Whichit contains typefaces designed with a hexagonal motif. The opposite sides of the hexagon are parallel but two of them are longer than the other four. It does not have reflective symmetry so flipping it over a vertical line returns a different appearance. One of these appearances is the basis for WhichIt and the other for WhichItTwo. Each has three weights and each weight has an italic style. The result is a quirky sans-serif family of a dozen faces.

Grotesca Negra is a charming sans serif with a flirt towards the Jugend era. Still its modern enough not to feel outdated. It is briefly inspired by a local typeface named Grotesca chupada negra, found in a Spanish edition of a type specimen book from the German Bauer type foundry. It has an angle on the horisontal strokes on many of the letters. It is one of many display face derived from book cover designs. Intended to work as a display typeface.

This face is a bit of a time traveler. It combines the lowercase from a font called simply Square Gothic from the 1888 James Conner’s Sons specimen book with the uppercase of Morris Fuller Benton’s 1932 monocase masterwork Agency Gothic, resulting in a high-tech typeface right at home in the twenty-first Century. Available in three weights. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set

The first Century typeface was cut in 1894 by Linn Boyd Benton in conjunction with T L DeVinne for the Century Magazine. It was a blacker, more readable face than the type previously used. Morris Fuller Benton designed the Century Expanded version in 1900 for American Type Founders to meet the Typographical Union Standard of the day. The 'expansion' was in the vertical plane. Century Expanded is a useful font family for text setting in magazines, books, presentations and newsletters.

Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Originally designed by Frederick Goudy for the original Life magazine, circa 1908. Because of delays in production, the face was never used by the magazine. However, Gimbel Brothers, the famous New York department store, opened in 1910, around the time of the release of the typeface, which was used almost exclusively for its advertising and was often known as Goudy Gimbel, but the typeface was better known by the Monotype series number Goudy 38.

The world may seem cartoonish to you, pilgrim, but the funnies ain't really that funny. The Flintstones are so last century. The Hulks are in, and they're here to stay. Piedra is the rocky, fear-inducing face of galvanized triceps and überchiseled jawlines. Be intimidated, be very intimidated. You don't believe it? Just push the stylistic alternates button and see it disregard the laws and spit pebbles on the sidewalk. Then run to the hills if you want to live.

Insigne Splats! is a series of vectorized ink splatters that can be quickly and easily used in your artwork. There are 64 unique and useful ink splatters. These individual splats can be combined, decomposed and organized to accent your designs. Splats! works well in conjunction with some of insigne's grungier faces such as Valfieris Aged, Arendahl, Majidah or Blue Goblet. Please see the printable sample .pdf for a full preview of all the splats available and the keys they map to.

Originally ZionTrain was built as a Cyrillic typeface for public transport navigation system. We wanted comprehensible, distinctive letterforms, that can help everybody on the way from Babylon to Zion. Here, on MyFonts, we present the ZionTrain STD versions with western latin including smallcaps and oldstyle figures in some faces in TrueType format; also western, central, baltic and turkish latin charsets, smallcaps, oldstyle numerals, few alternates, some arrows and fractions in ZionTrain OT OpenType format. Look how people use it: http://use.type.org.ua/tagged/ziontrain

Eckhardt Sans JNL continues Jeff Levine’s “mini series” of fonts modeled after hand-lettering used by sign painters; and named after his good friend, the late Al Eckhardt of Allied Signs in Miami, Florida. Clean and somewhat condensed, this sans face has chiseled edges on many characters and the warmth of the lettering once made by brush or ink pen. Use this font in conjunction with any casual typeface to invoke the days of sign shops and talented lettering artists.

The pages of a vintage sign painter's manual yields many interesting typefaces that reflect on the design styles of years gone by. Eckhardt Display Serif JNL is a distinctive, hand-lettered serif face that has a hint of Art Noveau. Part of a series of sign painter's fonts named in honor of the late Albert Eckhardt, Jr. who owned Allied Signs in Miami, Florida, Jeff Levine continues this series of fonts in tribute to his friend and the art of sign lettering.

A font face with cyber, spacial, and aerial connotations that offers a decisive futuristic and techno spirit. Available in two stylish versions, clear and rusty. With one alternate for lowercase /a/ and more diacritics and ligatures and extended range glyphs and more new stylish alternates, Cygnus can be used in titles and display text that require a futuristic and dynamic style. Recommended for games, presentations, or any graphic design pieces that reveal and need futuristic, techno, spacial, aerial and/or Sci-fi style.

