A revival of one of the popular wooden type fonts of the 19th century, suitable for text or display, short descenders, tall ascenders, the condensed bold version, completing the family of 4 fonts in total.

SK Akropol is a sans serif and condensed font. Designed by Salih Kizilkaya in 2020. There are six different options: Regular, Italic, Medium, Medium Italic, Bold and Bold Italic. Includes 6 fonts and 1122 glyphs.

The main challenge with Shirah Joie was how not to design just another monoline font, and how to add liveliness while condensing the letters a little bit. Shirah Joie is an OpenType/TTF Unicode font.

Progreso is a condensed, unicase, serif gothic type design inspired by the hand-lettering on Russian posters from the 1920s. Supports most European languages, including modern Greek and most languages that use the Cyrillic alphabet.

Sailfin is a condensed geometric typeface, and works best in text and display applications, such as headline, posters, signage, magazine, product branding, corporate branding, logos and titles. Several alternate characters are included in this typeface.

Varietta is the result of my fascination with photographing the type designs of some marquees in Spanish markets. In them you can see many letter designs with reversed contrast and in different widths, probably based on the possibilities of photocomposition. At the same time I was working on the expansion of the Hastile typeface designed by Alessandro Butti for the Nebiolo foundry in Italy in the late 1930s, of which I had not seen any digitization. As I am not a fan of perfect revivals, I thought it could be interesting to connect Spain and Italy in a single typeface. The first step was to expand Butti's design to 27 styles, ranging from thin condensed to black expanded. To look for the Spanish connection and its characteristic inverse contrast I took advantage of the current technology that allows variable typefaces with many axes. From this, three scenarios of horizontal contrast were incorporated (top, bottom and mixed) which allows infinite possibilities of use. The final result is a collection of 108 static typefaces or a single variable file.

Amfibia™ is a soft, flat-sided geometric grotesk family with a lot of character, equipped with tons of ligatures and swashes. Its main function is display use of all kinds, however it is prepared to serve as paragraph text typeface thanks to its 5 widths, giving total amount of 100 fonts. It is crafted for a broad variety design situations - from posters, magazine editorial use, logo design & branding, to web design, user interfaces and mobile applications. Main features: - 5 widths (Narrow, Condensed, Normal, Expanded, Wide), each consisting 20 fonts - 10 weights for each width (from Hairline to Black) - handdrawn, carefully crafted obliques - over 900 glyphs, full of swashes, initial forms, terminals and ligatures - pronounced ink traps and large x-height improving legibility in small sizes as well as adding strong personality to display sizes - flat-sided letter shapes adding vertical rhythm and elegance to narrow widths - extended latin language support - OpenType features (swashes, initials, terminals, standard and discretionary ligatures, stylistic sets, contextual alternates, case sensitive forms, lining, oldstyle and tabular figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols)

Predige Rounded is the softer version of Predige. Predige is a condensed and constructed sans type family, with a very low contrast. The Predige Rounded family includes 7 weights, from Hairline to Black, with their corresponding italics. Each font includes OpenType Features such as Proportional Figure, Tabular Figures, Numerator, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals, Ligatures and Fractions. Predige Rounded family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

Malou Verlomme designed Madera with graphic designers in mind – drawing on his decade of experience designing bespoke type to create a versatile, easy-to-use geometric sans serif that ticks off a long list of branding requirements. Its sharp apexes add some flavour to the design, which offers an honest, trustworthy tone of voice – but with a twist. “The design doesn’t go out of its way to attract attention, but is still very solid,” explains Verlomme. “It still has a fair amount of warmth and personality, in a very understated manner. If you’re a large corporation, with a typeface being used in many different environments, you want something that’s easy to use but can sustain such a large amount of visibility.” The Madera typeface family has 32 fonts: Upright, Condensed and Italics. Each typeface contains over 650 glyphs with extensive Western, Central and Eastern European language support. It also supports OpenType typographic features like alternatives, ligatures and fractions. Madera Variables are font files which are featuring two axis and have a preset instance from Hairline to Extra Black.

