JustTall is an ultra condensed typeface with open type features, 400+ characters with 80+ languages support made for tight spaces. Useful for - Logos for companies with really long names Different texts with very little space available Very tall design types Give feedback: https://bit.ly/3FlmhDS

Hand lettered titling on the 1945 sheet music for “Don’t Forget To-Night, To-Morrow” is in a simple, condensed sans serif style with a slight hint of Art Deco influence. This is now available as Handmade Headline JNL, in both regular and oblique versions.

Semi-condensed sans-serif with expressive curves on the outside and closed on the inside, with diagonal stems to convey modernity and a unique personality. Perfect for titles and headers in graphic and editorial design projects, as well as standing out in digital applications.

An upright condensed formal script. Athellia is right at home on packaging, labels, Menus, Headlines, invitations, and title design. NOTE: MyFonts does not display contextual alternates so many of the ‘o’ combinations do not display correctly here but do with open type alternates activated.

Gluten is an experimental font family designed by Carlos Fabian Camargo. It includes irregular shadows to communicate craftsmanship. Its multiple upper cases with condensed width and naive lines are notable for their expressive drawing with a high amount of contrast between thick and thin strokes.

The 1960 revised edition of Sam Welo’s “Studio Handbook – Letter and Design for Artists and Advertisers” showcased a beautiful, semi-condensed Art Deco alphabet called “Modern Gothic”. It has been digitally redrawn and is available as Restauranteur JNL in both regular and oblique versions.

The Sans serif companion to Astoria. Based heavily on Gill especially in the mid weights and with a consistant series of condensed weights. Designed specifically as a text face it still works very well as a headline font. There are 6 weights with accompanying Italics.

From the vintage record cover, "Music from MR. LUCKY", composed and conducted by Henry Mancini, comes this offbeat and full of life condensed serif typeface. A uniform stroke structure and a light baseline bounce give this typeface a festive yet serious duality of a personality.

A condensed type design with Art Deco influences was used for titles within the February, 1938 issue of Modern Screen Magazine. The digital version is named for the famous “Tinsel Town” street intersection. Hollywood and Vine JNL is available in both regular and oblique versions.

Amongst a number of items for sale in an online auction was a font of metal type featuring a thin, condensed serif font with decidedly Art Deco styling. This was the inspiration for Department Store JNL, which is available in both regular and oblique versions.

Clarendon is the name of a slab-serif typeface that was released in 1845 by Thorowgood and Co. (or Thorowgood and Besley) of London, a letter foundry often known as the Fann Street Foundry. This current design is a somewhat condensed version of the font.

LeftheriaPRO has its structure projected from the capitals of the Greek columns of Ionian order, it is a typography condensed with vertical emphasis composed by 5 weights (light, regular, medium, semibold, bold) including ligatures, alternates, smal caps, old styles figures, fractions, superiors, inferiors. | Download Specimen

Based on turn-of-the-century advertising type. A condensed, fat-faced display font with a touch of the medieval. The influence of art nouveau is also present in the high-waisted caps and flowing lines, putting the face into the early 20th century.

Burnish Font family comes in 2 distinctive wide and condensed forms. Burnish is a contemporary typeface family with strong stylistic geometric contrasts representing the shifting contemporary aesthetics. Its distinctive stance and wide-open counters allow the right visual consistency for branding and communications projects.

Zesty Lime is a condensed typeface, hand made with a small brush and China ink. Zesty would look good on book covers, posters and packaging - but I guess you're not limited to those three options. Just enjoy! Comes with a generous squeeze of diacritics.

Another bit of font inspiration came to the attention of Jeff Levine through his friend Gene Gable. An image of vintage packaging for Aquapruf Ear Drum Protectors (swimmer's ear plugs) offered the narrow and condensed lettering that is the basis for Slim Chance JNL.

When you've got something big to say, but space is tight, the only way is up! Terje, an ultra condensed display font by Further Type, is here to help you create eye-catching, playful headlines, and logotypes that stand head and shoulders above the rest.

Playful and funky. The ideal choice for candy wrapping, teen magazines, toy packaging and the like. The reweighted condensed is useful where space is at a premium, and mixing the two weights freely leads to intriguing results. Use with bright fresh colors for added "bounce".

“9 Garcons...Un Cœur” (“9 Boys...One Heart”) is a 1948 French musical starring Edith Piaf. The hand lettered credits for the film are done in a condensed Art Deco sans alphabet, now available digitally as Stage Show JNL in both regular and oblique versions.

