Introducing vintage label font named Vida Bandida. It is based on my other font, Black Widow. All available characters you can see at the screenshots. This font has six styles: Regular, Full, Shadow, Shadow FX, Texture and Texture FX. This font will look good on any vintsge styled designs like a poster, T-shirt, label, logo, etc.

Netra Slab is a minimalist and modern font. Having 9 thicknesses from Thin to Black will provide an easy choice as needed. With 390+ characters it can support more than 30 languages. If you want typography that looks smooth then choose the Rounded version. This font is suitable for writing general text, titles, even for brand logos.

Tact is a geometrically sans serif font, black and condensed looking glyphs, with an alternative glyph set to improve its use in different graphic contexts. It is suitable for use in the fields of science, art, architecture, urban planning, techniques, electronics, advertising, futuristic themes, sport, film, computers, phones, video games, magazines... Contains all Latin and Cyrillic glyphs.

This family started as a graduation project back in 2009, coming from calligraphic studies and sketches with a broad nib pen, based on humanist proportions and inclination. From its ink and paper origins it has come a long way until the current form, being digitalized and made into fonts through the course of the last 8 years.

Why not take a giant leap back to the 1970s? Rakia is a science-fiction inspired font, with classic overtones of the 70s. Alternatively, it is a 1970s font with scoff overtones. Take your pick! It’s an all capitals face, with a strong suggestion of speed and motion about it. A wonderful display font and fun to use!

One waxy black crayon was used up, entirely down to the tiniest nub, by the making of this font. It’s fun! Perfect for creating crayon written text, or to get the look of chalk-board writing, conte, or charcoal. Okay Crayon is extended, containing West European diacritics & ligatures, making it also suitable for multilingual environments & publications.

Rhein is named after the German river that runs through the western border valley. Rhein is a sans-serif typeface family for titles, editorials and graphic design pieces with high impact needs. Rhein was not only conceived as a font design with rounded corners, but its intersection points have been also smoothed. In addition, the wide range of 8 weights that vary from Thin to Black allow relatively long continuous reading (Regular, Medium, Semibold), and short reading designs (Black, Bold, Thin). On the other hand, the "Inline" variant is extremely provocative to fit into any branding project. To add dynamism and to expand the typeface range of use, it was designed as a family of alternatives. Together, the 18 styles of "Rhein" provide a range of options that adjust to the needs and current design and advertising trends.

Vertebrata is a serif type family of six fonts, designed by Fulvio Bisca between 2011 and 2014. It embodies features from different ages of writing and history of typography: the solemnity of Capitalis Monumentalis in uppercase and small caps, rhythm of Textura in lowercase, sturdiness of 1800 Slab Serifs in the overall look and feel, and a contemporary modular approach to the construction process. In spite of the geometric genesis of the letterforms, special attention has been paid to optical corrections, in order to obtain a natural and legible design. With more than 500 glyphs per font and carefully designed small capitals, Vertebrata is a complete OpenType family, including multilingual and advanced typographic features. Regular, Italic, Bold and Bold Italic styles are intended for both text and display applications, whereas Black and Black Italic are more suitable for display size settings.

Mystical Woods is a script and caps font duo. I went back to the basics for this one -- ink and a brush on paper. I cleaned up the letters enough so that there are no jagged edges, but left enough of the character to keep that inky look -- those are the Rough fonts. Then I went back through again and cleaned the heck out of them, making every line and curve smooth for our cut-crafting friends -- those are the Smooth fonts. Since these two fonts were written together with the same tools and style, you can also mix the script letters in with the caps letters! Each font comes with a full set of standard characters and punctuation, as well as over 300 extended Latin characters for language support. And the script fonts also have 45 double-letter ligatures!

Designed by Nadine Chahine, the Amariya™ typeface family is intended for long form, on-screen textual content. It supports the Arabic, Persian and Urdu languages. The design is consistent with traditional text typeface models popular in the Middle East, but has a lower level of stroke contrast optimized for on-screen reading. The family is available in nine weights ranging from a light hairline to a very bold black. The middle weights are intended for setting text copy while the extreme hairline and black designs are best suited for headlines, sub heads and similar applications. The Amariya family can be used for numerous projects from branding to blogs, in a variety of interactive design environments on both large and small screens. The fonts include the ITC Charter design by Matthew Carter as a Latin companion.

