Condor

by David Jonathan Ross

Condor is a welcome addition to the underrepresented category of stressed sans serifs, prompted by commercial lettering of the 20s and 30s. David Jonathan Ross fused a high-contrast style with a rationalized structure of flattened curves and wide-open apertures to devise this glimmering sans-serif family with slight Deco undertones. With its impressive 60 styles (five widths, each in six weights with matching italics) Condor has an unusually broad wingspan: from taut, compact weights that flaunt their athletic energy to bright, airy styles that radiate luxuriously. The stylistic alternates for a number of key characters make this fully-featured OpenType family even more versatile.

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Bullen

by Juliet Shen

Bullen is a surprising serif text face with subtle references to both handwriting and typewriting aesthetics. Intrigued by a certain freewheeling eclecticism found in ATF faces from the turn of the 20th century, Juliet Shen constructed her own unabashedly quirky homage. Vivid character lends distinction, creating a notably clear text performance, even at small sizes. Named for Henry Lewis Bullen, influential printer and ATF librarian, talented visionary and erstwhile rogue, this compact four-style family is likewise both serious and offbeat.

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Skilt Gothic

by Mårten Thavenius

Skilt Gothic, like many of its Scandinavian brethren, is eminently distinctive. In the 1920s, Danish architect, printer, and designer Knud V. Engelhardt (1882-1931) prepared a series of striking types for signage, including those for the street signs in Gentofte, north of Copenhagen. Swedish designer Mårten Thavenius built upon some of the structural elements from Engelhardt’s work to arrive at Skilt Gothic. The middle of the nine weights (all with matching italics) are well-suited for text — the fonts also include a two-story alternative “a” — while the extremes work best in display.

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Parka

by Daniel Perraudin

Parka is a child of its time, building on the influential humanist sans serifs of the late 90s and the first decade of the new millennium. Daniel Perraudin began the sketches for Parka in 2007. The design became a central part of his thesis for a diploma in Information Design from the University of Applied Sciences in Graz, Austria. Parka benefited from the support of designers Georg Salden and Günter Gerhard Lange. With its slightly squarish, sturdy forms and humanistic influences, Parka performs evenly through all six weights with matching italics, showing great strength in smaller sizes.

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Eidetic Modern

by Rodrigo Xavier Cavazos

Eidetic Modern is the sans serif companion to Rodrigo Xavier Cavazos’ signature type design Eidetic Neo, his exploration of traditional typography that turned into an idiosyncratic serif face with an adventurous italic and a unicase weight. The gentle curves on Eidetic Modern lend this contemporary design a subtly nostalgic atmosphere.

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Exemplar Pro

by Göran Söderström

Göran Söderström’s goal was to create a traditional yet unconventional sans serif, a balanced combination that felt both old and new. His first foray in type design started in 1995; all the glyphs were redrawn and improved more than a decade later. This stressed typeface with discreet serifs and sharp finials is now a confident, fully realized family.

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Jeanne Moderno

by Steve Mehallo

Jeanne Moderno is a synthesis of Bodoni Italic and 19th-century ultra-bold ‘fat faces’, distilled with personality borrowed from early 20th Century Modernists: the Futurists, Dadaists, Suprematists and Constructivists. Traditional yet revisionist, raw and elegant, this modern typeface shows hints of De Stijl and Bauhaus, with a twist of Art Deco and High Fashion.

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Breuer Condensed

by Silas Dilworth

Silas Dilworth designed Breuer Condensed to accompany Breuer Text and Breuer Headline, released in 2007. This mechanical sans is ideal for captions and headline settings, but its OpenType features also make it suitable for moderate lengths of body copy. 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. Breuer Condensed offers almost a quarter narrower footprint compared to Breuer Text. Furthermore, the fonts were fine-tuned to ensure that each weight of Breuer Condensed renders an equivalent typographic color to each corresponding weight of Breuer Text.

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It’s time to cast your vote in the Rocking FontFont’s Free Fonts Contest! To celebrate the conversion of 24 legacy FontFont families into OpenType, now offered at no cost, we invited designers to try their hands at creating ot redesigning an album cover using at least one of the free FontFonts. The designs are in. Now it’s time to choose your favorite album cover.

Vote here. Voting closes Sunday, May 8, 2011 at 11:59 PM (PDT).

The winner will be announced Monday, May 9 and will receive a $500 credit toward FontFonts from FontShop.com.