AZ Storm was inspired from old '70's skateboard logo. This font was designed for use as a fun bold headline.

FunLine is a modern script font, crafted with monoline strokes characterized by curved lines and seamless connections, presenting a classic font with a modern touch. The font family comprises three weights; Light, Regular, and Bold. Suitable for your design needs. The Arabic version will be released, accompanied by the addition of Arabic, Urdu, Pegon, Persian, and Kurdish languages.

FunLine is a modern script font, crafted with monoline strokes characterized by curved lines and seamless connections, presenting a classic font with a modern touch. The font family comprises three weights; Light, Regular, and Bold. Suitable for your design needs. The Arabic version will be released, accompanied by the addition of Arabic, Urdu, Pegon, Persian, and Kurdish languages.

Golden Record is an elegant all caps sans serif typeface with a tall, classic, and high-quality feel. Its timeless design is perfect for adding a touch of sophistication to any project. The font's classiness evokes a sense of luxury and opulence, making it ideal for high-end branding and design applications. Golden Record is a versatile typeface family consisting of the styles Light, Regular, Bold, and Outline, each available in Italic, offering a wide range of creative possibilities. The idea for Golden Record came to life when Mans Greback was inspired by the elegance of vintage vinyl records and their iconic gold labels, merging classic aesthetics with modern design principles. Mans Greback is a Swedish typeface designer known for crafting high-quality fonts with a focus on versatility and aesthetics. He created Golden Records to provide designers with a unique and sophisticated typeface for upscale projects. Greback is committed to delivering exceptional quality in every font he designs, consistently pushing the boundaries of typography.

Humanist on one hand, geometric wannabe on the other Born from the need of having a custom font for our own branding, Redonda became too big to keep just for us. Like that, came to light Plau's 10th retail font, the first one designed by Carlos Mignot. The font's personality is a result of a search for extreme impact. Having started out as a exclusively Black geometric face, it became a full, versatile humanist sans. While it maintains the impact that inspired it, it also offers performance for both UI and body copy. This balance reflects the font's creative process: at first it referenced historic examples, but we also made sure it worked as a contemporary face.

Cantilever is a variable, 20 style display typeface designed by Stew Deane. The idea came from using variable type mechanics to create a typeface that became more than type — it's designed to be impactful, fill space and turn text into something graphic and visual. Being fixed-width (at whatever width you choose) means it is perfect for stacking, as well as stretching ultra wide. It's a typeface designed to take centre stage and own space. By using the variable sliders in your design software you can give your typography a bespoke, ownable aesthetic. The sliders in Cantilever are Weight and Width, and are designed for maximum impact in any space. Play around.

Neue Power is a contemporary sans serif display font family in 6 weights plus 12-degree of obliques. It supports 75+ Languages (Latin Based) followed by the Grotesk typefaces, perfect for various design needs, including Branding (Identity), Logotype, Printing to On-Screen/Digital Reading, Posters, Caption, Headline, Body Text, or Captions. Neue Power Typeface will give you a nice way of aesthetic communication for your design project. Available from Light — Ultra plus obliques in a total of 12 Fonts.

Up until the advent of vinyl plotters, computers and a myriad of other typesetting and printing changes the world has experienced over the past few decades, the art of hand lettering flourished. An early 1900s book on show card writing displayed a nice example of a Grotesk typeface (a popular style of sans serif of the time). This has been redrawn digitally as Simply Grotesk JNL and is available in four varieties - regular, oblique, condensed and condensed oblique.

Periodical JNL is based on one the many stylized titles from the cover of the 1920s Spanish magazine "Nuevo Mundo" (New World). Each cover displayed a beautiful piece of period artwork along with the magazine's name in different lettering styles of the time (Art Nouveau and early Art Deco). The original design features an "engraved" look and now has an oblique counterpart. Also available are solid versions (without the inside lines) in both regular and oblique styles.