Pickles is a retro tasting font, with a twist. It draws inspiration from a handsome hand-lettered movie poster from the sixties. The font brings two different glyphs for the letters - which are all uppercase - to avoid repetition and provide a handmade look. There are also some ornaments to sprinkle here and there if you fancy. And yet some swash finishes for sticking to some glyphs on occasion. From sixties posters to instagram posts, this is quite a lovely face. Have a taste!

REALLY fat faces seem to be popular these days, so here's my take on one. The strokes have been expanded to the brink of illegibility, but the letters remain distinguishable, especially in context. Also included are alternate versions of the letter A—suitable for use as first and last letters in a word— in the ASII circumflex and ASCII tilde positions. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Binner Gothic is a very narrow sans serif thought to have been cut by the Bruce Typefoundry, in New York, around the turn of the century. The capitals are rather heavy with an elongated appearance, accentuated by the high-waisted treatment of characters such as B E F H M N P and R. The lowercase ascenders and descenders of the Binner Gothic font are cut at an angle. Binner Gothic is a display face particularly useful where space is at a premium.

Haymer stands at the apogee of legibility and clarity. Its design embodies symmetry, even stroke widths and a subtle rounded quality to give an instinctive appeal to the reader and to the designer. Haymer is modern yet characterful and is ideal for use as a text family, online and wherever instant easy readability is required. An extensive family is offered, in four weights, regular and condensed widths, lower case and capital (small and petite) forms as well as display inline faces.

Decour Soft is the rounded-edged version of Decour. It is a slab serif humanist low contrast typeface. The overall design also features strong curves, making it a very friendly face. The font retains the original elegant features of Decour—based on Art Deco design—such as high contrast between upper and lower case characters. Decour Soft is a suitable font for logotypes and packaging. Its design also allows it to be used with certain elegance in book titles and magazines subheadings.

I love peanuts! Actually I eat peanuts every day, in the shape of Peanut Butter ... and it kind of slaps me in the face with energy and good taste! What a good way to start the day! The same thing could fit to this font: a good way to start your day is with a good design ... using my Peanut Slap font: Mix the 3 versions with your favourite colorscheme, play around with the transparency...and voila! Great results awaits you!

Magazine Grotesque is a sans-serif font specially designed for headlines and titles. Its unique features make it different from the traditional Grotesk typefaces. For example, outstroke extending beyond body in 'a' and 'e' letters or closed aperture in 'c', creating an unusual rhythm. Magazine Grotesque is the perfect choice for logos, titles, headlines and short blocks of text. As you would expect from Latinotype, this face comes with a standard set of 487 characters that support over 200 Latin-based languages.

This decorative caps-only type family was designed in 2004 by Vladimir Pavlikov and licensed by ParaType. Its letterforms are imitating low resolution display letters used at railway stations, airports, and other public places. Regular, Inline, Shadow Left, and Shadow Right styles are available. An additional set of symbols and pictograms is included in each style to increase its decorative abilities. The face is good in magazine advertising, posters, and industrial graphic design in the fields of science and technology.

Zagolovochnaya was based on the letterforms of Zagolovochnaya gazetnaya (Newspaper Display) type family of Polygraphmash in 1962 by Iraida Chepil et al. The face was a revival of Cyrillic version of Caslon designed in the late 1930s. The artworks of Zagolovochnaya gazetnaya were redrawn by Isay Slutsker (1924-2002) in the late 1990s. In spite of its name the font is useful both for display and text matter. The digital version was developed for ParaType in 2002 by Manvel Shmavonyan.

A sans-serif face in which the circular elements have become almost square, NewNerdish resembles a number of typefaces which have become associated with a modernistic, computer look. There is little or no variation in the weight of horizontals, diagonals, and verticals. It comes in two widths each with five weights and each weight has an oblique version, which has the same letter shapes as the upright version. The ShadowedInside style is designed to be used in a layer with the Shadowed style.

Gin is a futuristic decorative font that combines calligraphy, graffiti and typography. This font is inspired by the street art called calligraffiti where it is abstract and elegant. This font is suitable for those who are anti mainstream and out of the zone, this is a new face in the world of fonts, for those who are against this font it will be considered broken but for those who are from the future, this font is an answer to futuristic design needs

The face of horror – The GoreGrinder is an extreme logo font designed for extreme music. If you’re in love with deathmetal, grindcore and the horror movie scene, you may find pleasure in using this font. It comes with an upper- and lowercase characterset, numerals, some punctuation and a bunch of drips and stuff used in the genre. Use it in your graphic-editing-application and be creative, play with it and find out what’s possible. Find out more about using it on Behance.net

Accidents happen. Things go where they don't belong, get changed - remade. Something new crawls out of the murky depths. Ghixm is a retrospective of the horror comics and movie posters of the 1960s and the 1970s. It's fluid forms harken to watery graves and tentacled unnameable horrors. These twisted shapes are reminiscent of titles that will make your skin crawl. It’s already warped and twisted, so don't hesitate to abuse it. This face can take it and still deliver its chaotic message.

