The Supria Sans family consists of 36 fonts designed by Hannes von Döhren: it contains two widths, six weights and three styles, including the curvy, feminine italic as well as the more conventional oblique forms.

Although inspired by the utilitarian clarity of Swiss type design, subtle curves and fine detailing impart a more playful character to the whole Supria Sans family. The Supria Sans Condensed design is the second component of the type system – encompassing the same six weights and three styles as its counterpart, this condensed set of fonts is 20 percent narrower than the regular version, allowing for significant space saving.

Used together, the Supria Sans and Supria Sans Condensed typefaces become much more than just a versatile and functional workhorse – the faces are ideal for resolving complex design issues with an air of both elegance and sophistication. Additionally, the Supria Sans family is equipped for complex, professional typography: as an exclusively OpenType release, these fonts feature small caps, five variations of numerals, arrows as well as extended character sets supporting Central, Eastern, and Western European languages.

The Lexia typeface family is well-suited to a wide range of applications – its middle range of weights are perfect for body text, while the thin and black styles lend themselves to larger headline or display settings. The Lexia family updates the traditional character of the slab serif with a spare, yet thoughtfully considered design: every line is carefully constructed and contributes to the success of the design as a whole.

The Effra family is an updated design of one of the earliest sans serif typefaces available, Caslon Junior, which was originally designed in 1816. The rounded character aesthetic of the Effra family suggests geometric modernity, but the design is tempered with soft, humanist touches. The Effra typeface family performs excellently at text sizes, but excels at larger display sizes, in applications as diverse as advertising to book design.

The Bookmania typeface family, designed by Mark Simonson, is a revival of the the turn of the century Bookman Oldstyle design, as well as the Bookman designs of the 1960s. With all the robust features you would expect in a modern digital font, the Bookmania family's quirky letterforms belie truly functional typefaces.

This affable family is available in 5 weights, providing matching italics and small caps for all weights. Offering over 680 swash characters, the Bookmania family also provides 25 optional ligatures, lining and oldstyle figures, full ligature sets as well as automatic fractions ordinals.

The Adriane Text family was designed by Marconi Lima with additional production completed by Silas Dilworth for this handsome release.

Focusing on text composition and unique typographic characteristics, details within the characters provide both personality and excellent legibility at small sizes. With a medium contrast, a predominately vertical axis, and a generous x-height, it can be classified as a transitional typeface.

The Adriane Lux design is a companion typeface to the Adriane Text family, providing a perfect complement for display settings.

The Adios Script typeface is one of Alejandro Paul's most technically accomplished designs to date. With a wide variety of alternate characters and ornate swash letterforms, the design is highly refined and sophisticated. Inspired by commercial lettering guides of the 1940s, the Adios Script typeface features hundreds of ornamental ascenders and descenders, affording designers thousands of beautiful combinations. The Adios Script design features an incredible 1470 characters and is available in OpenType format, as well as through the Fonts.com Web Fonts service.

Hailing from the Hallmark Design Collection, the Butch HMK typeface features energetic, slightly scrawled characters which appeal to anyone looking for a classic handwritten style. The typeface provides an impressive range of alternate characters that can be selected to create a more natural hand-drawn style.

An exuberant display font from TypeFaith, the Salamanca design possesses dramatic sharp strokes and the character of hand-inked lettering. Creative settings provide sophisticated typographic results, but even simple treatments lead to charming designs. Expressive yet legible, the Salamanca typeface is well-suited for display applications, as well as your seasonal Halloween projects!

Beautifully incorporating geometrical, humanist, and gothic sans serif characteristics, the Semplicita Pro family is a new offering from Canada Type. Designed by reappraising Semplicità – Alessandro Butti's important 1930 typeface – the result was one fueled by the influence of the Futura type family. Indeed, the Semplicità typeface gave us a clue to the future: replace the cool, geometric Teutonic soul of Futura with the warm, humanist, calligraphic letterforms that are characteristic not of the Bauhaus, but of the Italian Renaissance.

Yet the Semplicita Pro family goes its own way; the face isn't a simple revival of the historic Semplicità design. Canada Type's offering is an intensely readable sans serif design providing a high comfort factor to viewers. The Semplicita Pro design is loaded with OpenType features, containing over 850 glyphs per font, and is available in 10 desktop styles as well as through the Fonts.com Web Fonts service.

The Tokig typeface is a fun, whimsical design which, despite its bouncy baseline, remains quite legible in a myriad of sizes. Containing a large character set, the Tokig typeface is available in three weights. Obvious uses for the typefaces include kid-centric design endeavors, but the Tokig family is also well crafted for any project needing an enthusiastic hand-written feel.

The Wausau typeface from Yellow Design Studio is a distressed shadowed serif with an expansive selection of alternate characters and ornaments. The face includes a complete set of ornamental caps and double-letter ligatures which help to eliminate duplicate distressing in adjacent characters. The Wausau typeface works well in solid, rectangular layouts and possesses a keen character of weathered toughness.

Ceyhun Birinci is a graphic designer from Istanbul, Turkey and a graduate of the graphic design program at Marmara University Faculty of Fine Arts.

His Primus typeface family is intended to evoke a futuristic sensibility, and a character of science or innovation through modern clean lines. A geometric rounded font designed primarily for display purposes, the Primus family is still capable for small amounts of body type, and exceptionally suited for advertising and branding applications.

Talbot Type is the foundry of Adrian Talbot, a multidisciplinary designer based in London. His fonts are influenced by classic movements of the twentieth century – Modernism, Constructivism, the Bauhaus and Art Deco. Adrian aspires to create timeless designs – his typefaces are not ostentatious, but practical, hardworking text and display offerings.

Shown above: Kursk 105, Kursk 205, Kiruna, Kettering 105 & Kessel 105.