Anna Pizzey

HS Gold is based on some modern lines of Naskh calligraphy which supports Arabic, Persian with a Sans Serif with subtle round on stems and corners.
The typeface has been optimized for corporate identity work, editorial design and modern projects when a contemporary and simple look with a similarity between Arabic and Latin is requested.
It features swash, ligatures and swash ligatures. Its proportions allow high impact on the tightly set lines of big and small text alike. This font consists of two weights (regular and bold) which can constitute a striking addition to the library of Arabic and Latin contemporary fonts models that meet the purposes of various designs for all tastes.

SF Kitab is An Arabic typeface for desktop applications.
The font is dedicated for printing diverse books and publications.
SF Kitab is clear and the reader feels comfortable reading long texts.
It is contains two weights: normal and bold.
This font supports Arabic, Persian and Urdu.

Fact is a workhorse open sans serif type system. It is inspired by the great Frutiger typeface. While the Regular style is slightly modernized but still quite close to Frutiger, changing the weight or width makes differences of the design more pronounced. The style range of Fact is wider than of any cognate type family, including weights from Thin to Black and widths from Compressed to Expanded. Fact type system contains 48 upright styles with variations in width and weight and 8 italics of normal width. The font was designed by Alexandra Korolkova and Manvel Shmavonyan and released by Paratype in 2018.

Ekster is a geometric sans serif typeface from the Parisian designer Ilya Naumoff. Many of its letters are simplified; you’ll find several places in the typeface where the connection of bowls to stems isn’t fussy, for example, and horizontal strokes – like those in the ‘f’ and the ’t’ along the x-height – don’t bisect their letters’ main vertical stems (but populate the left-hand side only instead). Ekster’s lowercase ‘u’ is also symmetrical. The family includes a staggering number of weights – eight in total, and these range from Thin through Black. Each weight has both an upright font and an oblique-style italic on offer. The letterforms in all of the Ekster weights are drawn with virtually monolinear strokes. Ekster’s x-height is moderate, and the lowercase’s ascenders rise up to the same height as the capital letters and the numerals. However, the best feature of Ekster’s fonts is the large number of alternates that they contain. Ekster includes alternate forms for almost every lowercase letter, and some even have more than one alternate available – like the ‘a’, ‘e’, and ‘r’. Ekster is an excellent choice for use in both corporate design and editorial design projects, both because of its range of font weights and styles as well as because of its legibility in text.

Fixture is our massive 72-font take on plentiful offerings of the late 19th century’s typefaces, posters and wood letterpress sundry done in the Grotesk genre. Four widths ranging from Ultra Compressed to Expanded each come in nine weights and accompanying italics. Some common sans-serif alternates, such as the a and g, are included in all the fonts.

The idea with this design was to put together a workhorse font family with enough functional flexibility to work in multiple environments, from the subtlety of magazine layout or film credits to the visual drama of billboards or packaging.

Aesthetically speaking, it is quite interesting — though in retrospect quite unintentional — that each different width and/or weight of this face ended up pulling a different dominant trait from the melting-pot origins of the entire family. It’s almost like a tribute album to some famous band’s covers of older songs. It may also be a good conversation piece on our tools shaping the very things for which they’re used. Can’t really get any more post-Grotesk than this. In the 21st century, this is the one genre to rule them all.

When it comes to design versatility in typography, variable fonts are hard to beat. Just imagine being able to tweak a font’s height to fill a stretch of vertical space, or being able to lean the letters just so in order to create the perfect slant for your specific project.

As an extension to OpenType, variable fonts are sort of like having a bottomless grab-bag of fonts in a single font file. The designer is able to adjust attributes like width or height with the simple pull of a slider. This type of responsive design is breaking new ground every day, and we're excited to release our own variable font, YWFT Fluctuant.

YWFT Fluctuant is a contemporary sans serif type design with a subtle retro flair. The beauty of this type design is that you can tweak it to your heart’s content – with total ease and absolute control.

YWFT Fluctuant is ideal for logos, branding and identity projects, displays, signage, flyers, headlines, labels, web copy, product packaging, posters, merchandise, menus, and more.

