Vxtr11 (Andreas Leonidou)

Vxtr11 is a experimental typeface for use on logos and titles. This typeface is not for text!

Alternative (Andreas Leonidou)

Alternative is a condensed three-weight typeface for logos and titles.

Infinity (Tarin Yuangtrakul)

Infinity free font, by designer Tarin Yuangtrakul, was created from the simplicity of lines and curves with round corner and cap. The name comes from guides for creating, they are similar to number 8 and infinity symbol. For my personality, I really like the number 8 because it is my birth date. Because of my lineage, in China, The word for the number 8 (八 : bā) sounds similar to the word which means “prosper” or “wealth”, the number 8 is viewed as such an auspicious number that even being assigned a number with several eights is considered very lucky. The font is applicable for any type of graphic design – print, web, motion graphics, etc.

Satellite (Matt Yow)

The free font Satellite is a real beauty! by Designer Matt Yow. Matt is a student at The Savannah College of Art and Design in Savannah, Georgia. Satellite is a geometric sans serif with 194 glyphs. Standard & discretionary ligatures & directional arrows are included as well as multiple language support. This typeface is great for headlines or light bodies of text.

MediaPigeons (Martin Wenzel)

Martin Wenzel: »MediaPigeons. 17. Jahrhundert, ganz grotesk. Man nehme manieristische Kalligrafie des 17. Jahrhunderts (z.B. Jan van den Velde) und reduziere den Kontrast der Buchstaben-Formen auf ein Minimum. Die Idee entstand ursprünglich aus einem Auftrag heraus, eine Schrift für eine Kunstausstellung zum Thema Tauben zu entwerfen.«

Drift (Peter Skwiot Smith)

Drift is a free, handset EPS font. It contains capitals, numerials and basic punctuation. It is distributed in with the letters in both strokes and solid vectors, for more flexibility. Files are saved as Adobe Illustrator CS3 EPS.

Sketchetica (Ossi Gustafsson)

The new free font Sketchetica by Ossi Gustafsson is a mix between sketch an helvetica. The weight light you get free at the portfolio -> typefaces (via MyFonts.com).

Kilogram (Karl Martin Sætren)

KalleGraphics is the portfolio from Karl Martin Sætren and he is the creator from the excellent free font Kilogram. Don’t miss it!

These are freeware fonts and can be downloaded and used free of charge for both non-commercial and commercial use. Although these fonts are available for free, KalleGraphics™ retains the copyright, meaning that restrictions apply to alteration, reproduction, publication and distribution of the fonts. Practically you are not allowed to sell the fonts for profit or to include it in another product or CD-ROM compilation without permission.

Raleway (Matt McInerney)

Raleway is an elegant sans-serif typeface, designed in a single thin weight. It is a display face that features both old style and lining numerals, standard and discretionary ligatures, a pretty complete set of diacritics, as well as a stylistic alternate inspired by more geometric sans-serif typefaces than it’s neo-grotesque inspired default character set.

Franchise Bold (Derek Weathersbee)

FRANCHISE is a powerful new display typeface meant to communicate your message quickly and with power. The characters were meticulously drawn to achieve a unifomity without compromising style. Franchise is just as much at home on the front of a donut shoppe as it is on the scoreboard at a football stadium. The face was created & kerned by someone who deals with type every day, so with Franchise, you won’t be spending all day fixing the space between A’s and Y’s. Happy Typesetting!

Deibi (Wete)

Deibi comes from Wete.

McLane (The Cartoonist)

The Cartoonist (Ralf Zeigermann) made a typeface out of the titles of the science fiction TV series »Raumschiff Orion«: Mc Lane

Here the words from Ralf Zeigermann:
The Raumpatrouille Titles. I still think this is a rather modern looking typeface, even by today's standards. It's slightly reminiscent of the wide-running Eurostile typeface, but it's certainly not any known font. Hand-drawn, perhaps?
According to Josef Hilger, long-time fan and curator of the Raumpatrouille Museum, the titles were indeed drawn by hand. In the mid-sixties, this was probably done with a ruling pen on thick cardboard, then filled in with a brush.
Another version of the typeface surfaced many years ago, probably on Compuserve, which was created by someone unknown and was called »Star Patrol«.
After a discussion in the Frog Mailing List, I decided to give it a go myself. Anyone who wants to recreate the 'Raumpatrouille Font' is faced with the above problems — which version to go with? Also, there are a few characters missing in the titles. For example, I couldn't find an "x" anywhere, so I had to make it up, along with other 'missing' characters. Since there are so many different versions of the various letters in the original, I opted for the square version: a 5x5 matrix for the x-height.
I had to compromise. And I cheated too. Graphic designers always cheat.
I started off in fontstruct (which is great, but also rather limited) for the basic letter shapes, then downloaded the font to open it up again in FontLab, which a friend kindly lent me for the purpose of creating this darn Orion-Typeface.
And now it's all done and from my point of view the best Raumpatrouille font you can get for your computer. And that's simply because there is no other one. Enjoy.
I designed it as an Open Type .ttf and it's got got the basic Latin and some extended Latin, published under Creative Commons License 3.0, which means you can do whatever you like with the typeface; extend it, change it, or even mess it up completely. I don't care.
Final copyright is probably still with Bavaria Film.
Enjoy; grab the font and improve it. And if there are any problems, I really don't want to know. And don't get me started on the italics.

