Sánchez, designed by Daniel Hernández, is a serif typeface belonging to the classification slab serif, or Egyptian, that bears a strong resemblance to the iconic Rockwell, but with rounded edges— offering contrast and balance to the square structure. Sánchez & Sánchez Condensed comprises 12 variants, ranging from extra light to black, each of the same x-height. Regular and Italic variants are available for free.

With all the features of its wider relative, Rehn Condensed has been specifically designed for those situations where space is a premium. Rehn and Rehn Condensed together offer a complete package suitable for a wide range typographic applications.

Remastered in 2019. Wasabi is the re-imagining of my very first release, Iru. Like Iru, Wasabi was heavily influenced by the monument lettering style, Vermarco. The simple, geometric forms allowed for small lettering sizes to be sandblasted cleanly and has been a monument lettering workhorse for decades… the only issue centered around the lack of a lowercase or any other letters beyond the 26 uppercase glyphs and the numerals. Wasabi solves this with the same simple, efficient line reminiscent of the old Vermarco while bringing it into the 21st century. Visual and optical incongruities of the original uppercase were replaced with new interpretations for the capital letters, a new lowercase and small caps were​ produced and the original single weight alphabet was replaced with six new weights. Wasabi has several ‘lighter’ weights primarily because the thin lines and simple transitions produce very elegant relationships… and I wanted to make sure those relationships could be explored regardless of the scale of letter. Stylistic Alternates show up through the upper, lowercase and small cap glyphs that attempt to simplify these shapes even more when the opportunity arises. Wasabi is as much a utilitarian typeface as it is a headline face. This realization led to the decision to produce a companion Condensed version shortly after the initial regular weights were developed and tested; so, try them all!

Paying homage to the 1960s and 1970s designs of Tom Carnase and Herb Lubalin, Homage Condensed is a digital revival and recutting of LSC Condensed in two weights along with italics and numerous stylistic alternate characters.

Say hello to the new Magallanes Condensed Family, a contemporary neo-humanist sans serif font designed by Daniel Hernández. Its strokes and terminals are related to the calligraphic strokes from humanist typefaces. It comes with 8 styles, from Ultra Light to Black, each with its true italics. Every weight comes with alternative glyphs for a more dynamic use. Magallanes is the perfect titling font to complement text faces in magazines, logotypes, etc. Languages supported include Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Romanian, Pan African Latin.

Avancar Condensed Font Family showcases the exquisite pairing of modern grotesque style and soft sans-serif design. These conjunctions provide the effect of owning two subfamily typefaces and are an amazing solution for designers. The main feature of this font family is a semi-condensed design with a slightly higher x-height. And, while having the same skeleton design and stem width, they provide a completely different look and feel.

The condensed version of Hans van Maanen's Aragon is a headline star. The elements that made Aragon a popular "Dutch Garamond" text repeat here, with the slight stress shifts and tapering stems optimized for headline use. Aragon Condensed also comes in bold and italic variations. All three fonts contain extended language support, superiors and inferiors, and class-based kerning.

This font is the condensed version of Queulat, but keeping the same features as the original typeface. Queulat Cnd is a hybrid typeface that combines different styles, reflecting charm, freshness and, especially, a strong personality.. Since it is a condensed font, it is well-suited for publishing and subheadings. The font is inspired by Modern and Grotesk styles. The former is shown in some characteristic features such as teardrop terminals, which give the typeface an attractive unique look, making it an ideal choice for logotypes and labelling. The latter, with its rationality, makes Queulat Cnd a stable and strong face for headings and subheadings. The combination of styles can be clearly seen by comparing the Regular with the Alt version. The Regular version is more simple than the Alt one. Differently, the alternative version possesses more features of the Modern style, like teardrop terminals in ‘k’ and ‘v’.

