Something Rounded is a soft version of Something New and has been designed with logo designers and typographers firmly in mind. This feature-packed display font is a perfect addition to your design arsenal, ready for your next logo wordmark, heavy headings, or coffee labels. "A stylish mix of serif and blackletter" Great for; logos, branding materials, business cards, gift cards, t-shirts, prints, posters, quotes, etc.

Prop-a-ganda offers retro-flavored fonts inspired by lettering on retro propaganda posters, retro advertising posters, retro packages all the world over. This is perfect font for your retrospective project. PAG Maria is bold and heavy sans serif font with happy and sweet touch. It is certainly chubby, but in some ways it is also pointed. So PAG Maria is polished and friendly font.

Spur Wide JNL was modeled from an example of hand lettering from the antique French alphabet book L'Art du Tracé Rationnel de la Lettre. Heavy Roman style letters with spurs (often referred to as Latin) were most popular with sign painters and show card writers in the early part of the 20th century. Spur Wide JNL is available in both regular and oblique versions.

TpLlum is a typeface designed by TwoPoints for a festival in Barcelona called ‘Montjuïc de Nit’. Llum means light in Catalan. In the Montjuïc de Nit project the font was used in white over a dark grey background, letting the light of a backlit poster shine through. For this purpose the typeface had to be very bright, which was made possible by its heavy cut.

Manju font family represents retro 70s styles which have soft and chewy characteristics. Designed to be fit for display, titling, good for logo, header, and large size usage. The light styles can be also used for short text. It consists of 10 styles from thin to heavy with matching obliques. It has several opentype features such as alternates and ligatures, it also supports broad latin languages.

LordRat is a rugged unicase typestyle built for childish and off kilter purposes. A mix of heavy and light with quickcut appearance makes this typestyle offbeat and even festive. Put some dignified childish offbeat flavor into your designs today with LordRat. If you've been looking for a playful yet bold typestyle with papercut looks, LordRat is what you've been looking for. Get it today!

Bylander is a stateful serif typeface. With robust, heavy letterforms reminiscent of a foundry's hammer hitting molten metal, and an unpaired weight, Bylander's characters seem forged from the core of the Earth. Its rounded corners whisper tales of smoothened river stones, and its gentle curves combined with its industrial mass makes Bylander a paradox; both intimidating in its boldness and welcoming in its approach.

Stratham is vigorous sans-serif inspired by the slab serif Clarendon. It is a heavy display face, and has a tangible modern British feel to it. The italic is especially dynamic and forward moving. Stratham includes OpenType titling and swash alternates, old style figures and small caps. Stratham is useful for headlines, highly legible signage or posters and works well in conjunction with the always popular Clarendon.

This pale face -- a Byronic offering from the disaffected youth section of our library -- will provide that slightly sad, sunken eyed feeling most closely associated with Doc Martins, heavy crosses and clothes as black as the blaquest heart... so if you're looking for tragic tramp stamp typography, we think our tattoo parlor maid to wear font will provide just the right amount of Goth Chic.

Yukas is a funky and sexy typeface where the proportions are based on the optical balance between black strokes and white shapes. Ideal to enjoy on a large scale. It takes its references from the psychedelic movement, old-school western movie posters, and mid-19th century American wood type with those big, heavy capital letters. Includes several Open Type alternatives to customize your design however you want.

Brandon Text is the companion of the famous Brandon Grotesque type family. It has a higher x-height than the Grotesque version and is optimized for long texts, small sizes and screens. This sans serif type family of six weights plus matching italics was designed by Hannes von Döhren in 2012. Influenced by the geometric-style sans serif faces that were popular during the 1920s and 30s, the fonts are based on geometric forms that have been optically corrected for better legibility. Brandon Text has a functional look with a warm touch and works perfectly together with Brandon Grotesque . It is manually hinted and optimized for screens, so it will be a good choice for Websites, eBooks or Apps. The whole Brandon series is equipped for complex, professional typography with different sets of numbers, alternate letters, fractions and an extended character set to support Central and Eastern European as well as Western European Languages.

Since their first appearance as Italians on the pages of the 1821 William Caslon type specimens, reverse contrast typefaces have been typography's best loved quirky outcasts. Subverting the traditional relationship between thick verticals and thin horizontals made them perfect for eye-catching advertisements. The unexpected contrasts and the thick slabs produced by reverse-contrast serifs became ubiquitous in period posters, and synonymous with wild west and circus iconography. In designing Stinger, the Zetafonts design team composed by Maria Chiara Fantini, Andrea Tartarelli and Francesco Canovaro and orchestrated by Cosimo Lorenzo Pancini decided to marry this subversive tradition with the workhorse approach of modernist sans serif typefaces like Univers, developing a super-family with four widths, each in five different weights, from thin to heavy. This gives the designer a full range of options for type setting, with the Normal and Fit widths providing two different text-sized alternatives, the wide width adding display and titling options and the Slim ready to deal with the space-saving necessities of extremely long texts. True italics have been added developed for all weights and variants, bringing the Stinger family to a total of 40 fonts, with a latin extended + Russian Cyrillic character set covering over 200 languages, and open type features including positional numbers, stylistic sets and alternate forms. In the crowded panorama of contemporary grotesque typefaces, all aiming to stark geometric perfection, Stinger stands out with its bold choices and strong personality. From the calligraphy-inspired terminals in the thin weights to the logo-ready sculptural approach in the heavy weights, each variant manages to look striking without forgetting the readability and flexibility lessons of modern reverse-contrast classics like those designed by Excoffon or Novarese. A variable version is included with the full family, allowing maximum flexibility and control for the designer over the wide range of expression capabilities of the Stinger super family.

