Outline is a Modern Stylish Display Font that perfect for headline, branding, logo, poster design, etc A new Display Font that we created special for Headline, Title and more stand out typography needs. It's so perfect to add your style and headline overview. And specially for Headline font, we crafted for unique style and modern feels so enjoy to create any project that will show your main idea out. Outline Modern Stylish Display Font ready with: Unique style to get creative variations Preview as a inspirations that you can do with Outline font Ready with All characters Wish you enjoy our font. :)

Soccer is a Modern Sport Logo font that created special for Logo, Title and more stand out typography for sport and action. It's so perfect to add your style and headline overview for sport, technology, actions, and fighting theme. And specially for this font, we crafted for bold action style and modern feels so enjoy to create any project that will show your main idea out. Soccer Modern Sport Logo font ready with: Creative characters prepared to get best results Preview as a inspirations that you can do with Soccer font Ready with All Uppercase characters Wish you enjoy our font. :)

Taronge - Urban Display Sans Serif that created special for Logo, Title and more stand out typography for sport and action. It's so perfect to add your style and headline overview for sport, technology, actions, and fighting theme. And specially for this font, we crafted for bold action style and modern feels so enjoy to create any project that will show your main idea out. Taronge - Urban Display Sans Seri ready with: Creative characters prepared to get best results Preview as a inspirations that you can do with Taronge font Ready with All Uppercase characters Wish you enjoy our font. :)

Girder Poster, also named Spurred Gothic, was inspired by showcard lettering samples featured in the book, Commercial Art Of Show Card Lettering, published in 1945. Although similar to Cooper Bold, Girder Poster's serifs are spurred and the design's inception came out of theatrical poster studios of the mid 1900's in New York.

Introducing of our new product the name is Derojela Serif Font with its unique curves and cut-ins making it one of the most memorable caps fonts on the market .This font is perfect for fashion related branding or editorial design and displays both masculine and feminine qualities. Also you use this font on Logo & Label Design, Apparel Design, Music, Advertising, T-shirts, Brochures And more!

Corkboard JNL is a bold, yet fun rounded-ends typeface that was popular in the 1970s and enjoying a revival amongst students and teachers via die-cut bulletin board letters. Five variations are offered—Regular, Slanted, Shadow, Shadow Slanted and Kiddies. Corkboard Kiddies JNL has a limited character set and eccentric spacing that emulates the way a child might put letters onto a bulletin board.

Introducing of our new product the name is Marfanco Serif Display Font with its unique curves and cut-ins making it one of the most memorable caps fonts on the market .This font is perfect for fashion related branding or editorial design and displays both masculine and feminine qualities. Also you use this font on Logo & Label Design, Apparel Design, Music, Advertising, T-shirts, Brochures And more!

Reverie is a cheerful band of letters that bounce across the page and get together to create words in three weights. Generous spacing and a modest x-height project an airy typeface that's open but not frail. Quirky without being too whimsical. Use the regular weight for surprisingly readable text or put the light and bold weights to use for decorative headlines and titles.

This set of initial letters was inspired from French renaissance decorated letters. Unfortunately, we don't know where they were in use, or who was the punchcutter, our models were coming from a late XIXth century copy. Note: The letters I and J, U and V are not different. It is not a mistake, but it is the exact reflection of what was customary during the period.

Bound to rules, unbound in the usage. Hyper geometric, and minimal contrast. Circulo V1 is based on a font project I originally started because of a client I had. I wanted to create a display and text font for their product design brand, which is all about reducing the amount of necessary materials and production steps. Before I started the course at tipo-g it was called -“REDUCE“ and was more or less finished. The concept was based on the name. How far can letter shapes be reduced to their core geometric concepts and still be identified as letters? But in a way, it lacked a unique approach and was just a generic geometric Sans Serif with a lack of finesse. There was already a glimpse of characteristics visible which would later define Circulo V1. ‍ The high focus on geometric shapes was not of the same severity, and the angle on the stems was less intense. Those, as I call them, fake serifs turned out to be a significant factor in legibility and the characteristic of the font. Besides those changes and improvements, I decided to implicate a new feature to the concept, a condensed style. I quickly realised that it is impossible to keep my perfect circles and half-circles in this style without breaking my rules for the font. This „problem“ turned out to be the most crucial feature of the condensed set. Circular-based Letters will ignore the rules and boundaries of the condensed style and stay as they are. This feature allows the user to create a unique rhythm in their texts, and if you use the variable font, you can decide how intense this rhythm will be. In this situation, the user can choose which letters are allowed to keep their shapes and which will be put in their condensed corset. All, some or none of them, you decide.