Nantua is inspired by the Russian Constructivism from the early 1920s. Artists like Aleksandr Rodchenko used typography as forms. Nantua can be used with that very same principal. It's a very geometrical display font with hard edges. Used in big sizes it is very 'in your face'. Used in small sizes it tends to work like a compact background pattern. With very small inner forms, Nantua needs to be used in big sizes to be legible. It's preferably seen on posters or flyers.

Rum Silhouette is developed as a display face within the type family »Rum« Rum Silhouette is a decorative all caps font, with uppercase letters based on Rum Soft Sans Black and a thin companion has replaced lowercase letters. It is suitable for posters and editorial design in large sizes. Includes two sets of numbers & punctuation marks that are in betweens. The complete family consists of Sans Serif & Serif in both sharp and soft version + the display fonts Rum Plakat & Rum Silhouette.

Arapix is a 12 pixel high multilingual Latin-Arabic pixel font with incredible capabilities. The Arapix is an almost traditional Naskh. It is elegant and easy to read even in very small sizes. It includes almost every feature you would expect from a high range Naskh font. Its humanistic look and feel fit perfectly to its Latin counterpart. Arapix was originally designed for a web project that didn't see the light a few years back. It started with the idea of fitting both Latin and Arabic into a 12 pixel vertical grid. The latin glyphs fit properly within the vertical limits, but when it came to the arabic glyphs, it proved to be more challenging. Arabic letters with lower diacritic dots like the (Yeh-fina) or letters with accents above like the (Alef-Hamza-above) need much more space than any Latin letter. Add to this the fact that accents needs to be positioned above and below the glyphs. It is technically impossible to fit a (Yeh-fina-kasratan) or a (Alef-Hamza-above-shadda-damma) into 12 pixels. Initially the accents were dropped and not included in the design. Although it seemed impossible at the start, Sylvain found a solution in the end, including as many contextual alternates and contextual kerning as needed to avoid every collision between letters and diacritics, letters and accents, and diacritics and accents. The contextual kerning was added to achieve an even letter and word spacing in longer text. Arapix is amazingly legible in small size on screen and in print. On the other hand, it also works perfectly as display titling font due to its unique and contemporary pixel approach. It can be used for screens with very low resolution as well as for high resolution screens and prints. The new Arapix comes with various new features and new glyphs including Persian and Urdu letters, stylistic set, old style figures, contextual kerning, contextual alternates and a few icons too. Enjoy the new Arapix and have fun with it.

The extra bold version of R. Hunter Middleton's "Karnak" (produced in 1936 for Ludlow) served as the model for Bookkeeping JNL and is a companion to Bookkeeper JNL (the light weight version of this type design). Middleton based his "Karnak" family of typefaces on the geometric slab-serif "Memphis", which was designed in 1929 by Dr. Rudolf Wolf and released originally by the Stempel Type Foundry of Germany. According to Wikipedia, "Karnak" "was named after the Karnak Temple Complex in Egypt, in reference to the fact that early slab serifs were often called 'Egyptians' as an exoticism by nineteenth-century type founders." Bookkeeping JNL is available in both regular and oblique versions.

Titling Stencil JNL is an extra bold stencil treatment of R. Hunter Middleton’s ‘Karnak’ (produced in 1936 for Ludlow) and is a companion font to both Bookkeeping JNL and Bookkeeper JNL (a lightweight version of the type design). Middleton based his ‘Karnak’ family of typefaces on the geometric slab-serif ‘Memphis’, which was designed in 1929 by Dr. Rudolf Wolf and released originally by the Stempel Type Foundry of Germany. According to Wikipedia, ‘Karnak’ was named after the Karnak Temple Complex in Egypt, in reference to the fact that early slab serifs were often called “Egyptians” as an exoticism by nineteenth-century type founders.” Titling Stencil JNL is available in both regular and oblique versions.

Graphic designers, meet Angelik: a stylish typeface that you can really put through its paces. This unique font can bring one of its multiple personalities to a wide variety of design challenges. It’s a louder and prouder version of a typical assertive editorial-style bold serif headline font. But it can also really shine as a great choice for logos and branding, spanning a variety of vibes and styles. Works superbly in a high-fashion context, as well as in lowbrow surf-skate-ski-snowboard gear branding, or perhaps as an understated – yet exotic – vacation travel poster font. With its finely-tuned contouring, extensive kerning, and a multilingual character set, Angelik will not let you down.

