Film-P2 is an Ultra Condensed sans serif display typeface designed by Bartosz Panek. It is the follower of the geometric 'Film Poster' (https://www.myfonts.com/fonts/fontsphere/film-poster/) which was inspired by futuristic movie posters. In Film-P2, the letter design is more neutral, the font is more versatile, but no less expressive, which was one of the assumptions of the project. This allows many different application possibilities. In titles, headings, longer text compositions, bold and custom juxtapositions, and in many different formats. The differences in the width of the letters in the narrow, regular, wide versions are not significant, they are fairly balanced, but they give a lot of variation depending on the method of application and design characteristics, e.g. text size, background type, etc. The entire Film-P2 family offers many creative possibilities in graphic design, branding, printing and website design. Each font include multilingual support, numerals and a large range of special characters.

Matchstick is a hand drawn brush script. Matchstick is packed with loads of ligatures and alternates that help simulate a swift look of a handwriting. This feature is set in Standard Ligatures and it is normally automatically on. Matchstick is a great display brush to be used in writing headlines, packaging, posters or as a logotype. Matchstick works great when paired with strong sans serifs.

Heritage Set is a display font. It was designed specifically for display, headline, logotype, branding, and similar applications. Heritage Set has been designed to equipped with three different widths; Narrow, Normal and Wide, addition to expanding weights to support various usabilities ranging from ExtraLight, Light, Regular, Bold and ExtraBold. Which makes with a Tabular Lining features support the creativities of the designer from the Font Menu.

Airy is in fact a very light-minded summer font without any serious design concept. It is a collection of hand-drawn letters that with the help of OpenType features allow you to get a lace texture with mutable structure. Together with the font you also get a bonus — a set of naive pictures that you normally draw on the margins of your sketchbook.

LineDrive was inspired by an obscure 19th century type design. It has no curved lines and what are normally circular elements in the lower-case letters are diamond-shaped. It might work best with only upper-case letters, which have a Victorian feel to them. In addition to the two weights of plain and bold, the family includes a shadowed version and an inline (or outlined) version.

NorB Croquis is a handwritten text font witch can be used with any word processing program for text and display use, print and web projects, apps and ePub, comic books, graphic identities, branding, editorial, advertising, scrapbooking, cards and invitations and any casual lettering purpose… or even just for fun! It comes with 12 weights: Normal, Medium, Bold and Cut Tip along with their Italic and Oblique versions.

Typography created in Montevideo, Uruguay. The project's development typography Economica covered much of 2007 and received assistance of colleagues from all over Latin America. Economica has four basic versions: normal, bold, italic and bold italic. It was inspired by saving space for publishing texts without loss of height. Includes a comprehensive set of characters that lets you deal with diverse languages in its four variants.

Gopher is a reverse contrast, geometric sans serif typeface in 3 optical sizes ranging — Text, Normal, and Display. With the most subtle contrast,Text works best in smaller type settings while Display is the most dramatic as the contrast has been pushed more to the extreme for an immediate visual impact. Gopher works great in a variety of settings for branding, advertising, posters, magazines, packaging, and more.

Fenton Font family comes with 6 weights. The design was inspired by (convex) camber. It has a higher lowercase structure than the normal ones. It has a modern, rounded and squared character. Each weight contains 364 glyph. It is a type family which you can use in brand and model names of technological devices, newspaper and magazine ads, jerseys, logos, posters, apps, banners and promo images.

The Gravity family is a unique series of heavy square slab serifs intended mainly for display usage. Gravity Normal exhibits impact with legibility. Gravity Nova is fine-tuned to showcase brawn and beauty. Gravity Supernova, the most audacious of the family, commands attention with its extremely dense, mechanical design. Each weight includes diacritics for Western and Central European languages and is tightly spaced for maximum impact.

Commuters Sans is a daily type. Classic but Modern. Very simple geometry and wide type with warm clearness. Useful for both body-text and titling by their minimal glyph shapes and slightly wide and eye-catching proportion. Consists of eight weights and their matching italics. Supporting almost all latin languages. All-caps text for one line or a few is as wonderful as normal mixed-case typesetting.

Gaude is a sans-serif typeface. Crafted with care, maximizing neatness in shape. With thickness balancing with negative space. Making it fitting when strung together into words, or sentences. Added with alternative glyphs, to make it more alive. Gaude comes with 3 widths, namely: normal, wide, and expanded. And also a soft version, making it 6 styles. Gaude is perfect for branding, titling, headline, and more.

