Designed by Ceyhun Birinci from 2014-17, is a comprehensive typeface family with 162 fonts. It offers 9 weights with true italics in normal, condensed, and extended widths. Each font contains over 1500 glyphs and supports multilingual including Latin and Cyrillic. It includes various Opentype features like small caps, alternates, and more. The font also provides separate alternates and small caps versions for use in software without OpenType support.

Stateside is a bold condensed serif with a vintage feel. It has an urban and, I like to think, urbane character which puts me in mind of classic Thirties architecture like the Rockefeller Centre or the Empire State Building. I did consider calling it Rockefeller, but the family might think it a bit of a liberty, and I can’t afford to get into a copyright battle with them!

Presenting Running Back , a condensed sport inspired upper and lowercase typeface. Running Back has five Style with sans serif and matching italics. This typeface has a clean and athletic look, glyphs and extensive Latin support. Running Back is bold, vibrant with sharp sans serifs and competitive appearance, therefore excellent to use for headers, logos, captions and posters, especially for the sports branding industry, but just as good for any other projects.

Sheet music for the 1915 song "Is There Still Room for Me Neath the Old Apple Tree" had the title hand-lettered in a condensed, square sans serif. Although far from the more decorative lettering styles of the Art Nouveau period, this type of simple understatement was also a popular choice for the illustrators of the day. It is presented digitally as Nouveau Square JNL in both regular and oblique versions.

Molecula is grotesque sans serif of slightly condensed proportions and humanist-grotesk features. The family features 9 weights from Thin to Black, each of which has an italic. The character set is robust, covering extended latin. All completely equipped with opentype features, alternative glyphs, fractions, lining numbers, small caps, subscript and superscript. Molecula has been designed for advertising, branding, packaging or anywhere a clean and contemporary voice is needed.

Cruz Cantera is a crisp and stylish yet informal sans serif typeface created by NYC type designer Ray Cruz. It is a slightly condensed design. The vertical strokes have rounded terminals, and there are some characters with serifs. Notable characters include the upper and lowercase E. There are three weights and each works equally well alone, or together for both display and text. Original design by Ramon Cruz completed in 2002.

Rosengarten is a condensed, bold typeface inspired by the work of Lucien Bernhard and the Plakatstil mouvement. With bold, rounded serifs, this typeface was created for use in headlines and larger point sizes. A complimentary sans serif style was integrated as a secondary weight with accompanying italics to allow a combination of styles to be set in layouts. This typeface includes an extended Latin and Cyrillic language support.

We've all seen the informational markings on commercial driveways or roadways instructing us which way to turn, where to park, etc. They are usually in stencil lettering 16 inches or taller, with compressed letters that make the horizontal strokes look slightly thicker than the vertical ones. By condensing the lettering in Narrow Stencil JNL by 20 percent, the result is Driveway Stencil JNL - a digital emulation of those painted road markings.

Put on your climbing boots and go on an adventure! Climbing Nevis is a modern condensed display font which comes in 3 exciting styles. With big, bold characters, Climbing Nevis is a perfect choice for headings, branding, signage, advertising, magazine layouts and much more! Working on an adventure themed project? Try Climbing Nevis Rough for a rugged, outdoor look. FEATURES Uppercase and lowercase letters Numbers, punctuation and symbols Multilingual support

Prosto Sans - this font family for any occasion. You can use these fonts almost everywhere. The modern open grotesque forms and classic font family formula: Thin, Light, Regular, Bold, Black and Italics. Prosto Sans is the assistant to work for any projects. Optimized for the websites, mobile applications, and printing materials. We offer you to have a look at this font’s narrow version, which is called TT Prosto Sans Condensed.

Designed for ParaType in 2002 by Tagir Safayev. Inspired by the letterforms of Antique No. 8 typeface and other similar fonts of the 19th century (Latin Antique, Wide Latin, Etienne Condensed, Wide Renaissance). A face of so-called Latin type has stout triangular serifs and rather unusual curls on several letters in the lower case. Nevertheless it is eminently suitable for a wide variety of settings in advertising and display typography.

Berona font family is a variable geometric sans serif with a modern display purpose. The dynamic sharp edges makes it ideal to be used in a medium and big scale.