Here's a big shout out to all our Loud and Proud font homies -- If you've got a good set of lungs on you -- fill 'em up and get ready to Shout, SHOUT! Yes, let it all out because this is a font you can't do without -- It will make you wanna SHOUT! Throw your hands up, SHOUT! Kick your heels back, SHOUT! Throw your head back, SHOUT! Come on now, SHOUT! And don't forget to say you will... Don't forget to SHOUT! Yeah yeah yeah yeah, SHOUT! A little bit softer now, (Shout) A little bit softer now, (Shout) A little bit softer now, (Shout) A little bit louder now, SHOUT! A little bit louder now, SHOUT! A LITTLE BIT LOUDER NOW! SHOUT! SHOUT! SHOUT! SHOUT! PHEW -- Who says Comicraft doesn't know how to Pump it Up AND Get Down?!

Thoroughly contemporary, clean, and ready for work, Tilden Sans was designed by Delve Withrington to be no-nonsense but still stylish and friendly. Tilden Sans is square-ish with low contrast and a generous x-height. Curvilinear strokes like those in the capitals C or S, and many lowercase letters feature incised terminals offering a measure of distinction from other sans serifs, without sacrificing legibility. All of those features work in unison to make this typeface a pleasure to use and read. The Tilden Sans family has seven useful weights ranging from Light to Black and features a glyph repertoire of over 900 glyphs with language support for 225 languages. This versatile typeface performs brilliantly in a host of sizes. The Regular and Medium weights can be used at text sizes, while the Light and Black weights are great for display size settings.

Dixplay, a typeface based on a pixel grid, is available in two weights: regular and black. Inspired by video game aesthetics of the 80s, was originally intended for display applications, but it works fine on paper as well. The font has been conceived in 20 px size allowing more freedom to manipulate it and making a big difference with other fonts of its kind, this difference it’s more evident in Dixplay Black. As a result, it’s optimized for screen use at 20 px and its multiples. Spacing is one of the most outstanding aspects of Dixplay. While pixel fonts doesn't have kerning pairs, Dixplay offers more than 300 manually done that fit perfectly to the grid. It is available in Open Type format and supports Western European Languages that uses the Latin alphabet. For more details see the PDF.

Sneak a peak Eighty Starlight, a font with a futuristic and experimental concept created with a strong and charismatic character. following the current trend design style. Eighty Starlight is made experimentally following a futuristic style recipe with alternate characters made with inktrap and display that makes this font more stylish and varied. Eighty Starlight is a variable font that has 9 weights from thin to black. also includes alternates that are more varied with variables. Eighty Starlight is a versatile font system, designed primarily for display uses with a need of visual impact. Variable : Thin & Italic Light & Italic ExtraLight & Italic Regular & Italic Medium & Italic SemiBold & Italic Bold & Italic ExtraBold & Italic Black & Italic Feature : Alternate Character Ligature Discretionary Ligature Multilingual Support Numeral & Puctuation etc Wish you enjoy our font and if you have a question, don't hesitate to drop message & I'm happy to help.

Phoenician/Canaanite The Phoenician alphabet developed from the Proto-Canaanite alphabet, during the 15th century BC. Before then the Phoenicians wrote with a cuneiform script. The earliest known inscriptions in the Phoenician alphabet come from Byblos and date back to 1000 BC. The Phoenician alphabet was perhaps the first alphabetic script to be widely-used - the Phoenicians traded around the Mediterraean and beyond, and set up cities and colonies in parts of southern Europe and North Africa - and the origins of most alphabetic writing systems can be traced back to the Phoenician alphabet, including Greek, Etruscan, Latin, Arabic and Hebrew, as well as the scripts of India and East Asia. Notable features Type of writing system: abjad / consonant alphabet with no vowel indication Writing direction: right to left in hortizontal lines. Sometimes boustrophedon. Script family: Proto-Sinaitic, Phoenician Number of letters: 22 - there was considerable variation in their forms in different regions and at different times. The names of the letters are acrophonic, and their names and shapes can be ultimately traced back to Egyptian Hieroglyphs. For example, the name of the first letter, 'aleph, means ox and developed from a picture of an ox's head. Some of the letter names were changed by the Phoenicians, including gimel, which meant camel in Phoenician, but was originally a picture of a throwing stick (giml).

