Aiden Sharma

Causten Round is a geometric sans serif font family with round corners and maintains rationality in designing each form. With use the sharpness of the eyes, and remain logical, so that balance is maintained in each form. So, it will get a clean, neat, and perfect shape.

Causten Round comes with 9 weights and a matching oblique, making it 18 styles. It makes it perfect for all creative projects. Also, some alternative glyphs will be an attractive choice.

Approach Mono is the fixed width version of Approach. A utilitarian low contrast font, a bit mechanical but plenty of character. This version shares its main features with the original one, but it has a more prominent and visible punctuation. The more obvious use of a mono would be in tables, programming code or “in progress texts”, but not just that. Approach Mono can be used in the modern communication, bringing an aseptic voice to brochures, advertising, identities and any other piece of communication.

Kanyon is a family of typefaces created from basic geometric forms based on the equal width system. Its clean and neutral structure and 3 different widths provide ease of use in different design channels.

With its rich OpenType features, multi-language support and small capital characters, it has a wider usage area than its counterparts.

Ideal for packaging, labels, routing designs, mobile applications, brand designs, logos, all kinds of presentation and editorial designs, indoor and outdoor printing works.

Pixter straddles the lines between the extreme forms of grid based pixel fonts, and more conventional grotesque fonts. Its array of styles create a palette of textures to work with multiple scenarios, from large format display to oversized passages of copy.

Inspiration for Pixter initially grew from old computer bitmap fonts, but branched out into Swiss and dutch graphic design, such as the graphic work of Josef Müller-Brockmann and typography of Wim Crouwel.

Apura stands for a clear geometric language based on two main shapes: a circle and a square. It‘s the perfect font for headlines, posters and logos. You can create amazing experimental designs using Apura as well as unique corporate identities.

The font includes uppercase and lowercase characters, both latin and cyrillic, alternates, numbers, punctuation marks and symbols.

Majorant is a geometric sans serif interpreted from a contemporary point of view. Its wide range of weights makes it a multipurpose family. The extreme weights work as a display typeface, from the mathematical rigour of the UltraThin to the expressive refinement of the Black. Thanks to the several alternates included, the font offers multiple personalities. From sharp and audacious in the default version, to the soft and classic in the stylistic sets. Majorant PDF.

Rotunda blends the best of three worlds: it’s geometric, humanist and grotesque. But, far from being a tasteless hybrid, it has a strong personality and British undertones that turn it into a stylish and sober classic font face. Thanks to its ample character set and many variables, it stands as a versatile, all-terrain font. Strong and elegant, modern and classic, firm and humanistic. It truly is a 21st Century classic. It includes a very thorough coverage for a wide variety of Latin alphabet-based language families.

FS Dillon is a rational typeface. Its inspiration came from our exploration of the work and philosophy of the Bauhaus movement of the 1920s and 30s, their pursuit of simple, practical forms. To this we’ve added a thoroughly modern flavour, stark yet warm, imbued with the quirky individuality that has become a Fontsmith signature. The letterforms are simple and direct. Compact, with a large x height, they are built for maximum clarity, economy of space, and impact. But that’s not all. The Bauhaus sought beauty through function – we think we’ve achieved that too.

JT Energy is a new in 2020 interpreted geometric type with optically consistent line thickness and an interesting look and feel. This type is inspired by designs from Paul Renner and Arno Drescher and was long developed until it was something own.

The family is equipped with

7 cuts — light to heavy —

2 extra versions “Placard” to set very large

stylistic alternates with letterforms that are round-edgy

alternates with flat diacritics

standard and oldstyle figures

and a variable font

What makes this type unique is the slanted, edgy-sharp M, a new S and a wide f.

Amazingly designed for a solid appearance in a branding project, magazine, packaging, website, letterhead, business card and the daily commercial jobs.

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Graphic design by Salzmann Gertsch, Switzerland.

“We think the Energy has a great style and it’s also fun to design with it!”