S.A.M (Super Active Matrix) combines the big, bright and bold with the microscopic and mathematically precise. Inspired by old science fiction films and new technologies, S.A.M merges the rigid constraints of display mechanics with the free-flowing curves of neon signs. This font is great for a classic sci-fi look – perfect for headlines/logotype. S.A.M also works for blocks of text, unlike some other display fonts. The matrix exists to bring order to an idea – it tames the free-flowing curves of neon signage into a repeatable structure while maintaining a retro aesthetic. Each character, glyph or symbol is drawn on a bitmap grid, merged with a dot matrix to round off the edges.

Brouwerij means Brewery in Dutch. I just liked the name and it seemed to fit the font quite well. As for me, believe it or not, I’m not a beer drinker! I can’t understand why people go nuts when the word beer is mentioned. Like it is something special (after all, it is the third most consumed beverage after water and tea). Like you are not a man when you don’t drink beer! Brouwerij is a pleasant all caps font that comes with interesting swashes for the upper class letters. You can (obviously) use it to promote your home made brew, but any other drink can use a bit of Brouwerij as well.

A modern humanist sans serif made for the screen. Broad open letter forms are combined with precise geometry to create a functional and legible font that’s ideally suited to the web and on-screen applications. To reinforce readability and create more distinction at small point sizes serif like details have been drawn into uppercase ‘I’, ‘J’ and lowercase ‘i’ and ‘j’. Other characters of distinction include a serifed number 1 and a crossed out zero. Nauman is a highly legible font family aimed at large interface based projects. Details include over 800 characters with alternative lowercase a, e, I and M. 7 variations of numerals, true small caps with accents, manually edited kerning and Opentype features.

Actually there is nothing furious about this font. There are no sharp edges and absolutely nothing harmful at all. The name plays tricks on you, because it's a cool laid back font with ounces of possibilities. I'd say you can use the Fake Fury font for posters, flyers, comics, invitations, commercials, toys, candy, clothing, packaging ... ahhh, the list goes on and on! Each letter was carefully handdrawn and soften a bit with rounded edges. And each letter has a total of 6 different versions: upper- and lowercase, and then 4 alternate versions. And the magic happens AS you type, because the font is programmed to automatically cycle through all the different letter variations!

Donald DBXL Beekman lives on a ship in Amsterdam’s waters (well, the Amstel river, actually). Living on the water inspired him to design this ‘cruise ship’ typeface VLNL Decks. Available in several variations, it’s a fabulous cocktail of freshly caught fish typography. Decks is recommended for seafood restaurants, speed boats as well as slick city boys wearing overly expensive sunglasses or Ibiza sunset parties. Decks is the tiger prawn amidst sea foods. VLNL Decks has a distinct modern techno look but the rounded corners give it a warm and human feel. It is available in 3 monolinear weights (Light, Medium, Bold) and 3 weights with contrast between horizontals and verticals (Different Light, Different Medium, Different Bold).

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!

Humanist on one hand, geometric wannabe on the other Born from the need of having a custom font for our own branding, Redonda became too big to keep just for us. Like that, came to light Plau's 10th retail font, the first one designed by Carlos Mignot. The font's personality is a result of a search for extreme impact. Having started out as a exclusively Black geometric face, it became a full, versatile humanist sans. While it maintains the impact that inspired it, it also offers performance for both UI and body copy. This balance reflects the font's creative process: at first it referenced historic examples, but we also made sure it worked as a contemporary face.

'Prosto' in the name of the font is translated into Russian as “Simply”. Prosto Sans Condensed is the condensed version of the Prosto Sans font family. We created the simplest font possible, and it will fit perfectly into any design. Each line of this typeface is emotionally neutral and aims to not emphasize the text in its graphic representation, but only to use the text to convey the meaning. Having Prosto Sans and Prosto Sans Condensed in your collection is like having a universal tool that helps you every day when you need to 'mend' or 'repair' something. Due to condensed proportions, any text array fits a smaller text field than usual.

A font where "each word that's set approaches becoming its own logo" is how some have described this unique typeface. Originally inspired by an enamel sign he picked up at a Paris flea market, Michael Doret says that the seven letters contained in the sign were enough to suggest to him that here were letterforms put together in a way that he had never seen in a contemporary digital font. Always eager to create something a little out of the ordinary, he took up the challenge to flesh out the forms into a complete font. Orion can be defined as a geometric, connecting script that is at once contemporary, yet classic and timeless.

