family of 18 fonts from Typedepot
Centrale Sans is a modern sans serif typeface. Geometric by nature, Centrale Sans is characterized by some humanistic features, resulting in a more warm and friendly look.
family of 18 fonts from Typedepot
Centrale Sans Condensed is not just a “squished” version of our Centrale Sans family, it’s designed as a stand alone typeface with the family characteristics in mind. It bears all the qualities of the normal width being even friendlier because of the closer relation it has with the humanist model.
family of 18 fonts from Typedepot
Centrale Sans Condensed is not just a “squished” version of our Centrale Sans family, it’s designed as a stand alone typeface with the family characteristics in mind. It bears all the qualities of the normal width being even friendlier because of the closer relation it has with the humanist model.
family of 3 fonts from AVP
Central was developed specifically as a titling font for a theatre-hub website. The pure geometric forms and elegant simplicity provide a pleasing contrast to small screen text sizes.
family of 3 fonts from AVP
Central was developed specifically as a titling font for a theatre-hub website. The pure geometric forms and elegant simplicity provide a pleasing contrast to small screen text sizes.
family of 6 fonts from TipografiaRamis
Centima a geometric sans serif typeface family, built in six styles. The typeface is intended for use in display sizes, but also is quite legible in text and is well suited for editorial and brand design.
family of 6 fonts from TipografiaRamis
Centima a geometric sans serif typeface family, built in six styles. The typeface is intended for use in display sizes, but also is quite legible in text and is well suited for editorial and brand design.
font family from The Signal Type Foundry, added today
The future is squarish. Georg Trump knew it in 1930 when he designed City. Hermann Zapf knew it in 1952 when he designed Melior. Aldo Novarese knew it in 1962 when he designed Eurostile. Center isnt about to argue. Based on a rounded rectangle, its geometry has been subtly refined for smoother reading. Angled branches pay homage to OCR-A. Terminals are gently softened. Early versions had a somewhat science-fictiony look, but over time Center evolved into a crisp and useful text/display family with just a hint of futurity. A combination of open counters, unequivocal curves, and ruler-straight vertical and horizontal strokes suit it admirably for onscreen display. Its seven weights range from the taut, elegant Thin to the massive Ultra, each with a matching italic. Tabular figures duplex across all weights, case-sensitive forms keep punctuation in line, and a variety of alternative glyphs let designers vary its mood at will. A full range of diacritics provides support for over 130 languages.
For a limited time only, the complete 14-weight family is available for $49a savings of over 80%.
font family from The Signal Type Foundry, added today
The future is squarish. Georg Trump knew it in 1930 when he designed City. Hermann Zapf knew it in 1952 when he designed Melior. Aldo Novarese knew it in 1962 when he designed Eurostile. Center isnt about to argue. Based on a rounded rectangle, its geometry has been subtly refined for smoother reading. Angled branches pay homage to OCR-A. Terminals are gently softened. Early versions had a somewhat science-fictiony look, but over time Center evolved into a crisp and useful text/display family with just a hint of futurity. A combination of open counters, unequivocal curves, and ruler-straight vertical and horizontal strokes suit it admirably for onscreen display. Its seven weights range from the taut, elegant Thin to the massive Ultra, each with a matching italic. Tabular figures duplex across all weights, case-sensitive forms keep punctuation in line, and a variety of alternative glyphs let designers vary its mood at will. A full range of diacritics provides support for over 130 languages.
For a limited time only, the complete 14-weight family is available for $49a savings of over 80%.
family of 2 fonts from Canada Type
Centennial Script was designed and cut by Hermann Ihlenburg in 1876 (the centennial of American independence, hence the typeface’s name) for the MacKellar, Smiths & Jordan foundry in Philadelphia. Ihlenburg was then only 33 years old, and these beautiful forms put him on his way to become the most prolific and innovative deco, ornamental and script typeface designer and punch cutter of the nineteenth century.
family of 2 fonts from Canada Type
Centennial Script was designed and cut by Hermann Ihlenburg in 1876 (the centennial of American independence, hence the typeface’s name) for the MacKellar, Smiths & Jordan foundry in Philadelphia. Ihlenburg was then only 33 years old, and these beautiful forms put him on his way to become the most prolific and innovative deco, ornamental and script typeface designer and punch cutter of the nineteenth century.
family of 2 fonts from Canada Type
Centennial Script was designed and cut by Hermann Ihlenburg in 1876 (the centennial of American independence, hence the typeface’s name) for the MacKellar, Smiths & Jordan foundry in Philadelphia. Ihlenburg was then only 33 years old, and these beautiful forms put him on his way to become the most prolific and innovative deco, ornamental and script typeface designer and punch cutter of the nineteenth century.
family of 3 fonts from Intellecta Design
Centennial Script Easy is the Intellecta digitization of the classic font from Hermann Ihlenburg in 1876 developed originally for the MacKellar, Smiths & Jordan typefoundry. We decided to digitize only the uppercases to this work, and to create a different version to this anciente design, we joined the uppercase to the lowercase set of another classic font, Pentagraph. This is a fraction of the global project, which is complete with the Centennial Script Fancy and
family of 1 font from Intellecta Design
A refinement of Roman inscriptional capitals designed by Bruce Rogers as a titling design for signage in the Metropolitan Museum. Rogers later designed for the Monotype Corporation a lowercase based on Jensons work, turning the titling into a full typeface, Centaur, the most elegant and Aldine of the Jenson derivatives.
family of 2 fonts from Sudtipos
Cenizas is another masterpiece of rough-and-tumble script from the prolific Argentine duo of Koziupa and Paul.
family of 2 fonts from Sudtipos
Cenizas is another masterpiece of rough-and-tumble script from the prolific Argentine duo of Koziupa and Paul.
family of 3 fonts from Flat-it
Modern interpretatation of a celtic font.
family of 1 font from Bannigan Artworks
This is my interpretation of the writing in ancient Celtic manuscripts such as the Book of Kells.
family of 1 font from Bannigan Artworks
This is my interpretation of the writing in ancient Celtic manuscripts such as the Book of Kells.
family of 4 fonts from Astigmatic
font family from Mns Grebck, added yesterday
