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| Name | Styles | Formats | Designers |
| Authentic Sans | Regular | Desktop: OTF | Christina Janus |
| Web: WOFF | Desmond Wong |
Designed by Christina Janus and Desmond Wong, Authentic Sans is a typeface intended for situations where Oriya Sangam MN seems too sophisticated and LiHei Pro too vulgar, or vice versa. It explores the semiotic and aesthetic idiosyncrasies of the anonymous Latin glyphs included with CJK system fonts and aims to subvert the Eurocentric standards of typographic quality and refinement. Authentic Sans is a reflection of the studio praxis: expanding and redefining the visual and cultural boundaries of default systems. Authentic Business.
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| Name | Styles | Formats | Designers |
| Autopia | Regular | Desktop: TTF | Antoine Gelgon |
| Italic | Web: WOFF |
Autopia is a typeface designed by Antoine Gelgon. The particularity of this font is in the process of developing its shape; the skeleton was generated through the Autotrace Program, which converts bitmap to vector graphics. Calligraphic forms were then drawn with Python code.
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| Name | Styles | Formats | Designers |
| Apfel Grotezk | Regular | Desktop: OTF | Luigi Gorlero |
| Brukt | Web: WOFF |
Apfel Grotezk, designed by Luigi Gorlero, is a round and airy sans serif family, inspired by neo–grotesque and geometric typefaces. It features easy curves and an exaggerated x-height, granting it a very friendly attitude. Its lower–carbon–footprint twin, Apfel Grotezk Brukt, was designed to reduce the amount of used ink in printing through cut-outs of different size and shape.
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| Name | Styles | Formats | Designers |
| Antiqua Englisch | Regular | Desktop: OTF | Gerhard Helzel |
| Web: WOFF |
Antiqua Englisch is a typeface by Gerhard Helzel.
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| Name | Styles | Formats | Designers |
| Burtine | Regular | Desktop: TTF | Manfred Klein |
| Web: WOFF |
Burtine is a typeface, based on Burte-Fraktur, by Manfred Klein.
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| Name | Styles | Formats | Designers |
| Chrysanthi Unicode | Regular | Desktop: TTF | Dolgthrasir Mioethdrauci |
| Web: WOFF |
Chrysanthi Unicode is a typeface by Dolgthrasir Mioethdrauci.
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| Name | Styles | Formats | Designers |
| Compagnon | Light | Desktop: OTF | Juliette Duhé |
| Light Italic | Web: WOFF | Léa Pradine | |
| Roman | Source: Glyphs | Valentin Papon | |
| Medium | Sébastien Riollier | ||
| Script | Chloé Lozano |
Compagnon is a typeface family composed of five distinctive styles. It finds its inspiration in the online archives of Typewriter Database specimens and combines different periods of the history of typewriter typefaces. Each weight is based on singular references relating to significant periods, aiming to underline the evolution of typewriter characters as they are named.
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| Name | Styles | Formats | Designers |
| Computer Modern Serif | Regular | Desktop: TTF | Donald Knuth |
| Italic | Web: WOFF |
Computer Modern Serif is part of the original family of typefaces used by the typesetting program TeX. It was created by Donald Knuth with their Metafont program. Computer Modern Serif, or variants of it, remains widely used in scientific publishing, especially in disciplines that make frequent use of mathematical notation. As implied by the name, Computer Modern is a ‘Didone’, or modern serif font, a type that emerged in the late 18th century in contrast to the more organic forms that preceded them.
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| Name | Styles | Formats | Designers |
| Computer Modern Typewriter | Light | Desktop: TTF | Donald Knuth |
| Light Oblique | Web: WOFF |
Computer Modern Typewriter is part of the original family of typefaces used by the typesetting program TeX. It was created by Donald Knuth with their Metafont program. Computer Modern, or variants of it, remains widely used in scientific publishing, especially in disciplines that make frequent use of mathematical notation.
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| Name | Styles | Formats | Designers |
| DIN 1451 Breitschrift | Regular | Desktop: TTF | Peter Wiegel |
| Web: WOFF |
DIN 1451 Breitschrift is a typeface by Peter Wiegel. In 1936, DIN 1451 was completed; in the final standard, there were three font variants, including the Breitschrift (Extended/Broadsheet). The first two have survived, with only minor changes to date, and they are also used outside of Germany on road signs, with Breitschrift being withdrawn at some point. Breitschrift was used, for a short time, on town signs and signposts with a small number still in use today. Breitschrift was also used on defense technology materials, such as on filters for respirators, etc.