Dutch type designer Albert-Jan Pool created this sans FontFont between 1995 and 2009. The family has 20 weights, ranging from Light to Black in normal and condensed styles (including italics). It is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design. Looking for the new Thin and Extra Light weights? They are available through fontshop.com, linotype.com and fonts.com. FF DIN provides advanced typographical support with features such as case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also partly supports the Cyrillic and Greek writing systems. In 2011, FF DIN was added to the MoMA Architecture and Design Collection in New York. This FontFont is a member of the FF DIN super family, which also includes FF DIN Round.

Zin Slab is a contemporary slab-serif typeface designed for various situations of typographic usage. Characteristic feature is a large x-height and balans between neutral construction of letters (strictly vertical axis) and dynamic open forms (opened terminals). Another typical feature is a visually narrower connection between stems and strokes. The complete font family consist of three width proportions (Normal, Condensed and Extended). Every sub-family has 5 weights, ranging from Light to Black with matching Italics. Each font includes small capitals, old-style and tabular figures, standard and discretionary ligatures, alternate glyphs and a many of typographic options applied by the Opentype features. Zin Slab can be effectively used for both text and display typesetting. It can be used especialy in magazine layouts and editorial design, as well in advertising typography, orientation systems, corporate identities and many other situations. Zin Slab is a member of the Zin super family, which also includes Zin Sans, Zin Serif and Zin Display fonts. You can try Demo styles in Medium weight fully for free.

Zin Sans is a contemporary sans-serif typeface designed for various situations of typographic usage. Characteristic feature is a large x-height and balance between neutral construction of letters (strictly vertical axis) and dynamic open forms (opened terminals). Another typical feature is a visually narrower connection between stems and strokes. The complete font family consist of three width proportions (Normal, Condensed and Extended). Every sub-family has 5 weights, ranging from Light to Black with matching Italics. Each font includes small capitals, old-style and tabular figures, standard and discretionary ligatures, alternate glyphs and a many of typographic options applied by the Opentype features. Zin Sans can be effectively used for both text and display typesetting. It can be used especially in magazine layouts and editorial design, as well in advertising typography, orientation systems, corporate identities and many other situations. Zin Sans is a member of the Zin type system, which also includes Zin Slab, Zin Serif and Zin Display fonts. You can try Demo styles in Medium weight fully for free.

Steel Grrrder is a robust, industrial-style stencil typeface family consisting of six weights, from light to black, with corresponding italics. Suitable for all kinds of display purposes including posters, film titles, book covers, magazines, advertising, logos, packaging, signage and games design, Steel Grrrder is especially useful where the message needs some serious geometric bite behind it. Steel Grrrder is best categorised as a constructivist sans family. The character shapes are sharp, angular and slightly condensed - it’s a rigid, no-frills, no-curves, mega-metallic design. Legible? Not really. Readable? I think not. In your faceable? Absolutely! This is a tough display typeface, designed to work in the most demanding typographic situations. It won’t buckle under pressure or wilt when the heat’s turned up. Forged from carbon steel and wrapped in a layer of Graphene, Steel Grrrder is unashamedly rugged, a rock-hard pound-for-pound boxer specialising in thumping knockouts. The Steel Grrrrder extended family also includes a six-weight joining script and two display fonts, Groove & Nutjob - all designed to work with each other.

Ansage does not claim to be neutral; it escapes from the rationalist sans of closed strokes and regular forms. Meaning Announcement in German, Ansage is versatile and communicates effectively across a broad range of media and formats such as branding, posters, websites, apps, titles and compositions with little spacing). Ansage is a sans serif font with a strong personality that emerges from an interest in and the study of a wide variety of typographic specimens of Gothic fonts from the nineteenth century. The design process behind Ansage brought about constant transformations in form; the result is a compact and robust font, with a large x-height, small ascenders and descenders, and open terminals that grow in expressiveness as it increases in weight. It is available in 10 weights, ranging from Hairline to Black, and 3 widths – Condensed, Regular and Expanded – plus italics, which make a total of 60 perfect variables to combine and contrast with each other. In addition, it also includes multiple open-type functions such as alternative styles, Old Style Figures, Tabular Forms, fractions, case sensitive, ligatures and more.

