Finocchio (yes, we know — wink) has the playful, round shapes of a French Ronde with the sharp angles of Italian Futurism. It's a bold, fun, excellent branding face — wherever you need some gusto or brio or forza! Finocchio comes with a large number of ligatures for fluidity. It also comes with a solid, readable set of non-script small caps, so all you need for that sign is one coordinated font! It also comes with loads of fun alternates! Finocchio is made with love in The Ampersand Forest.

My kids have a tin box filled with crayon and pencil leftovers: bits and pieces that have fallen or broken off, but are still good enough to use. For me it is a treasure trove, as I often find a nice bit of crayon to use for a new font. In this case, I created Leftover Crayon. Leftover Crayon is a fat, crumbling and seriously eroded crayon font. Completely hand made, completely legible and full of character. Use it for your bedtime stories, product packaging and invitations. Comes filled to the brim with diacritics.

Sportivo is a 5-speed font that runs blazing fast. With a choice of 5 slants and a wealth of OpenType features, Sportivo is the ideal display font for titles that ask for a modernist-retro flair. With multiple alternates and special ligatures, Sportivo will take your headlines straight to the winners’ podium. The unique back-slanted design translates to Italic with three intermediate styles to electrify your layouts. Fast and furious, Sportivo is also equipped for victory at any Grand Prix thanks to its high-octane language support and turbo-charged OpenType features.

A revival of one of the popular English Antique styles of the 19th century. The slab serif style was also used by American wood type manufacturers.

Rancher JNL was inspired by classic wood type. This wide, slab serif typeface is reminiscent of wanted posters, broadsides and other printed matter from the 1800s.

Fordham JNL is a slab serif typeface in regular and oblique versions that has a casual, informal look reminiscent of 50s and 60s-era ad headlines.

The original Tower Condensed font design is attributed to Morris Fuller Benton (1934). PL Tower Condensed is a tall, condensed slab serif typeface; good for headlines.

HU Storyserif is a textual font in the form of a slab serif and contains a concise and neat feeling through the round conclusion of straight lines and lines. It is a typeface designed to contain a distinctive feeling by adding a round topknot, not a typical square topknot of slab serif, and a gothic solidity through a straight straight line. There is 1 weight of HU Storyserif : Regular Features : Uppercase & Lowercase Numbers & Puncuatuion Multilanguage 882 Glyphs

Chercher Slab Serif was designed by Stawix Ruecha. The design is neat, basic and simple. Chercher has 16 styles with 8 weights and supports for general use.

Tadaam is a slab serif typeface with 5 font styles from light to heavy. It has ligatures and alternative symbols for each of 52 basic latin letters.

Savings and Loan JNL is a condensed slab serif with a square look to the letterforms. It's perfect for titling applications, and exudes strength, dignity and legibility.

Slab Serif version of the Bulldog family. Hunter family lends itself to on-screen use for web design - the letterforms being legible and robust at small sizes.

Trendy, unique & modern style slab serif font for your fancy projects. Elegant, funny and artitsic style on Emery font will be great for any branding project. Enjoy :)

Alderman JNL is a wide slab serif typeface based on the classic wood type Antique Light Face Extended, and is available in both regular and oblique versions.

The first thought that crosses a type designer’s mind upon seeing a slab serif is: I wonder what it would look if it was serifless. And so, after building Henderson Slab , I followed my instincts and gave it a sans serif companion. Henderson Sans comes in seven weights plus italics, each of which casting an eye on the crafty lettering origins of what is now the ubiquitous mode of corporate communication. This sans serif is a glyph-for-glyph match for Henderson Slab , inheriting pretty much all of its features and quirks, like the wealth of alternates and swashed variants — simple, endearing or otherwise. Henderson Sans is a family of seven weights plus italics, all full of open features and extended Latin language support. (Basic version do not include alternates, swashes, etc).

A funny childish handwritten font, with a spirit. This typeface can tell fairy tales. Trango is a sans serif that goes well with the slab serif Besley Hand.

Shipping stencils cut on an antique machine with its somewhat crude slab serif type design inspired Container Stencil JNL, and is available in both regular and oblique versions.

Madison is a classic slab serif stencil typeface. It is reminiscent of the days before computers when the best way to reproduce letters quickly was to stencil them.

A laid back slab serif font with a good deal of the funky side of pizzadude.dk! You will need to use OpenType supporting applications to use the autoligatures

Posterizer Kg Inline, is basically the Inline version of Egyptian Slab Serif font Posterizer KG. Posterizer KG Inline is useful for diplomas, magazines, headlines and many other things.