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| Name | Styles | Formats | Designers |
| Drogowskaz | Medium | Desktop: TTF | Emil Wojtacki |
| Condensed Medium | Web: WOFF | Marek Sigmund |
Drogowskaz (Polish: Roadsign) is a geometric sans-serif typeface used in public signage in Poland. Originally developed in 1975 by Marek Sigmund for the Ministry of Transportation.
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| Name | Styles | Formats | Designers |
| Fälschungserschwerende Schrift | Regular | Desktop: OTF | Karlgeorg Hoefer |
| Web: WOFF | Bryce Wilner |
Fälschungsershwerende Schrift is a font in one weight originally drawn by Karlgeorg Hoefer in 1978. This version, by Bryce Wilner, is based on a specimen that was published with the essay titled “Fälschungsershwerende Schrift” by Benjamin Tiven. Following a spike in automobile thefts through the early 1970s — many of which involved tampering with stolen tag numbers to elude police detection — the German government commissioned a new license plate typeface. It was December 1977, and Germany was still raw from a recent rash of hijackings, murders and suicides associated with the Red Army Faction.
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| Name | Styles | Formats | Designers |
| Gap Sans | Regular | Desktop: TTF | Alexandre Liziard |
| Bold | Web: WOFF | Étienne Ozeray | |
| Black |
Gap Sans is a typeface, based on the Sani Trixie Sans Regular and re-interpreted in the manner of Kawamataby, by Alexandre Liziard and Étienne Ozeray.
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| Name | Styles | Formats | Designers |
| G.B. Jones | Lite | Desktop: OTF | Nate Pyper |
| Web: WOFF |
G.B. Jones is an artist, filmmaker, and musician with a bone to pick. In the early 80s Jones co-founded the post-punk proto-riot grrrl band Fifth Column and in 1985 started publishing the queer punk zine J.D.s with co-conspirator Bruce LaBruce out of their rundown apartment in downtown Toronto. The zine’s inaugural issue featured the debut of her legendary Tom Girls series. Her drawings continue to be exhibited worldwide. Jones’ “no-budget” films often depict the hijinks of bad-mannered girl gangs, homo hustlers, and anarchist mischief-makers. G.B. Jones is based on the title sequence of their 2008 film The Lollipop Generation. Jones’ matter-of-fact use of a Lite Brite in the film’s titles evokes her use of stencils in J.D.s: a do-it-yourself approach that says you can do it too. Gaps in the alphabet were filled by emulating existing forms as needed.
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| Name | Styles | Formats | Designers |
| GFS Artemisia | Regular | Desktop: OTF | Takis Katsoulidis |
| Italic | Web: WOFF | George Matthiopoulos | |
| Bold |
The type family GFS Artemisia was designed by the painter-engraver Takis Katsoulidis and reflects their style and typographic acumen. It is largely their effort to offer, from a different perspective, a type face which, like Times Greek, would be applicable to a wide spectrum of uses and equally agreeable and legible. The typeface has been digitised by George D. Matthiopoulos.
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| Name | Styles | Formats | Designers |
| GFS Galatea | Regular | Desktop: OTF | George Triantafyllakos |
| Bold | Web: WOFF |
GFS Galatea Bold revives in digital form a hot metal typeface from the 1920s, which can be found in older type specimens named simply as FAT type. The font was used as a bold companion of Didot Greek (Απλά) and has many similarities in design, but it differs in its reduced stroke contrast, the use of a lunar lower case epsilon (reminiscent of the similar epsilon in Porson Greek) and in sturdier stems and slab serifs. An experimental projection of these characteristics to a lighter version has led to the introduction of GFS Galatea Regular. The name Galatea is a tribute to the author and feminist Galatea Kazantzakis (1881–1962) as samples of the typeface were found in several of her books. Both typefaces were designed by George Triantafyllakos.