Trinos is a strong character font that combines racing style and techno with a slightly expanded letterform and sharp edges. The sharp spur on the top of letterforms, bold weight, and fully geometric represent strength, honor, and brave. Speed up your pulse with Trinos font available in Stencil and Solid style. This all-caps font is perfect for sports, great for automotive, and looks cool for techno themes. You can apply this font for jerseys, decals, flags, logos, posters, magazines, packaging, and many more! Not only that. Trinos is equipped with much of alternates characters, and elegant ligatures to boost your design look more powerful! What you'll get : Uppercase & smallcaps Numbers & punctuation Multilingual support Stylistic alternates Ligatures Sincerely, Ramz

Experience the amazing feeling with Lastlap that will make your work a lot easier than before. It is a display font designed in a racing theme. In accordance with its theme, Lastlap expresses a brave feeling with its dramatic bold style suitable to use in titles, logos, and any other designs with large-sized texts. Enjoy other incredible features available on this font. Features: Multilingual Supports PUA Encoded Numerals and Punctuation Lastlap fits best on various design projects such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Get it now. Happy designing

Tuscan wood types cover a fairly wide range of styles, and there is sometimes confusion over what is classified as a Gothic Tuscan and what is considered an Antique Tuscan. HWT American Chromatic and P22 Tuscan Expanded are more precisely faces of the Antique Tuscan variety. Gothic Tuscans are generally absent of the heavy serifs typically associated with their Antique Tuscan brethren (although decorative bifurcation of terminals can imply serifs). Additional internal decoration with spikes along the stems gives some Tuscans their distinctive look, these faces are often described as “Circus Types.” Tuscan Extended is an extremely wide design, with a distinctive slab crossbar running through the center of most characters. Each letter is a complex system in its own right. This typeface is best used very large in short headline work. The style defies falling clearly into either the Antique Tuscan or Gothic Tuscan category. The new HWT version of Tuscan Extended has been meticulously redrawn by Frank Grießhammer. During production, he also incorporated a number of new letterforms, bringing the font to over 300 characters (including a full ASCII character set and Central European accented characters).

This is Ekamai, named after the district of Bangkok I lived in. It is based on Quinella, and was supposed to be a quick and easy reworking of that font into a "tight-not-touching" (rather than overlapping) version. As is often the case with quick and easy things, it turned out to be neither, and the vast majority of glyphs needed to be completely overhauled to fit the new system. This face is deliciously plump face, with lovingly rendered curves and just the right amount of cuteness; perfect for food packaging (of the sweeter variety probably!), logos, magazine headlines and the like. It performs admirably in all caps settings. The numerals are expressive hybrid figures (somewhere between lining and oldstyle). The overall feel is friendly and soft, without being overtly saccharine. Ekamai is equipped with subtle contextual alternates (which I'd recommend leaving on) to help with the tight fit, a handful of discretionary ligatures if that's your thing, and a case feature for all caps settings. The stylistic alternates and stylistic set 1 features simply change the # glyph to an attractive numero. Automatic fractions are included along with wide-ranging language support.

It’s like hiring your own professional sign painter with a solid repertoire of styles; each one is distinctive, yet clearly by the same hand. No variants were created on the computer – each weight and version was individually hand-lettered. Ed’s Market lets you evoke the warm, inviting vibe of classic 20th-century grocery posters and showcard lettering right from your type menu. Smart programming ensures that digital perfection doesn't trump human charm: each display face features three variations of each letter, to ensure a natural hand-painted look when characters repeat. Ed’s Market includes three script styles, each with more than 100 alternate characters and swash forms. Seven display faces feature three variations of each letter, to ensure a natural hand-painted look when characters repeat. Design Elements offer expandable arrows, rules and ribbons; along with badges, swashes, scribbles, clouds and snipes. See what’s included! http://bit.ly/1Mzurs3 *NOTE* Basic versions DO NOT include swashes, alternates or ornaments These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

Deck is a font inspired by old decks of playing cards and even some old tarot decks. Deck is an all caps font; the lower case letters and the punctuation are actually different playing card and tarot symbols like: hearts, diamonds, spaces, clubs. This font is great for designing your own deck of cards.

Hello Sunflower! Enjoy this new vintage-style typewriter font, inspired by an old portable typewriter. Combining Chank's grunge and retro font styles, it has a classic rustic beauty, like sunflowers growing alongside an old farmhouse. Enjoy a new, multi-purpose display font for all your labeling and headline needs. Looks great on the web, too!

Fox was originally designed by W. Rebhuhn for the former German Genzsch & Heyse foundry. In reminiscence of the good old times, Ralph M. Unger redrew and digitally remastered this font in 2007. His work is based on artwork taken from old font catalogues. Fox is a very lively script, quite typical for the 50s