Acarajé is a grotesque font that stands out thanks to its versatility. Its personality blossoms through its particular modulation, which grows with weights; making it a rather jovial typeface that does not abandon the characteristics of more classic grotesques. With two styles available: normal and italic, and a variety of 7 weights that range from "Black" to "Regular", this font offers incredible flexibility for your designs.

A 1920 Dutch poster for Public Placement Services by Johan Dijsktra provided the inspiration for this crisp geometric typeface. Instead of the normal underscore (_), this font features a set of parallel lines flush to the tops of the caps and small caps, which offers some intriguing design possibilities. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

Vast is a variable sans serif with a range of styles from thin to black and from normal to extra wide. This versatile font family of both of a serious and friendly nature can be used for various purposes, such as text, logos, headings, and branding. Vast was designed by Manvel Shmavonyan with the assistance of Alexander Lubovenko and released by Paratype in 2021.

Named for Algonquin Round Table wit Heywood Broun, Heywood is bold, but playful. The simplicity of the letters combined with the shifting baseline make this the least formal and most fun of The Algonquin Collection of fonts.

The ballpoint pen woman’s handwriting As the name suggests — the Iris’ Hand is a woman’s personal handwriting, written with a ballpoint pen. Iris’ Hand is an amazing font — almost indistinguishable from “real” handwriting. Thanks to the over 200 different ligatures and stylistic alternates the typeface is extremely lively and varied. The ballpoint pen has its own characteristics, which are clearly expressed in this font. The stroke is not always uniformly thick. Sometimes only a delicate, thin line is created. Often it breaks off suddenly and leaves a gap. In addition to the normal version, there is also a light and a bold version. Handwriting is sometimes written more or less slanted. So does Iris’ Hand. The normal version is only slightly slanted. But there is also an oblique version that is significantly more inclined by 20°, which makes the script appear more regular and somehow feminine. The Iris’ Hand is also available as a variable font!

The award-winning Scala family (1990-1993) is a worldwide bestseller and has established itself as a ‘classic’ among digital fonts. It was one of the first serious digital text fonts to support small caps, ligatures and different set of numbers. In fact Scala and Scala Sans (1990-1993) are two different typefaces sharing a common form principle: the skeletons of both Scala and Scala Sans are identical. Scala’s dark colour and low contrast works to prevent the thin parts from breaking up. The generous length of Scala italic’s serifs gives it a strong rhythm. The bold weight has the same character widths as the normal weight, so changing a text from normal into bold does not affect the set width. Another part of Scala is very popular among its users: Scala Hands, containing more than one hundred decorative hands and pointers, is a free bonus. Scala Jewels is a set of four highly decorative typefaces, based on the bold capitals of Scala.

Sukothai is a traditional Thai design based on early metal type. The classic and distinct forms make it excellent for setting text at small sizes or in large passages. Originally released by Linotype for digital photocomposition, now both the Light and Bold weights are available in OpenType format. This makes it possible to dynamically and precisely position the various levels of superscript and subscript vowel signs and tonal marks. In addition to this, the complete Unicode page range for Thai is covered to ensure flawless conversion between other OpenType fonts using Unicode. The accompanying Latin design matches well in scale and texture and supports most Western European languages making it ideal for setting bilingual texts.

SQUADRA is a serif typeface with more than 220 characters, framing a perfect union between typefaces of his style and unconventional shots from the calligraphic pen; Its strong and imposing appearance, the pronounced contrast between his strokes and changes in traditional aesthetics provide you with elegance and distinction to differentiate over other types of the same class. Easy modifiable and great graphic content to small and large format SQUADRA is able of generating a clear and direct message, suit almost any topic and perfect for use in posters, logos and editorial headlines. Infinitely versatile typeface that evokes both the beauty and finesse of the plants as power its thorns and its deadly poison.

Xylo is a rugged, no-nonsense typeface that was originally designed in 1924 by the Benjamin Krebs type foundry in Frankfurt am Main, Germany. Even back then, Xylo must have been very popular; the design made it at least as far as England. In 1995, after finding its design in an old London printer's reference book, the Letraset Type Studio faithfully converted Xylo into digital format. A time-proven display face, Xylo will convey a feeling of power and strength in any application. Best used big in headlines or logos; Xylo exudes an expressionistic and art deco spirit that just as much at home today as it was during the roaring 20s!

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond" types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. Linotype has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. ITC Garamond? was designed in 1977 by Tony Stan. Loosely based on the forms of the original sixteenth-century Garamond, this version has a taller x-height and tighter letterspacing. These modern characteristics make it very suitable for advertising or packaging, and it also works well for manuals and handbooks. Legible and versatile, ITC Garamond? has eight regular weights from light to ultra, plus eight condensed weights. Ed Benguiat designed the four stylish handtooled weights in 1992." In 1993 Ed Benguiat has designed Handtooled versions.

