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  1. Tough Guy JNL by Jeff Levine, $29.00
    Tough Guy JNL gets right to the point of your headline in a strong and charismatic way.
  2. Fashion Didot by BA Graphics, $45.00
    Exquisite design, delicate but yet strong enough to make a statement. Just right for that special occasion.
  3. Prehysteric JNL by Jeff Levine, $29.00
    Prehysteric JNL is the right font for cave dwellers, forest denizens or Cro-Magnon artists. It rocks!
  4. Talmon MF by Masterfont, $59.00
    This might be the font for your next tattoo, or even a poster of the newest movie.
  5. Catalpa by TypeTogether, $35.00
    The Catalpa font family is José Scaglione and Veronika Burian’s wood type inspired design for an overwhelming headline presence. It has no regular weights, only four slender and four hulking weights. Catalpa wasn’t made to be normal; it was made to overwhelm, to stand out, to bellow. Catalpa is the first font family within a trilogy that will be released through 2020. Each of the three have a distinct purpose and their own look, but they serve a common goal: to act as a complete family covering an editorial’s wide array of needs. As the first of the three, Catalpa is the bookend font family with a headlining purpose. What requirements are there for a great headline typeface? Distinction, weight, and cohesiveness are a good start. Its distinctiveness must catch attention, it must have a range of weights applicable to its purpose, and its internal consistency and external look must create a cohesive family. Catalpa is a distinct and unified family whose weights are attuned to its single-minded purpose — headlines and large text. Catalpa has only eight styles that are divided into two ranges of weights — four very light weights (Hairline, Thin, Extralight, and Light ) and four very bold ones (Extrabold, Heavy, Black, and Extrablack). The thin and heavy ends of the spectrum also have their own variable fonts, each with one axis of weight so designers can fine-tune their work. The geometric influence of the design is more obvious in the light range, with their line thickness increasing in the classical manner. The bold weights increase more in width and substance to serve well in websites, mobile apps, posters, advertisements, and magazines that aim for impact more than spreading information. As a family, Catalpa gels in big headlines, short sentences, and isolated words. The family has many recognizable features, in the bolder weights especially, like the reversed contrast ‘S, s’ or the angular design of ‘Q, M, W, w, a, f, 2, 3’. Catalpa’s headlining mixture of geometry and quirkiness leaves an impression that is so characteristic of wood type, but designed for substrates and screens.
  6. As of my last update in early 2023, the font "Paper" designed by Swimming Poulp isn't a widely recognized or specifically documented font in major typographic resources or font directories. However, ...
  7. Ah, the Grave Digger font, a delightful little morsel from the imagination of Dieter Schumacher, falls into a category that could be described as "Halloween chic" meets "Zombie apocalypse signage." I...
  8. Imagine, if you will, sneaking into a bustling cityscape deep in the heart of a neon-lit night. Everywhere you look, shimmering lights dance against the dark, outlining shapes and letters with a glow...
  9. Irrlicht by Aarhaus, $30.00
    Irrlicht is based on C. H. Kleukens’ 1923 typeface Judith Type . Whilst Dunkle Irrlicht is a fairly faithful rendition and extension of Kleukens’ typeface, the Licht style was initially added as a stand-alone stencil version; yet, the two styles work perfectly together – for different nuances, for emphasis or simply stacked/layered. Irrlicht is equipped with upper- and lowercase ligatures, contextual and stylistic alternates, fractions, superior and inferior figures, extended language support and a few extra goodies. Additional information – How Irrlicht came to life Christian Heinrich Kleukens cut his Judith Type in 1923, at the peak of German expressionism, exclusively for publications with the Ernst-Ludwig-Press, such as a limited series of biblical prints – the first being the Book of Judith , hence the original’s name. I stumbled upon this typeface a couple of years ago in a nice little 1930 booklet of the Gutenberg-Gesellschaft and was struck by its forceful darkness on paper and its seemingly simple, crude letterforms. The lack of a long-ſ in the final version of Judith Type – quite unusual for a German typeface of that time – adds to this feel of crudeness and spontaneity*. Judith Type seemed to me like a semi-blackletter cousin of Rudolf Koch’s typeface Neuland (cast in the same year). Besides its apparent affinity with expressionism, it reflects a lot of that deeply spiritual craftsmanship of the era – much like