Poliphilus is a facsimile of the text of the 'Hypnerotomachia Poliphili', after which it is named, published by Aldus Manutius in Venice in 1499, using a type that had been cut by Francesco Griffo. As a design, Poliphilus is related to Bembo, but whereas Bembo was redrawn, with the intention of making a new face based on an old design, Poliphilus is an exact copy of fifteenth century printing on hand made paper. So exact in fact that even the original ink spread is reproduced. This may not seem like a very sound idea for a typeface, but the letterforms are good and the design is functionally successful. Blado, the italic for use with Poliphilus, was used by Antonio Blado in 1539, and designed by the calligrapher Ludovico degli Arrighi. The Poliphilus type is used mainly for book and text work."

When drawing a new font, there is a time when the final form is found – almost – but the curves are not slick and clean yet, that's what I call the "raw" form. Raw – no sweeteners added! In this family I tried to redefine this moment in type development for the eternally beautiful "Franklin Gothic". I call the design "Franklin Gothic Raw", not to be confounded with "rough". The family can be used like any good normal typeface, you hardly see any difference to a conventionally cut "Franklin Gothic" in small sizes. The charm of the design becomes obvious the bigger it becomes, then it enhances your design with its imperfections in the outline. "Franklin Gothic Raw" is therefore an extremely versatile family. I created the cuts, that I considered necessary for the seasoned designer who knows what he's doing. Enjoy!

Knight Souls is a captivating display font inspired by epic medieval adventures. Designed in uppercase, this typeface captures the spirit of heroic quests with its bold and commanding style. The consistent letter proportions of Knight Souls create a sense of balance and harmony throughout the font. This design choice guarantees that every character fits seamlessly together, resulting in a typographic composition that exudes strength and resilience. With sharp endings, Knight Souls adds an element of dynamism and edge to the font. Each letter is defined by precise angles and sharp corners, evoking a sense of power and determination. This feature lends a bold and assertive quality to the font, reflecting the courage and bravery of knights on epic quests. High letter contrast in Knight Souls emphasizes readability and visibility. The distinct difference between thick and thin strokes enhances the visual impact of each character, making them easily distinguishable and captivating to the eye. The high contrast design adds depth and intensity to the font, making it stand out in any game-themed design. You can also enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Knight Souls fits in headlines, logos, posters, titles, branding materials, print media, editorial layouts, website headers, and any projects that aim to transport players to a world of valor and fantasy. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Pickey Pop is a delightful display font that combines a thick weight, low contrast letters, and charming swinging endings. With its playful and bold design, this typeface brings a sense of joy and vibrancy to any creative project. The thick weight of this font adds a strong and confident presence to each letter. The boldness of the strokes creates visual impact and ensures legibility even at smaller sizes. This display font demands attention and stands out effortlessly in any design composition. In contrast to its bold weight, Pickey Pop features low contrast letters. This design choice gives the font a sense of solidity and consistency. The uniform strokes contribute to a clean and contemporary appearance, making it a versatile choice for a wide range of design applications. What makes this font truly special are the swinging endings found in select letters. These whimsical details add a touch of playful movement and uniqueness to the font. The swinging letter endings bring a sense of rhythm and energy, infusing your designs with a joyful and dynamic quality. For the best legibility you can use it in the bigger text. Enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Pickey Pop fits in headlines, logos, attention-grabbing titles, product packaging, branding materials, editorial layouts and website headers. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Open, outline or inline faces became very popular in the 1940's. By removing the usual weight, a clear-cut letterform is achieved. In Caslon Open Face, the right-hand strokes are accentuated, providing a slightly three-dimensional effect. The ascenders of Caslon Open Face are large and the overall design of this version does not relate to Caslon 3 Roman. This Caslon Open Face font is good for personal stationery, or sentences where a decorative but distinguished result is sought.

