Wakandan is an alphabet designed by Hannah Beachler, and used in the 2018 film Black Panther. It is based on Nsibidi symbols. In the film it is used to transliterate English text in the credits and other on-screen text. Another script used in the film was developed by Oluwaseun Osewa and inspired by Nsibidi, a system of symbols used in southeastern Nigeria between about 400 and 1400 AD. In addition, the symbols of several different ancient languages ​​were also used for the alphabet. Like Old North Arabia, Old Tifinagh. I did not draw for this font, except for a few letters. I transferred the sound values ​​from the ancient writing languages ​​fonts that I had made before to the Wakanda font, so I did not take much time, I finished it in 4-5 hours.

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.

Secca Soft is the rounded sister of Secca font family. With its workhorse qualities, Secca Soft is perfectly suited for a wide range of applications - especially where legibility and economy are important factors. It comes with a wide language support and many typographic features and extras. The family comes in nine weights from Thin to Ultra Black - each with italics, small caps and italic small caps. While the weights from Light to Bold perform well in text sizes, the more extreme styles give extra freedom for Headlines & Signage. For setting tables and charts, Secca Soft offers tabular figures, fractions, currency signs and mathematic operators which share the same fixed width throughout the entire range of weights. This special feature is called "weight duplexing" and is a time saver for designers of annual reports and other figure-heavy texts.

Thanks for checking out Madisya Script! A very fun yet elegant script font with lots of energy, it lets you create beautiful handcrafted typography in an instant. With extra curves & twists, Madisya Script is guaranteed to make your text stand out - perfect for logos, printed quotes, invitations, cards, product packaging, headers and anything else you can imagine. What's really awesome is that Madisya Script comes with a full set of lowercase alternatives, which allow you to create more authentic custom-feel text. This type has become the work of true love, making it as easy and fun as possible. I can't wait to see what you do with Madisya Script! Feel free to use the #Black Studio tag and the #Madisya Script font to show what you've done, I really hope you enjoy it! Thank You!

Introducing Regitha Script, Thanks for checking out Regitha Script! A very fun yet elegant script font with lots of energy, it lets you create beautiful handcrafted typography in an instant. With extra curves & twists, Regitha Script is guaranteed to make your text stand out - perfect for logos, printed quotes, invitations, cards, product packaging, headers, weddings and anything else you can imagine. What's really awesome is that Regitha Script comes with a full set of lowercase alternatives, which allow you to create more authentic custom-feel text. This type has become the work of true love, making it as easy and fun as possible. I can't wait to see what you do with Regitha Script! Feel free to use the #Black Studio tag and the #Regitha Script font to show what you've been up to, I really hope you enjoy it! Thank you!

Zuzana Licko's goal for Fairplex was to create a text face which would achieve legibility by avoiding contrast, especially in the Book weight. As a result of its low contrast, the Fairplex Book weight is somewhat reminiscent of a sans serif, yet the slight serifs preserve the recognition of serif letterforms. When creating the accompanying weights, the challenge was to balance the contrast and stem weight with the serifs. To provide a comprehensive family, Licko wanted the boldest weight to be quite heavy. This meant that the "Black" weight would need more contrast than the Book weight in order to avoid clogging up. But harmonizing the serifs proved difficult. The initial serif treatments she tried didn't stand up to the robust character of the Black weight. Several months passed without much progress, and then one evening she attended a talk by Alastair Johnston on his book "Alphabets to Order," a survey of nineteenth century type specimens. Johnston pointed out that slab serifs (also known as "Egyptians") are really more of a variation on sans serifs than on serif designs. In other words, slab serif type is more akin to sans-serif type with serifs added on than it is to a version of serif type. This sparked the idea that the solution to her serif problem for Fairplex Black might be a slab serif treatment. After all, the Book weight already shared features of sans-serif types. Shortly after this came the idea to angle the serifs. This was suggested by her husband, and was probably conjured up from his years of subconscious assimilation of the S. F. Giants logo while watching baseball, and reinforced by a similar serif treatment in John Downer's recent Council typeface design. The angled serifs added visual interest to the otherwise austere slab serifs. The intermediate weights were then derived by interpolating the Book and Black, with the exception of several characters, such as the "n," which required specially designed features to avoid collisions of serifs, and to yield a pleasing weight balance. A range of weights was interpolated before deciding on the Medium and Bold weights.

Andrew Smith played with his pencil and scetched an alphabet with several strokes. and as he made come cross strokes it lokes like barbed wire.