Introducing Hayate, a resilient small-cap typeface that draws inspiration from the strength and texture of sliced bamboo. This typeface features a rugged design that is perfect for creating a bold and impactful message. With its Japanese influence and subtle nod to the American pseudo-Asian restaurant aesthetic of the twentieth century, Hayate evokes a sense of nostalgia and intrigue. However, it’s important to note that this font should be used with care. In certain contexts, it could be seen as culturally insensitive and contribute to casual racism. Before using Hayate, take a moment to consider the message you are trying to convey and ensure that it aligns with your values and beliefs. By using this font thoughtfully, you can create impactful designs while also being mindful of cultural stereotypes. Choose Hayate for a typeface that’s as strong and sturdy as the message you want to convey. Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Risoluto is an italic font made to mimic the beautiful italic typefaces used in the 19th and 20th century by music publishers. It was based on an italic typeface found in a publication by Max Eschig from the 1950s. Hundreds of specimen for each glyph were studied and carefully drawn in a way to have a sharp rendering without losing any of the old charm. The oblique "g" is one of the characteristics of such old typefaces. Risoluto covers a large range of languages and symbols and offers stylistic alternates for numerals, contextual ligatures and music accidentals.

Tavern is a super font family based on our Algerian Mesa design, with Tavern we've greatly expanded the usability by creating light and bold weights plus all new for 2020 with the introduction of extra bold and black weights Tavern is now a five weight family. The addition of the bold weight made it possible to go further with the design by adding open faced shadowed, outline and fill versions. Please note, the fill fonts are aligned to go with the open faced versions, they may work with the outline versions, however you will have to apply them one letter at a time. The Tavern Fill fonts may also be used a stand alone font, however, the spacing is much wider than the regular solid black weights of Tavern. In the old days of printing, fill fonts rarely lined up perfect with the open or outline font, this created a misprinted look that's much in style today. To create that misprinted look using two different colors, try layering the outline fonts offset over the top of the solid black versions. Next we come to the small caps and X versions, for a font that's mostly seen used in all caps we felt a small caps would come in handy. The X in Tavern X stands for higher X-height, we've taken our standard lowercase and raised it for greater visibility in small text and for signage where you want the look of a lowercase but it needs to be readable from the street. In August of 2016 I started the project of expanding this font into more weights after seeing the font in use where someone tried creating a bold version by adding a stroke fill around the letters. The result didn't look very good, the stroke fill also caused the shadow line to merge with the serifs on some letters. This lead me to experiment to see if a new bold weight was possible for this font and I'm pleased to say that it was. After the bold weight was finished I decided to type the regular and bold weights together in a first word thin second word bold combination, however the weight difference between the two wasn't enough contrast. This lead me to wonder if a lighter weight was possible for this font, as you can see yes it was, so now for the first time in the history of this old 1908 type design you can type a first word thin second word bold combination. So why the name change from Algerian to Tavern? Since the original font was designed in England by the Stephenson Blake type foundry I decided to give this font a name that reminded you of the country it came from, however, there were other more technical reasons. During the creation of the bold weight the engraved shadow line was sticking out too far horizontally on the bottom right of the serifs dramatically throwing the whole font off balance. The original font encountered this problem on the uppercase E, L and Z, their solution was a diagonal cut corner which was now needed across any glyph in the new bold weight with a serif on the bottom right side. In order to make the light and regular weights blend well with the bold weight diagonal cut offs were needed and added as well. This changed the look of the font from the original and why I decided to change the name, additional concerns were, if you're designing a period piece where the font needs to be authentic then this font would be too new. Regular vs. Alt version? The alternate version came about after seeing the regular version used as a logo and secondary text on a major product label. I felt that some of the features of the regular version didn't look good as smaller secondary text, this gave me the idea to create an alternate version that would work well for secondary text in an advertising layout. But don't stop there, the alternate version can be used as a logo too and feel free to exchange letters between both regular and alternate versions. Where are the original alternates from Algerian? Original alternates from Algerian are built into the regular versions of Tavern plus new alternates have been created. We're excited to introduce, for the first time, all new swash capitals for this classic font, you're going to love the way they look in your ad layout, sign or logo. The best way to access alternate letters in Tavern is with the glyph map in Adobe Illustrator and Adobe InDesign products, from Adobe Illustrator you can copy and paste into Photoshop as a smart object and take advantage of all the text layer style features Photoshop has to offer. There may be third party character maps available for accessing alternate glyphs but we can't advise you in that area. I know what you're thinking, will there be a Tavern Condensed? It takes a lot of hours to produce a large font family such as this, a future condensed version will depend on how popular this standard version is. If you love Tavern we're happy to introduce the first weathered edge version of this font called Bay Tavern available in February 2020.