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| Name | Styles | Formats | Designers |
| Happy Times at the IKOB | Regular | Desktop: OTF | Lucas Le Bihan |
| Italic | Web: WOFF | ||
| Bold | Source: Glyphs |
German graphic designer Matthias Hübner pitched for the new visual identity of the IKOB, a museum of contemporary art located in Eupen, Belgium. Part of the pitch was the commissioning of a custom typeface, which was planned to be released as an open source license once it was completed and in use. Lucas Le Bihan was asked to design this typeface as a contemporary rendition of the Times New Roman in two cuts: Regular and Italic. Since the typeface couldn’t be ready for the relaunch of the new design, Matthias decided to do a typographical restart: all communications (Posters, Flyers, Letters) were set in Times New Roman, and this typeface would be replaced gradually with new sets of characters as they were produced. At the end of 2017, the whole set was finally developed and in use ever since. The typeface has been released under the title: Happy Times at the IKOB.
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| Name | Styles | Formats | Designers |
| Harenosora Mincho | Regular | Desktop: OTF | はれのそら明朝 |
| Web: WOFF |
Harenosora Mincho (はれのそら明朝) perfectly combines the elegant Hiragana and Katakana characters with traditional Mincho characters; the result is both readable and effervescent. Harenosora Mincho was created based on the IPAex Mincho open-source font.
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| Name | Styles | Formats | Designers |
| Hershey Noailles | Sans Bold Dotted | Desktop: OTF | Allen Hershey |
| 50+ Styles | Web: WOFF | Luuse | |
| Source: FontForge |
The Hershey fonts are a collection of vector fonts developed c. 1967 by Dr. Allen Vincent Hershey at the Naval Weapons Laboratory, and originally designed to be rendered using vectors on early cathode ray tube displays. Decomposing curves to connected straight lines allowed Hershey to produce complex typographic designs. In their original form the font data consists simply of a series of coordinates, meant to be connected by straight lines on the screen.
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| Name | Styles | Formats | Designers |
| IBM PS/2 | Thin 1 | Desktop: TTF | IBM |
| Web: WOFF |
Certain IBM PS/2 models (ISA-based models 30 and 35) include additional fonts in ROM, besides the usual 8×16 MCGA font. They are all 8×16 with thin 1-pixel strokes: one fixed-width serif font (somewhat ‘Courier’-like) and three nondescript sans-serif ones. These were possibly intended to improve legibility in 40-column mode, which makes the normal (‘thick’) MCGA characters illegible.
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| Name | Styles | Formats | Designers |
| Infini | Regular | Desktop: OTF | Sandrine Nugue |
| Italic | Web: WOFF | ||
| Bold | |||
| Pictos |
The Infini typeface was conceived by Sandrine Nugue and is a decidedly contemporary design. Inspired by epigraphic writing, its various styles — roman, italic and bold — are the result of a fruitful dialogue with the history of typography, whose milestones are retraced by Sébastien Morlighem in a brief history of writing. Infini also admits of a creative and playful use of words, pictograms and ligatures.
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| Name | Styles | Formats | Designers |
| IO | Regular | Desktop: OTF | Nate Pyper |
| Web: WOFF |
IO is a font, designed by Nate Pyper, made using only two units: a straight line and a curved line. “All the capital letters of the alphabet may be written using several basic strokes, straight and curved, common to each letter,” said Bruno Munari.
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| Name | Styles | Formats | Designers |
| Libertinus | Mono | Desktop: OTF | Philipp Poll |
| Web: WOFF |
Designed by Philipp Poll, the Libertinus font family is a fork of Linux Libertine and Linux Biolinum. Libertinus Mono is forked from Linux Libertine Mono.
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| Name | Styles | Formats | Designers |
| Lincoln/MITRE | Regular | Desktop: OTF | David Bennewith |
| 5 × 7 | Web: WOFF | ||
| 7× 9 | |||
| Stencil |
Designed by David Bennewith, Lincoln/MITRE fonts are studies of the typographic system designed by MIT Lincoln Laboratory for use in various displays on the early warning air defense computer network SAGE (1950s–1980s).
