OTC Eugen is a geometric grotesque with industrial socialist aspect. It is a somewhat brute interpretation of the graphic environment and old era typography found around cities or in the country side in Romania. It works best as a display typeface used in big titles, in branding projects for clear wordmarks, or around the house where you can just go wild and make your own mark with the stencil version. Two styles: Display & Stencil. Various stylistic and contextual alternates, and a considerable amount of ligatures, arrows and more. Language support for: Basic Latin, Western, Central & Eastern European languages.

LTC Kaatskill was made specifically for use in an edition of Rip Van Winkle for the Limited Editions Club. "I feel that Kaatskill owes nothing in its design to any existing face, and the type therefore is as truly an American type as anything so hidebound by tradition as type can be."- F. Goudy This face was one of the first digital typefaces released by the Lanston Type Co. Ltd. Jim Rimmer took painstaking measures in his faithful revival. Goudy had never designed a specific Italic to accompany this face. The Italic completed by Rimmer is a variation on Deepdene Italic. The font set was re-mastered in 2006 by Colin Kahn.

ATC Duel is a strong, extra heavy multi-width sans-serif display font with sharp edges and an extended horizontal span, inspired by the automotive industry. Font contains 500+ glyphs, full alphabet, ligatures, numberals, accents and punctuation. ATC Duel was released in 2016.

BaselSans is a discrete, legible typeface, inspired by the international typographic style, with a humanistic touch. It is suitable for many uses, from small size texts to large titles.

Glamour was originally released by Lanston Monotype in 1948. It is based on Corvinus designed by Imre Reiner. P22 Designer Colin Kahn has added some unusual variants to this family illustrating that Glamour can be taken too far and have somewhat unglamorous results.

ATC Abernathy, is a soft serif typeface based on retro package design. With a modern influence, it bridges the gap between old and new. Contains 330+ glyphs, full alphabet, ligatures, numerals, accents and punctuation. ATC Abernathy was released in 2018.

ATC Timberline, is an ultra wide-set sans-serif typeface. With its sharp points and extended curves, ATC Timberline feels just at home in mid-century modern as it does in forward-looking modern settings. Contains 370+ glyphs, full alphabet, ligatures, numberals, accents and punctuation. File type included in download is .otf. ATC Timberline was released in 2016.

VTC Bloke is a revival of Miller & Richard’s classic metal typeface, ‘Egyptian Expanded’, including the three-dimensional, ‘Open’ style that was later introduced to the family. The roots of this typeface stem from the UK, where William Miller and his son-in-law Richard had their initial foundry in Edinburgh, Scotland. In addition to the beautiful and timeless type designs, the foundry gained a reputation for offering super small type sizes, designed for Bibles, dictionaries, documents, etc. Slab Serifs (or Egyptian Serifs) started to gain popularity in the early 19th century. It’s around this time, due to emerging industrial technologies, and an ever-expanding advertising industry, that type designers started to really experiment with letterforms that could help their clients distinguish themselves from the competitor, and catch people's eyes. The size of posters and advertising space was getting bigger, and bigger, and so was the type. All original letterforms have been re-drawn and cleaned up, with some more modern glyphs and characters added in. VTC Bloke supports Adobe Latin 1 Language Support.

Francis is a design previously offered by the Lanston Type Co. in the early 1990s. It is a revival of a 1955 Günther Gerhard Lange design, but with a heavier overall weight. Coming out of retirement, it has been fully reworked and refined with elegant curves and an expanded character set. This font works well at small sizes and larger display sizes for everything from wine labels to personal stationery. This type evokes the elegant sophistcation of the Jazz age and pairs well with a Martini and a fine selection of charcuterie.

A wise orange cat said once: There are three things certain in life. Death, taxes and teddy bears. The closest thing to a fourth is red tape. Restricting you, bounding you to the rules of a bureaucratic organisation. My advise, carry a scissor with you all the time to cut through it. WBP Red Tape is a great monospace font specifically designed for headings and logo design.