Tomi Haaparanta got the idea for the Tyke typeface family after using Cooper Black for a design project. He liked Cooper's chubby design, but longed for a wider range of weights. “I wanted a typeface that was cuddly and friendly,” recalls Haaparanta, “but also one that was readable at text sizes.” He started tinkering with the idea, and Tyke began to emerge. Even though Haaparanta knew his boldest weight would equal the heft of Cooper Black, he began drawing the Tyke family with the medium. His goal was to refine the characteristics of the design at this moderate weight, and then build on it to create the light and bold extremes. Haaparanta got the spark to design type in 1990, when he attended a workshop held by Phil Baines at the National College of Art and Design in Dublin. “I've been working and playing with type ever since,” Haaparanta recalls. He released his first commercial font in 1996, while working as an Art Director in Helsinki. After about two dozen more releases, he founded his own type studio, Suomi Type Foundry, early in 2004. At five weights plus corresponding italics, Tyke easily fulfills Haaparanta's goal of creating a wide range of distinctive, completely usable designs. The light through bold weights perform well at both large and small sizes, while the Black is an outstanding alternative to Cooper for display copy.

The Yorkten family of fonts is back with another satisfying addition to its clean style. The rhythmic, new Yorkten Slab expands Yorkten’s basic, contemporary form of geometric and simple lines and adds a level of self-confidence and elegance to your work. Slab's basic structure is compact. It’s more condensed than most slabs, so you can save space yet still have clear, consistent readability. The added serifs create a fresh text color, too, that syncs well with the new font’s inherited features. Like its predecessor, Yorkten Slab offers its natural, simple structure with more than fifty fonts in the family and three different widths - extended, normal or condensed. Each group has eight weights from a lean thin to tough looking black, giving Yorkten Slab plenty of bragging rights among its peers. And like Yorkten, too, Yorkten Slab’s greatest value is the ability of its members to work easily and well together and with a variety of other fonts. Yorkten Slab ensures that you have the necessary tools for any challenge. In combination with its superior functionality and excellent readability, this versatile font can be effectively used for many print and screen operations: e-books, applications, headlines, banners, posters and websites to name a few options. Don’t wait any longer. Start tapping the possibilities that Yorkten Slab offers your work.

Rufolo is a family of fonts that can be considered both aesthetic and utilitarian. It has an apparent serif, barely hinted at, whose clear past reference is a beautiful epigraphic script on the marble plate placed at the southern entrance of the Roman amphitheatre, in Pompeii. Perhaps its origin dates back to Ugarit's cuneiform writing (as Morrison suggests as the origin of the serif in "Politics and Scripts") whose characteristic triangular-shaped incision footprint produces a powerful trait that not only gives character to the writing but also facilitates its support and visual compensation of sizes with neighboring signs. Other clear inspirational references have been Robert Hunter Middleton's Stellar (1929); Albertus (1932) by William A. Dwiggins; Optima (1952) by Hermann Zapf; And more recently RRollie (2016) by our foundry. Rufolo collects the attractive characteristic of the stroke endings but the proportions of its structure becomes much more regular, the capitals are in line with a constant square module, while the above references retain the proportions of the Roman Trajan. Some endings strokes have slightly baroque reminiscence with the intention of giving it greater plasticity and aesthetic enrichment, but absolutely controlled, taking special care of the aspects of readability and expressive neutrality. Rufolo Family comes in four weight: Light, Regular, Bold and Black, accompanied by its corresponding Italic versions.

Engria is a type family of four weights with corresponding italics that treads the fine line between sans and serif. There are serifs, of a sort, inspired by the brush. Not the marks made by a brush, but the actual splayed shape the bristles make when clamped together. Wedge-like chunks that resemble engraved forms, as the name Engria hints at. But it also has the appearance of a stressed, flared sans. This mixed approach lends a unique voice. Highly legible at text sizes, as indeed it is optimized for, Engria does however shine at display sizes thanks to its characteristic details – flared stems, angular counterforms, rugged ink traps and fluid curves. (I would recommend tracking it a little tighter at larger sizes.) Engria started life way back in 2014, and has been worked and reworked tirelessly to get to this finished product. My intent was to really push the idea of the white shapes being as important, if not more so, than the black. Engria is equipped for typographically demanding applications, boasting as it does an array of OpenType features, including small caps, automatic fractions, stylistic sets, various figure styles, arrows, case sensitive forms and more. It will make a very useful addition to your typographic arsenal, with a flare (ahem) for editorial work, but the individuality for packaging, branding, and logo work.