Powdah (Marc Clancy)

Powdah by Marc Clancy: »My first and last attempt at a real san serif typeface.«

Bison (Marc Clancy)

Bison by Marc Clancy.

Junction (Caroline Hadilaksono)

»Inspired by my favorite humanist sans serif typefaces, such as Meta, Myriad, and Scala, Junction is where the best qualities of serif and sans serif typefaces come together. It has the hand drawn and human qualities of a serif, and still retains the clarity and efficiencies of a sans serif typeface. It combines the best of both worlds.«

Lacuna (Glashaus-Design, Peter Hoffmann)

Lacuna von Glashaus-Design. Ein DIN ähnlicher Font, der einen Hauch der simplen Lineto-Ästhetik atmet.

»LACUNA is freeware! You have the permission to use the font for every kind of publication (electronic/print), it doesn't matter if its commercial or not. You can copy and give it away to your friends as long as the font-info-file is included with the postscript or true type data. Lacuna may not be sold or redesigned without permission of the designer! If you do so – we have uncanny voodoo-powers and friends in Moscow.«

Iwona (Janusz Marian Nowacki)

Von Janusz Marian Nowacki für TeX entwickelt. 20 Schnitte mit Light, Regular, Medium, Bold Heavy, den Italicversionen dazu und jeweils auch Condensed-Varianten. Dazu kyrillisch, griechisch und weitere diakritische Zeichen für den Fremdsprachensatz. Die Iwona ist die Schwester der stencilähnlichen Kurier. Mehr Info bei Peter Reichard.

Kurier (Janusz Marian Nowacki)

Von Janusz Marian Nowacki für TeX entwickelt. 20 Schnitte mit Light, Regular, Medium, Bold Heavy, den Italicversionen dazu und jeweils auch Condensed-Varianten. Dazu kyrillisch, griechisch und weitere diakritische Zeichen für den Fremdsprachensatz. Die Kurier hat eine leichte Stencil-Anmutung und wurde ursprünglich 1973 von der polnischen Schriftdesignerin Małgorzata Budyta entwickelt. Mehr Info bei Peter Reichard. Ohne Stencilabstände erscheint sie als Iwona.

Parka (Daniel Perraudin)

»parka« ist eine serifenlose fließtextschrift, die im rahmen der diplomarbeit am studiengang informationsdesign der fh joanneum graz entwickelt wurde.
die formen der »parka« sind streng und, vorallem in den fetten schnitten, kräftig. der wechselschwung in den rundungen der gemeinen verleiht ihr einen prägnanten charakter, der allerdings in kleinen graden hinter das schriftbild zurücktritt. auch die hohe x-höhe, sowie die großen interpunktionszeichen tragen zu ihrer hervorragenden lesbarkeit bei.

nach fertigstellung umfasst sie mittlerweile insgesamt 6 gewichte, von light bis black, jeweils mit kapitälchen, echten kursiven, hoch- und tiefstehenden ziffern, brüchen und akzenten für die meisten europäischen sprachen. momentan liegt sie in den formaten postscript type1 (mac) und truetype (win) vor, eine opentype version mit einer entsprechenden ot pro belegung befindet sich in vorbereitung.
Auszeichnungen: red dot award für hohe designqualität, eine auszeichnung beim österreichischen joseph binder award, if concept award, tdc award for typographic excellence! … katharina hölzl, ebenfalls absolventin der fh joanneum graz, hat für einen teil ihrer ausstellung »transformation into space« beim diesjährigen designmai youngsters in berlin die »parka« in den schnitten medium und bold verwendet

HIFI Stereo (Pelle Piano)

Pelle: »Often on old record covers there is this kind of letters indicating HiFi or Stereo. How can one resist doing a font of that, (naming it HIFI Stereo). Only uppercase at the time being.«

Well, it looks like Hellenic wide, if I can say so.