Prelo was designed to be a neutral, highly readable typeface, for identity, editorial and information design. With nine weights and nine true italics, from Hairline to Black, Prelo is a workhorse typeface, full of OpenType features such as Small Caps, Tabular Figures, Central Europe characters and Historical Figures, among others. Like other DSType fonts, most of the diacritics were designed to fit the gap between the x-height and the caps height, avoiding some common problems with the accented characters. The curves are soft and smooth, providing legibility, even in very poor conditions and the neutrality allows this typeface to be used with any serif companion.

A very glitzy Blitz! Blitz-Condensed is an addition to my normal Blitz family. Both are topheavy fonts and are meant to be used together. The font gets a special shine because of this effect. And it stays readable despite its special design. Your designer of surprising typefaces, Gert Wiescher

Candide Condensed is the complement for Candide and widens greatly the possible applications of the Candide family. Through Its moderately condensed proportions, it also works superbly as a discrete space saving text face. Candide Condensed comes with the same character layout and features as Candide. Candide Condensed consists of 16 styles. It comes in OpenType format and provides an extended language support. All weights contain standard and discretionary ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternative characters.

Breuer Condensed is a mechanical sans ideal for captions and headline settings, and may also be suitable for moderate lengths of body copy with its comprehensive offering of OpenType features. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs to provide a warmer read. The overall design ensures a distinct aura of technical precision in a personable tone. This family of eight fonts is designed to accompany the Breuer Text and Breuer Headline sets released in 2007. Breuer Condensed offers a 76% narrower footprint compared to Breuer Text and is fine-tuned to render typographic color equivalent to each sibling Text weight.

Cadence was designed for a computer consulting company called Shamrock Solutions. The logo needed a Celtic font for the word "shamrock" that complimented the tech font used for the word "solutions." Most Celtic fonts didn't hold up well next to the tech font, which led to the creation of Cadence. Although inspired by Irish designs, Cadence is a sharp departure from traditional Celtic typefaces and in most contexts the inspiration isn't immediately obvious.

Cadency is a cool and modern script font, monolinear with cut sharp ends. Can be used for your various design projects such as logotype, poster, digital lettering arts, clean design, branding design, signs, and more. Features: - Uppercase - Lowercase - Numeral & Punctuation - Standard Ligatures - Stylistic Alternates - PUA Encoded - Multilingual Support To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Photoshop, Indesign & CorelDraw X6-X7 and more.

Canden – Display Handwritten Font serif look with simple, clean, visual elegance with subtle curves and beautiful bindings, An incredibly versatile font that works both large and small. This font is suitable for a wide variety of projects such as: headlines, logos, labels, branding projects, magazines, home appliance designs, product packaging, mugs, quotes, posters and many more. It can also be more expressive and playful, thanks to the many alternatives and binders that blend harmoniously in this font and make it more attractive and versatile. Try to change alternatives, fasteners and you will get a lot of options for your project that will make it Vintage & Unique.

If you'd like to scream, but you have no self esteem, or you'd love to start a fight, but you're scared of the night, I made this font for you all, whether you're short or tall. Monden is wide, gentle and fun, but it wasn't born under the Sun, it was my intention to make it unique, I surely hope I didn't make some freak, it looks a bit classical, in moments maybe here and there radical, but it surely is really graphical with a dose of something magical. Want a logo, poster or any other design, but you'd rather cry and then run, even this description sounds lousy, at least it isn't so drowsy, so meet Monden family from our hood and keep your spirit in good mood, and do the things on any way you think they should.

