Griff Font Family
Griff is a family of sans serif typefaces with unusual stroke contrast. The ‘middle’ parts of many of the fonts’ letterforms are drawn with much thinner strokes than those found in the rest of typeface. The Griff family includes 10 styles; these are five weights that range from Light through Bold, each with an upright and italic font. The typeface is a bit humanist in style; its strokes end in horizontal or vertical cuts, rather than in diagonals. The letterforms’ counters are also mostly open. The fonts’ x-height is tall, and the lowercase letters’ ascenders rise slightly above the height of the capitals.
Associate Sans Mono Font Family
Associate Sans Mono is a family of ten sans serif fonts, in which all of the letters are monospaced. Each of the characters in the family’s fonts share the same common width; the capital ‘W’ is just as wide as the lowercase ‘i’. Indeed, the same character width is used for all of the glyphs in each of the family’s ten fonts. Designer can swap out text set in Associate Sans Mono’s ExtraLight weight for letters from the Bold Italic font, without text-length or line-wrap being affected at all.
Associate Sans Stencil Font Family
Associate Sans Stencil is a family of ten sans serif fonts with a stencil optic. Part of FontStore’s larger ‘Associate’ type system, Associate Sans Stencil is an extension of the Associate Sans design for use in headlines and logos. The letterforms in both Associate Sans and Associate Sans Stencil have a strong ‘American gothic’ look. That genre of typefaces has been popular since the early 20th-century, especially for designing publications and corporate identities.
Nora Slab Font Family - 16 FONTS
Nora Slab blends a geometric inspiration with warm humanist elements, making it the perfect choice for when you need a fresh, contemporary slab serif typeface. The companion Nora Grotesque makes the Nora family a real workhorse for any use, including web, digital, print, branding and signage.
Nora Slab has a large x-height and open counterforms, making it easily readable. It supports multiple languages: Central and Eastern European as well as Western European languages. It has eight weights with related obliques.
Monotalic Font Family - 12 FONTS
Market Font Family - 12 FONTS
Styro Font Family
Styro is a family of modernist-style stencil fonts. There are eight weights available, ranging in color from Thin through Black. All of the typeface’s weights are virtually monospaced, and with each weight of the family, the outside ‘strokes’ building up the letterforms increase in thickness. Styro’s characters are very condensed, and their design employs a reductionist formal vocabulary. For example, the counterforms are expressed by thin lines that run inside of the letters, from their tops to their bottoms.
Syphon Font Family
Syphon is a family of sans serif fonts designed in the neo-grotesk style. It also includes a little kick, separating it from other typefaces in that genre: its diagonal letters feature stark contrast. The diagonals that are typically written with thin strokes in classic serif typefaces maintain thin strokes in Syphon as well, even in the family’s lightest weights. Speaking of weight, Syphon features ten font styles spread across five weights; these range from Thin through Bold.
Rustic Font Family
Rustic is a family of serif fonts ideal for use private-press—style book design, or in restaurant menu design. It is inspired by Ehmcke-Rustika, a 1914 typeface of Fritz Helmuth Ehmcke’s. The Rustic family includes five weights, ranging from Regular through Heavy. The default numerals in each font are proportional lining figures, but oldstyle figures are available via an OpenType feature. Each font also includes several Stylistic Sets. The first offers an alternate lowercase ‘e’, with a rounder beak.
RX100 is a monospaced sans serif font. Its letterforms are quite condensed, even for a fixed-width typeface. Because of its narrow width, the capital letters look particularly compressed, offering an interesting look in mixed-case text. RX100’s ascenders are quite tall; they really reach over top of the capitals. The same is true for the font’s diacritical marks: they are very large and will not be overlooked in a text – nor is one diacritical mark likely to be confused for another.