Genesee JNL is a medium-bold sans serif inspired by the letter shapes of Jeff Levine's Paper Stencil JNL, and named for the river valley that traverses Rochester, New York.

Goudy Catalogue was designed by Morris F. Benton in 1919. A medium weight adaptation of the of the original Goudy design, it is about 15 percent heavier than the Oldstyle.

We wanted to make an ultra-thin, tall font with a rough, hand-drawn look and ended up with more than we bargained for. To get the font we wanted we started by developing a source font for the basic letter shapes and we ended up with a whole bunch of variations of the basic style. Thus was born the new Ducatus family of fonts, starting with Ducatus Light which developed into the Medium and Heavy versions, and the Medium weight was ultimately used as the basis for the Ducatus Rough font, which was the goal of the project in the first place. Ducatus Rough was created by modifying Ducatus Medium in Photoshop using Gallery Effects and several other filter packages, and then redoing the outlines from scratch in Fontographer. A lot of work, but the result is just what we wanted.

Introducing Galderglynn 1884, a font family that transports you back to the nineteenth century. With its refined expansion from the intentionally rustic Galderglynn Esquire, this typeface oozes old-world charm and sophistication. The condensed fonts are expertly squared off, paying homage to the typical condensed newspaper headline type of the era. Their weight and spacing are deliberately unrefined, just like the pre-twentieth century grotesques that inspired Galderglynn Esquire. Meanwhile, the extra-condensed “squeeze” fonts are completely flat-sided, reminiscent of the old wooden poster types and tight metal newspaper headline fonts. If you’re looking for a practical workhorse font family, Galderglynn 1884 is the perfect choice. It combines the pastoral design of Galderglynn Esquire with a polished finish that makes it easy to read and use. And if you’re after something extra special, you’ll love the three special effect fonts: all-capitals shadow, and engraved regular and condensed styles. Access tabular and lowercase (old-style) numerals with ease, thanks to the OpenType features available in this font family. Galderglynn 1884 is the perfect way to add a touch of old-fashioned charm to your designs. Try it today and transport your audience to a bygone era! Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Cirkel is a contemporary font family based on circles. Its geometrical and unusual forms gives us a nice feel of modernity and humor. Created by Jarbas Gomes, Cirkel family is composed by 3 weights (Light, Medium & Bold) and its respective ornamented fonts made of patterns (Stripes Light, Stripes Medium & Stripes Bold). The fonts also have a great set of ligatures and swashes that can be accessed in softwares with support to OpenType features. Cirkel is indicated for hype designs, on titles and short texts.

Riveta is a sharp type family available in 18 styles, designed in 2021 by Joël Carrouché. Medium and medium italic styles are 100% free to use. The typeface features a simple and solid geometric construction, with straight terminals and a very discrete triangular serif that gives the font some extra spice in big size. Riveta is equipped for advanced typography, with features such as ligatures, tabular and proportional figures, arrows and icons, stylistic alternates, case-sensitive forms, fractions, scientific inferiors and superiors, and circled figures.

An ultra light thins all caps Victorian design with a slight stroke contrast. Elongated Roman requires subjective display kerning and compensation.

Laima is the brush-formed stencil from Bogidar Mascareñas that will create an ovation for branding, album art, upscale venues, and packaging. If wide appeal, attention to detail, or international reach is necessary for your brand, consider Laima’s high-calibre design as your personal ambassador. The general font user is accustomed to stencil typefaces that have a brute look to them — industrial, mechanical, restrictive, or even militarised. Stencils are commonly used because they serve a function, like spray-painting over template letters, giving the reader a warning that must be heeded for safety, or a command to follow immediately. Wooden crates and grunge art are the medium and black or red paint are the norm. Laima, instead, creates a stencil from the world of calligraphy to turn all this on its head. Laima’s 12 stencil styles (six roman and six italic) use the junctures of calligraphic strokes as an opportunity to achieve an uncommon stencil effect, shifting to create unexpected shapes and the illusion of twisted, disconnected overlaps. Inspired by “Arte Nueva de Escribir”, an engravings book published by Francisco Palomares in 1776, Laima progressed well beyond its beginning as a Type and Media Master’s project at KABK, The Hague (NL). It sometimes required completely new character shapes to accommodate the space needed for clear diacritic marks, and was further enhanced with flourishes and alternates for liveliness and variety in individual or branded work. Laima’s italic begins with swashes and uses OpenType features to automatically turn them off with more than two successive capital letters. Use one swashed character for a drop cap, two for ligatured fun, turn them on or off at your discretion, or change the ascender length and swash shape to suit your creative need. With two styles of numerals and stylistic sets for final forms, Laima’s 12 styles and hundreds of Latin-based languages can turn simple words into an occasion that would immediately benefit high-class brands and special uses. Set that article title, release that new product, code your best-looking UI yet, letterpress that business card, and print that gourmet label. Whatever is next, Laima is the unexpected stencil partner to introduce it to an expectant world.