An inky script font written by a madman from the cabin deep in the forest. Moonshine Script has a regular set of uppercase and lowercase script letters but also condensed capital letters that you can access by switching SmallCaps on and writing with CAPS.

This condensed type is based on Roman calligraphy and (through having several alternates on both upper and lower case, plus some non-standard ligatures) your text may look like it’s written or handmade. You can combine this font with Ecstasy, also available on MyFonts.

In the December, 1934 issue of Modern Screen magazine, a number of feature article headlines were hand lettered in a condensed slab serif with a relatively uniform stroke weight. This is now available digitally as Fan Magazine JNL, in both regular and oblique versions.

Titles hand lettered for articles appearing in the November, 1938 issue of Hollywood Magazine were done in a condensed Art Deco stencil style in just lower case. This novelty type design is now available as Deco Display Stencil JNL in both regular and oblique versions.

Estandar Rounded is a retro and vintage wayfinding sans serif font, inspired by old signals in central park and Europe. It is a Condensed sans with their tall x-height. The family has 6 Weights, italics and dingbats. It is an extension of Estandar font.

Ultra Break is a handwritten all-caps font with condensed proportions and dynamic feeling, with a lot of ligatures available. The uppercase has the main letters and the lowercase has alternate letters. It is great for display, branding, packaging, advertising, sports, titles, posters, and more!

Clean and geometric deco sans typefaces have been used in a range of scientific publications, corporate logotypes, and beauty products over the years. However, a typeface of this style has yet to have an expansive range of widths and weights to become a design workhorse, until now. The Sunblock family finds its origin of inspiration in the Coppertone sunscreen company logo, and from there expands to type megafamily. Sunblock celebrates the rounded geometric forms of deco and bauhaus lettering through a compressed lens, transcending its brand inspired origin to give birth to a font family that pulls on modern and historical styles. It inherited its soothing tone from the limited character logotype that inspired it, and goes on to include a lowercase, small caps, and a comprehensive range of widths and weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here's what's included with the Sunblock Collection bundle: 643 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 7th graphic for a preview of the characters included) 21 fonts in 5 width subfamilies: Ultra Condensed, Extra Condensed, Condensed, Semi Condensed, & Standard. 5 weights per subfamily (except Ultra Condensed): Thin, Light, Regular, Bold, & Black. Fonts are provided in both TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Sunblock Collection is for you: You're in need of a deco geometric font family with a big range of weights and widths You're love that Coppertone letter styling, and want to design anything within that genre You're looking for an alternative to Chalet Comprime with a more versatile range of styles You're looking to start up your own derivative Sunscreen product line You just like to collect quality fonts to add to your design arsenal

Originally designed in 2012 by Ryoichi Tsunekawa, All Round Gothic is a font family inspired by classic sans serif fonts such as Avant Garde Gothic and Futura. All Round Gothic is a structured geometric sans, but also creates a sweet and cute atmosphere by removing unnecessary stems. With their bowls shaped by not-perfectly-geometric circles, All Round Gothic makes an organic impression in some degree. As a result, All Round Gothic became a new font family that covers between 1920s Bauhaus and contemporary design trends comprehensively and one of the most suitable family for any purpose such as text, headline, logo, poster, and animations thanks to clean and legible but soft and friendly letterforms. All Round Gothic includes 5 weights and obliques corresponding to each weight. Why don't you try this family if you got a little bored with classic sans serifs. This font is used in Minions movie.

First published in 1939 by Stempel, Renner Antiqua is a classic serif text typeface. Designed by Paul Renner, the father of Futura, this design stands out as strikingly different from his other designs. The letterforms are relatively compact and space saving and the strokes have a strong contrast to look as if made by a pen. This design is extremely distinctive and individualized, but without being overly distracting. Notice many of the small details such as the serifs on the uppercase C, E, and L and the bar at the top of the uppercase A. Also observe the special curve in the bowl of the lowercase b, the dot of the i, and the tail of the y. This design is wonderful for extended amounts of text at 10pt, but the subtle details will be fully appreciated when used larger for titles and display settings.