Elysio is a condensed and humanist sans. Its open forms are very useful for signage. The constructed aspect is based on Predige. The Elysio family includes 7 weights, from Hairline to Black, with their corresponding italics. Each font includes OpenType Features such as Stylistic Alternates, Proportional Figure, Tabular Figures, Numerator, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals, Ligatures and Fractions. Elysio family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afar, Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

The starting point for VLNL Kouseband was spotted by Donald DBXL Beekman on the Christian Reformed Church in the Dutch town of Naarden. The iron wire lettering contained a number of unusual characters and details, which eventually led to this five weight family. The Kouseband fonts mix elements of geometric sans serifs and upright unconnected scripts, with a hint of Dutch school writing. VLNL Kouseband is monolinear and has an very large cap height compared to the (lowercase) x-height, giving the capital letters an elongated condensed appearance. Kouseband is the Dutch word for ‘garter (belt)’ and also gave the name to a long tropical bean known as Yardlong bean. Kouseband beans are a common ingredient in Roti and other Surinamese dishes. As the Dutch Christian church is sometimes referred to as ‘Zwarte kousenkerk’ (Black stocking church), and stockings are held up by garter belts, we have come full circle and VLNL Kouseband has a name. VLNL Kouseband contains a set of oldstyle numbers matching the lowercase letters, and a couple of wider alternate capitals (HMNOQ) to enhance the liveliness of your designs.

Oswald Cooper is best known for his emblematic Cooper Black™ typeface. Although he was responsible for several other fonts of roman design, Cooper never drew a sans serif typeface. But that didn’t stop George Ryan from creating one. Ryan saw a sans serif example of Cooper’s lettering in an old book and decided that it deserved to be made into a typeface. Ryan’s initial plan was to make a single-weight typeface that closely matched the slender and condensed proportions of the original lettering. While the resulting Oz Handicraft™ typeface proved to be very popular, Ryan was not satisfied with the limited offering. So, between other projects – and over many years – Ryan worked on expanding the design’s range. The completed family includes light, semi bold and bold weights to complement the original design, plus a matching suite of four “wide” designs, which are closer to normal proportions. Fonts of Oz Handicraft include a Pan-European character set that supports most Central European and many Eastern European languages.

Yet again, a font inspired by my work as a kindergarten teacher! The other day, I had a conversation with some of the kids, about what they ate for breakfast. Some had oatmeal, some bread and others yogurt. But this kid - he insisted that every morning, his mother would serve him cookies, “morning cookies”. It sounded too good to be true, and when I asked his mother, it turned out that “cookies” were actually bread, but to make it sound more appetising, they called it cookies! The letters are rounded and in some way quite naive, but still clear and legible. With an extreme ascender and descender, the font stands out with its oddities. I’ve added 3 different versions of each lowercase letter!

Plz Print Brush is a good solid font for posters, headlines and accent words like - SALE! It gives the slightly irregular look of handlettering.

Lo-Fi Copy is a good way to add an analog look to your design. Brutal pixels have chaotic errors, like a damaged signal.

Jack Smith is a signature script font with a natural handwritten feel. This font is a good choice for branding and logotype design projects.

Jumaplitan font special for retro modern style. Will be good if you use for something like logotype, retro logo, typeface, simple and clean design.

Tribal Tattoos comes from the German tattoo artist Otto Maurer. This clean vector Tribal art is best for making good plott or printed art.

Forjada—designed by Raúl Israel—is a monolinear, rounded and condensed typeface, belonging to the slab serif classification, inspired by wrought iron window and door grills on facades of historic buildings in America and Europe. Forjada is a rigid yet softly curved font with exquisite ornaments and optimized for great legibility. Forjada Family comes in 3 weights—Light, Regular and Bold—with matching italics and includes alternate swash caps and ligatures plus Ornaments and Catchwords sets that provide a wide range of choices for creating the most beautiful designs. The font character set supports 212 languages. Forjada is well-suited for branding, packaging, food & drinks menus, wedding invitations, party invitations, guidebooks to old cities or any glamorous design you want to add a fresh and modern touch to!