While DIN Display seems to retain DIN’s basic characteristics, it shines with its sharper corners and contemporary look. Completed in 2002, it was first released and published in Parachute’s award-winning 2003 catalog and immediately was a hit. It has been used successfully in magazines, corporate applications and packaging in fields such as music, fashion, technology, visual arts. The ‘Pro’ series has been enhanced with more weights, multilingual support and opentype features in all different styles. Specifically, this superfamily supports simultaneously Latin, Greek and Cyrillic, while each one of its 15 weights contains 1197 glyphs and 20 opentype features. Additionally, every font in this superfamily has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations. This is a set of very useful daily symbols for packaging, branding and advertising. Symbols for public areas, environment, transportation, computers, fabric care and urban life.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to methodical and engineered design. FF DIN Variable offers you more FF DIN than ever before. Pushing font technology to its limits, Variable fonts provide creatives a tool to dial in hyper specific variations which thrive in any design space. FF DIN Variable take bold steps in engineering, which the typefaces behaviour which brings in FF DIN’s technical look-and-feel into the smooth and almost organic world of Variable Fonts. Available in both upright and italic styles, there is a lot more FF DIN to discover with new era of type technology. FF DIN Italic is a sloped roman style, however it is optically corrected – slightly thinner, slightly narrower. As a result, FF DIN Italic stands out subtly. FF DIN Variable stays faithful to its parent’s DNA, the utmost care was taken to ensure that the new instances of FF DIN Variable remained consistent with all the well-known weights. Precision is the mantra of FF DIN, the FF DIN Variable is no exception to this design philosophy. Produce exquisitely fine-tuned typography and expressive animated headlines for any design. Infinite styles, intelligent, and powerful.

DIN Text Universal is the most advanced DIN superfamily ever. It combines the powerful DIN Text Pro with DIN Text Arabic bringing the number of glyphs to 3320 per font. In fact, this set of fonts contains the most complete and powerful array of arabic features commercially available. It supports all variations of the Arabic script such as Persian, Urdu and Pashto. It is also enhanced with 30 advanced opentype features and kerning for all languages. The four major scripts Latin, Arabic, Cyrillic and Greek are now matched across the design of the whole family, respecting at the same time each one's modern cultural identity. With its vast array of weights, the extended support for numerous languages, its careful and detailed design, it will prove to be extremely valuable for many complex corporate projects and corporations which operate internationally.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to methodical and engineered design. FF DIN Slab is a robust compliment to the FF DIN family. Designed by Antonia Cornelius and Albert-Jan Pool, it offer designers tools to create greater rhythm and design depth. FF DIN Slab’s proportions have been meticulously aligned with its Sans origins, offering the perfect balance between positive and negative space. The serifs are assertive, sturdy and balanced, they are engineered to emphasis a strong horizontal flow through text, a grounded utility and assurance in headlines. The result of this attention to detail is a typeface that harmonizes beautifully with other FF DIN styles. Pushing font technology to its limits, FF DIN Slab is also available as a Variable font. Allowing creatives to design hyper specific variations which thrive in any design space, and even seamlessly animate movement from one state to the next. FF DIN Slab distinctively carries on its parent’s DNA, speaks the same native language — but with a strong peculiar dialect. It expands the DIN family worthily — independent but integrated — and opens totally new possibilities of uses with the whole DIN family.