FranklinGothicHandLight is part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked. When I was in advertising – before computers – a very time consuming part of my daily work was sketching headlines. I used to be able to sketch headlines in Franklin Gothic, Times, Futura, Helvetica and several scripts. We had a kind of huge inverted camera – which we called Lucy. We projected the alphabet onto a sheet of transparent paper, outlined the letters with a fineliner and then filled them in. It was very tedious work, but the resulting headline had its own charm and we had a permanent race going on who was best and fastest. I won most of the time! They used to call me the fastest "Magic Marker" this side of the Atlantic. Great days, just like today! Your sentimental type designer from the past Gert Wiescher

FranklinGothicHandDemi is part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked. When I was in advertising – before computers – a very time consuming part of my daily work was sketching headlines. I used to be able to sketch headlines in Franklin Gothic, Times, Futura, Helvetica and several scripts. We had a kind of huge inverted camera – which we called Lucy. We projected the alphabet onto a sheet of transparent paper, outlined the letters with a fineliner and then filled them in. It was very tedious work, but the resulting headline had its own charm and we had a permanent race going on who was best and fastest. I won most of the time! They used to call me the fastest "Magic Marker" this side of the Atlantic. Great days, just like today! Your sentimental type designer from the past Gert Wiescher

Black Drum is a rare revival typewriter face, made digital from analog samples gathered with great care by Coniglio Type. A time and place; type and life. Black Drum is contemporary designer type, made from the struck steel hammers of an Art Deco Period san serif face transferred from a mechanical 1926 custom editor Royal Portable typewriter. Anna Conroy of Type Heritage, LLC, Philadelphia comments on Black Drum and its new place in time today: “Wow! nice lookin’ face Joseph! —Perfect, somewhere between Cable; [Rudolph Koch, 1927] (which was about the first transatlantic telegraph cable) with its raised x-height; and Futura [Paul Renner, 1928]. Yup, it has that great “Monopoly Game” question mark -- and all on a period-piece typewriter! You should have no trouble grafting that sorely needed Euro symbol.” –And he very well did! Author: Joseph Coniglio Producer: Coniglio Type MyFonts debut: October 2021

The Nixt Font Family is a new font with currently seven styles. As an alternative to Helvetica, Arial, Gill Sans, Futura, & Gotham, Nixt has a similar design aesthetic to those aforementioned in that its design, structure, and feel crosses decades of appeal. From Mid-Century, through the stark '60s, decades of succeeding modern architecture through the turn of the 21st Century, Nixt's glyphs are timeless, clear, ultra-legible in all styles and weights. Best use in Advertising, Branding, Signage, Architecture, Fashion, Posters, Headlines, and By-Lines, Print & Digital, and of course Labels. There are currently, at first release, 7 Styles: Extra Light, Light, Regular, Italic, Book, Bold, & Extra Bold. There are more in process and will be added when completed. The inspiration behind the Nixt Fonts is the Bauhaus, Mid Century Industrial Design, Art Deco through Moderne Era Architecture, American Pottery and American Design of The Twentieth Century.

Frederic W. Goudy designed three weights of this friendly-looking sans serif font from 1922-1929 for Lanston Monotype in the United States. Goudy was attempting to impart freedom and personality to the sans serif form at a time when geometric sans serifs, such as Futura, were gaining rapid world-wide popularity. To achieve this challenging goal, he looked to lapidary inscriptions and manuscript writing for inspiration. He included elements such as slight swellings of terminal strokes, slab serifs on a few of the caps, alternate uncial forms, and a few swash strokes. The result is uniquely Goudy: charming, instinctive, and just right for adding warmth to magazine or advertising layouts. The design staff at ITC updated and filled out the family for a total of eight styles in ITC Goudy Sans. ITC Goudy Sans® font field guide including best practices, font pairings and alternatives.

Core Sans C family is a part of the Core Sans Series, such as N, M, E, A, D, G, R and B. Core Sans C is inspired by classic geometric sans (Futura, Avenir, Avant Garde etc.). It is based on geometric shapes, like near-perfect circle and square. It has a much higher x-height (height of lowercase letters), an effect which promotes readability especially at small print sizes. The Core Sans C Family consists of 9 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy, Black) and Italics for each format. Core Sans C supports complete Basic Latin, Cyrillic, Greek, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, oldstyle figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. Core Sans C is an ideal font family for use in magazines, web pages, screens, displays, and so on.