Atwin is a modern remake of Franco Grignani’s Gemini. It is inspired by the unusual forms of the MICR numbers on bank cheques. Strangely rounded rectangles make the glyphs appear unfamiliar; an angular but also blobby design that disrupts and breaks away from tradition. Good in display sizes. You should use Atwin to add flair and confidence to sci-fi, futurist, outré, or just plain unusual materials. 13 additional alts are supplied in the A to Z alphabet. Kerned to perfection. Tight.

Open, outline or inline faces became very popular in the 1940's. By removing the usual weight, a clear-cut letterform is achieved. In Caslon Open Face, the right-hand strokes are accentuated, providing a slightly three-dimensional effect. The ascenders of Caslon Open Face are large and the overall design of this version does not relate to Caslon 3 Roman. This Caslon Open Face font is good for personal stationery, or sentences where a decorative but distinguished result is sought.

Blizka is a legible sans-serif with much characteristics! Inspired by calligraphic strokes, it features straight cuts in unexpected details. Great care is taken to make sure all letters flow harmoniously with each other for a superb reading experience for small texts. Blizka is subtle and functional in small sizes but perverse and full of personality when large! • Support over 200 languages with full coverage of western & central European Latin. • Beautiful Italics • SmallCaps • Proportional, tabular, oldstyle figures, fractions, you name it.

First cut by Lanston Monotype, the Goudy Modern font family was based on designs used by French engravers during the eighteenth century. Although called a modern it possesses a number of old style characteristics. Capitals are much shorter than the ascenders, serifs are fully bracketed and round shapes have a slight stress. The overall weight of Monotype Goudy Modern is on the heavy side, giving good emphasis in display sizes but it is not too heavy for use in text.

Oita might be a carefully crafted typeface family, created by a meat-bag human. Or, it might have been made by a supremely clever sentient robot. Found in the dark recesses of a top secret spy agency’s quantum computer, this font came with this somewhat unusual description, which is presented without comment. "To conquer, we cannot simply overcome. Success is found in supremacy--in the dominance of Oita. While looking for the right tool for this success, our research has led us to the finely executed forms found of military domination throughout history. In our labs, we've used our specialized machines to harness these forms' power and refined their impact through elements of contemporary and computer design. The structure proves to be robotic and squared on its edges. However, the chutzpah of this technical face still allows it to pass as if created by human hands. Our resulting payload, Oita, is modern and sturdy. While based on a practical, octagonal structure, make no mistake; this new instrument will drive forward the energy you want to push through your projects. Oita has 42 cuts certain to encompass your designs on world domination. Each font contains the glyphs to support over 52 languages. The font also includes tabular and lining figures, numerous ligatures, and selected advanced Opentype options, including stencil and experimental options to bring out the dynamic characteristics that have already been crafted into Oita. Early tests have found that the new instrument is easily scalable to smaller dimensions without reducing its impact. The font remains highly readable across a variety of applications. We speculate from our findings that it will be successful for sporting and technical applications. So for you who venture to use Oita, use it boldly. Don't just overcome. Dominate. Go and conquer mightily with Oita. We'll be watching." We may never know whether Oita hails from mind or mechanism. What we do know is that, should you choose to take on Oita, you'll be acquiring a dynamic poster and packaging face, a minigun-toting bad robot of a font that exudes pace and power.

Easter Bunnytail is a cute and friendly display font, that can easily stand out. Simple but with a strong visual effect, this font will instantly make your creation more appealing than any others. Special Characters are available for uppercase and lowercase letters. Alternate for Uppercase, beginning & end swashes for lowercase can make your design more beautiful.

