A 1930s-era poster to "See America - Welcome to Montana" was issued by the United States Travel Bureau; one of the WPA (Works Progress Administrations) projects promoting travel and tourism within the country. The hexagon-inspired angular lettering on the poster provided the inspiration for Infrastructure JNL.

Toronto Gothic was developed from a headline in a 1920s issue of the Toronto Star. In a previous life, it was probably Condensed Titling Gothic #11, but in this form its rounded corners and irregular lines are meant to make it look worn from years of use.

Sign Artist JNL is a casual typeface, emulating the hand-lettered look of show card and sign lettering. Created by Jeff Levine from lettering seen on some 1940's packaging, the slightly irregular letter stroke widths and shapes more closely resemble printing made with brush or ink.

Valis is a thin, futurist, lightweight font, a sister font to my other design Ebdus. Valis has more of a 3D Angular feel. This font is an omnicase font, with capitals, capital-lowercase and lower case letters available. Lowercase letters are accessible through your Glyphs palette.

We present to you STIFF - a simple, characteristic typeface in a nice, retro style which is angular, geometric and extra narrow. Stiff makes the text look distinctive and unique so it's perfect for titles, subtitles, logotypes or short parts of text which need to be exposed.

Cult is the work of designer Timothy Donaldson and its forms alone evoke a sense of mystery. The wide capitals with their unusual forms complement perfectly a condensed, angular lower case alphabet. The unique Cult is especially suited to work dealing with anything mystical or New Age.

Disgrunged is a distressed grunge font, as you might guess, and industrial sans-serif in feel. The Disgrunged-1234 family has ink blotches and spills, along with misprinted letters, and the typeface has four versions (1, 2, 3, 4) giving increasing amounts of chaos, jumbledness and irregularities.

A handsome font, perhaps a little classical. Regularly-connected script, so it’s legible but also memorable font. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

Simple, angular and incised, Jude mixes the geometric precision of the computer with expressive and intuitive letterforms. The typeface avoids classical references in construction and proportions to produce a bold, modern serif typeface for text and display. The italic is a sharp edged version of calligraphic letterforms.

Abstract Style is a abstract display font. This font has abstract and irregular shapes, sharp corners and messy shapes that characterize it. Abstract Style would be perfect for Logo, title, logotype, cover, headline, apparel, comic, cover books, cards, posters, or anything that requires a abstract creativity!

Pelican was designed by Arthur Baker and released by Agfa Compugraphic in 1989. Pelican is a calligraphic typeface that is distinguished by the irregular shapes of the lowercase letters. The rough-edged quality of Pelican makes it a good choice for informal display work and short texts.

Super Puff MX is a Y2K inspired variable display typeface that takes from early 2000's futurism, pop, and cartoon aesthetics. Due to its heavy weight and alternates it offers, it's perfect for a variety of logos, 3D, and motion graphics. SPMX was designed specifically for those use cases, and its wide range of styles and alternates gives you lots of freedom for creating unique graphics that still capture the same fun, futuristic, and playful early 2000's aesthetic. Features & What's Included: Variable font file that allows you to choose any slant degree from Regular to Full Tilt. OTF font files in 4 styles or slants, from Regular to Full Tilt. This is included because many young, talented designers around the world don't have access to programs that can take advantage of a variable font. I want them to have the option of using properly slanted and kerned oblique instances of Super Puff. Robust OpenType features including a vast pool of alternates and stylistic sets giving you lots of choices when choosing letters, numbers, and punctuation. Two stylistic sets for letters and numbers One stylistic set for punctuation and symbols One stylistic set that replaces punctuation with Y2K style icons Extensive Latin language support covering almost all of Europe and South America. All multilingual glyphs have access to alternates as well. Super Puff MX was designed and developed by Abe Zeinali/Xuveki.

Polar is a sans-serif grotesk with characteristic ink traps and rounded vertexes. Polar is a variable font. It is versatile, modern, elegant and neutral. It can be displayed in a range from 200 to 900 in its weight axe to play many different roles. The font has 5 predefined instances, Thin Display, Light, Regular, Bold and Heavy Display, in two styles, regular & italic, with 716 glyphs each of them. Polar has 25 OpenType features such as ligatures, fractions, stylistic alternates, localized forms, old-style figures, etc. It can be suitable for long texts. It also works great as a perfect display font for all caps headings, especially with its thin and heavy weight variants. Polar covers Latin, Central European characters & supports 101 languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Igbo, Inari, Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Koyraboro Senni, Koyra Chiini, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, Northern Sami, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Tasawaq, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Vietnamese, Volapük, Vunjo, Walser, Welsh, Western Frisian, Yoruba, Zarma, Zulu.