Apricosa – A beautiful bold serif with vintage swashes, alternate letters and ligatures. Apricosa is a delightful, modern take on a vintage font. Packed with plenty of alternates and ligatures to really bring it to life! Create stunning designs that are truly unique to your brand. Vary between a light and heavy vintage look based on how many letters you alter. Due to its large selection of alternate letters and ligatures, Apricosa is very versatile, covering a wide range of project types, from unique branding, to bold magazine design, to vintage wedding invitations, and so much more. FEATURES Uppercase alphabet Lowercase alphabet 41 alternate glyphs 36 ligatures big range of numbers, symbols & punctuation comprehensive language support

Vegas Nova is a unique & modern Sans-Serif typeface specially designed for headlines, big text, branding, logotypes & display usage. The typeface could be perfect choice for logo / logotype design, branding, marketing graphics, banners, posters, signage, corporate identities as well as for editorial design that can bring freshness and professionalism. Please see the examples shown above to get an idea about the capability of this typeface. Handcrafted and designed with powerful OpenType features in mind, each weight includes extended language support including Western European & Central European sets. Vegas Nova comes with 5 weights (Thin, Light, Regular, Bold and Black) and Italic versions of each weights. CREDITS: Font designed by Jean & Lis at Fontastica, distributed by Designova.

The ITC Blair™ typeface is a revival and reimaging of an early 20th century metal typeface of the same name. Even though only available as single weights of extended and condensed proportions, metal fonts of the face were sold well into the 1950s. In 1997, Jim Spiece resurrected the original extended design for digital imaging and, in the process, added two new weights. Almost 20 years later, he collaborated with Monotype type designers to extend the basic family again. The result was a new suite of three condensed designs and italic complements for all the roman weights. The family also benefits from a large set of alternative glyphs and many OpenType® features.

A bit of happenstance and accident are always full of possibility — Richard Lipton’s Dunhill Script is based on observations of the work of his left-handed calligraphy students and then from a small detail generated by his own freehand sketching. Like his other script typefaces, Dunhill was born from the desire to achieve a certain visual drama. Many details show the pen at work, like the terminal shapes and the caps and ascenders. Dunhill also has a range of alternate stylistic glyphs and contextual features that can transform it into a connected script. It’s a great choice for editorial display or advertising and branding settings on its own or paired with a Roman sans or serif.

The 1930s era French textbook on lettering "100 Alphabets Publicitaires déssinés par M. Moullet" featured a hand lettered chamfered alphabet with slab serifs reminiscent of sports lettering. Although intended for advertising and signage inspiration, only a partial lower case was illustrated along with the capitals and no numbers or other characters existed. These had to be created from scratch. The finished result is not only a bit of classic lettering from the past, but the font also doubles as a typeface with a sports look and feel. A traditional (rather than stylized) M and N are located on the solid bar key and the broken bar key respectively. Old Sport JNL is available in both regular and oblique versions.

Electric Eden is a strikingly retro font that oozes nostalgia and vintage vibes. This font is reminiscent of the 1970s and 1980s, with its bold and vibrant curves that exude an electric energy. The font's name is derived from the famous rock festival of the 1970s, and its design is a tribute to that era. The letters have a hand-drawn feel, giving it a touch of personality and uniqueness. The Electric Eden font is perfect for designing posters, album covers, and other creative projects that require a bit of edginess and flair. With its vibrant colors and eye-catching design, this font is sure to transport you back in time to the heyday of rock and roll.

SECONDS OUT! ROUND ONE!  The champ comes out swinging, there’s a left hook, a right hook, another left, another left to the chin, a box to the ears, a punch to the stomach, the challenger is reeling, he’s on the ropes, there’s another left to the chin and here’s the knockout, RIGHT IN THE KISSER! The Kisser. The Mouth. You know, what you kiss with? SMAK! It’s a font with a fat lip or one that makes you look like you’re talking’ with a fat lip. Or if you’re more of a lover than a fighter, it’s a big wet kiss from your loved one when the clock strikes midnight on New Year’s Eve. Either way, you win!