Southern colonialist is a new slab typeface from Intellecta, based on ancient advertisements from the Wild West of America Good for titling and display usage; in many styles.

Cattleprod is an offbeat slab serif font full of swagger. It was created without any reference, but just the idea of a playful somewhat stumbling stance in mind.

Western Sky is a revival of a late 1800s Italian font known as Italian Slab Fancy or Dodge City. New to this font is the rope swash version.

A funny childish handwritten font, with a spirit. This typeface can tell fairy tales. Besley Hand is a slab serif that goes well with the sans serif Trango.

The Folclorica Typewriter is a unique typewriter font design, great for mimicking the effect of typewriting older machines. Has an bold and slab style, good for exquisite designs.

A revival of one of the popular wooden type fonts of the 19th century, with classic flat slab serifs, unbracketed, short descenders. Very popular in the 19th century.

Novus, meaning new, is a contemporary slab serif that introduces soft curves throughout, creating a typeface that conveys a softer tone while retaining the robust feel of a great slab serif. Novus is an ideal choice for headlines, branding, advertising, websites, social media and packaging. It also works well for short and medium-length text. Novus supports Central, Eastern as well as Western European languages and comes in seven weights. Opentype features include; ligatures, subscript, superscript, numerators, denominators and fractions.

Cavéllo is a bold and clean slab serif font. This original look will appeal to a wide range of crafty ideas, from letterheads and titles, to stationery. Cavéllo the font family contains 3 basic forms: italics, obliques and uprights, Each of which has 4 different weights: light, regular, semi-bold and bold. Cavéllo slab serif font family ideal for the logos as well, t-shirts, the web as well as for print, for motion graphics, It is also great for headings,

I bought something online, but when I received it, it wasn’t exactly what I had hoped it would be. So I read the return policy and sent it back. And… came up with this font and its name in the process! Return Policy is a hand drawn slab serif, inspired by a bunch of slab serifs from the early 20th century. Return Policy has been given a ‘grunge’ overhaul, making it ideal for sturdy products, websites with an industrial look and manly posters.

Weekly: a slab serif that wants to be a sans. The font was created under the premise that it can be used as a sans: a fresh design without that retro feel typical of slab fonts. As a result, we developed an Egyptienne font—more simple compared to others of its kind, a feature that gives it its unique personality. Weekly was based on fonts with humanist proportions, such as ‘Oficina’ and ‘Caecilia’, both created in the ’90s. Typefaces like these give designers the possibility to use them in books or magazines, in contrast to geometric slab fonts or early 20th century fat faces, which are mainly used for advertising or display text. Another feature that reminds us of humanist sans fonts is the small difference between x-height and cap-height. Some characters in Weekly like ‘a’ or ‘g’ lack serifs and some like ‘c’ or ’s’ have short serifs, giving it a semi-serif air. Weekly comes in both light and heavy weights. The heavier ones bear resemblance to Egyptienne slab serif typefaces with strong personality. These variants are ideal for use in posters and big, powerful headings.

A brighter slab n’ sans in 18 styles Referred to as Egyptian’s in the early years of the nineteenth century, today slab serifs are primarily used in display sizes but seldom used in body text. With Mislab, Xavier Dupré has designed a brighter and more legible slab serif than most. Mislab aptly combines the strength of a slab serif with the lightness of a sans serif. Bold and thick serifs make for strong impact in display uses while performing extremely well under the most stressful body text conditions. A slight cursive feel adds spice to the text while its delicate rounded rectangular structure is naturally adapted to screen displays. The capitals have fully assumed serifs while the lowercases have more discreet versions. Notable features include sanserif endings on the lowercase a, c, e & s, inducing fluidity and enhanced readability. This highly versatile typeface brings clarity to headlines. Mislab will provide foolproof stability to your layouts. Mislab, a new design by Xavier Dupré Type Directors Club 2014 Tokyo TDC 2014 Communication Arts Typography Awards 2014 Club des directeurs artistiques, 45e palmarès Slanted: Contemporary Typefaces #25

Sagebrush JNL was modeled from examples of a vintage French Clarendon wood type in which many of the characters had rounded parts rather than the traditional all-slab serif approach.

Haeock is very readable, an beautiful slab serif designed by Pedro Alexandre Teixeira. This font family works very well on packagings, branding and editorial design, tiles, books, magazines, corporate design.