Segment A is a powerful display type family with 18 styles inspired by condensed European grotesques of 19th-century, but with clear geometric proportions. In Black weights, the letterforms are inspired by the aggressive industrial graphic design of the 1960s and 70s. Both have 3 axes and are adjustable in weight, width and 10˚ italic. It is a typeface with narrow proportions, distinctive character, high-quality outline and lots of details. Characters have oblique cuts, sharp tails and highly visible ink traps. All this makes the font more aggressive and edgy. The huge x-height with short ascenders and descenders allows this typeface to be used in blocks with minimal line spacing. Features: – Total glyph set: 631 glyphs; – 18 styles (3 weights x 3 widths + italic); – Support 210+ languages; – Latin Extended; – Cyrillic Basic + Bulgarian letters; OpenType features: – Proportional numerals, tabular numerals, superiors, fractions; – Punctuations and symbols; – Arrows; – Stylistic alternates (ss01-ss05); – Ligatures; – Case-sensitive forms.

New from Black Studio, presenting Brākė is a typeface that is feminine, adaptable, contemporary aesthetic and creates endless variations for your creative needs. Its striking contrasts and subtle details, together with its sumptuous strokes and voluptuous curves, create a beautiful and powerful statement for any typographic composition, blending glamor with a contemporary aesthetic. Brākė really helps you create unlimited variations for your creative needs in making your project titles: such as Books, fashion, magazines, logos, branding, photography, invitations, wedding invitations, quotes, blog headers, posters, advertisements, postcards, books, websites, etc. WHAT IS INCLUDED • Brākė – Regular • Brākė – Oblique • Brākė – Outline This type of family has become the work of true love, making it as easy and fun as possible. I can't wait to see what you do with Brākė! Feel free to use the #Black Studio tag and the #Brākė font to show what you've been up to, I really hope you enjoy it! Thank You!

End Crawl - A Halloween Brush Font Introducing a new creeping terror this Halloween, End Crawl is a hand-drawn brush font inspired by the gore-soaked horror movies and comic books of the 1970s and 80s. This textured all-caps design evokes a nervous energy that will leave your readers frozen in suspense! With a bold painted look surrounded by an anxious outline, it offers the tools to leave your readers stomach in knots! The End Crawl font family includes all-caps uppercase and lowercase characters, along with numerals, punctuation, symbols and language support. Also included are a complete set of alternative characters and additional paint marks, drips and splashes. Wingsart Studio Design Tip! The uppercase and lowercase characters work great when mixed in an alternating fashion, with shapes that combine to create a dynamic, trembling look that's perfect for the Halloween season. Add the alternatives and paint marks into the mix and you'll have yourself a title or header design that looks truly custom-made. I've even included the base font and outlines separately, allowing to overlay your own colour combinations!

Eggad features letters on eggs. It can be a fun font to use at Easter or for any egg-related message. Some of the eggs - those on the upper-case keys - have their large end on the bottom and others - those on the lower-case keys - have their large end on the top. The font uses the contextual alternatives feature of OpenType to alternate the big-bottom and big-top eggs. If you only want eggs with big tops or with big bottoms, turn this feature off. Eggad comes in two styles, a regular style in which the eggs are outlined and a bold style in which the eggs are solid. Both are monospaced. The two styles can be layered to color the eggs. Alternatively, background color can be added (dot accent and ring characters) or the outline color can be changed (sterling and yen characters) using layers in the regular style. If you are typing numbers and you want the start to be big-bottom number, switch on OpenType style set 1.

Bushwick JNL and Bushwick Oblique JNL are modeled from a wood type sanserif that has a strong resemblance to Franklin Gothic, yet keeps its own distinct personality.