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| Name | Styles | Formats | Designers |
| Messapia | Regular | Desktop: OTF | Luca Marsano |
| Bold | Web: WOFF |
Messapia is a type family, designed by Luca Marsano, with two styles: the first is inspired by a font from the 19th century, the second is a sans serif bold extended. Messapia was the ancient territory belonging to the Illyrian populations corresponding to the southern Murgia and Salento (provinces of Lecce, Brindisi and part of the province of Taranto). The original denomination of the territory is uncertain, as that of Messapia (perhaps “Land between the two seas”) was the name given to the territory by Greek historians. The first attestations of the Messapian civilization date back to the eighth century AD. After 272 BC they re-entered the territory of Rome, although partly maintaining their own characteristics.
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| Name | Styles | Formats | Designers |
| Metafont | Adjuster | Desktop: OTF | Donald Knuth |
| Bespoke | Web: WOFF | Marco Müller | |
| Fetamont | Simon Egli | ||
| Funtauna | Linus Romer |
Metaflop is a web application for modulating your own fonts. Metaflop uses Metafont, which allows you to customize a font within the given parameters and generate a range of font families. Metafont was designed by Donald Knuth. Adjuster and Bespoke were designed by Marco Müller and Simon Egli. Fetamont and Funtauna were designed by Linus Romer.
| Name | Styles | Formats | Designers |
| Meta Old French | Regular | Desktop: TTF | Luuse |
| Web: WOFF | Allen Hershey |
A Fork of Hershey Old French, Meta Old French is the first font created with Plancton.
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| Name | Styles | Formats | Designers |
| Meyrin | Regular | Desktop: TTF | Tom Leaman |
| Web: WOFF | Brian Suda |
Creating the Meyrin CERN terminal font. The process is pretty straight-forward. It is a two step processes. First you need to create an SVG file for each glyph. There is a template.svg which can be used to create new glyphs. There is a descender of two units and ascender of 3 units. This is used for diacritics. Once each glyph is an individual SVG file, you can import them into a font creation tool. We used the online service Ico Moon. From this we upload and map each SVG file to a specific unicode code point. We did some final tweaks in font forge to get the space character and additional metadata. We completed all the characters which are available on the IBM System 6000 keyboard. We ran a simple script to output all available characters, took screenshots and tried to create these as well. This is not a complete Unicode font, but you are welcome to fork the repo and create additional glyphs as needed.
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| Name | Styles | Formats | Designers |
| Monospace Typewriter | Regular | Desktop: TTF | Manfred Klein |
| Web: WOFF |
Monospace Typewriter is a typeface by Manfred Klein.
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| Name | Styles | Formats | Designers |
| Montaga | Regular | Desktop: TTF | Alejandra Rodriguez |
| Web: WOFF |
Designed by Alejandra Rodriguez, Montaga is an old style font, inspired by Venetian calligraphy, with a strong inclination in the modulation axis, that generates shapes with marked stress.
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| Name | Styles | Formats | Designers |
| Necto Mono | Regular | Desktop: OTF | Marco Condello |
| Bold | Web: WOFF |
Necto Mono is a sans serif font characterized by low contrast, medium apertures and slanted terminals. Necto Mono is an aseptic, neutral font designed for any kind of visual mutiny.
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| Name | Styles | Formats | Designers |
| Neo Euler | Medium | Desktop: OTF | Hermann Zapf |
| Web: WOFF | Donald Knuth |
Neo Euler is an upright cursive typeface, commissioned by the American Mathematical Society, designed by Hermann Zapf with the assistance of Donald Knuth and his Stanford graduate students. It tries to emulate a mathematician’s style of handwriting mathematical entities on a blackboard, which is upright rather than italic.
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| Name | Styles | Formats | Designers |
| Norm | Regular | Desktop: OTF | Bryce Wilner |
| Italic | Web: WOFF |
Norm is a Unicode typeface family, designed by Bryce Wilner, in one weight, that supports all languages that use the Latin script and its variants, and could be expanded to support other scripts.
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| Name | Styles | Formats | Designers |
| OCR-PBI | Regular | Desktop: OTF | Antoine Gelgon |
| Pen | Web: WOFF | Lise Brosseau |
Designed by Antoine Gelgon and Lise Brosseau, OCR-PBI is a metapost programme font.