Vehicle JNL is a condensed block font similar to that found on many state auto license plates.

Garuspik is an original ulra condensed, narrow, tall font with 3 styles: display, round and square. It is particularly well suited to create text blocks, advertising slogans, headlines, and other original and interesting text compositions. For convenience and variation the Uppercase are very tall, lowercase are moderately tall. Garuspik looks especially good when set in all uppercase. So, for convenience and simplicity, the smcp feature changes all characters to uppercase only. In addition, another OpenType feature changes the form of some uppercase, if they stand before to lowercase. And of course, there are all the necessary and popular features such as frac, ordn, locl and others.

Introducing Magnetic Script, a bold stylized font family that is not only eye-catching and assertive, but highly legible at both display and text sizes. The heart of this font's usefulness is the three-layer setup that allows you to quickly copy a text block twice, then reassign the main layer, the extruded shadow underlayer, and the top highlight layer to three different colors. Magnetic Script is massively versatile, and appropriate for many uses including university / collegiate logos, sports team logos, graphics for motorcycle clubs, automotive rallies, microbrewery labels, and vintage & retro styles of all kinds. It's the ultimate branding and logo design font suite.

The Azbuka™ typeface family has its roots in a fairly pedestrian source. “The idea came in part from an old sign in London that read ‘SPRINKLER STOP VALVE’,” says Dave Farey, designer of the typeface. Like all good sign spotters, Farey took a photograph of the sign and filed it away for possible use in a lettering or typeface design project. In Prague a number of years later, the street signs reminded Farey of the London signage - and his camera came out again. Comparing the two back in his studio, he realized that the signs from London and Prague were not as similar as he initially thought. However, they were enough alike to serve as the foundation for a no-frills, 21st century sans serif typeface family. “I wanted to draw a wide range of weights, italic and condensed designs all in one go,” recalls Farey, “rather than add on to the family later.” His goal was to create a family that could be used for text and display copy, with sufficient weights to provide a broad typographic palette. Indeed, the completed design, created in collaboration with fellow type designer Richard Dawson, consists of twenty typefaces in eight weights ranging from extra light to extra black. The five mid-range designs have complementary italics. Seven condensed designs round out the family. Azbuka’s lighter weights perform remarkably well in blocks of text composition. “They’re clean and legible - and perhaps a little boring,” says Farey, “but they are perfect for copy with a down-to-earth, yet contemporary flavor.” The heavier weights are equally well suited for a variety of display uses. The designs are authoritative but not overbearing and will readily make a strong statement without calling attention to themselves. The condensed weights of Azbuka are ideal for those instances where you have a lot to say - and not much room to say it. The name Azbuka? It’s Russian for “alphabet.” And what more appropriate name could there be for this utilitarian, industrial-strength type family than alphabet? The Azbuka family is available as a suite of OpenType Pro fonts. Graphic communicators can now work with this versatile design while taking advantage of OpenType’s capabilities. The Azbuka Pro fonts also offer an extended character set that supports most Central European and many Eastern European languages

The Yorkten family of fonts is back with another satisfying addition to its clean style. The rhythmic, new Yorkten Slab expands Yorkten’s basic, contemporary form of geometric and simple lines and adds a level of self-confidence and elegance to your work. Slab's basic structure is compact. It’s more condensed than most slabs, so you can save space yet still have clear, consistent readability. The added serifs create a fresh text color, too, that syncs well with the new font’s inherited features. Like its predecessor, Yorkten Slab offers its natural, simple structure with more than fifty fonts in the family and three different widths - extended, normal or condensed. Each group has eight weights from a lean thin to tough looking black, giving Yorkten Slab plenty of bragging rights among its peers. And like Yorkten, too, Yorkten Slab’s greatest value is the ability of its members to work easily and well together and with a variety of other fonts. Yorkten Slab ensures that you have the necessary tools for any challenge. In combination with its superior functionality and excellent readability, this versatile font can be effectively used for many print and screen operations: e-books, applications, headlines, banners, posters and websites to name a few options. Don’t wait any longer. Start tapping the possibilities that Yorkten Slab offers your work.