DIN Stencil Pro on Behance. DIN Stencil Pro: Specimen Manual PDF. Despite the fact that over the years several designers have manually created stencil lettering based on DIN for various projects, there had never been a professional digital stencil version of a DIN-based typeface until 2010 when the original DIN Stencil was first released. The Pro version was released in 2014 and adds multiscript support for Cyrillic and Greek. DIN Stencil Pro was based on its original counterpart DIN Text Pro and was particularly designed to address contemporary projects, by incorporating elements and weights which are akin to industries such as fashion, music, video, architecture, sports and communications. Traditionally, stencils have been used extensively for military equipment, goods packaging, transportation, shop signs, seed sacks and prison uniforms. In the old days, stencilled markings of ownership were printed on personal possessions, while stencilled signatures on shirts were typical of 19th century stencilling. Two companies dominated the market in the mid-twentieth century: the Marsh Stencil Machine Company in the United States and the Sächsische Metall Schablonen Fabrik in Germany. Ever since the late 1930s, it was the German Sächsische Metall Schablonen Fabrik which used heavily the new DIN 1451 standard font (introduced in 1936), attempting to overthrow the reign of the Didot-style modern roman which was at the time the most common stencil letter in Germany. These letters were manufactured mainly as individual zinc stencils which could be ordered in sizes between 10 and 100mm. The DIN Stencil family manages to preserve several traditional stencil features, but introduces additional modernities which enhance its pleasing characteristics which make it an ideal choice for a large number of contemporary projects. Furthermore, the spacing attributes of the glyphs were redefined and legibility was improved by revising the shape of the letterforms. The DIN Stencil Pro family is an enhanced version of the popular DIN Stencil. It consists of 8 diverse weights from the elegant Hairline to the muscular Black and supports Latin, Cyrillic, Greek, Eastern European, Turkish and Baltic. The new version 3.0 includes several additions such the recently unicode encoded character of the German uppercase Eszett (ẞ), the Russian currency symbol for Rouble (₽), Ukrainian Hryvnia (₴), Azeri and Kazakh letterforms.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to the methodical and engineered nature of its design. The FF DIN family breathes an atmosphere of versatility and authority, FF DIN Stencil follows the same design principles with extra flair. The bridges are arranged vertically, which usually replaces the thinnest parts of the strokes — offering depth in your headlines. Go loud and scale up, as the weights get heavier, the width of the bridges skillfully expand and contract, enabling FF DIN Stencil to provide confidence in volume, and in any chosen style. Also made available as a Variable font, creatives can design hyper specific variations to thrive in any design space, and even to animate movement from one state to the next. Get innovative with the entire FF DIN family, FF DIN Stencil’s spacing and kerning is identical to FF DIN, this enables swapping between any FF DIN font without changes in word length or line breaks. For true FF DIN fans, FF DIN Slab and FF DIN Stencil designed by Albert-Jan Pool, Antonia Cornelius and Achaz Reuss, can be seen as harmonious companions to the FF DIN family, rather than alternatives. Bestowed with its parents distinctive DNA, all the FF DIN extensions open up new possibility with their own unique qualities, but stay true to the FF DIN design philosophy of engineered precision.

This is a new version of our popular DIN Stencil family designed with a wider cut than the original. This overcomes the diminishing effect of the stencil at smaller sizes where the cuts tend to disappear, whereas it makes a bold statement at display sizes. Traditionally, stencils have been used extensively for military equipment, goods packaging, transportation, shop signs, seed sacks and prison uniforms. In the old days, stencilled markings of ownership were printed on personal possessions, while stencilled signatures on shirts were typical of 19th century stencilling. DIN Stencil B manages to preserve several traditional stencil features, but introduces additional modernities which enhance its pleasing characteristics and make it an ideal choice for a large number of contemporary projects. It consists of 7 diverse weights from Extra Thin to Black. This version supports Latin, Cyrillic, Eastern European, Turkish and Baltic. DIN Stencil B includes several additions such the recently unicode encoded character of the German uppercase Eszett (ẞ), the Russian currency symbol for Rouble (₽), Ukrainian Hryvnia (₴), Azeri and Kazakh letterforms.

This Arabic typeface is one of Parachute’s most involved text typefaces. For the first time -back in 2010- a contemporary Arabic equivalent to a comprehensive DIN series of fonts was available. In fact, this set of fonts contains the most complete and powerful array of Arabic features commercially today. It comes in eight weights and includes Latin. Based on the DIN Text Pro superfamily, Parachute® released -in collaboration with designer Hasan Abu Afash- 2 new versions. DIN Text Arabic is the basic Arabic version which includes Latin and supports all variations of the Arabic script such as Persian, Urdu and Pashto. The second version DIN Text Universal is the most advanced DIN superfamily ever. It combines the powerful DIN Text Pro with DIN Text Arabic bringing the number of glyphs to 3320 per font. It is also enhanced with 30 advanced opentype features and kerning for all languages. Altogether it supports hundreds of languages, proving to be an essential tool for corporations which operate internationally. The whole family consists of eight weights from extra black to hairline. DIN Text Arabic is featured in the recent book Arabesque 2 by Gestalten.