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| Name | Styles | Formats | Designers |
| Ortica | Regular | Desktop: OTF | Benedetta Bovani |
| Bold | Web: WOFF |
Ortica is a calligraphic serif with two contrasting but matching personalities. Ortica Bold takes inspiration from the work of Czech designer Vojtech Preissig: like their Preissig Antiqua it’s made just of straight segments. Ortica Light has an apparently smoother personality: it has curves but it also has sharp and spiky serifs.
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| Name | Styles | Formats | Designers |
| Post Bus | Regular Pro | Desktop: TTF | Peter Wiegel |
| Lichte Pro | Web: WOFF |
Post Bus is a typeface by Peter Wiegel with two weights, Regular and Lichte (Pro).
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| Name | Styles | Formats | Designers |
| Preußische | Regular | Desktop: TTF | Peter Wiegel |
| Web: WOFF |
Preußische is a typeface by Peter Wiegel. In 1906, the Prussian Railway Administration introduced a uniform font for all of its rolling stock. Not necessarily beautiful, but for any capable letterer to paint standard on the vehicles. Until 1923, the font was used after the pattern drawing IV 44 Issue 3 and then it was revised and pressed into a DIN standard, DIN 1451, which adorns every street sign in Germany today.
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| Name | Styles | Formats | Designers |
| Ptolemy | Regular | Desktop: OTF | Alexis Faudot |
| Web: WOFF | Rafael Ribas |
Ptolemy, designed in Chelsea by St John Hornby, Sidney Cockerell and Emery Walker, cut in 18 pt by Edward Prince for Cervantes’ Don Quixote. Published by the Ashendene Press in 1927. The type used until 1935 is a revival of Lienhart Holl’s cut for Ptolemaeus’ Cosmographia printed in 1482 in Ulm. In parallel to historical research, Alexis Faudot and Rafael Ribas, both researchers at ANRT, produced fifteen fonts, including Ptolemy, during a series of workshop sessions conducted between 2015–2018 at art & design schools across France and Germany.
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| Name | Styles | Formats | Designers |
| Routed Gothic | Regular | Desktop: TTF | Darren Embry |
| Italic | Web: WOFF | ||
| Half Italic | |||
| Narrow | |||
| Narrow Italic | |||
| Narrow Half Italic | |||
| Wide | |||
| Wide Italic | |||
| Wide Half Italic |
A clean implementation of a common lettering style found on technical drawings, engraved office signs, computer and typewriter keyboards, and some comic books and avionics from the mid-20th century. The “italic” fonts of this typeface are slanted 22.5°, as a drafter would do. The “half italic” fonts of this typeface are slanted 11.25°, as seen in a small number of drawings. There is no hinting, as this font was originally created for a project intended to be printed at a sufficiently high resolution to obviate them.
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| Name | Styles | Formats | Designers |
| S-Core Dream | Thin | Desktop: OTF | S-Core |
| ExtraLight | Web: WOFF | ||
| Light | |||
| Regular | |||
| Medium | |||
| Bold | |||
| ExtraBold | |||
| Heavy | |||
| Black |
S-Core Dream (에스코어 드림) is a typeface by S-Core. It has two meanings: dream and dream.
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| Name | Styles | Formats | Designers |
| Sélavy | Regular | Desktop: OTF | Nina Stössinger |
| Web: WOFF |
Sélavy is a dotted typeface loosely based on the 13 punched-out caps on Marcel Duchamp’s 1934 Green Box (La Mariee Mise A Nu Par Sesames Celibataires Meme).
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| Name | Styles | Formats | Designers |
| Selectric | Mono | Desktop: OTF | Leonard Mabille |
| Web: WOFF |
In 1961, IBM Selectric was the first typewriting machine to use a sphere, a “type ball,” instead of individual type bars. First seen on a typescript facsimile of the Japanese philosopher Shûzô Kuki, Selectric combines the rigidity of the monospace system with old style Garalde serifs.
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| Name | Styles | Formats | Designers |
| Space Grotesk | Light | Desktop: OTF | Florian Karsten |
| Regular | Web: WOFF | ||
| Medium | Variable: TTF | ||
| SemiBold | |||
| Bold |
Space Grotesk, a typeface by Florian Karsten, is a modified version of Space Mono, a fixed-width typeface family designed by Colophon Foundry. Space Grotesk supports Latin Extended-A character set (i.e. Western European, Central European and Southeastern European languages) and several OpenType features.
