Linotype Venezia Initiale is part of the Take Type Library, selected from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. Designed by German artist Robert Kolben, the font is based on the classic forms of Roman writing in the 1st and 2nd centuries found chiseled on countless buildings and monuments. Linotype Venezia Initiale is a timeless, elegant font particularly well-suited to headlines or as initials in combination with other fonts, working especiall well with sans serif alphabets.

Institut is an industrial-strength display face, with a no-nonsense feel of a research lab and audacity of a space mission control. Based on assertive geometric forms, it is suitable for a variety of on-screen and print uses. Designed by Vyacheslav Kirilenko with participation of Gayaneh Bagdasaryan in 2013.

Here's The Thing -- it can be loosened, twisted, tied, tripped over, wagged, bitten, forked, stuck out or kept in your cheek. You need your tongue to talk, taste, chew, swallow and sing. You can keep a civil tongue in your head or you can give someone the rough side of your tongue...

Fabbabi is a vintage bold retro-font suggested uses would be for headlines that catch the eye. The glyphs are hard edged with soft corners that makes for a fun playful look in the uppercase version and an useful display font using the lowercase letterforms for subheads and the like. Slightly condensed, this bold font applied to projects that need an attention grabbing headline but expresses the fun of the info being convened. Best used larger than 42 points in size. Fabbabi is a wonderful, beautiful and fabulous big baby of a font- Ciao!

ITC Snap is the work of American designer David Sagorski and represents both the creativity and humor of the native Kansan. It clealy displays the influence of cartoon graphics of the 1960s and 70s, but does not need to be limited to period or animated graphics. ITC Snap is ideal for headlines which demand attention.

German type designer Theo Nonnen created this display FontFont in 1996. The family has 15 weights, and is ideally suited for advertising and packaging, festive occasions as well as film and tv. FF Stoned provides advanced typographical support with features such as ligatures. It comes with tabular lining, proportional oldstyle, and proportional lining figures.

Germania is a Sans font based on classic roman proportions and forms based on my Imperia font. But I added that distinct, rigid, no-nonsense German touch. This monoline font with its classic proportions and personality is good for lots of occasions. And – I designed three »real« italic typefaces – not just slanting the straight ones. I corrected the stroke thicknesses and changed the lowercase a, e, f, g and q. I put in a collection of very interesting uppercase ligatures for free. Your classical type designer - Gert Wiescher

ROMANICA is a relaxed humanist sans with subtly curved corners and slightly flared glyphic terminals that are expressively angled where appropriate. Romanica has the authority of the ages without the harshness of many classically inspired typefaces. All eight fonts include a full complement of Latin Extended-A characters, Welsh diacritics, Irish dotted consonants, and additional oldstyle numerals. ROMANICA is available in three packages - • Basic Family (Regular, Italic, Bold & Bold Italic) • Light (Light & Light Italic) • Medium (Medium & Medium Italic)

This is a headline typeface for titles with a retro sensibility. The concave first projection of the vowel and the dot shape further add to the retro feel. It is characterized by the dot shape seen in the initial consonants and the thin ending strokes of 'ㄱ', 'ㅅ', and 'ㅈ' to create a flowing curve. Although it is a full module, the inner space created by the large contrast of strokes gives a cool feeling. This font contains KOREAN

The Ayes have it! The 1909 specimen catalog from the H. C. Hansen Type Foundry of Boston contained a lovely decorative face named Congress, which is the pattern for this font. It's a winning choice for distinctive headlines, and the uppercase letters are also suitable by themselves for use as decorative initials. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus Central European (Unicode 1250) languages as well.