Botanique is a hand-drawn typeface based on Schmalfette Bernhard Antiqua by Lucien Bernhard. The original face was released in 1912 by Flinsch Type Foundry, which was later acquired by Bauer. Schmalfette means ‘bold condensed’ in German and Botanique adds a charming roughness to these attributes, evoking an organic and somewhat retro mood. Its uppercase glyphs shine with adorned stylistic alternates and cool blooming swash versions for both initial and final forms, all cleverly programmed into OpenType font features. Botanique is a ​great pick for display purposes, branding, packaging, editorial design, poster work and many more. The original face counts more than one hundred years, but yet communicates quite well, you bet. Specially if loaded with some contemporary flair and smart features such as this one. Let it bloom.

Introducing Typologic, a font that effortlessly fuses geometric simplicity with the vibrant pop culture styles of the swinging 60s and 70s. This versatile typeface offers not just one, but 8 distinct font families, each with its own unique character. You'll find Condensed, Normal, Semi Expanded, Expanded, and stylish shadow versions. But that's not all—when you choose Typologic, you also get a treasure trove of 56 FREE BONUS ASSETS, featuring retro mascot illustrations that perfectly complement your creative projects. Features: Typologic Main FIle 56 free bonus assets that are Retro Mascot Illustrations Has 8 fonts : Condensed, Normal, Semi Expanded, Expanded, Condensed Shadow, Normal Shadow, Semi Expanded Shadow, Expanded Shadow Instructions (Access special characters, even in Cricut Design) Unique Letterforms Works on PC & Mac Simple Installations Accessible in Adobe Illustrator, Adobe Photoshop, Microsoft Word even Canva! PUA Encoded Characters. Fully accessible without additional design software. Come and say hello over on Instagram! Thank you, Dharmas Studio

Retro style is hip, so are early 20th century poster fonts. Size is based on these extra condensed letter forms. In the 19th century the need to communicate commercial messages on limited poster space brought up extremely condensed fonts creating a new typographical look. Since not really legible in small sizes these fonts nearly disappeared with the change in the commercial communication in the 20th century. For a couple of years now, these extra condensed fonts have a revival copying the exact historical appearance of its predecessors. Size, though also seeking the inspiration in the historical draft, furthermore aims to interpret this compressed look in a more vivid way by not closing in on the open counters of the round letters, but having its stroke endings slightly curved. Since other characters are defined by straight strokes, Size displays a look more vital and candid, but still distinct, compared to its historical predecessors.

M Lady is a design inspired by Agfa Waddy’s rather elegant design comes with narrow proportion. M Lady is a rare condensed design in world of Chinese typefaces. Entry and finial points of strokes are squarish, with a sharp but small symmetric serif. It has a medium contrast to improve character recognition. Its thin stems (豎) make it suitable for fine print with minimal conglutination. Dots (點) are straight, reversely curved or round. Downstrokes (撇、捺), ticks (剔) and hooks (勾) are highly regular and consistent. Dots (點), downstrokes (撇、捺) and ticks (剔) are long, smooth, monolinear and curved with small symmetric serif and sometimes angled entry and finial points of strokes to create subtle sharpness in the midst of its softness and elegance, which is better for larger text print. Its features and construction create subtle sharpness in the midst of softness and slim elegance. It is best suited for casual subheading or display, set upright (non-slanted), non-condensed (naturally condensed).

