Mary Bacon

Cheddar Gothic Rough is a hand-drawn, textured display font with regular and italic styles. An all-caps, sans serif typeface with condensed proportions that works great for a variety of display uses.

The uppercase characters add distinction with extended crossbars and chiseled terminals, while the lowercase provides a more classic sans serif appearance.

Carefully drawn for quality and readability, but still rough enough to exhibit the handmade details.

Cheddar Gothic Rough is great for display, branding, packaging, advertising, food, sports, titles, and more.

More This font has extensive Latin language support for Western, Central, and South Eastern European.

This font is the textured version of the Sans family within the larger Cheddar Gothic font family (which includes Sans, Serif, Slab, and Stencil styles).

Schuss Sans CG Poster 1 upright OTF Font Latin extended, Cyrillic and Greek. Specially developed for headline poster display sizes. A Sans Black Headline-Font in addition to the Schuss superfamily. The heights are optimized for big sizes, different to the text fonts of the Superfamily Schuss.

The character set is slightly different to the non poster styles too. No italic, no additional figures, no tabular figures, no small Caps. But with maximum manual kerning. Ligatures: fi, fl, ff, ffi, ffl. No special OpenType features.

In a world where every new release is a thousand font megafamily, it is a particularly (extra)bold move to release a single weight display style.

Perhaps. Galix is a super-eliptical, technical sans; futuristic while avoiding the retro appearance so often associated with this genre.

It is a font intended for the covers of science fiction novels. You could use it for other things, I suppose. But back to the single style thing... Its my humble opinion that large type families, especially those font suites that are so de rigueur, lead to a staleness in design, where things all start to look a bit samey and the fine art of type pairing is dying.

So license Galix, see how it works on its own, paired with contrasting fonts, distorted and experimented with by you, the designer.

It might just be the lack of versatility you need to focus your design work! But if not, chances are I will extend the family to a range of weights, and should that happen, any updates will be free to early adopters.

So go on, give it a try and (extra)boldly go whereyou get the idea.

The pan-European Cera Collection is driven by pure geometry and contains the bestselling Cera, its stenciled counterpart Cera Stencil, the hand-crafted display Cera Brush and the soft Cera Round.

Developed for the narrow reading environments of mobile devices, user interfaces and text columns, Cera Condensed and Compact take the clarity and geometry of Cera Pro to new places.

More Narrow but not obviously condensed, Cera Compact is made for efficiency in body text.

With regularly proportioned spacing it has the flexibility for text and headlines, taking up less space without making text less readable.

Super tight Cera Condensed is for when you need a geometric sans that can work in a narrow space, large or small; compact information leaflet or compressed headline.

Condensed or Compact, a broad spectrum of six weights, thin to black, each with matching italics makes these fonts ready for any typographical requirement and reliable typographic tools for interfaces and corporate design.

And it gets even better: for best on-screen performance the TrueType files for the web and desktop fonts are improved with manual hinting.

The extended, pan-European Cera Condensed and Compact support around 150 languages in the Latin, Cyrillic and Greek scripts, and its non-Latin components were developed with native consultants.

With over 980 glyphs per style, Cera Condensed and Compact care about localised letterforms and have the OpenType features to match.

Designed by Moritz Kleinsorge & Alberto Romanos, Bw Vivant is a glamorous sans serif font family.

It marries the visual appeal of deeply modulated serif typefaces with a minimal geometric approach, discarding any accessory element on the hunt for the cleanest shapes.

The result is a high contrast sans serif exuding elegance and glamour across every touchpoint, with subtle art-deco and classic cues coming through while feeling contemporary.

More Available in 7 weights with the thins staying constant throughout, Bw Vivant supports all European Latin languages and it includes OpenType features like many discretionary ligatures, stylistic sets, old style figures or case sensitive forms among others.

Quiche is a high-contrast, sans serif typeface featuring ball terminals and angled stems. This 52 font superfamily is a complete branding suite. The 4 subfamiliesDisplay, Fine, Stencil, and Textwere created to work harmoniously together based on the need.

With weights ranging from thin to black and matching italics, there are a variety of applications that the fonts can be used for: print, web, branding, advertising, magazines, products, packaging, labels, etc.

The design is influenced by the serif didone genre, characterized by its elegance and extreme thick/thins, but it removes the serifs for a unique and modern expression.

The high-contrast style exudes sophistication, while the ball terminals balance it by softening the overall look to make it feel a little more approachable.

More For large type settings, like headlines and titles, use Quiche Display, Fine, or Stencil.

The Fine styles have the highest contrast, so their beauty shines at really large sizes.

For smaller type settings, like body copy and decks, use Quiche Text. It has less contrast and looser character spacing, making it a better reading experience at these sizes.

Quiche has many OpenType features, including: stylistic alternates, swash capitals, ligatures, small caps (Text styles only), fractions, subscripts, and superscripts.

This font has extensive Latin language support for Western, Central, and South Eastern European.

Astrid Grotesk is a normalized version of Schizotype Grotesk. Normalized; not neutralized. Where many neo-grotesks appear cold with their harsh neutrality, Astrid has a warmth, eminating from its (for want of a better word) clunkiness.

These upright styles represent the second instalment, adding the condensed styles to the mix.

Customers who got on board early with Astrid Grotesk get the updates for free, and those who purchase the full family now will receive the italic styles for free when they're released.

Astrid Grotesk, while being clearly a neo-grotesk in appearance, has a personality all of its own.

Standout characters include the f and t, and the default binocular g, unusual in neo-grotesks.

And the right angled terminals on c, e and s. Stylistic sets offer up alternate forms of a, g, y, I, @, dutch IJ, german eszett and l.

A full complement of numerals is included: proportional and tabular, lining and oldstyle, plus fractions, subscript and superscript.

Note also that the tabular figures (along with currency symbols) are duplexed across weights - very useful when highlighting specific entries in tables.

The tabular numerals feature also substitutes in fixed width (across all weights) comma and period, so your decimals line up perfectly always.

Lastly, case sensitive forms of certain glyphs are included for all-cap settings.

This typeface will be useful for corporate identities and branding work. Its spaced more for text settings in the normal width, and gets more display-optimized as the width decreases, but with careful tracking, all styles can sing at display sizes.

Bored of those other Swiss style typefaces? Astrid Grotesk could be the face you need to breathe new life into your designs.

Coupled with Schizotype Grotesk, its more eccentric cousin, you've got an unorthodox branding system ready to use straight out of the box.