»Brute Sans« is a classic Sans typeface that looks like it has been designed by a chainsaw. »Brute Sans« looks really crude only in big sizes, the smaller the font gets the more it looks like any other Sans typeface. »Brute Sans« prints very fast, because there are no curves to compute, but that is just a side effect. »Brute Sans« is the typeface you should use if you need a really different look, since Sans typefaces tend by design to look very similar. This one is different. I always wanted to do this font, but then other projects crept up so I pushed »Brute Sans« to the end of the line. Enjoy!

This is the display version of Librum. Librum means “book” in Latin, which I thought was appropriate. Bream is Latin for proclaim—appropriate for display work. The fonts are very close to Librum-Book and Librum-Italic, with the same OpenType features. The glyphs are modified a bit to make them a little more elegant, but that’s not very noticeable. Mainly, the letterspacing and kerning is tighter and more carefully fit to large point sizes. As for classification, I like oldstyle, Venetian, geralde, English oldstyle. There’s discrete modulation, slanted crossbars, full brackets serifs of medium thickness and sharp cut ends. For a great deal, see Librum Book Design Group, for a package containing all fifteen fonts!

Mind Boggle was made during the renovation of our fixer upper farm house. We had to demolish an old annexe (because it was unsafe) and it caused us some stress, as one wrong movement of the excavator would mean at least a partial collapse of our home… Luckily the driver was a pro and it was mind boggling to see what he could do with a huge machine like that. Mind Boggling? Ah! Check! Mind Boggle is a handmade, all caps, headline font. It is a bit wobbly in places, but it comes with loads of character. The dotty style comes with thousands of hand made dots. They’re not perfect, they’re not even round, but they are unique!

The idea of Transport originates from text found on the large wooden boxes used for transport. Such text is still stencilled on them in the same way as the companies have done for decades, at least. That explains the typeface's name, too. If you find some similarities with Devin, you are right. Transport is nothing other than a special variant of Devin. But since the two are aimed for totally different uses, I decided to use two different names for them. Transport is a mecane and its use is primarily as a headline typeface. But in small quantities it can be used even for body setting, if special effects are desired. Transport was released in 1994.

Wilderness X is a font name that has a very wide wilderness concept. This font has a very large variety of characters, including isolated characters with strong definition and small text. It is also a font which can be used as a random display font. There are also many other options, such as: different stroke thickness and size, change the glyphs and so on A wilder a wilderness, the more rewarding the journey...I love the idea of exploring and staying on the edge, getting dirty and making my path is challenging. Wilderness X is not a bland font but has a bit of badness in it which makes it more interesting and attractive.

For that tight fit, STF Chevron is perfect. An ultra-condensed display font, with a complete character set. The name? It's named after an oil company, but the shapes of the serifs reflect that as well. With some art deco overtones, try Chevron in places that you might want a simple art deco typeface. How should you use it? It's perfect for posters, packaging and advertising, CD covers and publications. Fully hinted and exquisitely kerned, Chevron will be one of your favorite faces for tall copy that need to get noticed. It's really ideal for calendars, when you want big numbers without losing space for writing in the date fields. License it today!

Megabyte is a modern sans serif typeface built with minimal tapering and a geometric foundation in mind. The family contains 10 weights from light to black with matching italics that slant at 9°. Working on Megabyte, we’ve aimed to create a reliable workhorse typeface with the widest possible range of implementation. With its quirky curves and sharp edges Megabyte functions equally well in bulk text and in headings. Designed with an extensive collection of OpenType features and alternative forms, each weight includes extended language support + Cyrillic, ligatures, arrows, symbols and much more. Megabyte is ready to be put to work. Designed by Thomas Gillett, metrics and engineering with the help of Erin McLaughlin (Hindi Rinny).

Gothiks is a powerfull 6-weight display sanserif influenced by Texturas. The rithm and verticality of Texturas can be easily identified on the letters with diagonal strokes like A N M K k V v W w X x Y y Z z: here they are all vertical. This kind of morphology was chosen because it accepts condensation in a very natural way, giving to this compact sanserif a very unique personality. The intermediate weights can be used for short texts while extreme weights are excellent for big sizes. It has an extensive character set — with extensive language support — and many OpenType features like fractions, small capitals and different figure sets. Default figures align with lowercase.

Tafel is Sudtipos’ contemporary take on early- to mid-century geometric fonts; it has the intrinsic qualities of a geometric without following the strict rules they customarily employ. Tafel is notable for its versatility as it works well in both small and display sizes; its sophisticated elegance and refined simplicity make it ideal for corporate identities, street signage, fashion brands, luxury packaging and much more. From Thin to Black, Tafel is comprised of 8 weights, 3 sets of Small Caps with different x-heights (Big Caps, Small Caps and Petite Caps), many alternative glyphs and a complete range of figures including old-style figures with matching italics. The extended character set supports Central, Western and Eastern European languages.