The three typefaces that make up the Balance font set are legible, funky and stylish. Every character has been spaced and designed on a uniform geometric grid to insure true typographic "balance." There are only two shapes that make up every character: a parallelogram and a quarter circle. This design renders Balance a distinct family of fonts which are appropriate for all documents. Balance Regular is legible, funky and stylish. Every character has been spaced and designed on a uniform geometric grid to insure true typographic "balance." There are only two shapes that make up every character: a parallelogram and a quarter circle. This design renders Balance Regular a distinct font that is appropriate for all documents. Balance Light is legible, funky and stylish. Every character has been spaced and designed on a uniform geometric grid to insure true typographic "balance." There are only two shapes that make up every character: a parallelogram and a quarter circle. This design renders Balance Light a distinct font that is appropriate for all documents. Balance Unicase is legible, funky and stylish. Every character has been spaced and designed on a uniform geometric grid to insure true typographic "balance." Each letter, in this unicase version of Balance uses a single character height. There are only two shapes that make up every character: a parallelogram and a quarter circle. This design renders Balance Unicase a distinct font that is appropriate for all documents.

Introducing "AZN Knuckles Varsity" font by AthayaDZN. Revolutionizing a varsity slab serif, combining sharp and rounded edges, angled serif, and a variety of weights, fitting it into the modern scene. Equipped with 3 styles ( Defined, Regular, Stencil ) Use the Defined version if you are aiming for that slab serif look, just like the name suggested, it defines the modernized slab serif on each letter, giving it that retro look yet still in the modern scene. Especially on the light weight of this version, the slab serif is really prominent. Use the Regular Version if you are aiming for any type of design that you see this font fits especially the modern scene, just like how it's advertised. Use the Stencil version if you are aiming to make a statement, my favorite one is the Bold and Italic version of the Stencil if I was to make a statement, just like the preview where it says "Anarchy", the separated shapes of the letter combined with it's bold and slanted shape is perfect to make a strong statement. Language Support : Afrikaans, Albanian, Danish, Dutch, English, Estonian, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Luxembourgish, Norwegian, Portuguese, Romansh, Scottish Gaelic, Spanish, Swedish, Swiss German, Uzbek (Latin). And that's it for this font, thank you for purchasing the product, I wish you success on your projects. Please enjoy the font and let me know if you needed any help or if you have any questions -Athaya twitter.com/Athaya_DZN behance.net/athayadzn

The digital font Technotyp is based on the hot metal typeface created by the German typographer and type designer Herbert Thannhaeuser (1898-1963) for the former East German type foundry Typoart in Dresden. In the typography book ‘Der Schriftsetzer’ (Fachbuchverlag, Leipzig, 1952), by Paul Fritzsche, this absolutely beautiful slab serif design is presented in all its variations. Fritzsche remarked that – because of its rather condensed form and its relatively long ascenders – the 'Werkschrift' of the Technotyp (comparable with our 'Regular') seemed to be very well suited to serve as a text face, and recommended for this purpose that the face be cut for the composing machine. However, this never happened and the entire Technotyp family was made available for hand composition only. This is finally changing and being remedied for good now: URW++ proudly presents the new digital version of this really charming font family with its distinct flavor of the 1950s, adding it to the other digital renditions of Herbert Thannhaeuser fonts at URW++, namely Garamond No. 4 and Magna. The original Typoart family had an italic style for the light version only. The new digital version of Technotyp includes italic styles for the regular, medium and bold weights as well, enhancing the family to meet today’s standards and requirements for professional type setting. To further increase its usefulness, Cyrillic faces were created, too. True to the standard for all digital fonts at URW++, the character set for Technotyp covers all West- and East European languages.