The playful, casual hand lettering on the 1941 movie poster for “Blondie Goes Latin” inspired Latin Fiesta JNL which is available in both regular and oblique versions.

Hand lettering from the opening credits of Alfred Hitchcock’s “Strangers on a Train” (1951) inspired Train Car JNL, which is available in both regular and oblique versions.

Brochure Sans JNL is based on Sans Serif No.7 from the 1921 Miller & Richard type specimen book, and is available in both regular and oblique versions.

The antique wood type Gothic Tuscan [a spurred design with rounded terminals] was the basis for Roundwood JNL, which is available in both regular and oblique versions.

Generic Sans JNL was modeled after “Condensed Blair” from the 1907 specimen book of the Inland Type Foundry, and is available in both regular and oblique versions.

Alderman JNL is a wide slab serif typeface based on the classic wood type Antique Light Face Extended, and is available in both regular and oblique versions.

Manual Typewriter JNL was modeled from an example of the 1933 design originally created by Morris Fuller Benton, and is available in both regular and oblique versions.

Malberg is condensed sans serif family. Consist of 9 styles from thin to heavy with matching obliques. Fit for display and short text for various design purposes.

Aberforth is clean, mixed-case font family. It's mono-height, so it pairs well with other fonts. Family includes regular, rough, outline, tiles, and italic versions.

Okaycat JAPAN newly launches "Mushrooms"! Mushrooms is a picture font containing exceptional illustrations of mushrooms. The mushrooms appear in outline form, and also as solid graphics.

A bold currency typeface that's perfect for replicating the style of money and old stock certificates. Includes drop caps on lowercase characters.

The Combi collection includes Sans, Sans Oblique, a true Italic, Serif, Serif Oblique and a set of Openface capitals. Combi fonts have 5 compatible weights and metrics allowing them to be used in free combination. Inspiration came from Jan Van Krimpen’s 'Romulus' (Enschedé, 1931). In addition to the Roman style, Van Krimpen created a set of open capitals, a simple oblique variant and subsequently, an attractive calligraphic italic, Cancelleresca Bastarda. In addition to Van Krimpen’s idea, Combi has been influenced by features from many faces including Bembo, Melior and Optima. The object was to create a versatile family of body text and titling faces for use in books, magazines and on the web. Glyphs are available for most Latin based languages and all text fonts include small caps, proportional numerals and other Opentype features.

A Western Union telegram from 1951 provided the typographic inspiration for Message by Wire JNL, which is available in both regular and oblique versions. Unlike other available type fonts which emulate the ink ribbon-struck printed characters from the teletype machines, this version was redrawn to celebrate the actual type design itself. The typeface letter spacing has been equalized so that when in use, it looks much like the printed output of an old telegram messsage.

Snow Job JNL was inspired by the hand lettered titles for the 1964 Rankin-Bass animated holiday classic "Rudolph the Red Nosed Reindeer". Because of the variable heights of the characters they float about the baseline in a free-form design. Available in both regular and oblique versions, the typeface gets its name from both the winter theme of the TV special along with the old term for deceiving someone with compliments while hiding one's true intent.

Kustomtype's "Romantico" font is a sans serif font family with a regular & oblique version. It contains all upper & lower cases. The "Romantico" family is coordinated into letterforms, metrics, and weights to work better together. Why still looking for old school types for your posters, advertising, text, design, artwork, headtext, editoral design, magazines, etc.? "The true genius shudders at incompleteness - imperfection - and usually prefers silence to saying the something which is not everything that should be said." Edgar Allan Poe

In most cases, motion pictures with a Western theme have their titles and credits lettered in type styles that reflect the period of the Old West. In 1966, the titles and credits for “Texas Across the River” used casual sans serif lettering more suited to the 1960s than a Western taking place in the 1800s. Nonetheless, the lettering inspired a digital font entitled Adventure Film JNL and it is available in both regular and oblique versions.

I don't know why exactly, but I felt the need to create a Western font. Band Wagon is a handcrafted cowboy font. It comes with curly slabs, spurs and ye olde outlaw spirit.