The Wild West meets Russia and India in this heavy duty display face. Although it's uppercase only, most of the characters vary between the uppercase and lowercase alphabets, so it's easy to give your text a hand-made feel by mixing up your cases. OpenType savvy applications can really exploit the extra features of this font. Engage contextual alternates, and G, C, L and alternate form of E will change when placed before a letter with a crossbar to create some cool effects (see the CK and LE combinations in the poster). There are standard ligatures for ff and FF combinations, and discretionary ligatures for 'and', 'the', 'No', 'Mc' and 'Co'. Engage stylistic alternates for a reversed 3 version of E, and the obligatory backwards R for that faux-Russian effect. Also included in the font is a host of ornaments. This font is perfect for wanted posters, heavy metal band logos, Communist propaganda leaflets and no doubt a load of other things too.

Derived from a photograph Rian Hughes took in Hong Kong, the Roadkill family of typefaces is a literal interpretation of rough and worn road lettering. The original provided almost all of the key character shapes, with the others being designed to keep the unique hand painted feel intact. Most of the letters have alternate versions provided. This font works equally well at wider letterspacing settings. Roadkill Alternates provides curved versions of the 2 and the S, a G with higher crossbar, and less worn versions of several other characters. The heavy version packs even more gritty wallop in a non-condensed and blacker weight. Roadkill Heavy packs even more gritty wallop in a non-condensed and blacker weight. Use in conjuction with the original Roadkill and Roadkill Alternates. A set of arrows and other road symbols again taken directly from tarmac to Mac, thus preserving the worn and eroded appearance of the original characters is also part of the Roadkill family.

Inspired by the streamlined lettering of trains, cars and advertisements from the 1930s and 1940s, Silver Streak is a font family that combines Art Deco elegance with refined craftsmanship and modern features. Silver Streak's contrasting strokes and tastefully rounded corners conjure an era of refined, vintage elegance. An extravagant palette of 25 weights — from gracefully tall and thin to commandingly wide and heavy, along with a variable font for unlimited options between — provide unforgettable branding possibilities for luxury items ranging from jewelry, clothing and perfume to the sleek badges of high performance sports cars. Features: Five widths from Compressed to Extended Each with five weights from Light to Heavy Complete family includes a Variable font for precise control of weight and width Support for 223 languages, including Western & Central Europe, Russian Cyrillic, Serbian/Macedonian, Ukranian and Vietnamese Alternate hook-cornered capitals (accessible as Opentype Discretionary Ligatures) Alternate round-topped A in two versions, each with international accents (accessible as Stylistic Alternates)

Ponderosa font is a joint work of the typeface designers K.B. Chansler, C. Crossgrove and C. Twombly, who also created Rosewood, Zebrawood and Pepperwood together. As the name suggests, it is so-called wood type. The origins of this kind of typeface can be found in the early 19th century. Called Italian or Italienne, these typefaces quickly became very popular. They are distinguished by square serifs whose width is larger than the stroke width of the characters. When the letters are set together, the heavy serifs build dark horizontal bands. The distinguishing characteristic of Ponderosa lies in its extremely fine figures between heavy serifs. The designers approached the boundaries of the impossible with this contrast. The typeface is reminiscent of the Wild West with its shootouts and heroes as well as of the 1970s with their platform shoes and wild hair-dos. When used carefully in headlines, Ponderosa font will surely attract attention.

Chop chop! VLNL Cleaver is an important tool in the Vette Letters’ kitchen. It’s a butcher knife of a font. Razor sharp, ultra heavy and with pointy slanted serifs. At first glance it seems straight-lined, but a closer look revails that all straight lines are curved inward slightly, which enhances the sharp image even more. Cleaver was originally designed by DBXL for cutting meat - hell, it even hacks right through bone. It can easily splice a chicken in one slash or seperate ribs, just like that. You can also very well use it to chop up hard vegetables like pumpkin or squash on the chopping block. It gets better, the opposite blunt side can be deployed to crush ingredients like garlic, nuts or spices like black pepper. You could use a grinder, but with Cleaver it’s more fun, isn’t it? VLNL Cleaver is suitable to give a sharp edge to flyers, posters, logos (Heavy metal bands and other) or magazine headlines.

Apocalyptic - Sans Serif Font Family - Multilingual - 24 Style (2022) Apocalyptic - Sans serif font family is a futuristic-modern font. The emotional integrity it creates due to its structure is suitable for use in technology, science, space and similar subject contents.Apocalyptic - sans serif font family, from Thin to Heavy, offers a full range of expression for interfaces and corporate design; in multiple languages, from print to screen media.It offers rich solutions to your creative projects with its alternative versions.You can easily use the sans serif font feature in many areas.You can create your text with normal characters and highlight Heavy characters and titles. It is functional in many sizes and environments that you can use as a main actor in strong headlines. If you are looking for a font with these features, Apocalyptic sans serif font family may meet your needs. With this font you can create your unique designs. If you have a question, please contact me. Have a good time.

Modern typefaces refer to designs that bear similarities to Bodoni and other Didone faces, which were first created during the late 1700s. Ed Benguiat developed ITC Modern No. 216 in 1982 for the International Typeface Corporation (ITC). Showing a high degree of contrast between thick and thin strokes, as well as a large x-height, this revival is more suited to advertising display purposes than the setting of long running text, or books. Many traits in Benguiat's design are worth further notice. The thick stems of the roman weights have a very stately, solid presence. Their thin serifs have been finely grafted on, a masterful solution to the challenge of bracketing presented by Modernist designs. The italic weights have a very flowing, script-like feel to them, and the letters take the form of true italics, not obliques. The ITC Modern No. 216 family contains the following font styles: Light, Light Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, and Heavy Italic.