The cover title for the July, 1935 issue of Harper’s Bazaar magazine was hand lettered in a condensed, squared slab serif design with a few stylized characters. This is now available as Stylish Title JNL, in both regular and oblique versions. For many years, each issue of the magazine had its title rendered in different type styles; offering many unique variations to coincide with that month’s cover art.

When you need a classic serif typeface that is up to the modern standards, Millard comes to your rescue with its alluring beauty and legibility. You have a contemporary serif family that offers great variety with regular and bold weights in both normal and condensed widths, along with their true italics. Over 500 glyphs in each font offers you the language support you need for all the Latin languages.

Prelom is modern serif family inspired by retro designed typefaces. Comes in 5 Normal weights, 5 true Italics and 5 Condensed weights. With tall x-height, sharp serifs like fishing hooks, original Italics and distinctive character overall design, Prelom is ideal family for editorial use or branding. Beside extended Latin character set, Prelom contains Cyrillic characters as well. It is equipped with Initials, Ligatures, Fractions and Tabular Numbers as OpenType features.

Macbeth is a heavy, condensed Art Deco-style typeface from Linotype. Macbeth includes some particularly noteworthy diagonal elements -- these enliven the design and give typeface its overall character. Macbeth should be used for music-oriented applications, or anything that is both reminiscent of the early 20th Century and a bit spooky. The letters in Macbeth are quite similar to display style found on Frankenstein posters, and those of other early films.

The Kairos™ family from Terrance Weinzierl is that rare form of typeface that successfully melds design distinction and ease of use. While based on 19th century Grecian wood type forms, it performs admirably in a variety of applications, both in print and on screen. Kairos Variables are font files which are featuring two axis and have a preset instance from Thin to Black and Condensed to Extended

Bon Ami is a hand lettered condensed font perfect to add a fun feel and individual look to everything you create including cards & invites, logos, souvenirs, stationary, and so on. It also works perfectly when pairing with other fonts, f.e. with my Paramaribo font (as in the image with the cupcake). The font consists of Latin multilingual support as well as uppercase letters, lowercase letters, numbers and basic punctuations.

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.

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.

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.

An authentic script from the tip of the ball point pen. This hasn’t been seen yet: A typeface which truly looks as if it were handwritten. Calligraphy is, actually, the art of fine writing. And actually, written scripts as typeface for the computer are 100% nonsense. And yet, an obvious thought: Create a typeface which truly derives from everyday handwriting. And since we, if we write at all, utilize practically only a ball point pen anymore, then a modern cursive writing form must look like just that. As a counterpart to the artistic ”handwritings“ which have long been available as typeface, the thought of digitalizing a truly ”ugly“ handwriting is appealing. After all, time and again there is the need for a text to look ”handwritten“. Biró Script is written freehand with a ball point pen. Finally a truly individual script! Biró Script includes more than 300 authentic ligatures in addition to the customary alphabet. By the way, the most convincing effect is obtained with a font size of about 18 to 22 points, at which the thickness of the stroke is now about the same as that of a real ball point pen. There's a difference between the anglo-american forms of some characters (esp. the numerals 1 and 7, but also capitals I and F) and how it's written in the rest of the world. For those of us who aren’t used to the world-wide usual forms, Biró Script includes a US version with the appropriate characters.

Third Reign is a decorative medieval typeface. With braids and pearls, this swirly typeface of extreme variability brings us to the golden times of epic knight sagas. Third Reign is the typeface of a Middle Age queen or a viking ruler. Use it for a Middle Ages game, a fantasy headline, or as a logotype for anything of historical theme. With usage in any modern software, the letters will automatically overlap and embrace in an elegant way. To make heraldic symbols, copy these icons: 🐉 🐎 👑 🗡 🦁 🦅 🦌 + ♖ × ✝ ⚓ ＊ ⚔ † ‡ Alternatively write %A %B %C ... etc to create the heraldry. (Download required.) Dragon, Horse, Crown, Sword, Eagle, Deer, Cross, Anchor are some of the logos. Use [ ] for side borders. Example: [Magic⚔Thrones] The Third Reign font family consists of two styles: The decorative Border style, and the plain Regular style. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering Greek and Cyrillic, as well as all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Everleigh Duo consists of two typefaces - thin serif font and calligraphic script font. Both of this fonts have an elegant thin shape with classic influences. This pair is created in one breath and they matches perfectly in lots of lettering composition. Everleigh Script - it's a connected script typeface that imitates handwritten pen calligraphy. It includes lots of ligatures and multilingual support. Everleigh Medium - it's a little modified version of my another font Everleigh. This typeface has a slightly thicker shape and slightly different serifs, which makes it more useful on dark backgrounds. It also has lots of ligatures and stylistic alternates.