Neuland. A few months later, when I was working on a stencil project and looking for a typeface that could be cut into thin wooden plates easily, I remembered those dark, sharp letters that seemed to be lacking any curves at all. After enlarging a few letters and tracing them by hand, the whole set was redrawn digitally, using only straight lines. As for spacing, the goal was to keep the letters tight but to avoid touching characters – without ironing out all the original’s tension and rhythm. Deliberate kerning, subtle contextual alternates and ligatures help to deal with critical glyph combinations. Two additional versions were developed: a stencil version with open counters and, in reference to a popular style of the 1920s and inspired by dry, cracked wood, an inline version. These two additional styles were later merged into one font – Lichte** Irrlicht was born. — AARHAUS * Consequently, the original typeface’s German eszett is simply a ligature of the “round s” and standard z . In some of his publications, Kleukens dispenses with using eszett altogether and sets double s instead. Irrlicht , however, does feature a more common eszett (ß); the original, among other more faithful letter forms, can be accessed via the stylistic sets feature ** licht – literally bright – being the German term for inline typefaces – not to be confused with leicht ( light )
  10. Monologous by Comicraft, $49.00
    From A to B, or not to Z: that is the question mark: whether 'tis nobler in the mind to kern with the left and right arrows of outrageous keyboards, or to take arms against a sea of ' thought bubbles,' and by opposing, burst them? To sigh, with those little fireflies: to sleep; No more; and by sleep that is to say we end each line of dialogue with 'zzzzz;' The heart-shapes and the thousand drops of sweat popping off my forehead that sight of flesh is sure to produce, 'tis a consummation devoutly to be letter'd. To die with still at least five balloons of dialogue, to sleep; perchance to flashback to a scene in a previous issue while a picture of my head floats in the corner of each panel: ay, there's the rub; 'Nuff Said.
  11. Robson by TypeUnion, $20.00
    Robson is a fluid, condensed, uppercase font made up of eight weights, as well as a variable, that will provide instant visual impact to your projects. The font is made up of 486 glyphs which features extensive language support & stylistic alternates to give your designs the versatility they require. The font has a retro edge to it by using rounded structures on the A, M, N, W and Y glyphs that are reminiscent of posters and promos from the 70s and 80s. The ultra tight thin weight is made to be used at super sizes to bring a focal point to your designs. Robson is meant to be seen big (well, he's a bit of a show-off) Robson is perfect for your digital, print or branding projects. Or, for a poster on your fridge that says "You rock".
  12. Monden by Tour De Force, $29.00
    If you'd like to scream, but you have no self esteem, or you'd love to start a fight, but you're scared of the night, I made this font for you all, whether you're short or tall. Monden is wide, gentle and fun, but it wasn't born under the Sun, it was my intention to make it unique, I surely hope I didn't make some freak, it looks a bit classical, in moments maybe here and there radical, but it surely is really graphical with a dose of something magical. Want a logo, poster or any other design, but you'd rather cry and then run, even this description sounds lousy, at least it isn't so drowsy, so meet Monden family from our hood and keep your spirit in good mood, and do the things on any way you think they should.
  13. As of my last update in early 2023, "DreamerOne" isn't a widely recognized or documented font within major font libraries or typographic resources. However, creating a descriptive narrative around a ...
  14. Sony Sketch EF - Unknown license
  15. Quart - Unknown license
  16. minus - Unknown license
  17. Holitter Titan - 100% free
  18. Corleone - 100% free
  19. Guifx v2 Transports - Personal use only
  20. Holitter Tittanium - 100% free
  21. HardTalk - Unknown license
  22. KittKat - Unknown license
  23. FiftyTwoLetters - 100% free
  24. Morgenstern - Unknown license
  25. In A Flash - Unknown license
  26. Alter-Ego - Unknown license
  27. DingMaps - Personal use only
  28. Stellina - Unknown license
  29. lauralinda - Unknown license
  30. Idolwild - Unknown license
  31. COnsume - Unknown license
  32. Zebra Parade - Unknown license
  33. 21 Heads - Unknown license
  34. Nauert - Unknown license
  35. Snowflake Letters - 100% free
  36. Fingerpop - Unknown license
  37. yorkville - Unknown license
  38. GINETTE - Personal use only
  39. KiddoTR - Unknown license
  40. KidTYPERuled - Unknown license
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