The Baksheesh family comes in three weights with accompanying italics and small caps. The catalyst for the development of the typeface came from the desire to create a contemporary family of constructed letterforms built upon a flexible system. The aesthetic of the font is influenced by the characters drawn by Wim Crouwel in 1976 for Olivetti’s typewriter font that could support varying character widths, hence Baksheesh’s faux-monospace appearance. Each of the characters has been designed according to an intricate grid, helping to rationalise the letterforms into a system that can be translated across the various styles. The flexibility of the grid also allows for optical adjustments to be made, for example stroke thinning at junctions and baseline/x-height overshoot for enhanced definition throughout. Baksheesh is suitable for setting small amounts of text as a distinguishable and legible headline font.

Bianca Kamelo is a modern hand-lettered font with 67 standard ligatures and unique 676 "love ligatures" which connect names with style. Font includes multilingual support for Western and Central Europe. It is ideal for weddings invitations, baby showers, blogs and websites, instagram, branding, invitations, business cards, and many more. This font also include complete set of alternates for uppercase and lowercase characters and stylistic ends for lowercase characters. To activate the "love ligatures" you just need to enable "standard ligatures" and type name without separator (space). For example BiancaKamelo. If the name ending with standard ligature, you need to disable that ligature, enable ligature for last name character and first surname character. For example: ChristianKate - disable ligature for ChristianKate and enable for ChristianKate. For access to Stylistic Alternates is required software with glyphs panel like Photoshop, Illustrator etc. Ligatures shows up automatically.

In nautical folklore, the Flying Dutchman is a ship that can never go home and is doomed to sail the seas forever as a ghost ship. The story of the Dutchman appeared in print in the 1820s. With different versions written over the years, some date the legend to the 1640s or the early 1700s. The Flying Dutchman font is a revival of an 1876 font from MacKellar, Smiths & Jordan Co. The Truetype and OpenType formats include a larger extended character set with Central and Eastern European accented letters. Extra characters in this font are left and right pointing hands in place of the less than and greater than keys and a pirate flag is on the bracket keys. New to this style is the distressed version where the letters look like they've been hacked by a cutlass.

“So-called Baskerville Old Face of the type foundry Stephenson Blake & Co. of Sheffield. The Script is probably not immediately linked to Baskerville, but it is very much influenced by it. It is one of the most beautiful types of which the mats still exist; it has an incomparably different spirit than the ‘streamlined’ re-cuts of today’s Baskerville. Even keeping the general restraint extremely expressive. According to Berthold Wolpe (‘Signatures’ No. 18), the punches were cut and shown in samples in 1776 by Isaac Moore, who came from Birmingham to Bristol.” – Jan Tschichold, “Meisterbuch der Schrift”, Notes On The Plates, Page 231 Publisher note: I wanted to improve the contrast between thick and thin, reduce some ink-traps and give stems, serifs and links a smoother overall feel. I have also added some alternative letters and old style numerals.

Card-O-Mat is an inspiring font family that makes it easy to design awesome greeting cards for many occasions. Each font is packed with an impressive number of items, check out the glyphs map and get surprised! Card-O-Mat Messages font counts more than 170 unique lettering designs, with a great assortment of messages. From an effusive ‘Happy Birthday’ to a sensible ‘Thank You’, you'll find charming choices for many situations. Card-O-Mat BuddyBirds brings more than 180 picture elements, comprising a pocketful of birds and handy adornments such as flowers, leaves, stars, clouds, speech bubbles and so on. Beyond making a perfect pair with Card-O-Mat Messages, it also goes brilliantly well with our hand-crafted fonts, like Populaire, Oyster, Berimbau, Amarelinha and many others. Pick the ones that fit you better and happy card making!