Sánchez Niu is a redesign of Sánchez—one of the first font families by Latinotype designed in 2011. In the typedesign industry the terms ‘nova’, ‘neue’, ‘next’, ‘new’ are often used to refer to a typeface that has been modified in different ways: redesign, technical readjustments, greater number of characters, etc. At Latinotype we are now starting to use the word ‘niu’ to refer to these kinds of typefaces. Niu is an adaptation of the original word ‘new’, i.e., we have adapted this English word to the phonology and spelling of our own language but keeping the original meaning. Race mixing, diversity, change and adaptation are part of the essence of Latin American culture and, at Latinotype, we are all constantly expressing these elements in everything we do. Latin Power! This new version includes improvements that make it work well with longer text. Such improvements have not had a major effect on the look of the font, though. We have adjusted the original proportions and added a number of new characters as well as OpenType features such as small caps, oldstyle figures, tabular numbers and stylistic alternates. Sánchez Niu contains a set of 720 characters that support 219 languages. The font is well-suited for long text, headlines and logotypes, and it has been optimised for web usage. Sánchez Niu comes with two free fonts—Regular and Regular Italic! Corrections, digital editing and review by César Araya, Rodrigo Fuenzalida and Alfonso García.

Say hello to Qene-G Typeface, Qene-G is based on a problem that often occurs when I design, which is to combining typefaces in typographic art. I am pretty sure you also in this problem, so Qene-G Typeface comes to solve the problem. Qene-G is a complete package consisting of serif fonts and signature scripts. A careful approach makes this font give a luxurious and elegant taste to your project. Smooth curves, some flowy terminals, and flirty tails will make your project looks unique. The handmade signature combination emphasizes the style that you create in the natural beauty atmosphere. Qene-G consists of 5 families, they are Qene-G-Regular, Qene-G-Regular Italic, Qene-G-Outline, Qene-G-Outline Italic, and Qene-G-Script. You will get all caps letters with 2 styles that you can access via uppercase and lowercase buttons, charming script fonts, and tons of ligatures and stylistic alternates. Complete with Unicode and PUA which allows you to access all features without graphic design software. Your project will travel around the world with 131 languages ​​of this font. Qene-G is a strikingly versatile font, It is a bold choice for branding projects, fashion magazine imagery, social media text overlays, posters, website headers, and more. Let's start creating stand out designs with this font. We are pleased to tell you about our newest product made with totality, please CLICK HERE

Neillgates is a Casual script font. With lregular contrast stroke, slanted and fun character with a bit of ligatures. To give you an extra creative work. Neillgates font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Neillgates font. Cheers, Maulana Creative

Paverify is an all-caps geometric slab serif display face inspired by a particular pavement tile component which is evoking a blocky “I” letter. All other characters were interpreted based on its look and drawn accordingly. There are three uppercase Roman fonts in different weights and widths substantially. With the additional versions, type family consisting of 7 fonts in total. Over 220 Latin, Cyrillic and Greek script languages supported. Each font contains an extensive multilingual support with more than 1600 glyphs and OpenType features, including number forms, fractions, and stylistic alternate sets those provide different looks by the typographic preferences. For the lowercase letters there are small caps variants, i.e., shorter caps. These also have identical glyphs and matching marks to enable “Small Capitals From Capitals” feature. Narrower Medium and Bold styles was produced to accompany the Black first design. Paverify comes with an ornaments font named as “Extras”, which contains geometric graphical elements, i.e., paver stone patterns, banner/sticker background sets, star comps and a collection of catchwords to simplify creating feature rich layouts. As is known as interlocking paver in certain regions — a rectangular shape with the distinctive diagonal tabs — transcribing the simplest letter to draw into the whole alphabet was a challenging task. Not only it was the single thing that can be used as a source, considering its thick form in roughly 1.2:1 proportions compared to the sophistication of letterforms was the challenge. Starting point was keeping design consistent while both avoiding and preserving a particular appearance to achieve a similar texture, basically a repeating pattern on the streets. In contrary of a traditional approach, Paverify tend to have more contrast than the other slab serifs which helps to reduce massive stem weight of the source form. This look contributes to its hand painted sign effect achieved in a certain degree, which may otherwise impractical to transform because the source material is an inorganic, static form by definition. Tight and even spacing of the pavement tiles was inspirational for the kerning balance of the letters. Although the lighter weights have more space between the letter pairs, black weight adjusted as to be close to each other as the original grid. Tight spacing can be ignored by using Capital Spacing OpenType feature for the Outline versions as layer fonts. In one stroke, this gives an extra space between the letters to avoid diagonal armed letter terminals overlap. Black typographic colour and texture gives a sturdy appearance to the lines, it is useful for the projects where a robust display faces preferred for the titling, strong headlines, letter stacks, dropcaps, initials, short names on materials such as advertisements, book covers, posters, logotypes, wordmarks, package designs, and more in print or digital. Paverify can be paired as a complimentary face in a combination with broader type systems, where vintage look compositions and woodcut style fusions requiring an extra stunning texture.