Typha Latifolia is a plant of the swamps from the Northern Hemisphere. It is characterized by its high rangy leaves. Typha Latifolia is also a font family. It is characterized by the height of the ascenders and the descenders. Numerous ornamental variations complete medium and bold versions.

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. A few of the many interpretations from the early twentieth century were true to the source, as well as strong enough to last into the digital era. These include two from the American Type Founders Company, Caslon 540 and the slightly heavier Caslon #3. Both fonts are relatively wide, and come complete with small caps, Old style Figures, and italics. Caslon Open Face first appeared in 1915 from the Barnhart Bros & Spindler Foundry, and is not anything like the true Caslon types despite the name. It is intended exclusively for titles, headlines and initials, and looks elegant whether used with the more authentic Caslon types or by itself.

FF Cocon’s designer, Evert Bloemsma (1958—2005) described it as a “serious typeface”. Despite first impressions, the description holds up well. Since its 2001 release, FF Cocon has been used in an astoundingly wide variety of design applications. At large sizes, FF Cocon works as a display face, with beautiful detailing. And at small sizes, it remains surprisingly readable. The lowercase letters a, b, d, g, h, m, n, p, q, r and u, were drawn without spurs, as Bloemsma made an attempt to erase every trace of handwriting; even “normal,” neutral sans serif typefaces still retain elements in their letterforms like this. Bloemsma wanted none of it. Although a difficult starting point for a typeface, this proved successful. Bloemsma’s design is a family of rounded yet rather asymmetrical forms with details reminiscent of brush-strokes, but that were not made with a brush in hand. In spite of its claim to seriousness, FF Cocon is a family of seductive, voluptuous styles. The original FF Cocon had two widths—normal and condensed. Later, a more compact Extra Condensed version was introduced, as well as italics.

Brice refers to cultural products of the 80s such as music, art, literature, fashion, dance, film, that are consumed by the majority of society population. The Characteristic of Brice are in the small bouncy serif with a dynamic contrast, like R, B, S, K, P, etc. Perfect for Logotype, Caption, & Header. Brice are available in 5 Widths (Condensed - SemiCondensed - Normal - SemiExpanded - Expanded) with matches 6 weights (ExtraLight - Light - Normal - SemiBold - Bold - Black) and support for 75+ language.

Ramsey is stout and warm, rectangular with rounded edges, and dynamic with swift cuts. Ranging from thin and condensed to extended and black, Ramsey has seen applications in sports teams to movie titles and even art magazines. Through the years, Ramsey has proven itself to be a true workhorse of a font. This version has a lot of minor updates to the form and spacing, and we now see an extended family to complete it’s legacy. A true workhorse.

Linotype Feltpen is part of the Take Type Library, chosen from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This fun font was designed by the Swedish artist Lutz Baar with clear, light forms. The spontaneous, even letters seem to have been written with the felt pen from which the font takes its name. Linotype Feltpen is available in two weights, regular and medium, both suitable for short and middle length texts and medium for headlines as well.