Say hello to Mealsika Script - A contemporary script with a vintage calligraphy style with moving baseline and an elegant touch.That makes the font look fabulous! It can be used for various purposes such as headings, signatures, logos, wedding invitations, t-shirts, letterhead, signage, labels, news, posters, badges, and more. Features 350+ glyphs and 179 alternate characters including initial and terminal letters, alternates, ligatures and multiple language support. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. These are all coded with PUA Unicode. Mac users can use Font Book and Windows users can use Character Map to view and copy any of the extra characters to paste into your favourite text editor/app. Thanks and Happy Creating :)

Aukim is an exceptional, unique and ligature-rich font that gives a new look to your texts. It is a more text-oriented font and thanks to its OpenType features, it becomes versatile. It is available in 3 sub-families (condensed, normal and extended) for a total of 54 fonts. There are 9 weights with their real italics. It has 886 glyphs, 107 uppercase and 65 lowercase ligatures per font. It also offers a wide range of languages, from Latin to Cyrillic, as well as powerful OpenType features such as meticulously and professionally maintained kerning, stylistic variations, swashes, highly distinctive ligatures, old-fashioned tabular figures, fractions, denominators, superscripts, unlimited subscripts, arrows and much more to satisfy the most demanding professionals. On the one hand, it has rounded curves with very open endings that make this font family noble, friendly and contemporary and on the other hand very useful for writing titles on any medium. Perfectly suitable for graphic design and any display use. It could easily work for web, signage, corporate design as well as editorial design. Aukim is a cool, wonderful, elegant, bold and fun display font. It can easily be paired with an incredibly wide range of projects, so add it to your creative ideas and notice how it makes them stand out!

As mentioned on previous released font Axeo (freeform serif), now, the original sanserif font is released with similar name, Axeo Sans. Axeo was release first when Axeo sans is still in minimal glyphs and font weights. However, Axeo sans is released with more fonts, 7 font in roman and 7 in italic/oblique versions, instead of semi condensed. 7 fonts is in roman form of weight: Light, Regular, Medium, Semi Bold, Bold, Extra Bold and Black; and 7 fonts in italic/oblique versions of its weight, respectively. This font weight offers the user to use the best fit to the usage. Axeo sans is neutral typeface, designed for general use. This font has also more glyphs variations and OpenType features. More than 700 glyphs for each cut. While the OpenType is equipped with: Large unmarked Basic Latin caps (ss02-ss05); normal character variation for some letters (ss01); Small caps (c2sc and smcp); superscript for 1, 2, and 3; ordinals for a and o; 5 basic fractions; standard and discretionary ligature; kerning; case sensitive and ornaments. Large Caps is unique setting, additional letters for font variations lover/user, applicable for first letter of paragraph, sentences, for design mean, just for fun or other usage.

Idiom is an extra-condensed, tightly spaced display face with congruent forms exuding a strong sense of rhythm and elevation. The basic stenciled geometric shapes are reminiscent of the decorative style found with P22 Albers and Futura Black. Careful consideration of each letter's construction, relative to all characters, lends Idiom a decided sense of cohesion and sophistication. The included non-traditional 'weights' (Medium and Bold) are completely blacked out, creating entirely new letterforms that exhibit a very stark, contemporary sense. Increasing the versatility of the Idiom family, a selection of OpenType features allow access to a set of contrasting linear punctuation forms, unconventional ligatures, case-sensitive punctuation and more. Features include: Basic Ligature set including 'f' ligatures (ae, oe, fi, fl, ff, fh, fj, ft, fa, ct, st, rt, ot, ta, sa, mi, si, vi, su, oc, oo, ru, ib) Alternate characters (M, W, T, ß, _, $, @, (), {}, [], /, \, |, -, –, —, +, -, ±, ≤, ≥, , «, », and more) Case forms (shifts various punctuation marks vertically to a position that works better with all-capital sequences, in this case the numerals or letters with ascenders) Slashed zero Full set of numerators/denominators and superscript/subscript Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Tall X-Height, Angled Terminals and Medium Contrast, Few Grotesk is a UI font designed with personality. Originally conceived as a hybrid between Grotesque & Humanist, Few Grotesk pairs legibility with character.