Afeelnooztii is an angular sans serif font that is useful for all sort of projects, including: books, essays, games, posters, signs, videos, and more. The 7-segment characters and Arbitrary fraction characters are both allocated in the Private Use Area starting at U+E000 and U+E100 respectively.

Blusty Font Duo is an handwritten script font based on the expression of real handwriting, lets you transform type into an exciting and beautiful piece of work. The irregular, hand-lettered look adds a real human touch to things and comes along with a lot of loving details.

Hello Bellandia is a new modern script font with an irregular base line. Hello Bellandia looks beautiful on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and more. Perfect for use in ink or watercolors. Includes initial and final letters, alternatives and multi-language support.

Quantico is an angular typeface family that was inspired by old beer packaging and military lettering. It utilizes 30 degree angles and completely straight lines to form unique character shapes. Equally at home in text or display settings, Quantico includes 3 alternate characters as well as several ligatures.

PL Benguiat Frisky is a script face designed by Ed Benguiat in 1960. It has an irregular x-height adding to its informal appeal. The PL Benguiat Frisky font is useful for books and posters and invitations for fun or informal events and also works well for packaging.

Lightnin' is the work of British designer Alan Meeks. Generous initial capitals complement a more reserved lowercase alphabet, both of which were designed to meet the needs of current fashions in headline typography. Lightnin' will light up all kinds of display work with its robust, angular script style.

Joanne Script BH is based on the handwriting of a BluHead friend. This fun design has a sharp, angular feel which lends itself to casual messages, greeting cards, post its, journals, you name it! Plus, a large complement of characters allows you to send your thoughts in multiple languages.

India Echo was simply derived from doodling on a whiteboard with a dry erase marker. The aim of the exercise was to create a string of writing that looked foreign enough to be an alien script, angular enough to appear to be futuristic, and familiar enough to be legible.

Prague was designed by Michael Gills, who was strongly influenced by the work of Czech designer Oldrich Menhart. It is a strong, angular roman typeface with classical overtones. The exciting vibrancy of Prague is suitable for a wide range of advertising work requiring a traditional or classical approach.

Freethinker is an irregular brush script with a hipster look and feel. This brush font benefits from OpenType features such as ligatures (and their alternates), stylistic alternates, design elements. The font can be used in branding, greeting cards design, packaging design, webdesign and publishing. It is fully unicode mapped.

Delicately swirled BabyDoll includes eight assorted dingbats, and like all Burghal Design fonts, includes upper and lower case letters, as well as numbers, symbols, punctuation, and accented foreign characters. BabyDoll is so cute and sweet, you just may get a cavity. Please remember to brush and floss regularly.

Rosso is a condensed geometric Sans with a retro style, inspired by various typographic styles. It features the Roslyn Gothic structure, which was popularly used for the covers of Philip K. Dick's books in the 1970s. Rosso has 10 variants from Ultra Light to Black with their respective Italics. In addition, it is divided into two Subfamilies, Normal and Alt. The normal one remains faithful to the proportions of Roslyn Gothic and classic geometric fonts, while the Alternative version expands its round shapes, generating a striking and unique rhythm and contrast, classic of Art Deco fonts. In addition, it has alternative glyphs and discretionary ligatures inspired by the work of Herb Lubalin, which add greater possibilities to face any design project. All this makes Rosso a font full of personality, striking and recognizable. Ideal for the construction of logos, eye-catching headlines, movie posters, volumetric posters, etc.

