SomaSlab Tall has all the same characteristics as SomaSlab, transferred into a style which has been condensed along the horizontal axis only. Available in 2 weights, XBold & Heavy, with an extended Latin character set and several glyph alternates for maximum versatility.

Lettering artist Alf Becker suggested that this typeface was suitable for postcard work, and we agree (although it's suitable for a great many other uses, as well). It packs a lot of information in a limited amount of horizontal space.

Zinc is a clean, distinctive family which is essentially a monoline sans serif but with horizontal and diagonal nubs that add a subtle script quality to display type and an easy-to-read rhythm to the flow of ordinary text.

The POINTIFAX family is a typographic flashback to computing of the early 1980s. POINTIFAX is based on a matrix of dots and looks like the output on an old computer screen. Each is built out of dots, horizontal and vertical lines.

A happy, and delicate family, available in 5 weights. Being very legible in small sizes, it pays tribute to French designer Roger Excoffon, particularly to his Antique Olive type. Antique Olive combines two features which inspired the design of Quimera: a large x-height with open counters which ensures legibility at tiny body sizes; and letterforms with a horizontal stress which contradicts the logics of calligraphic tradition (thick verticals, thin horizontals). Quimera has a typical sanserif stroke modulation, but letters have a very thin, capricious serif, which helps to keep the texline's continuity. This 'genetic' contradiction is the reason for its name: Khimera, as it would be a 'sanserif avec'!

Tulip Algarve font family showcases elegant and trendy glamour through a bold contrast between horizontal and vertical stems. The basic glyph design was inspired by the beautiful silhouette of a tulip flower, and a classical beauty was added to the typeface system. With a modern display sans serif personality, this type system will interact well with any layout design.

Atipla ND is a contemporary sans serif typeface. It works best at large sizes, with softened ink traps pair legibility with aesthetic, while its strict horizontal and vertical terminals give it a rigid yet friendly appearance. The typeface contains a stylistic set, case sensitive forms, symbols and arrows, and the font covers all Latin Extended-A languages.

Scrawny is a long-legged beanpole of a font. Quirky, a little retro — and most certainly smile-inducing — Scrawny sports tall and thin characters with high horizontal crossbars to give a feeling of "cute shyness" and "warm fuzziness." Scrawny works great for banners, announcement text, labels, and anything else that requires something with a bit of whimsy.

Developed from the simplest possible curves, Amy is a wide hand lettered style with tall straight ascenders and generously looped descenders. The capitals are centred horizontally with the lower case. A handful of ligatures helps copy to flow for easy reading and optional proportionally spaced numerals make the font suitable for quite lengthy chunks of copy.

Mane is a display font with a slant block shape. thick on the vertical line and thin on the horizontal line. have a firm and solid impression. Suitable for writing titles, posters, games, ad taglines, sports, space, etc. has an alternate start and end on each capital letter and several ligatures in order to add variations to each usage.

OverUnder is a two font family that plays with the capabilities of the Opentype feature of Contextual Alternatives to alternate two sets of characters. One set is on tall vertical slabs and the other set is on wide horizontal slabs, and when the sets are alternated, the result is a pattern that has a woven appearance.

Xaver Grotesk Variable, a font that emerged in the creative landscape of 2023, stands as a testament to contemporary typographic innovation. This font is not just a mere collection of characters but a meticulously crafted expression of modernity and sophistication. Its genesis was driven by a desire to infuse the typographic realm with a fresh take on the classic grotesque style while embodying a technical allure that whispers of a slightly futuristic essence. At its core, Xaver Grotesk is a testament to the marriage of form and function. The deliberate choice of monospacing adds a unique rhythm and structure to the font, instilling it with a sense of order and balance. The low capital height introduces a distinctive visual characteristic, creating an unconventional yet captivating silhouette that stands out in various design contexts. One of the font's most striking features lies in its letter design. Each character is meticulously sculpted, bearing angular and horizontal traits that not only convey a sense of modernity but also evoke a hint of technological precision. These angular and horizontal elements work in tandem, shaping the font's overall personality and lending it a forward-thinking edge. The fusion of these elements—monospacing, low capital height, and angular/horizontal letter design—creates a harmonious interplay that sets Xaver Grotesk apart. It's not merely a collection of letters; it's an experience, a visual journey that captivates and engages the viewer. Whether used in digital interfaces, printed materials, or other design mediums, this font transcends its utilitarian purpose to become an artistic statement in itself.

Jetlab is a typographic time machine that drops you squarely into the techno-futuristic optimism of the 1960s, 1970s and 1980s! While certain weights may conjure familiar space race-era logos from the sci-fi movies, board games, sports teams, new wave bands and sneaker brands of the late 20th century, the complete 45-weight Jetlab font family is loaded with modern features to power your retro-futuristic designs with near-infinite versatility. Features: 45 weights provide widths from squeezed to stretched and weights from light to heavy, plus reverse-stress (that's thick horizontal strokes with thin verticals) high, medium and low crossbar options upper and lowercase letters provide two distinct styles a four-axis variable font provides precise control of width, vertical & horizontal weight, and crossbar height 500 glyphs support 223 languages, including Western & Central Europe and Vietnamese

Somatype Skwosh was born out of a desire to ignore traditional rules for condensed character forms in favour of contrasting vertical and horizontal thicknesses and the interesting shapes produced by re-scaling along only one axis. Somatype Bold was the starting point.