Evanston Tavern is a square typeface and the sans-serif version to Evanston Alehouse. Inspired by the years that prefaced the ratification of the American Prohibition, this typeface mimics the signage commonly seen outside of saloons, taverns and alehouses during that time. Back to the modern era, Evanston Tavern is more than just a vintage inspired typeface. It works in modern and futuristic settings with multiple styles, opentype alternatives and ornamentation. The family provides a robust 61 total fonts, within it's 3 styles of regular, stencil and inline. Each sub family includes 4 weights and 5 widths. It has special features that add depth to the typeface, with discretionary ligatures and stylistic alternatives. It also includes a complimentary set of ornaments, including a vintage graphic set from the era, as well as modern frames, borders and icons. This typeface works great at logos, packaging, and other display settings. Pair this font with Evanston Alehouse and have a great combination of serif and sans-serif square letterforms and a large array of ornaments! Here’s a snapshot of what you get with Evanston Tavern: - 3 Styles: Regular, Stencil and Inline - 4 Weights: Light, Regular, Medium and Black - 5 Widths: 1826 (condensed), 1846 ( narrow) 1858 (regular), 1893 (wide) and 1919 (expanded) - 2 capital Heights: Capitals and small caps - 2 Alternatives: Discretionary Ligatures and Stylistic Alternatives - 1 Ornaments font with over 100 graphic extras

The Azbuka™ typeface family has its roots in a fairly pedestrian source. “The idea came in part from an old sign in London that read ‘SPRINKLER STOP VALVE’,” says Dave Farey, designer of the typeface. Like all good sign spotters, Farey took a photograph of the sign and filed it away for possible use in a lettering or typeface design project. In Prague a number of years later, the street signs reminded Farey of the London signage - and his camera came out again. Comparing the two back in his studio, he realized that the signs from London and Prague were not as similar as he initially thought. However, they were enough alike to serve as the foundation for a no-frills, 21st century sans serif typeface family. “I wanted to draw a wide range of weights, italic and condensed designs all in one go,” recalls Farey, “rather than add on to the family later.” His goal was to create a family that could be used for text and display copy, with sufficient weights to provide a broad typographic palette. Indeed, the completed design, created in collaboration with fellow type designer Richard Dawson, consists of twenty typefaces in eight weights ranging from extra light to extra black. The five mid-range designs have complementary italics. Seven condensed designs round out the family. Azbuka’s lighter weights perform remarkably well in blocks of text composition. “They’re clean and legible - and perhaps a little boring,” says Farey, “but they are perfect for copy with a down-to-earth, yet contemporary flavor.” The heavier weights are equally well suited for a variety of display uses. The designs are authoritative but not overbearing and will readily make a strong statement without calling attention to themselves. The condensed weights of Azbuka are ideal for those instances where you have a lot to say - and not much room to say it. The name Azbuka? It’s Russian for “alphabet.” And what more appropriate name could there be for this utilitarian, industrial-strength type family than alphabet? The Azbuka family is available as a suite of OpenType Pro fonts. Graphic communicators can now work with this versatile design while taking advantage of OpenType’s capabilities. The Azbuka Pro fonts also offer an extended character set that supports most Central European and many Eastern European languages

Gadevox Black Letter is a vintage-inspired font, everything and more. It’s bold yet elegant, soft yet striking. It has an old-world feel that is still very modern and I know you will love the vintage details on each letter. This font will complement your visual project and make it stand out so make sure to have it today!

Deutsch Black, designed by Barry Deutsch for VGC in 1966, provided the inspiration for this extrabold exercise in heavy ink coverage. A number of variants, in lowercase slots, were added to offer flexibility to your headline designs. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Moldovan and Romanian.

Segikan is a elegant and warm serif typeface with a nuance classic. This typeface was intended to improve upon the legibility. Included 14 Fonts, upright and slant. From light to black styles. OpenType features allow for the implementation of typographic such as ligatures and multiple language support. Good choice for branding, magazines, posters, advertising, print, packaging, headlines, web design etc.

