The previous set of faces came from foundries well known for their display faces: Type-Ø-Tones, Bold Monday, Brody Fonts, Underware, and Occupant Fonts. This time, we’re digging deeper into our library, surfacing high quality display faces from perhaps unexpected sources.

Whether you’re designing a fashion magazine or creating a music festival brand, we have a display face for your project and audience. Here are five more high quality faces for your large-scale needs:

Roster

Designed by Matthew Carter and assisted by Jesse Ragan (of XYZ Type)

Known for his workhorses, Matthew Carter’s Roster shows his more experimental side. Roster takes the visual tension of square corners within rounded shapes—sometimes seen in subtler forms in text faces—and makes it the underlying structure of a dramatic slab-serif display family.

Roster’s outer shapes are large, curved rectangles, while its inner shapes have the chisel-cut clarity of carved counters. The effect is both eye-catching and solid. It’s available in 60 styles spanning six weights and five widths, making the perfect starting-point for a capable brand system.

Pilar

Designed by Yury Ostromentsky and Ilya Ruderman

Made especially for large display purposes, Pilar is a contemporary reworking of European art deco type. The first version of this typeface was drawn by Yury Ostromentsky for the headlines of Bol’shoy Gorod (Big City) Magazine in 2012.

The typeface now has four stylistic sets—Regular Open, Wide Closed, Narrow, and Wild—with four sets of alphanumeric glyphs: one default and three alternates. Every letter comes in four different designs. With this flexibility, a single word or phrase can be given completely different tones while staying within one voice.

Utile

Designed by Sibylle Hagmann

The Utile series consists of two optical sizes: One for setting text type and one intended for display. The characteristics of the two optical sizes differ in significantly, with Utile Display featuring heavier contrast, closer spacing, re-proportioned letters, slightly extended ascenders and descenders, and close to non-existent ink traps.

Utile’s incised stem modulation—uniquely asymmetrical in its application—balances between swelled strokes and the absence of such. Utile Display comes in 14 styles across seven weights and two widths, incorporating enough flexibility for branding, editorial, and advertising on print and screen.

PowerLift

Designed by Petr van Blokland

A fun departure from Petr van Blokland’s typical stylings, PowerLift is a chunky, single-weight display slab that comes in two versions: Tight and Tight Outline. PowerLift embraces and rethinks the challenge of combining heavy letterforms with blocky serifs.

In some places, apertures close and the forms fold into themselves, creating surprising new counters where traditionally one would expect openings. The styles fit together seamlessly, but each can also be used as a standalone typeface. Used as a pair, the PowerLift fonts feel like 80s Night at the roller rink—in a good way.

MVB Mascot

Designed by Mark van Bronkhorst

Even if sports aren’t your thing, you might find a nostalgic appeal to script varsity lettering from years past. Naive and uneven, yet jaunty and legible, such casual scripts—with their requisite underline swooshes—are standard equipment for baseball teams and ice cream parlors.

To bring this aesthetic to the digital arena, Mark van Bronkhorst began with a vintage iron-on alphabet, redesigned the crammed, overlapping letters to behave as a script typeface, and expanded the character set to support all Latin-based languages. Despite its professional skill set, MVB Mascot retains the unvarnished spirit of its inspiration through three styles, each rougher than the last.

Pair these with any of our top-notch text options to create typographic palettes that are equally readable and eye-catching.

The next time you’re looking for a headline or display face, browse through the Type Network library. While you won’t be surprised at the quality, you might be surprised at the selection.