Engria is a type family of four weights with corresponding italics that treads the fine line between sans and serif. There are serifs, of a sort, inspired by the brush. Not the marks made by a brush, but the actual splayed shape the bristles make when clamped together. Wedge-like chunks that resemble engraved forms, as the name Engria hints at. But it also has the appearance of a stressed, flared sans. This mixed approach lends a unique voice. Highly legible at text sizes, as indeed it is optimized for, Engria does however shine at display sizes thanks to its characteristic details – flared stems, angular counterforms, rugged ink traps and fluid curves. (I would recommend tracking it a little tighter at larger sizes.) Engria started life way back in 2014, and has been worked and reworked tirelessly to get to this finished product. My intent was to really push the idea of the white shapes being as important, if not more so, than the black. Engria is equipped for typographically demanding applications, boasting as it does an array of OpenType features, including small caps, automatic fractions, stylistic sets, various figure styles, arrows, case sensitive forms and more. It will make a very useful addition to your typographic arsenal, with a flare (ahem) for editorial work, but the individuality for packaging, branding, and logo work.

In the 1990s I drew a text face for the San Francisco Chronicle. It was based on W. A. Dwiggins’ Electra and incorporated many features of the Linotype Legibility Series: More compact, with a taller lowercase X-height, etc. That type was called Electric and it was the Chronicle’s text face for nearly a decade, surviving several redesigns. From that, I made Azuza, a more detailed and sensitive style. Azuza was recognized in the TDC2 type competition in 2001. Then it went into hibernation as a Type 1 font family. Today it is back. Six fonts. Open Type.

Stiana font is a venetian serif in modern design. The general idea was inspired by beautiful masterpieces of Nicolas Jensen and William Morris. Stiana holds fine, balanced readability of venetian serif, and both 21st century trends. Letterforms are expressive and bold enough to use font as display, but it also fits nicely for text. Stiana supports Western Europe, Cyrillic and Greek languages. Stiana is surely a good choice both for screen applications and print media. Its multipurpose spreads over package design, logos, headlines, body texts, stationary and back labels. Also very good for books and magazines.

Architype Konstrukt is a collection of avant-garde typefaces deriving mainly from the work of artists/designers of the inter-war years, whose ideals have helped to shape the design philosophies of the modernist movement in Europe. Due to their experimental nature character sets may be limited. Architype Albers draws on early grid-based attempts by Josef Albers, in 1926, to design an alphabet by reducing the forms to purely geometric elements – the square, triangle and parts of a circle – and in the process creating an unusual stencil effect typeface.

Salom was designed by Austrian type designer Igor Labudovic during his year at Reading University. Besides Latin, it originally included Arabic and Hebrew. The peaceful coexistence of both writing systems in his fonts led him to combine the words Salaam and Shalom to the font family name. Salom’s sibling, Salom Sans, features the same letter proportions and therefore allows a rich spectrum of diverse typography, yet keeping the harmony between all styles. The sans has an additional light weight, while the serif comes with an expressive stencil style.

American type designer Christian Schwartz created this display and sans FontFont in 2005. The family contains 3 weights: Light, Regular, and Bold and is ideally suited for advertising and packaging, music and nightlife, poster and billboards, software and gaming as well as sports. FF Oxide Solid provides advanced typographical support with features such as ligatures, titling alternates, case-sensitive forms, fractions, and super- and subscript characters. It comes with tabular lining and proportional lining figures. This FontFont is a member of the FF Oxide super family, which also includes FF Oxide Stencil.

Monera is a new elegant stencil & modern serif font featuring a regular,outline & italic version. Its luxurious lines will work perfectly for any sophisticated design project. Perfect for luxury product packaging, labels, branding, advertising & much more. Monera includes all standard glyphs plus a few essential ligatures as well as multilingual characters. Unique, playful and versatile serif family with 69 ligatures and 94alternates to beautify the design you like. This font is perfect for branding projects, Logo design, Clothing Branding, packaging, magazine headings, advertising, T-shirts, postcards and much more. Thank you, Skypia

Burgs - Multistyle Font is a versatile typeface that starts as a modern sans-serif font and expands into a diverse collection of eight alternative font styles. These variations include slab, stencil, display, sport, classic, serif, and decorative, offering a wide range of design options. Each font style can be combined with others or used individually, making it adaptable for a multitude of design purposes. Whether it's for logos, posters, packaging, branding, business names, stickers, headlines, or any creative endeavor, Burgs provides a wealth of options for your projects.

Sometimes type designs are set aside as one project takes priority over another and occasionally it becomes overlooked. One such example is a set of extra bold, sans serif stencil characters drawn out in 2017. Regrettably, as much time has passed, no backstory can be applied to this typeface. It was checked against existing releases in the Jeff Levine Fonts library and didn’t seem to have been re-worked for any subsequent release. With this in mind, Baggage Claim JNL makes its belated appearance and is available in both regular and oblique versions.