Introducing the Bornia Sans Serif Modern Minimal Font Family – a typeface that exudes sophistication and simplicity. This is a font that exudes a contemporary feel and minimalist look that is sure to captivate your audience. With a variety of bold, Light-to-black variants, this font provides a lot of flexibility in use, giving your designs extra charm and appeal.

Milford is a font with its feet planted in several styles of design. It has aspects of Art Deco shapes and proportions, but has modern additions and tweaks that make it a handsome substitute for your tired heading fonts. Because of its tight spacing and filled, super-black forms, it responds nicely to treatments such as negative letter spacing and outlining.

During the early years of the 20th Century, America's fascination with automobiles was just beginning. The cover for a 1916 piece of sheet music for the comedy song "On the Old Back Seat of the Henry Ford" had the title hand lettered by a round nib pen in an Art Nouveau style. This is now available digitally as Running Board JNL.

BELLVOIRE DISPLAY is A Graceful Vintage Display Typeface Family, comes with 7 styles arranged from Light to Black. equipped with various opentype features such as stylistic alternates, stylistic style(ss01 to ss10), swash characters(Uppercase), ligatures, additional symbols, and multilingual support for major latin based languages. Bellvoire Display is perfect for branding, logo design, magazine, poster, invitation and many more.

Mahameru Arabic is sibling of Mahameru with the addition of Arabic glyphs, for Arabic, Urdu, and Farsi. With still gives a firm and soft character, with the terminal point on straight and curved strokes. The family has 9 weights ranging from Thin to Black and offers a lot of features flexibility that will help you find the best typographic color for your project.

This new OpenType pro family has four members so far with 473 characters and glyphs each. It is a redrawing of Albe Sans, which has been found to be very readable, elegant, and extremely useful for books, newsletters, or anything you need. It is a humanist sans that works well for body copy or headlines. A black version is in the works.

Inspired by the logo from “Lollapalooza”. The intention was to design a cheerful, entertaining typeface. Lolapeluza works perfectly for designs for children and youth. 4 variants are also included: -Regular: Basic set -Black: Heavy -line. Lolapeluza can run over or behind a text -Shadow. A Cyrillic alphabet is also included to enhance but the typography is more a set of alternatives.

Volume is a 3D font, with interlocked characters, inspired by vintage wooden block capitals! Superimposed weights bring light and shadow on the structure and allows many coloured combinations. Cubo est une fonte en volume dont les lettres s'imbriquent, inspirée d'anciens caractère d'imprimerie en bois. Les diiférentes graisses se superposent, créant des effets d'ombre et de lumière, et facilitant la colorisation des caractères.

The display font Docklan arose from experiments of candle-grease and black ink. Book covers, music festivals, wedding invitations or just an essay in school – Docklan will allow you to make a statement in any setting! The lowercases are miniatures of the upper-ones and it comes with a set of basic English/Latin letters and some west European diacritics.

Magide is a retro and bold serif font typeface. This font perfect for branding, Headlines, Retro designs, logos, invitation, watermark and so much more. Magide typeface comes with Regular, Thin, bold, Black and 2 Outline font styles. Uppercase & lowercase letters, numbers, punctuation, ligatures, alternates and multilingual support. If you have any questions, please feel free to get in touch. Thank you

Boris is my son: he was born on January 7th and he is as cute as can be. Boris Brush font is a very loud, very useful brush typeface, which I created using some fine-haired brushes and black paint. It is all caps, but lower and upper case are different and can be freely interchanged. Comes with all the diacritics you need.

This revival of Harry is based on the original design by Marty Goldstein (and C.B. Smith). Goldstein, born in Chicago in 1939, was the co-founder of the groundbreaking Creative Black Book. He graduated from the Pratt Institute in 1960. Harry, first published by VGC in 1966, was named for his father. ITF has added four new weights to the original six.

Online auctions offer a myriad of unique, vintage and novel lettering devices – all which are fertile ground for typographic inspiration. In this instance, a set of stamped metal letters for outdoor signage was the basis for Stamped Metal JNL. Some of the non-traditional letter weights makes these simple block letters a wonderful change of pace for bold, attention-getting headlines.