Artartika contains two Regulars – one Slab and one Sans Serif. Condensed width, geometric shaped, with distinctive stem contrast, Artartika recommends itself for titles, product names, branding, but it's also fully applicable for longer text and paragraph use. Contains Extended Latin character set with Cyrillic support.

JustTall is an ultra condensed typeface with open type features, 400+ characters with 80+ languages support made for tight spaces. Useful for - Logos for companies with really long names Different texts with very little space available Very tall design types Give feedback: https://bit.ly/3FlmhDS

Hand lettered titling on the 1945 sheet music for “Don’t Forget To-Night, To-Morrow” is in a simple, condensed sans serif style with a slight hint of Art Deco influence. This is now available as Handmade Headline JNL, in both regular and oblique versions.

Semi-condensed sans-serif with expressive curves on the outside and closed on the inside, with diagonal stems to convey modernity and a unique personality. Perfect for titles and headers in graphic and editorial design projects, as well as standing out in digital applications.

Gluten is an experimental font family designed by Carlos Fabian Camargo. It includes irregular shadows to communicate craftsmanship. Its multiple upper cases with condensed width and naive lines are notable for their expressive drawing with a high amount of contrast between thick and thin strokes.

The 1960 revised edition of Sam Welo’s “Studio Handbook – Letter and Design for Artists and Advertisers” showcased a beautiful, semi-condensed Art Deco alphabet called “Modern Gothic”. It has been digitally redrawn and is available as Restauranteur JNL in both regular and oblique versions.

The Sans serif companion to Astoria. Based heavily on Gill especially in the mid weights and with a consistant series of condensed weights. Designed specifically as a text face it still works very well as a headline font. There are 6 weights with accompanying Italics.

From the vintage record cover, "Music from MR. LUCKY", composed and conducted by Henry Mancini, comes this offbeat and full of life condensed serif typeface. A uniform stroke structure and a light baseline bounce give this typeface a festive yet serious duality of a personality.

A condensed type design with Art Deco influences was used for titles within the February, 1938 issue of Modern Screen Magazine. The digital version is named for the famous “Tinsel Town” street intersection. Hollywood and Vine JNL is available in both regular and oblique versions.

Amongst a number of items for sale in an online auction was a font of metal type featuring a thin, condensed serif font with decidedly Art Deco styling. This was the inspiration for Department Store JNL, which is available in both regular and oblique versions.

Clarendon is the name of a slab-serif typeface that was released in 1845 by Thorowgood and Co. (or Thorowgood and Besley) of London, a letter foundry often known as the Fann Street Foundry. This current design is a somewhat condensed version of the font.

LeftheriaPRO has its structure projected from the capitals of the Greek columns of Ionian order, it is a typography condensed with vertical emphasis composed by 5 weights (light, regular, medium, semibold, bold) including ligatures, alternates, smal caps, old styles figures, fractions, superiors, inferiors. | Download Specimen

Based on turn-of-the-century advertising type. A condensed, fat-faced display font with a touch of the medieval. The influence of art nouveau is also present in the high-waisted caps and flowing lines, putting the face into the early 20th century.

Burnish Font family comes in 2 distinctive wide and condensed forms. Burnish is a contemporary typeface family with strong stylistic geometric contrasts representing the shifting contemporary aesthetics. Its distinctive stance and wide-open counters allow the right visual consistency for branding and communications projects.

Zesty Lime is a condensed typeface, hand made with a small brush and China ink. Zesty would look good on book covers, posters and packaging - but I guess you're not limited to those three options. Just enjoy! Comes with a generous squeeze of diacritics.

Lino Stamp is a geometrical, sans-serif typeface inspired by Futura Bold Condensed. To produce it, letters were carved into linoleum, inked and impressed on paper – giving a worn and distressed finish. Lino Stamp works particularly well for headings, short paragraphs and scrapbook-style designs.

Another bit of font inspiration came to the attention of Jeff Levine through his friend Gene Gable. An image of vintage packaging for Aquapruf Ear Drum Protectors (swimmer's ear plugs) offered the narrow and condensed lettering that is the basis for Slim Chance JNL.

When you've got something big to say, but space is tight, the only way is up! Terje, an ultra condensed display font by Further Type, is here to help you create eye-catching, playful headlines, and logotypes that stand head and shoulders above the rest.