Woodhaven Initials JNL were designed using an outline cast shadow wood type set against a rectangle with horizontal "engraving" lines to add background texture to the initials. An ampersand is on the corresponding keystroke, and a blank rectangle is on the period key.

The image of an old enamel sign advertising poultry inspired Poultry and Fish JNL, which is available in both regular and oblique versions. Horizontal cut-through lines within the Art Deco-era hand lettering adds to the uniqueness of this type design.

MRK Amentus is an elegant and modern sans serif font inspired by mixing humanistic and Grotesk styles. Horizontal oblique lines are the main visual style for this type. It gives an aesthetic dynamic look that is perfect for modern elegant brandings and for headlines. This font is suitable for various purposes such as movies, posters, logos, labels, packaging, branding, editorial design, and any modern purposes.

One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Brazos is an ultrabold, ultrawide sans-serif face that takes up a lot of horizontal territory, but fits in little vertical space. Named after the famous river in Texas. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

Ergo is a relatively new font oriented on the form philosophy of Univers and Frutiger, namely, that a font which the eye should see as correct cannot be constructed. The eye tends to enlarge horizontals and to perceive verticals as weaker, and the stroke differences of Ergo are therefore designed to accommodate this tendency. Ergo makes a dynamic and modern impression and is extremely legible.

Koysan is made for vivid headings, but it can also be used to type small paragraphs and texts. In a text set, it gives sharp, barbed textures, but compensates with half-ovals. The font combines the linear counteraction of thin vertical and horizontal lines with sharp and rigid strokes and smooth geometric ovals. Koysan supports Basic Latin, Extended latin and Cyrillic. Font designed by Victor Pesotsky.

OBO Classic is the second installment of the OBO series, a type collection based on a square. Every character is mapped on a 1x1 ratio which allows for horizontal and vertical settings alike. Or mixed, like crosswords. OBO Classic is a display interpretation of a traditional Old-style Serif. The “distortion” which maps each character to a square creates unusual proportions to what we are used to from classic serif typefaces. The result is a monospaced font. While each individual letter feels conventional on its own, when brought together in words the result feels contemporary. Thanks to the square base vertical and horizontal – and mixed – settings are possible and easy to apply. There are a few exceptions for certain punctuation and special characters that are half the width for better spacing; and the word space’s width can easily be adjusted through OpenType stylistic sets. Talking about spacing, for strictly horizontal typesetting there is the option to turn on kerning for a number of characters to create a cleaner texture across words and phrases. OBO Classic is best set in large sizes and is most comfortable in editorial and display settings. A series of icons complete the character set. A selection comes as pixel graphics which adds further contrast to the traditional legacy of the typeface.

Wall Sign JNL is a sign painter's chamfered sanserif found in an instructional manual from 1905. A popular lettering style of the day, it features an abridged vertical on the G, a flattened right side on the Q and a truncated horizontal on the 3.

Blox is a bold, retro, experimental display typeface designed by Superfried. With a simple geometric structure, tight spacing and cuts, Blox is very distinct with high impact. Available in two styles, vertical or horizontal, Blox has been featured on the Behance curated typographic gallery TypographyServed.com.

Dalcora was designed by Erwin Koch in 1989 in a single weight. The most distinguishing characteristic of this font is its unusual proportions. Text fonts are usually designed with more delicate horizontal strokes as the verticals, but Dalcora is exactly the opposite. Its slight slant to the right and the round forms of the letters make the font dynamic and cheerful. Dalcora is intended exclusively for headlines in larger point sizes.

Asterik is a bold script and also provides some Stylistic Alternates, Ligatures, Contextual Alternates and Swashes, Multilingual support and already PUA encoded. This font is made with Horizontal/Vertical anchor points so this font is clean. It will be great for Logotypes, Posters, Digital Lettering Arts, Clean Design, Branding Design, Sign, Merchandise and Social Media Posts. Please visit our popular products: https://www.myfonts.com/fonts/rochart/bellsmore-brush/ Thank you!

Inspired by a handwritten Cyrillic placard seen in a book about the Soviet Union, Statue of Liberty's Underwear was envisioned as having been written with a very thick pen with a flat tip held horizontally. Additionally, the letterforms were sculpted to resemble lettering common in early 20th-century Russian constructivism pieces. A Cyrillic alphabet, or "azbuka", set was included in the font.

profonts Oxford was originally designed by Christine Lord in 1960 and digitally re-mastered by profonts in 2009. The font contains lower case characters only. It is a multi-line display design with a continuous connecting horizontal line that combines all characters. This combination makes it special and very sporty. profonts Oxford is ideal for any design of sporting character.