Architype Konstrukt is a collection of avant-garde typefaces deriving mainly from the work of artists/designers of the inter-war years, whose ideals have helped to shape the design philosophies of the modernist movement in Europe. Due to their experimental nature character sets may be limited. Architype Van der Leck originates from the lettering that Bart Van der Leck created for ‘Flax’ magazine in 1941. The letterforms‘ restricted shapes and abstract, stencil-like forms reflect the strong geometric language of De Stijl and show influence from his abstract paintings.

Karben 205 is inspired by the classic, no nonsense DIN, and has a form that follows its highly legible function. Based on a lozenge, it has a clean and pure geometry with even stroke weights. Karben 205 is available in a family of five weights, and is also available with character variations as Karben 105. There are also monospaced variants of both Karben 105 and Karben 205 and a stencil version. All of the Karben fonts feature an extended character set, including accented characters for Central European languages.

Towards Minimalis Stencil Our latest product inspired by the famous logo is simple but classy, made with precision and measured. very good for combining your design work with a clear line and a circle with several different weights that are very comfortable in the design area you are easy to read and as a title on a blog or magazine page Towards Elegant Sans Family has symbols and punctuation and unique alternative letters perfect for logos & branding, photography, invitation, watermark, advertisements,product designs, stationery, wedding designs,label ,product packaging.

Militia Sans is the sans-serif version of Militia. A heavy sans serif with very distinct stenciling, Militia Sans is ideal for strong designs that settle for nothing less than total obedience. A few alternates are sprinkled throughout the character set. Militia Sans comes in all popular font formats, and offers a full range of Latin support, including Western, Eastern and Central European languages, as well as Baltic, Celtic/Welsh, Cyrillic, Esperanto, Greek, Maltese, Turkish, and Vietnamese. The Open Type font is entitled Militia Sans Pro, and contains class-based kerning.

This is not a stencil font. At least it isn't intended to be. The foundation for the entire font comes from a progression in experimental rules on stroke intersections (pinching, separating) while maintaining proportions and elements from a more conventional typeface. More latitude was given to the unicase "Fat" face but still retains the overall flavor of the original. The end result is a typeface that's hard to categorize as any one personality. Most likely a good candidate for logo, display, or headline work, the applications for Encoder are yet undeciphered.

Karben 105 Mono is a monospaced variation of Karben 105. The clean and pure geometry of Karben 105 makes it highly suitable for adaptation to this monospaced variant. It has an even look and retains its legibility at very small sizes. Karben 105 Mono is available in a family of five weights and includes an extended character set to include accents for Central European languages. Karben 205 Mono is also available as a monospaced variant of Karben 205. There is also a stencil version of Karben 105 available.

A set of self-adhesive poster board letters once made by the E-Z Letter Stencil Company and sold under the name "Quik Stik" was the model for School Project JNL. Ironically, the line was discontinued because they did not stick very well - the weight of the cardboard caused the letters (which used a rubber cement type of glue) to pull away from the surface they were mounted to. Unlike vinyl self-adhesive letters (which were formulated for indoor or outdoor use) these cardboard sets were relegated to indoors only; further restricting their usability.

The Kimchi font had its starting point in the making of the film "Cloud Atlas", based on the novel by David Mitchell and directed by Lana & Andy Wachowski and Tom Tykwer. A first version of Kimchi was created for "Papa Song" – an underground fast food restaurant in a futuristic Neo Seoul in the year 2144. It was used for the menus, advertisement and packaging. Kimchi was later further developed to become a useable typeface: it works for headlines, street art stencils and of course as logo font for korean fast food restaurants.

Four interchangeable all-caps typefaces, made specifically for designers to layer and play with. Here’s more at the designer’s site. It combines hard and soft, geometry and pattern. Layer and mix styles within a single word, retaining coherent visual tone. Havelock Solid operates as a background layer, Multiline sits nicely atop it, Inline frames Multiline’s center strokes, and Stencil lets details peek through. If you’re working with translucent color, the blending can be gorgeous. Please note, if you're also looking at Havelock Titling: both collections are included in Havelock Complete for a lower price.

Goldana is a display layered font inspired by art deco. The base layer is regular; add an extrude and extrude shadow to create a dimensional look. Several of the styles can be mixed and matched together to create different style details. There are several fonts with a stand-alone style and script. The Script fonts are also equipped with OpenType features. (The shadow, drop shadow, drop stripe and stencil styles are not meant to be layered.) Play with the extras collection to create badges with a vintage feel and an art deco style.