Hype lives up to its name. An energetic attempt to blow past previous sans’ descriptive words of massive, large, extensive, super and others. Hype transcends the everyday marketing terms and rests solely atop them all with a jaw-dropping current offering of 432 fonts that spans 18 widths and 12 weights. Insert a long pause and mic drop here, because nothing compares. Hype Volume 2 includes 6 of the 18 subfamilies that comprise the full Hype Collection. Each of these subfamilies represent 1 of the 18 available widths and each width contains 12 weights and matching italics. Volume 2 contains 144 fonts. Families included in Volume 2: Hype 0200, Hype 0500, Hype 0800, Hype 1100, Hype 1400, and Hype 1700. If you would like to complete your collection be sure to view and purchase Hype vol 1 and Hype vol 3. Hype’s bombastic approach meant supplying everything it could within each typeface: including small caps, yes small caps, a full numeral set that includes inferiors and superiors, super- and subscripts, full fraction support, case-sensitive forms, stylistic alternate letterforms, and more while touting a full Western, Central and South Eastern European character support. Embracing a Univers-esque bravado and a willingness to push the envelope, Hype leaves even more room to grow. No corners were cut, no shortcuts taken with a focus on sensible, efficient letter construction and functional reliability that ignores any one classification and instead looks to form an amalgam of classic sans styles influenced by wood type, movie showcards, and urban industrial letterforms.

Hype lives up to its name. An energetic attempt to blow past previous sans’ descriptive words of massive, large, extensive, super and others. Hype transcends the everyday marketing terms and rests solely atop them all with a jaw-dropping current offering of 432 fonts that spans 18 widths and 12 weights. Insert a long pause and mic drop here, because nothing compares. Hype Volume 3 includes 6 of the 18 subfamilies that comprise the full Hype Collection. Each of these subfamilies represent 1 of the 18 available widths and each width contains 12 weights and matching italics. Volume 3 contains 144 fonts. Families included in Volume 3: Hype 0300, Hype 0600, Hype 0900, Hype 1200, Hype 1500, and Hype 1800. If you would like to complete your collection be sure to view and purchase Hype vol 1 and Hype vol 2. Hype’s bombastic approach meant supplying everything it could within each typeface: including small caps, yes small caps, a full numeral set that includes inferiors and superiors, super- and subscripts, full fraction support, case-sensitive forms, stylistic alternate letterforms, and more while touting a full Western, Central and South Eastern European character support. Embracing a Univers-esque bravado and a willingness to push the envelope, Hype leaves even more room to grow. No corners were cut, no shortcuts taken with a focus on sensible, efficient letter construction and functional reliability that ignores any one classification and instead looks to form an amalgam of classic sans styles influenced by wood type, movie showcards, and urban industrial letterforms.

Cellophane Tape JNL is a stripped-down and slightly modified version of Eckhardt Trilinear JNL with open-ended letters. While the name Cellophane Tape JNL is nostalgic (tape is no longer made from cellophane), its still a fun, novelty font for many applications.

Jungle Hype is a modern display typeface font. With bold stroke, fun character with a bit of ligatures and alternates. To give you an extra creative work. Jungle Hype font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Jungle Hype font. Cheers, Maulana Creative

Mixed Tape Rough is a simplified version of the Mixed Tape font family. It’s a rough calligraphic font duo which includes 2 Styles: Regular and Capitals. It doesn’t have as many alternates as Mixed Tape and supports more languages. Mixed Tape Rough is a dynamic calligraphic font so it can be used for posters, t-shirts, menus, packaging, headlines, etc.

Mark Stanczyk designed Linotype Typo American in 1999. The font is an excellent revival of American style typewriter type. As most of us can remember from our childhood years, or through old stories and movies, everyone used to type with typewriters before the invention of computers. Unlike computers, most individual typewriters only had one typestyle, or font, to chose from. To make matters worse, the letters in a typewriter font would wear down with use. Over time, text typed out on a typewriter would look more and more corroded, old, and uneven. Stanczyk has captured exactly these features in this “revival” font! Also like most older typewriter styles, Linotype Typo American’s letters are all mono-spaced, i.e., the letter i is the same width as the letter w. Typewriter letters also all tended to be cast in the same size, around 12 points or so. When using typewriter-style fonts, it is best to keep setting your text in similar sizes. (Of course, you can set really large and fun headlines with Linotype Typo American, too; if anything the unevenness of the design will come even more across in these applications.)