English HU Hikiki is a unique typeface with a tilted initial consonant, giving it a feeling of lying down and a sense of rhythm due to its large height. The combination of long vowels compared to small consonants adds to the feeling of handwriting. There are 1 weights of HU Hikiki : Medium Greek Το HU Hikiki είναι μια μοναδική γραμματοσειρά με ένα κεκλιμένο αρχικό σύμφωνο, δίνοντάς του μια αίσθηση ξαπλωμένης και μια αίσθηση ρυθμού λόγω του μεγάλου ύψους της. Ο συνδυασμός μακριών φωνητέρων σε σύγκριση με μικρά σύμφωνα προσθέτει στην αίσθηση του γραφικού χαρακτήρα. Υπάρχουν 1 βάρη hu Hikiki: Μέσο Cyrillic HU Hikiki – уникальный шрифт с наклоненным первоначальным согласоном, дающий ему ощущение лежания и ритма благодаря своей большой высоте. Сочетание длинных гласных по сравнению с небольшими согласные добавляет чувство почерка. Есть 1 вес HU Hikiki : Средний

Introducing a bold and uncompromising sans-serif font that refuses to bend or sway. Its angular curves and sharp corners give it an air of authority and strength, while its bold weight demands attention and respect. This font is perfect for designs that require an unyielding, no-nonsense attitude. With its right angles and minimal curves, it embodies a stark and severe aesthetic that leaves no room for ambiguity or indecision. Its austere personality is sure to make a lasting impression, making it the perfect choice for projects that demand an authoritative and uncompromising presence.

Modern Elvish is a humanist sans serif typeface created for the Tengwar “English” mode as popularized in the Lord of the Rings books and films. I imagined the famous elves of this lore living in contemporary times and needing a no nonsense modern typeface for their branding, communications and UX design. Use this typeface for your RPG, LARPing or Cosplay needs. This typeface uses advanced font features such as ligatures and contextual alternates to convert any English text. I would recommend typing in English first, then converting to a font of this typeface.

Linotype Algologfont is part of the Take Type Library, chosen from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. Designed by German artist Bjorn Hansen, the font contains exclusively capital letters and the forms of the characters look like branches or driftwood bent to form an alphabet and punctuation. The font is very flexible and can give text either a myterious and strange impression or a free and natural one, dependent on context. Linotype Algologfont is best suited to headlines in larger point sizes.

Zuume Rough is a textured, bold, condensed sans display family. A sister to Zuume, this version features a rough printed texture for a more natural and raw look. The fonts can be tightly spaced and stacked for a visual punch or loosened for a little more breath. A distinct characteristic is the notched and extended ink traps meant for both function and aesthetic interest. The strong and sturdy design makes it ideal for eye-catching headlines, branding, packaging, sports, logos, and more.

A heavy unnamed Gothic typeface from the 1890 William H. Page Foundry woodtype specimen book provided the template for this bold, brash, no-nonsense face. It's designed to set tight, so your headlines will definitely get noticed. Named for a town in West Central Texas which is noted for being the home of the Buffalo Soliders in the late 1800s. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Churchward Isabella is a five weight typeface family originally designed during the 1980's by the late type designer Joseph Churchward, from New Zealand. A straightforward, geometric sans serif, it is a no-nonsense, highly legible workhorse design, readable on screen as well as in print, for text, headline and display. The family includes Light, Regular, Medium, Bold and Extra Bold.

FP Dancer Tango is a humanist-influenced techno-like font, designed 2012-14 by Morten Rostgaard Olsen & Ole Søndergaard. FP Dancer Tango will be a useful tool, helping you to create wonderful headlines and text-columns in magazines and so. The font is surprisingly readable, even in small point sizes. Among other things as a result of the smooth transitions between the angular shapes. In addition, the condensed shapes saves a lot of space.

Stemplate is a bold, no-nonsense font based on the common translucent green templates that are available now at an office supply near you! Stemplate includes upper and lower case letters, as well as numbers, symbols, punctuation, and accented foreign characters. Stemplate Outline is based on the common translucent green templates that are available now at an office supply near you, and includes upper and lower case letters, numbers, symbols, punctuation, and accented foreign characters. Stemplate Outline is particularly fetching with a neon glow.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.