For anyone who prefers to stand out from the crowd, than to go with the flow! Arpona is a typeface with small wedge serifs and a strong character, ideal for corporate design and all projects characterized by a sense of individualism – for example art, fashion, food, beverage and lifestyle topics. Arpona is inspired by roman letters carved in stone but otherwise difficult to categorize. It is neither a pure serif nor a sans but rather a symbiosis of different design concepts. Because of its display qualities, Arpona is a good choice for packaging, advertising and editorial design and is well readable even in running text on screen. The family has nine weights, ranging from Thin to Black plus corresponding italics. Each style includes 590 glyphs supporting all western-, eastern- and central-european languages including four sets of figures and various currency symbols. For more information visit the microsite: http://floodfonts.com/arpona

Information displays have an aesthetic of their own. Functional design where transmission of information is key — and best in real time. The Realtime Rounded typeface is not meant to recreate the appearance of those applications, instead it takes inspiration from them. The result is a technical yet friendly design with details that serve function and visual impact alike. Its soft edges apply warmth to the otherwise rather technical appearance. As a monospaced typeface it lends itself to tabular designs, sturdy columns and tidy layouts. Nevertheless Realtime comes with a feature for setting continuous text — a proportional design employable through OpenType — it further comes in five weights, from light to black, and with a character set that covers over 200 latin languages. Please see the Realtime Rounded Type Specimen PDF in the gallery. Realtime Rounded is the soft companion to the standard Realtime Typeface which is available separately. Thanks for visiting!

Fulgora is a sort of ‘calligraphic typography’ or ‘typographic calligraphy’, depending on the point of view. Inspired by late-medieval Bâtarde and Civilité blackletter styles, the Kannada and Sinhala writing systems from Southern India, Celtic uncials, and diverse vernacular Mexican scripts, Fulgora was created straight from pen on paper as a personal calligraphic style where fantasy in the chief ingredient. The idea to take it to the digital realm came later, as an extension of the creative process. To this end, originals for each character were made, directly traced with the nib with no retouching, then vectorized to be digitally assembled. Work has been done on spacing and kerning with the aim to digitally reproduce an utterly calligraphic outcome keeping the natural, imperfect, manual finish of all signs. Fulgora has two variants: Blanca (white) and Negra (black), executed with different nib widths but the same style and proportions.

The intention with Capo was to make a typeface with a pinched, angled connection between curves and verticals. We have explored this incised, cut motif previously on typefaces, most notably Noah, Sabre and Harbour. These have focussed more specifically on stone-cut forms. For Capo we wanted to mix the expressive quality of its ‘pinch’ idea with an overall aesthetic that could be applied to text rather than headline. So Capo has something of the function and warm, organic quality of Grotesque style typefaces. In Capo’s Bold and Black weights the sharpness of the letter shapes is more dramatic and emphasised, making for great effect for large-sized text. Why Capo? A capo is a device used on the neck of a stringed (typically fretted) instrument to shorten the playable length of the strings by pinching or clamping them in place, hence raising the pitch.

The geometrical drawing of Fenomen Slab follows the guidelines set by our other font family Fenomen Sans. It is a perfect companion of Fenomen Sans, as well as being a standalone font family capable of delivering its own expression and aesthetics. The set contains four width proportions – Normal, SemiCondensed, Condensed and ExtraCondensed in eight weights ranging from Hairline to Black. Every font of the family contains four types of numerals, small caps, ligatures and contextual alternates. The typeface was developed between the years 2014–2017 and was subjected to a series of tests for the fluent legibility of all fonts even in extreme conditions. Narrow fonts provide this set with the maximum use including newspaper typesetting. The typeface has an elegant, delicate design in thin fonts and sufficient legibility in bold. Mutual contrast produces great creative tension. Font name acronyms described: SCN = SemiCondensed CN = Condensed XCN = ExtraCondensed

Stena is a very functional sans serif typeface with calligraphic feel, especially designed for contemporary typography. This family features deep and sharp ink-traps as part of its design. Thanks to its proportions, solid and balanced forms, combination of straight and curve lines, high x-height and expressive ink-traps, Stena combines readability with a strong personality. This dynamic typeface provides advanced typographical support with features such as ligatures, alternate characters, stylistics sets, fractions, etc. It also comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This carefully designed family consists of 8 weights, ranging from Thin to Black, each with matching true italics. It comes with a set of 566 characters per weight, supporting over 40 different languages using the Latin alphabet. Stena is the ideal choice for editorial, branding, corporate identity, and more.