Kubrick is an experiment in extremes. The Light font is very tall and slender, the Black font is very massive, and Kubrick's slender counters push some of its glyphs to the edge of recognition. The thin counters and negative spaces also give text set in Kubrick a definite visual sparkle, especially in all-uppercase settings. Because of its extreme letterforms, Kubrick is recommended only for large display use. The default letterspacing is set fairly wide to keep text legible. Kubrick was a double-experiment. One part of it was to see how heavy and massive a typeface I could make while still keeping it legible. The other part was to develop a Multiple Master font. Multiple Master fonts were a format developed by Adobe that allowed the user to change things like the weight and width of a typeface. Monollith started as just such a Multiple Master typeface, but when Adobe discontinued the Multiple Master format, I stopped work on the typeface. Later I decided to continue work on it, but as five separate font weights: Light, Medium, Bold, ExtraBold and Black. Very rectilinear letterforms with extremely narrow counters and negative spaces. The five fonts go from very thin and condensed to very heavy and extended. Use in large display settings where unornamented high visual impact is desired.

Introducing El Mariachi - Libre Type, created by ikiiko. El Mariachi is a unique typeface inspired by a Mexican vibe. A simple, bold sans serif typeface combined with attractive ligatures gives this font a strong character. This font is perfect to create layout for vintage design, mexican brand product, movie poster, food packaging, fashion product, and another fun project to a have unique or vintage look. What's included? Uppercase & Lowercase Number & Punctuation Ligature Multilingual Support Get also a good offer & FREEBIE at our site : www.ikiiko.com Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Based in part on the hand-lettered title for a piece of vintage sheet music, Hayride JNL gets both its inspiration and name from Michael Todd's 1948 production "Mexican Hayride". The original design was in outline form, and the letters with straight-lined shapes had slight curves to them. For Hayride JNL, those lines were straightened and the letters made solid in appearance.

Gratique is a semi-rounded sans-serif typeface. The curvature of the corners fits perfectly and makes it look so cool. Gratique comes with 3 different font variants, namely medium, bold, and black. Gratique is perfect for headings, typography, branding, mockups, or any other design you need especially for a sans-casual style, it will work really well. FEATURES: - STANDARD CHARACTER SET -Case Sensitive Forms -Denominators -Fractions -Historical Forms -Standard Ligatures -Scientific Inferiors -Subscripts -Superscripts -Multilingual Support, etc.

Klanting is a stylish, clean, and modern condensed sans font, with style that is very different from the others. This font comes in two styles, Regular and Oblique Version. Klanting is well-suited for posters, social media, headlines, magazine titles, clothing, large print formats - and wherever you want to be seen. Inspired by the style of design that is currently popular, and this is the answer to all the needs of every idea that you will pour in this modern era. We highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations.

Beriot is a sans serif whose basics are condensed in Regular (Normal) weight, getting a lot of form inspiration from the topic also known as Steile Futura which is a letterform that Paul Renner himself explored in the mid-1950s, where shapes are constructed with little stress on modular squares but there are changes in certain parts so they become less modular. The Beriot family is available in 42 weights with matching slanted cuts, divided into 3 subfamilies: Condensed, Normal and Expanded. Each has been designed for a range of text sizes each, and already variable, allowing you to choose and make your own type of weight you like. OpenType Features are available in each of these font styles, including alternative characters, different numbers set and case-sensitive and there are additional symbols that make it the perfect choice for professional types of branding, digital design and editorial.

Lucida Grande is a humanist sans serif font with a large x-height, clear letterforms, and space-saving economy. Its easy reading qualities make it legible for printing and screen displays even down to small sizes. Lucida Grande is part of the Lucida superfamily of fonts from Bigelow & Holmes. Lucida is highly regarded for legibility and its extensive range of type styles. The Lucida Grande family has eight fonts with weights from Thin to Black with matching italics. Each font has 674 glyphs and supports the W1G character set. This includes Latin, Greek and Cyrillic alphabets to support many languages in Europe, the Americas, and worldwide.

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.

Dosky is a groovy, retro, bubble font. It have a big and bubbly anatomy. Inspired by 70s vibe and culture. The font is perfect to create a project that have a retro feeling but have a little bit modern and modest on it. Dosky support multilingual language also came with 6 font style : Reguler, Condensed, Expanded and Oblique styles. Dosky can be used as a fun or a formal kind of project. It can easily be matched to your projects, and good for communicating your brands.