Foundry Fabriek was inspired by the concepts behind industrial fabrication, where and how parts of materials or structures are united. The systematic grid, formed by stencil shapes, is indicative of the work of Wim Crouwel, consultant on the development of this typeface. The compact character widths of Foundry Fabriek are consistent over the five weight progression, giving flexibility for a variety of applications. The characteristic letterforms have an extra dynamic in large scale, perhaps in cast concrete or laser cut metal, to form integrated components in architectural or signage projects.

Caché is a stylish, condensed sans serif font family in 3 versatile weights (Light, Medium & Bold) with an extended Latin character set. The typeface features economical letterforms with distinctively sheared terminals and occasional stencil characteristics. Designed as a practical all-rounder, it really does live up to its name, providing legibility along with added panache to any heading or copy. In practice, its surprisingly adaptable to most projects; and as usual with ‘ArtyType’ fonts, there are several alternate characters available via the glyph palette, providing that extra dimension when personalising your design projects.

Karben 105 is inspired by the classic, no nonsense DIN, and has a form that follows its highly legible function. Based on a lozenge, it has a clean and pure geometry with even stroke weights. Karben 105 is available in a family of five weights, and is also available with character variations as Karben 205. There are also monospaced variants of both Karben 105 and Karben 205 and a stencil version. All of the Karben fonts feature an extended character set, including accented characters for Central European languages.

Dirty Baker’s Dozen, was released in 1998 and has since become the gold standard in raunchy stencil fonts. This version of Dirty Baker’s Dozen is pants-full of handy symbols, fractions, accents and what not. Need numeric ordinals? Probably not, but if you do, Dirty Baker’s Dozen will be there with boots on and numeric ordinals a-blazing. Two new styles were introduced in 2009: Scorch & Spraypaint. When you're using Scorch or Spraypaint styles in an OpenType savvy application, common letter pairs will be automatically replaced by custom pairs for a more realistic, filthy effect.

Karben 205 Mono is a monospaced variation of Karben 205. The clean and pure geometry of Karben 105 makes it highly suitable for adaptation to this monospaced variant. It has an even look and retains its legibility at very small sizes. Karben 205 Mono is available in a family of five weights and includes an extended character set to include accents for Central European languages. Karben 105 Mono is also available as a monospaced variant of Karben 105. There is also a stencil version of Karben 105 available.

It's the Summer of Love all over again with this groovy psychedelic font. Designed in 2019, this typeface harks back to the carefree days of the late 1960s. Whimsical and offbeat with its swaying verticals, it nonetheless remains one of the more legible reimaginings of the genre, sporting all of the handlettered vibe of posters and album covers from the original hippie era, but with polished color and weight that evens out the legibility even at relatively small point sizes. Predominantly a unicase font, with a couple of alternate glyphs from upper to lowercase, Summer of Love works best as a large headline face, and benefits greatly from twisting and morphing the type blocks as was common during the original psych era. It's a real groove machine, baby.

In 1968, Adrian Frutiger was commissioned to develop a sign and directional system for the new Charles de Gaulle Airport in Paris. Though everyone thought he would want to use his successful Univers font family, Frutiger decided instead to make a new sans serif typeface that would be suitable for the specific legibility requirements of airport signage: easy recognition from the distances and angles of driving and walking. The resulting font was in accord with the modern architecture of the airport. In 1976, he expanded and completed the family for D. Stempel AG in conjunction with Linotype, and it was named Frutiger. The Frutiger™ family is neither strictly geometric nor humanistic in construction; its forms are designed so that each individual character is quickly and easily recognized. Such distinctness makes it good for signage and display work. Although it was originally intended for the large scale of an airport, the full family has a warmth and subtlety that have, in recent years, made it popular for the smaller scale of body text in magazines and booklets. The family has 14 weights and 14 companion fonts with Central European characters and accents. Another 14 Cyrillic companion fonts are available as well. See also the new revised version Frutiger Next from the Linotype Platinum Collection. Featured in: Best Fonts for Logos

Amaro is the Italian word for bitter (amaro) herbal drinks like Ramazotti, Averna and a trillion lesser known ones. These liquors were the literal base for this elaborate set of four fonts. Each has different uppercase letters and some of the lowercase letters vary as well. Amaro-A, B, and C can be mixed freely. The Amaro-D has underlining swashes in two different lengths, the uppercase has the shorter underlines and the lowercase the longer ones. I throw these in for free and the entire set is very reasonably priced. Enjoy and cheers to you!