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| Name | Styles | Formats | Designers |
| Sporting Grotesque | Regular | Desktop: OTF | Lucas Le Bihan |
| Bold | Web: WOFF |
Sporting Grotesque is a typeface by Lucas Le Bihan.
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| Name | Styles | Formats | Designers |
| Space Mono | Regular | Desktop: TTF | Colophon |
| Italic | Web: WOFF | ||
| Bold | |||
| Bold Italic |
Space Mono is a fixed-width type family designed by Colophon. It supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages. Developed for editorial use in headline and display typography, the letterforms infuse a geometric foundation and grotesque details with qualities often found in headline typefaces of the 1960s (See: Microgramma, Eurostile), many of which have since been co-opted by science fiction films, television, and literature. Typographic features include old-style figures, superscript and subscript numerals, fractions, center-height and cap-height currency symbols, directional arrows, and multiple stylistic alternates.
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| Name | Styles | Formats | Designers |
| Sprat | Thin | Desktop: OTF | Ethan Nakache |
| Light | Web: WOFF | ||
| Regular | Variable: TTF | Medium | Source: Glyphs |
| Bold | |||
| Black | |||
| Extended Thin | |||
| Extended Light | |||
| Extended Regular | |||
| Extended Medium | |||
| Extended Bold | |||
| Extended Black | |||
| Condensed Thin | |||
| Condensed Light | |||
| Condensed Regular | |||
| Condensed Medium | |||
| Condensed Bold | |||
| Condensed Black |
Sprat is a sharp serif variable font, developed on two axes: width and weight. Inspired by an old lettering from Eric Gill, it features long sharps serifs, high contrast and round curves. Its appearance changes a lot between styles, the thin ones have more of a hard and aggressive look, the blacks are smoother but keep their attitude. Its use is mainly suitable for titling, posters and logos but depending on the weight Sprat could also work in a mid-sized body text.
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| Name | Styles | Formats | Designers |
| Staatliches | Regular | Desktop: TTF | Brian LaRossa |
| Web: WOFF | Erica Carras |
Staatliches is a display face with unconventional proportions. The alphabet was designed by Brian LaRossa and Erica Carras, in response to Herbert Bayer’s title lettering on the cover of the first Bauhaus exhibition catalogue, which was published in 1923. It features full sets of capitals, numbers, punctuation, and symbols, in addition to alternate widths, discretionary ligatures, and common Latin accents.
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| Name | Styles | Formats | Designers |
| Standard Graf | Regular | Desktop: TTF | Peter Wiegel |
| Web: WOFF |
Standard Graf is a typeface, based on technical drawing templates, by Peter Wiegel.
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| Name | Styles | Formats | Designers |
| TGL | Regular | Desktop: TTF | Peter Wiegel |
| Alt | Web: WOFF | ||
| Italic |
TGL is a typeface, based on technical drawing templates, by Peter Wiegel. In the early days of technical drawings in Western Europe, cursive handwriting predominated. After the First World War, it no longer fit with a much more modern approach. Shortly after the first DIN standard sheet ‘DIN 1 taper pins’, templates for inscribing technical drawings under DIN 16 and DIN 17 were standardized. The basis for these standards was the recommendation of the Prussian Railway Administration according to sample drawing IV 44, which also found its way into the DIN standards. These fonts also have the same ratio of line width to the height of the capital letters, but with regard to the writing instrument with round dash ends. The writing has, with some small revisions until the late 1960s, preserved virtually unchanged and was continued in the West under the DIN designation. In the GDR, the standard sheet was also adopted unchanged into the technical quality and delivery conditions (TGL for short). In the early 1970s, technical drawings became primarily microfilmed. These showed that the bold font with a line width of 1/7 of the cap height tends to run in and thus become illegible. Also, other ink pens were required for writing than for drawing. As a transitional step, the stroke width was reduced to 1/10 of the cap height, and the number of font sizes was reduced. Shortly afterwards, the typeface was replaced by the better microfilm-compatible DIN EN ISO 3098. This was standardized in the GDR in the TGL 31034.