Modérnica is a sans serif type including roman & oblique styles in 9 weights. Originally published in 2014, then in 2020 we released version 2.0, in which we expanded the language coverage and character set, adding a new Fat weight, tabular figures, smart fractions & arrows. We’ve improved the OpenType features adding new Stylistic Sets. Besides this, we have retuned the letters spacing in the whole family. Seeking for the best performance, we added a bit of spacing between letters in the text versions (middle weights from Book to Bold), while as for the display variants (extreme weights from Thin to Fat) we made them gain space in the light versions and loose it in the blacks.

Rebel mind - Sans Serif Condensed Font Family - Multilingual supports Rebel mind is a modern Sans serif condensed font family. With 6 styles and multilingual supports, you can easily use the sans serif font feature in many areas. You can enhance your projects from body text to big headlines, from classic to modern and bold styles, you can develop your projects. If you are looking for a condensed sans serif font, this font many meet your needs. Ideal for posters, newspaper, movie title and magazines, magazine covers, editorials, headlines, websites, logos, branding, advertising and more. You can create your unique designs with this font. If you have a question, please contact me. Have a good time.

A unique design accurately revived by Steve Matteson in 2021. Frederic Goudy designed Companion Old Style for Women’s Home Companion in 1928. In his own words: “I believe the new letter I showed him, both in roman and italic, is one of the most distinctive types I have ever made. It incorporates features which deliberately violate tradition as to stress and curves, but which are so handled that attention is not specifically drawn to the innovations introduced.” Companion Old Style exudes the style of pre-World War 2 Americana. The unique characteristics are wonderful for greeting cards, wedding announcements and holiday invitations. Companion’s nostalgic letterforms are light hearted and quirky yet highly readable.

Intrducing Alfiyah is a calligraphy script font that comes with a very beautiful change, a kind of classic decorative copper script with a modern touch, made with great detail to present a stylish appearance and of course very easy to read. The classic style is equipped with an alternative stylistic which is very suitable to be applied in various formal forms, especially wedding invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting/wedding cards, packaging, labels or all kinds of advertisements. Features Regular Version Uppercase & Lowercase Number & Symbol Ligatures Stylistic Alternates Multilingual and PUA Encoded If there is a problem, question, or anything about my fonts, don't hesitate to ask! Big Thanks ~ Ergibi Studio

Elena Albertoni on Dyna: “While studying in Paris, I worked for a design studio specialized in packaging. French supermarkets are full of lettering with a handwriting flavor, which seems to go very well with a wide range of very different products. With the aim to analyze and summarize the qualities of these letterings in one typeface, I faced choices and limits similar to the ones encountered with handwriting. The letters are sloped at different angles, which gives them rhythm; their open shapes suggest movement and gesture. Letters want to dance!” Dyna Pro’s extended character set provides support for a wide range of European languages that share the Latin and Cyrillic scripts. Cyrillic characters designed by Elena Novoselova

Clara is a set of alphabets of interconnected serif and sans serif fonts. The connection is not only in the intensity of the strokes, i.e. in the identical brightness of the typesetting, but also in the drawing principles of both alphabets. The typeface aims to offer a sense of calmness for a reader even in smaller scales of the typesetting. In large scales it builds on the purity of the image without additional decorations. The Clara system includes maximum equipment of a Latin font from Thin to Black in all versions of marking fonts, italics, capital letters and four kinds of numbers. The typeface allows typesetting of the vast majority of cultural languages of the world.

LTC Kaatskill was made specifically for use in an edition of Rip Van Winkle for the Limited Editions Club. "I feel that Kaatskill owes nothing in its design to any existing face, and the type therefore is as truly an American type as anything so hidebound by tradition as type can be."- F. Goudy This face was one of the first digital typefaces released by the Lanston Type Co. Ltd. Jim Rimmer took painstaking measures in his faithful revival. Goudy had never designed a specific Italic to accompany this face. The Italic completed by Rimmer is a variation on Deepdene Italic. The font set was re-mastered in 2006 by Colin Kahn.