The interesting hand lettered sans design of Music Nouveau JNL was found as the title of a vintage piece of early 20th Century sheet music for a song written by famed composer Irving Berlin and called "They Were All Out of Step but Jim". Judging by the cover art, it was a novelty song about a soldier.

Transmogrified started out as a special project for a client. It's a lovely sans serif font, casual, with sweet swirls over here and there. It is based on Transmogrifier , from which uppercase glyphs were selected. Next, new lowercase glyphs were drawn and a bold cut was also developed for added flexibility. Let your messages be transmogrified!

Doorkick is my grungy handmade font with rough lines and a squarish look. Each letter has 5 different versions, which automatically cycles as you type - leaving your text with a super lively and natural/organic look. I'd say that Doorkick is best for short words or shoutouts, but try it out it massive text too! I dare you! :)

This loopy offering is patterned after a typeface from the 1888 specimen book from the Central Type Foundry of St. Louis, called simply "Spiral". The ragged contours on the original face have been smoothed out, but it still is an attention-getter. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

Bomber Urban Inspired by Graffiti Street Art, Bomber Urban is a fun, urban-style display font. This font is suitable for designs like logos, advertising, apparel, jerseys, sportswear, skateboard designs, and more. Take your concepts to the next level with this stunning font! Make your designs stand out with the urban and edgy look of our Graffiti font.

This unique geometric design will make your projects stand out from the crowd! If you're looking for a futuristic but with an edgy twist, "Polanix" could be the one. The interesting deformation of its variable version also works great with animation, game design and film/TV credits & titles as well as interface, app and web designs.

Schlange is a rich typeface with rounded terminals. The family includes five sans serifs and five slab serifs in weights from ultra light to bold. Schlange’s personality is determined by an open aperture and quite large lower case characters in comparison with the upper case set. Schlange’s personality is open and friendly, giving a text it’s used for a soft, warm appeal. Schlange will work well as a display type (think titles, short magazine call-outs, ad banners, and such), but it’s not a good choice for extensive bodies of academic text. Available in numerous weights, the typeface provides rich opportunities for mixing and matching and is great for typographic compositions. These qualities make Schlange a dream type for a packaging designer. It will feel at home in design for cosmetics or sweets, postcards, children’s books and menus.

Say hello to Gothica. It’s a display geometric sans designed with Stencil-like elements and letter cutouts specifically created for visual impact—ideal for logo, branding and advertising purposes. The font includes capitals and capital alternatives in the lower case keystroke positions—it’s like having 2 display fonts in one. In addition, Gothica includes various opentype features that allow graphic designers to tailor the type for custom needs. The development of Gothica started in 1997, inspired by Alex Kaczun’s best selling grotesque font family called Contax Pro. An experimental design, Gothica is specifically introduced as a bold weight, but Alex plans to expand the design to include many weights, styles and alternative design treatments. Stay tuned! If you like Gothica—check out similar gothic alternates like Decrypt 01, Decrypt 02, Decrypt H1 and all of Type Innovations fonts from Alex Kaczun.

This steam era typeface, created by Gustav Schroeder in 1884, found popular use on soap box labels and tobacco tins during its initial release. Then, later, a successful and stout revival of Gustav's face, named Othello, was carried out by Morris Fuller Benton in 1934, and the typeface's appeal widened to include items such as broadside posters featuring Boris Karloff's Frankenstein. After metal gave way to film type, Gustav's creation experienced a brief fashion moment in the 1960's, but then disappeared entirely, never re-surfacing as a full digital typeface. With the release of Bathysphere, the typeface comes full circle, having been completely redrawn from scratch using Gustav's original specimens. The new extended language support establishes the typeface firmly in the modern era, while Bathysphere's refinement of subtle blunt corners restores a deep-sea grace to this iron giant.

