on the sans-serif typefaces of the early 19th century. A characteristic feature of the Sequel 100 is the almost equal thickness of the vertical and horizontal strokes, the horizontally cut endings of the letters a, c, e, g, s, as well as a striking R.

Unlike other sans-serif faces, the forms are absolutely clean and the x-height, in the normal thickness gradation a bit higher, in favor of legibility.

Sequel 100 Black supports up to 74 languages, from light to bold, with the corresponding italics.

First things first: I am really not a Star Trek fan. I did come up with this name, which I thought had a good ring to it. When I checked whether the name was already taken, I found out that Black Cluster is a term from Star Trek.

Now you want to know what a Black Cluster is, so just check out poster 2 and read all about it.

For me, Black Cluster is a handmade ink font, with a lot of jumping glyphs, a lot of diacritics and a handful of ligatures.

It may be rough, but you will be pleasantly surprised by what it can do to a design! May the font be with you.

Oh, no, that was from Star Wars

Altum Sans is a new clean and contemporary typeface. The geometric and condensed letterforms are designed for use in larger texts and display applications.

With over 500 glyphs Altum Sans supports many languages as well as two different figure styles, interpolation breakpoints, subscript, superscript, contextual alternatives, ordinal indicators, fractions,.

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Originally designed in 1928, Plak is something of a lost gem in the type world. Despite being drawn by Futura creator Paul Renner, it never achieved the same popularity and spent decades lacking a much-needed digital revival.

Monotype designers Linda Hintz and Toshi Omagari have taken its existing three weights and, after extensive research into the original wood type, extended them into the vast Neue Plak family.

More The typeface is available in 60 weights that stay true to Renners intentions, and offer the same blend of quirky details and German stiffness as Hintz describes it.

The design is an unusual mixture, bringing together a defiant outer appearance thats counteracted by more playful details found in the lowercase r, and the large dots over the is.

Other distinctive details include open or strikethrough counters, and a set of hairline widths that reduce Renners original design to its bare bones.

Neue Plaks display weights are crying out to be used in editorial, on packaging or in logos, while its text weight works well in both print and digital environments.

Hope Sans takes the jaunty style of 1950s and 60s lettering and melds it with the jubilant 1970s swashes of Bookman.

The result is a sans serif family that is lively, inviting and deeply customizable.

Its basic sans serif forms create engaging text, while a roaring collection of swash designs, alternate characters and ligatures make it a natural for attention-grabbing display typography.

More The middle weights of the family are easy on the eyes and shine at smaller sizes and in blocks of text copy.

Their friendly vibe also translates well to web and interactive design projects.

Spacing is open, counters are large and Hope Sans range of six weights can provide just the right design for virtually any need.

Headlines, subheads, banners and navigational links are naturals for its lightest and boldest weights either with, or without, the swash letters.

Hope Sans is a paint box, says its designer, Charles Nix. In its basic form, its a sturdy grotesque, capable of setting text in a cool and relaxed way.

But a bit of accenting with the alternate forms easily creates an entirely different mood and meaning.

And for those that are willing to really mix with it, the variety of alternate characters can build truly unique typographic statements.

Roc is a sans serif grotesk inspired by American wood types from the end of the 19th century.

With nine weights in five widths, this family contains 45 fonts in total. The character set supports Western and Central European languages, as well as Turkish. More Roc Grotesk comes in a range of five widths: Compressed, Condensed, Normal, Wide and ExtraWide, in order to cover a wide scope of applications.

Although the styles at both ends of each range are made in their most pronounced form in terms of width and weight, they are not taken to such extremes as to become absurd, and are quite usable in display settings.

The Normal width keeps all its nine styles in proportionally similar widths. The Compressed width, however, is deliberately made to be disproportionate, so that every style takes the least possible horizontal space.

That is why the contrast between Compressed Thin and Compressed Heavy style is substantial.

As the weights progress from Thin to Heavy, the stroke contrast becomes more prominent.

It is intentionally exaggerated in heavier weights, which is particularly apparent in the uppercase E and R of the Black and Heavy style.

Roc has a large x-height and relatively short descenders and ascenders. No uppercase letter descends below the baseline, so the lines of an all-caps text can be packed tightly on a poster or a headline.

The Regular style is somewhat generously spaced, as it is most likely to be used for setting longer passages of text.

Its Bold counterpart is spaced in such a way that the width of the text column will be similar to the text set in Regular.

Tabular figures in these two styles have exact matching widths, so for example, you could emphasize one row of numbers in a data column without visually disrupting the vertical order of the table.

The lowercase g and r have alternatives to accommodate what most designers expect from a typical Grotesk typeface.

The single-story g and the cut-off r are accessible via the OpenType feature.

NCT Torin is a friendly sans-serif font in 16 styles. It supports all major European languages, as well as Vietnamese, Greek, and Russian with additional Cyrillic support.

Includes many OpenType features for alternate numbers and letters, as shown in the poster images.