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| Name | Styles | Formats | Designers |
| The Richard Mutt Case | 0 degree front, 10 degree top | Desktop: TTF | Nazli Ercan |
| 160 degree front, 25 degree top | Web: WOFF | ||
| 45 degree front, 45 degree top |
The Richard Mutt Case, a typeface designed by Nazli Ercan, is created from three-dimensional boxes that have MT Grotesque letters printed on their sides. These boxes were initially made to study the physical space each letter occupied in real life. The three different versions of The Richard Mutt Case captures these boxes from different angles and studies how much a letter can change when looked from different vantage points. Hence, 0° front, 10° top; 160° front, 25° top; and 45° front, 45° top become the new bold, italic, and regular. The consideration of new perspectives is what makes this typeface a tribute to the French artist Marcel Duchamp and names this typeface as The Richard Mutt Case, which is also the title of a writing by Duchamp.
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| Name | Styles | Formats | Designers |
| Toren | Mono | Desktop: OTF | Eli Heuer |
| Proportional | Web: WOFF |
Toren is a typeface by Eli Heuer.
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| Name | Styles | Formats | Designers |
| Tratex | Black | Desktop: TTF | Kåge Gustafsson |
| White | Web: WOFF |
Tratex is a geometric sans-serif family for road signs in Sweden. It was developed for maximal readability in traffic, and designed by Kåge Gustafsson.
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| Name | Styles | Formats | Designers |
| Txt | Regular | Desktop: TTF | Autodesk |
| Web: WOFF |
Txt is a typeface by Autodesk.
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| Name | Styles | Formats | Designers |
| Up Pen Down | Thin | Desktop: OTF | OSP |
| Thin Italic | Web: WOFF | ||
| Regular | Regular Italic | ||
| Medium | |||
| Medium Italic | |||
| Bold | |||
| Bold Italic | |||
| Note Medium |
Up Pen Down is one of the TURTLE fonts developed during the OSP workshops at ESAD. The intervention of OSP was situated around the notion of stroke, in the sense of path — as opposed and informed by the notion of form. Allowing itself to be explored through the different modalities of drawing, typography and cartography, the stroke is intimately related to the tool by which it is drawn, thus influencing the visual language. The English mathematician Seymour Papert tried to create an embodied understanding of mathematics through his LOGO language. Papert created a language, understood both by humans and computers, that describes drawings not in an absolute cartesian grid, but from the perspective of the person that is drawing. Papert called this TURTLE graphics. Using the Seymour extension, TURTLE scripts were run within the vector drawing program Inkscape to create letterforms. Inkscape is a fine program to create drawings, but does not have the possibility to create font files. FontForge was used to turn the TURTLE fonts into typefaces.
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| Name | Styles | Formats | Designers |
| Work Sans | Thin | Desktop: OTF | Wei Huang |
| Thin Italic | Web: WOFF | ||
| ExtraLight | Variable: TTF | ExtraLight Italic | Source: Glyphs |
| Light | |||
| Light Italic | |||
| Regular | |||
| Regular Italic | |||
| Medium | |||
| Medium Italic | |||
| SemiBold | |||
| SemiBold Italic | |||
| Bold | |||
| Bold Italic | |||
| ExtraBold | |||
| ExtraBold Italic | |||
| Black | |||
| Black Italic |
Work Sans is a typeface family based loosely on early Grotesques, such as those by Stephenson Blake, Miller & Richard, and Bauerschen Giesserei. The Regular weight and others in the middle of the family are optimised for on-screen text usage at medium-sizes (14px–48px) and can also be used in print design. The fonts closer to the extreme weights are designed more for display use both on the web and in print. Overall, features are simplified and optimised for screen resolutions; for example, diacritic marks are larger than they would be in print. A version optimised for desktop applications is also included. The Work Sans project is led by type designer Wei Huang.
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| Name | Styles | Formats | Designers |
| Wremena | Light | Desktop: OTF | Temporary State |
| Regular | Web: WOFF | ||
| Bold |
Wremena is a new version of Vremena typeface, a Times-like font with acute triangular serifs and sharp angles. Apart from new crispier outlines and some improvements in metrics and kerning, Wremena features a new family composition. New Bold version was made to be wider and smoother with some changes to serif construction, and an entirely new Light version was developed for typesetting close in character and the feeling of Literaturnaya or Century OldStyle. As with its predecessor, Wremena is distributed free of charge.