CA Cula is standing in the tradition of cool tempered sans serif typefaces like DIN. But at a closer look it reveals a tendency towards rounder reading-friendly forms. The denaturalized ink traps give CA Cula a very special and individual look in display sizes, whereas in smaller sizes the positive aspects of huge ink traps show effect. The text looks clean and bright without black dots in the typographic image. This makes CA Cula suitable even for longer text, while the bold weight makes pretty cool headlines. The choice of weights aims at an easy straight forward use. A set of five well balanced weights ought to be enough to cover most needs without throwing the typographer into questions like: demibold or semibold? If you are looking for the extra kick, look out for CA Cula Superfat.

Schlange is a rich typeface with rounded terminals. The family includes five sans serifs and five slab serifs in weights from ultra liight to bold. Schlange’s personality is determined by an open aperture and quite large lower case characters in comparison with the upper case set. Schlange’s personality is open and friendly, giving a text it’s used for a soft, warm appeal. Schlange will work well as a display type (think titles, short magazine call-outs, ad banners, and such), but it’s not a good choice for extensive bodies of academic text. Available in numerous weights, the typeface provides rich opportunities for mixing and matching and is great for typographic compositions. These qualities make Schlange a dream type for a packaging designer. It will feel at home in design for cosmetics or sweets, postcards, children’s books and menus.

Back in 2006 when we first released our Happy Holidays font, we thought the War on Christmas was over! We'd taken down our Menorahs, our Christmas trees, reclining Buddhas and red, black and green Kwanzaa decorations, and were prepared to sprinkle nothing more than a little Season's Greetings over our end of year celebrations. When we saw our friends and neighbors at department stores, we'd greet them with a simple, cordial, non-denominational “Happy Holidays.” But the font showed up at our company party this year having learned over 200 new languages (and, it must be said, a little bit loaded on Stylistic Alternates) in a mood to celebrate EVERYTHING. It was wishing people happy Bodhi Day, Solstice, Festivus, you name it! It even brought (count 'em) THREE new outfits based on the colors of Christmas, Hanukkah and Kwanzaa. So may the designs on the cups of the hot beverages that take you through the long dark coffee break of the soul that stretches from Halloween to Thanksgiving to New Year's Day be a little more festive this year with the refreshed, Remastered, all-inclusive spirit of Happy Holidays!

German designer Roberto Mannella first sketched out the idea for Bobotta Icons during a vacation in 1999. Recently, he fleshed these sketches out into a full-fledged symbol font, which was awarded with an Honorable Mention in the 2003 International Type Design Contest, sponsored by Linotype GmbH. Bobotta Icons presents a lively, spontaneous style of drawing, guaranteed to bring a new voice to your funkiest typographic work. The characters contained in this font are a wide array of comic symbols, word shapes, and fantastical creatures. This font contains both symbols that resemble happy crocodiles, and symbols that resemble a neon sign flashing the word love.""

The Bastard is the cheap alternative for you to easily create a logo for your band or whatever. It comes with a basic characterset and a little bunch of symbols and signs often used in the extreme music sector. Some classical stuff from Death- and Blackmetal like pentagrams and crosses, roots and branches and lots of other things. With all of these you’ll be able to customise your logo to the look of your interest. Open it up in your graphic-editing-application and be creative, play with it and find out what’s possible. Check out the PDF in the Gallery for detailed information. Or on behance.net .

TONERI is a Japanese-style display font with thick and strong characters, giving it a valiant appearance. If you use this font, your project will automatically become strong and conspicuous in the various media you use, your project will appear elegant, have a distinct character, and always stand out. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out.

Jumiko is a display typeface with a Japanese motif and a dramatic hand touch that results in a stunning and futuristic mix of words. You can simply use this font to make your project unique and memorable, making it stand out and easy to remember for everyone. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out.

Oldskool Script is a bouncy, connected script inspired by graffiti lettering. OpenType features abound to make a powerhouse of a font. It’s so versatile it could grace the cover of a hiphop album or your baby shower invites. You can go all out with the swashes and alternates, or rein it in for a more subtle approach. Whatever aesthetic you choose, Oldskool Script will surely fit the bill. I had a lot of fun making it; now it’s over to you to have fun using it. Check out the user guide in the gallery section for more in-depth info on the OpenType features.