Punch Tape JNL emulates the old-style pin-punched paper tapes that were used in everything from ticker tapes to moving electronic signage to early digital typesetting equipment. Pin punch characters were also used in the early days of banking as a secure way of canceling a check so that it was rendered useless if re-submitted. In this version, the "dots" are square rather than round.

Hype lives up to its name. An energetic attempt to blow past previous sans’ descriptive words of massive, large, extensive, super and others. Hype transcends the everyday marketing terms and rests solely atop them all with a jaw-dropping current offering of 432 fonts that spans 18 widths and 12 weights. Insert a long pause and mic drop here, because nothing compares. Hype Volume 1 includes 6 of the 18 subfamilies that comprise the full Hype Collection. Each of these subfamilies represent 1 of the 18 available widths and each width contains 12 weights and matching italics. Volume 1 contains 144 fonts. Families included in Volume 1: Hype 0100, Hype 0400, Hype 0700, Hype 1000, Hype 1300, and Hype 1600. If you would like to complete your collection be sure to view and purchase Hype vol 2 and Hype vol 3. Hype’s bombastic approach meant supplying everything it could within each typeface: including small caps, yes small caps, a full numeral set that includes inferiors and superiors, super- and subscripts, full fraction support, case-sensitive forms, stylistic alternate letterforms, and more while touting a full Western, Central and South Eastern European character support. Embracing a Univers-esque bravado and a willingness to push the envelope, Hype leaves even more room to grow. No corners were cut, no shortcuts taken with a focus on sensible, efficient letter construction and functional reliability that ignores any one classification and instead looks to form an amalgam of classic sans styles influenced by wood type, movie showcards, and urban industrial letterforms.

Masking tape, also known as painter's tape, is a type of pressure-sensitive tape made of a thin and easy-to-tear paper, and an easily released pressure-sensitive adhesive. It is available in a variety of widths. It is used mainly in painting, to mask off areas that should not be painted.

Icing is a font based on a naive, illustrated handwriting that can be used on a daily basis. It is a delicate, handwritten front with a somewhat masculine feel which mimics the natural stroke of pointed pen calligraphy. Icing embodies a folksy feel that brings true character to any design. Purchase it together with its extended family Frosted in our Winter Mix Package!

ITC Avant Garde Gothic¿ was designed by Herb Lubalin and Tom Carnase in 1970. They based it on Lubalin¿s logo for Avant Garde Magazine - an exciting construction of overlapping and tightly-set geometric capitals. ITC Avant Garde is a geometric sans serif; meaning the basic shapes are constructed from circles and straight lines, much like the work from the 1920s German Bauhaus movement. The early versions of ITC Avant Garde became well-known for their many unique alternates and ligatures that still conjure up the typographic aura of the 1970s. These fonts contain the basic alphabets (without the old unusual ligatures). Still strong and modern looking, ITC Avant Garde has become a solid staple in the repertoire of today's graphic designer. The large, open counters and tall x-heights seem friendly, and help to make this family work well for short texts and headlines. The condensed weights were drawn by Ed Benguiat in 1974, and the obliques were designed by Andr¿ G¿rtler, Erich Gschwind and Christian Mengelt in 1977. ITC Avant Garde¿ Mono is a monospaced version done by Ned Bunnel in 1983.

ITC Out of the Fridge is the work of German designer Jochen Schuss. Its forms look as though they were scratched on rough paper with a pen. ITC Out of the Fridge is, in the designer's own words, fresh and cool", and works well where something modern yet "proper" is desired."

I have improved and added diacritics to this elegant alphabet, and generally cleaned it up to a professional standard. It is well suited to logos, menus, invitations and other things wanting a touch of elegance. Nick Curtis says: "I came across this particular treatment for swash caps in an old book on letterhead design. The original had been handlettered, but I though it might be convenient to have a ready-made font to accomplish the same effect, and here it is. As an extra added feature, the “§” sign is an ampersand with a long tail." ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.