Wide font family is a geometric sans serif font, which features 9 styles. It’s based on the Futura developed by Paul Renner and neo sans-serif fonts. At the same time, it has significant stylistic differences. Massive lengthy letters are among the unique features of this font. They will help you come up with the perfect composition. The letters have optical compensation, while a circle is the main figure of the fonts. Due to wide fonts, your project will have modern and fresh design. The composition will keep its contrast regardless of a background you’ve chosen. The Widy family includes 9 styles: Thin, Extra Light, Light, Semi Light, Regular, Medium, Semi Bold, Bold and Extra Bold. Each of them also has Italic variation. The fonts are perfect for both graphic design projects (posters, brand identities, logotypes) and simple interface design, which needs the necessary style.

American graphic designer William Addison Dwiggins' (W.A.D. for short) first typefaces were the Metro family, designed from 1927 onward. The project grew out of Dwiggins' dissatisfaction with the new European sans serif typefaces of the day, such as Futura, Erbar, and Kabel, a feeling he expressed in his seminal book Layout in Advertising. Urged by Mergenthaler Linotype to create a solution for the problem, Dwiggins began a professional relationship that would span over the next few decades. The first Metro family typeface to be released was Metroblack, brought to market by Linotype in 1929 (Metroblack #2™ the only one of the two versions that Mergenthaler Linotype eventually put into production which is available in digital form). With more of a humanist quality than the geometric styles popular in Europe at the time, Dwiggins drew what he believed to be the ideal sans serif for headlines and advertising copy. Metroblack has a warmer character than the Modernists' achievements, and the type is full of mannered curves and angled terminals (Metroblack also has an astoundingly beautiful Q). The other weights of the Metro family, Metromedium #2™ and Metrolite #2™, were designed by Mergenthaler Linotype's design office under Dwiggins' supervision. Despite having been created more than three-quarters of a century ago, the Metro family types have aged well, and remain a popular sans serif family. Although spec'd less often than other bestsellers, like Futura, Metro continues to find many diverse uses. The typeface has appeared throughout Europe and the North America for decades in newspapers and magazines, and can even help create a great brand image when used in logos and corporate identity. Dwiggins ranks among the most influential graphic designers and typeface designers of the 20th Century. He has several other quality fonts in the Linotype Originals, including the serif text faces Electra™ and New Caledonia™, as well as Caravan™, a font of typographic ornaments."

Cut by Monotype between 1900 and 1902, the Monotype Modern font family was based on Miller & Richards News 23 and 28; slightly condensed news text types of the 1890s. Monotype Modern is a lively typeface, with long, fine hairlines and well rounded letterforms, representing the best of nineteenth century modern face design. A classic text face, and typical of the moderns that were produced in the United Kingdom at that time, being less extreme in its rendering than some of the models of purer form being produced elsewhere. Monotype Modern is an excellent text face for magazines, newspapers and books, the heavier and more condensed versions are useful in headlines and display.

BluHead Studio LLC is pleased to announce the complete Prenton typeface family! Born of an award winning pedigree, Prenton is an elegant and meticulously drawn sans serif typeface by Roy Preston of Great Britain. Perfect for intricate text settings, it is an extensive family of typefaces containing twenty-one weights in all. The ten OpenType Pro fonts are typographically rich collections of small caps, inferiors/superiors, numerous figure sets and fraction styles, and ligatures. There are Condensed and Ultra Condensed versions of the roman weights and a single Thin Display weight. This wide-ranging variety provides a solid foundation for lengthy and complex typographic layouts. All fonts are OpenType CFF and support an extended Central Europe character set.

Sardines is a project by Jacques Le Bailly aka Baron von Fonthausen. It first saw the light as a student project for a monospaced font and eventually grew into Vette Letters’ largest font family. We saw its potential and expect it to be a million seller, just like our other typefaces. VLNL Sardines comes in 42 different variations, like rough and clean cuts, regular and condensed widths (condensed is the exactly half of the regular width). Sardines is an eclectic mash of classic curves and mathematical measurements, leaving a very distinct typographic flavor. While most of our type is market-fresh, this one comes out of the can, but it’s delicious nonetheless. And it’s great for adventurous BBQ-ing!

Hocky is an Ultra Condensed Headline Sans Serif Font that perfect for headline, Title, Instagram post, etc. A new San Serif Font that we created special for Headline, Title and more stand out typography needs, with extra ligature that will add your variations. 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. Hocky Ultra Condensed Headline Sans Serif Font ready with: Any options to get creative variations (combination of Ligature Characters) Preview as a inspirations that you can do with Hocky font Ready with All characters Wish you enjoy our font. :)