Vast and untamed, the American West once stretched as free and wild as imagination itself. Still beautiful, the Wild West of long ago and the new West of today is now to be found in insigne’s new face, Plathorn. That’s right, folks. When the West called, Jeremy Dooley reached up like Pecos Bill, grabbed it by the reins and pulled it in, then using its wide, roaming elements to design this functional font that still has an unbroken spirit burning deep inside. This down right, no-nonsense, orthodox face leaves off any of that extra fancy stuff that doesn't belong on a ride. Plathorn comes with a family of cowhands as wide as the Rockies, bringing specifically tailored condensed and extended sub-families along with it too. By design, it’s not very obtrusive like its unorthodox reversed tension brethren. Leave those for the next font rodeo. This mount features barely a hint of a serif that hearkens back a hundred years or so to sign painters and package lettering artists of early twentieth century. They're sure to put the sharpness, gumption and grit you need into your copy. So grab a tall glass of Plathorn and drink in the deep taste of America’s big country. Put it in your next magazine. Put it in your brand. This typeface’s offbeat appeal is bound to bring a bit of wild U.S. to your free-spirited work.

Cyntho Next Slab is a totally reworked typeface based on our previous bestseller Cyntho Slab Pro. Cyntho Next Slab is the slab serif companion to Cyntho Next . It is a modern geometric slab serif based on a hybrid waterdrop-like shape with extensive language support including Cyrillic, rich with OpenType features, perfect for magazines, posters, advertising, corporate identity, and much more.

Although Los Alamos was originally designed as a complementary sister typeface to Grand Canyon, it evolved into a comprehensive and unique type family in its own right. It incorporates a unicase that is fully interchangeable with the caps, and vice versa, giving the user many different options and looks. Los Alamos Pro includes over 800 glyphs and ligatures, and supports 131 languages.

This is a font to build a Hebrew Bible (Tanach) or any Hebrew prayer book. Magalith Tanach Pro has all Unicode Hebrew marks and others like ShevaNa, Dagesh Chazak, Qamats Katan, and Cholam Chaser. You can even hide marks You don't want to use. This font has a complex and exclusive Programmation of Opentype features. Adobe InDesign is the best program to use.

Derailer’s eclectic character set is comprised mainly of disparate sans serif characters that claim to play well together. OpenType users also benefit from 52 ligature features that automatically substitute a unique pairing of letters when any upper or lower case character is keyed twice in a row. Derailer Pro extends the character set to support Eastern European Latin, Baltic, Greek and Turkish.

Hello. this is the variable version of CalliSans : a revolution in typography. 14 fonts, 7 regular and 7 italic, seamlessly blend calligraphy's grace with sans-serif simplicity. Perfect for projects demanding elegance, from books to digital screens. Make a bold statement with its distinctive style. Timeless yet contemporary, it transcends trends. Your creative secret weapon. CalliSans Pro: where art meets design.

It was in the beginning of 2008 when I designed a font named Quijote, its predecessor. In the middle of 2009, I looked at it again and thought it could be a good idea to make an update of it. Variables and Features: Quijote Sauvage Pro is the most complete variable. It includes all the ligatures, alternates and swashes. It has the OpenType function in order to alternate glyphs easily when running applications which support this. The font is also offered separately. Quijote Sauvage Standard has the right glyphs to get an equilibrium between wildness and softness. It includes standard and discretionary ligatures. Quijote Sauvage Stylistic has the sharpest glyphs. Its decorative traces are discreet in order not to have problems as regards legibility. Its upper case are less wild than the other variables. Quijote Sauvage Text is the most discreet of its partners. This one was thought in order to improve legibility. Its ascenders and descenders are shorter, so the words are easier to read in small sizes. Quijote Sauvage Contextual, Swash and Titling, are the ones with wonderful terminals. They decorate words, adding a wonderful look of wildness or passion.

Introducing by Essentials Studio Proudly Present, IMPERMANENCE IMPERMANENCE is a Black Letter Font IMPERMANENCE is perfect for product packaging, branding project, megazine, social media, wedding, or just used to express words above the background.

Wooden Okadio Serif is a single weight black serif, modern casual typeface perfect use for headline, logo, magazine, and any editorial design needs also readable body text. I hope you like it, keep awesome!

Inspired by high speed, this font is made in only black in an italic style, giving this font an aura full of energy. Speedy fonts are suitable for use in futuristic themed graphic designs

Rushing Pass JNL is the italicized companion font to Forward Passed JNL and Return Pass JNL. This package includes a bonus solid version of the font (Forward Passed Black JNL) at no extra charge.