Boltz is a simple & cute sans-serif typeface perfect for headlines, big text, branding, logotypes & display usage. It can be excellent choice for creating outstanding logos, promotional content and marketing graphics that can bring uniqueness and freshness. Boltz comes with a highly creative handmade collection of Stylistic Alternatives for 14 uppercase letters which makes it easy to create unique monograms, logo and identities with these combinations. Please see the examples shown above to get an idea about the capability of this typeface. The typeface comes with Extended Latin character sets including Western European, Central European and South Eastern European character sets. Boltz comes with single weight but 6 variants (Regular, Italic, Outline, Outline Italic, 3D and 3D Italic).

Annonce is a digitization and expansion of a 1912 Johannes Wagner Foundry classic called Aurora Grotesk, which also circulated later on in metal under the name Annonce. Bold, extended and clear as a bell, Annonce stood out as the definite big sign font long before the Helveticas of the world. With angled cuts on some of the letters, it also shows humanistic traits that make it more appealing than any other face in its genre. The Annonce set comes in two fonts, a regular and an italic, and includes a very large character set that accommodates almost all Latin-based languages, including Turkish, Baltic, Celtic, Maltese, Esperanto, and the languages of Central and Eastern Europe.

HS Gold is based on some modern lines of Naskh calligraphy which supports Arabic, Persian and Latin with a Sans Serif with subtle round on stems and corners. The typeface has been optimized for corporate identity work, editorial design and modern projects when a contemporary and simple look with a similarity between Arabic and Latin is requested. It features swash, ligatures and swash ligatures. Its proportions allow high impact on the tightly set lines of big and small text alike. This font consists of two weights (regular and bold) which can constitute a striking addition to the library of Arabic and Latin contemporary fonts models that meet the purposes of various designs for all tastes and projects.

Punto Poly is the layered type system of Punto for cromatic typesetting. Endless effects can be created by 11 stackable layers and different colors. The dots of Punto Poly are not made up of grid-based dots, they are optical corrected and there is always the same distance between the dots, with the aim to create more harmonic letterforms. The dots also vary gradually in size to reflect the thickening and thinning of strokes, giving the letterforms a sophisticated overall look. Punto Poly comes up with 11 layer system and is perfectly suited for logos, posters, brands and magazines. The language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages.

Fantablock is a bold, high impact text. The edges are beveled to create the illusion of 3D raised text. The bevel effect makes it easy to create an embossed or engraved look. Punchy outlines make Fantablock perfect for headlines, or any project you want to be really eye catching. It is intended for larger sizes, but with care can be set small too. To make it extra fun, a handful of the largely useless alternates, (like that dumb “currency” symbol) were replaced with big blocky hearts, stars, arrows, and even a crown. Check it out! Fantablock is extended, containing the full West European diacritics & a full set of ligatures, making it suitable for multilingual environments & publications.

Loew is a geometric sans serif font influenced by the methods of the early industrial designers. Pure mechanical shapes are carefully adjusted to give the characters the right form, function and usability. These subtle human touches combined with the technical detail provide great readability at both large and small point sizes. Loew is a versatile sans serif font with simple and honest geometry aimed at a wide range of modern applications. Details include over 800 characters with alternative lowercase a, e and g. Seven variations of numerals, true small caps with accents, manually edited kerning and Opentype features. For additional non-latin language support in Cyrillic, Greek and Arabic, visit Loew Next and Loew Next Arabic.

MultiType Pixel, an all caps typeface focused in display purposes. 27 styles to be mixed with retro gaming and computing vibes in a fresh way. This is the first release of an upcoming multiverse of mixable fonts. The whole family of typefaces has been designed to work at big sizes and display purposes such as branding, headlines, thumbnails, posters and animations. You can swap between the three additional alternate sets through all the styles to add diversity to your composition, even in Cyrillic. This version features small caps in a independent font file. MultiType Pixel is inspired by bitmap fonts, fonts from video games, arcades and variable fonts. Have fun mixing all the styles in your projects.

The idea of Transport originates from text found on the large wooden boxes used for transport. Such text is still stencilled on them in the same way as the companies have done for decades, at least. That explains the typeface's name, too. If you find some similarities with Devin, you are right. Transport is nothing other than a special variant of Devin. But since the two are aimed for totally different uses, I decided to use two different names for them. Transport is a mecane and its use is primarily as a headline typeface. But in small quantities it can be used even for body setting, if special effects are desired. Transport was released in 1994.