Based on Morris Fuller Benton's 1905 oeuvre American Extra Condensed, this titling face packs a lot of information into very little horizontal space. Its champfered corners give the font an industrial feel which remains fresh even after more than a century. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, with localization for Lithuanian, Moldovan and Romanian.

Visible is a dynamic typeface family designed by CFCG @andinistas. Visible Script has narrow horizontal spacing between lowercase, while Visible Script 2 has generous and wide horizontal spacing. Mixing both styles you will achieve italic designs loaded with speed and strength to communicate aggressiveness, nervous and sanguine temperament. Visible Caps contains capital letters derived from the font's writing, but drawn aggressively and slanted 15 degrees to the right. This type of visual characteristic is typical of very fast and nervous writing that is performed with emotion without sacrificing harmony. a monolineal and condensed version is the Visible caps 2, allowing for significant horizontal space saving economies. Used Visible Caps 1 and 2, become much more than just an expressive and functional artistic tool. In short, by combining their expressive writing or Visible Caps & Script lettering styles, they make words and phrases appear to be written with a brush and ink-filled calligraphic strokes and with eye-catching qualities, their design is the perfect choice for distinctive headlines and brand identities. for music, movies, video games and more. A special thanks to the Venezuelan artist for his impressive illustrations @franciscomarin_artistaplastico ENJOY more than 1100 glyphs: + Visible Script: 398 glyphs + Visible Script2: 221 glyphs + Visible Caps: 222 glyphs + Visible Caps2: 298 glyphs

MRK Celvina is an elegant, modern serif font. Flat horizontal lines meet with classic and smooth curves on this font. It gives a dynamic and classic look that is perfect for modern elegant brandings and headlines. A stylish and extraordinary font containing ligatures, all punctuations, and supports multi languages. This font is suitable for various purposes such as movies, posters, logos, labels, packaging, branding, editorial design, websites, applications, and any modern purposes.

PeterPierre is a stiff, awkward sans serif face. It has little variation in stroke width and the vertical and horizontal elements are connected with short, sharp curves. The condensed style was developed first and then, in a quest for legibility, it was widened into the regular style.

Sagasti is a font family that contains two weights: Regular and Bold, with their corresponding Italics style. These fonts are characterized by a straight and generous serif that provides consistent stability. We have focused on controlling vertical, horizontal and oblique strokes thicknesses, as well as curved strokes. All glyphs were carefully drawn and precise kerning control has been made, providing optimal readability for texts and the beauty of the headlines.

Cantiqe the rational serif with a circular/ball terminal and strong vertical contrast and fine horizontal hairlines, This makes Cantique a blend of elegant and beautiful. Cantiqe Incredibly versatile is perfect for fashion branding or editorial designs. this font fits a wide pool of designs, elevating them to the highest levels. Add this font to your favourite creative ideas and notice how it makes them come alive! Thank You _xdCreative

Beuys is a sans serif typeface based on geometrical shapes. The horizontal sroke contrast gives Beuys its distinct look. This unique appearance makes it an interesting display typeface. The six weights of Beuys come with OpenType-Features and a character set of 323 glyphs including symbols, ligatures and alternates.

A traditional Sans serif with a modern flair and uniform consistent weight to the vertical and horizontal stokes. Vanquish was designed for all media and can be used in a wide range of point sizes. Vanquish was kerned for text point sizes but requires subjective display kerning and compensation.

HU Cheonggye is a typeface for titles with thick strokes and wide flats, mainly produced with a retro feel. In order to bring out the characteristics of the retro typeface, a difference in thickness between horizontal and vertical strokes was applied, and obtuse right-angled serifs were applied.

Hailgen is a Serif typeface that explores the flexibility in contrast, with a thicker horizontal and thinner vertical contrast. Designed specially for short texts or quotes. Hailgen comes with 5 weights ranging from Thin to Black and is armed with several opentype features and Latin and Cyrillic language support.

Strong and distinctive, yet soft and cuddly. This is a rounded sans serif design that features slightly thicker horizontals. Due to the modular nature of this design there may be a slight lack of smoothness to the curves at very large point sizes (around 100 pt and above).

A page from an 1880s type specimen book presented a unique "Barnum"-like design with top horizontal lines much thinner than the bottom ones. Titled "Ten Line Antique Compressed No. 7", the design transcends the years; for it's not only an antique wood type font, but is also reminiscent of the 1960s hippie counterculture movement. Antique Unique JNL is available in both regular and oblique versions.

A geometric sans serif typeface, the square horizontal structure is evenly balanced with smooth curves and arcs producing a clean, distinct font ideal for both print and on screen uses. Further enhancements to improve legibility with the use of consistent stroke contrast and tapered diagonal angles. Details include eight weights and italics, 600 characters, Cyrillic, five variations of numerals, manually edited kerning and Opentype features.