Ador Hairline is the high contrast version of Ador. A humanist sans serif that falls in the “evil serif” genre, especially designed for contemporary typography and comes up with 7 weights from extralight to black plus true italics and 293 ligatures and initial letters. A large x-height not only creates space in the letters for extra-bold styles, but also lends Ador Hairline an open and generous character in the more narrow and semi-bold versions. The nice balance between sharp ink trapped and soft, dynamic shapes helps to work in small sizes. Diagonal stress, angled finials and the 4 degree true italic styles give Ador Hairline a dynamic look. The font contains 1.026 glyphs and a wide range of flexibility for Latin language support for every typographical needs. Ador Hairline is a contemporary sans serif typeface, special for logotypes, brands, magazines editorial and advertising uses.

Dillan is an 18 style sans family with an edge. It’s angled ascenders add movement and a unique appearance, whilst its flatter terminal angles gives a more fluid connection to partnering letters. The angles give the font a contemporary feel and the higher x-height give it great readability at smaller sizes.

The font is made up of 9 weights and it’s matching italics and includes some nice features such as stylistic alternates, extensive European language support, case sensitive characters, ligatures and much more.

Dillan is perfect for many applications including digital treatments such as apps, websites and motion design, as well as branding, logos, advertising and editorial, and much much more.

Droob7 is An Arabic typeface for desktop applications, for websites and for digital ads. Currently prepared by the weight one has the alignment between the Arabic and Latin letters to serve the articles sites without resorting to other fonts in the page or article each.
Droob7 font family contains two weights: normal and bold.
This font supports Arabic and Latin, Persian and Urdu.
The font (Droob7) is characterized by clarity and readability and ease of being a promising line very carefully to be used in Web sites (best size is 12-bit).

Calton is a utilitarian workhorse sans serif family. It’s designed to work in as many environments as possible, from small text to big headlines. The roman and italic styles work well for any typographical situation while the stencil really packs a punch and shines as a display family.

The design has a hint of familiarity from classical humanist sans serifs, but the proportions are much more economical and the detailing is distinctly modern. All styles come in eight weights, from Thin to Black and the family is well suited for film and TV, advertising, editorial design, packaging, branding, logo, sports, web and screen design.

The family is available in multiple bundle options so check out the different choices. The family package is available with a bargain price.

First and foremost, Reserve is a companion typeface developed to complement the Scotch Suite of typefaces.

With a focus on producing simpler forms with less contrast, Reserve evolved into a fantastic serif typeface for long-form text settings, exceptional clarity at low resolutions—for print and screen. Friendly and functional, Reserve is replete with features intended to make you feel comfortable going back to again and again, and with a complete set of condensed fonts, this typeface becomes more of a surprise.

Small Caps, 4 sets of numerals, Case-Sensitive forms, Stylistic, Swash and Titling Alternates, Fractions, language support, and more… it’s all there, ready for you to use. The term ‘Reserve’ as it applies to the words of wine and spirits is typically used to alert a consumer of a higher quality, exceptional vintage, or special production of wine or whisky… it’s no different for this typeface’s name. Cheers.

Calima is a humanist sans serif family available in six weights.
Its design roadmap was quite simple: try to bring the dynamism and spontaneity of italics to a stable sans serif.
The result is a fresh and spirited typeface with clean lines, equally suited for short text and display uses.
The fonts, available in Opentype format, include diacritics for most European languages and a variety of Opentype features : oldstyle and tabular figures, subscript and superscript, fractions, case-sensitive forms, localized forms and more.

Kontiki digitally simulates a handmade woodprint and offers four different qualities of print for each of the 560 characters. To create the Kontiki fonts, 193 glyphs were manually cut into five wooden plates and carefully printed by hand. From countless test prints, the most charming four were selected and digitized. Kontiki offers a designer the possibility to create a printed image that is very close to a traditional woodprint, but is less expensive to produce an easier to correct. As the warmth of manually printed matter has become a sign of quality and good taste, Kontiki is quite useful for packaging, editorial and corporate design.

If you would like to read more about the Typeface please visit our promo site. http://floodfonts.com/Kontiki