Racesky is a racing-themed font but is still suitable for other purposes. This font is created in two bevel styles to give different choices to each user. This font is also accompanied by open type features in the form of kerning, ligature, and stylistic alternate to make it easier to choose styles and shapes. Consistent lettering is also an advantage that makes it easier for you to produce a perfect and stylish work. don't hesitate to choose this font as part of your collection ... happy working and enjoy your font ...!

"OSKAL" is a font that appeared as an experiment to cross the neutral grotesque and antique. The idea is to make a strange hybrid out of a simple grotesque. The serifs are added in non-standard places and make this font unusual for perception. It's a sharp and active font that you can shout at or break down walls with. OSKAL supports Basic Latin and Extended Latin, Cyrillic — in total about 90 languages are supported. The font has one Regular weight, uppercase and lowercase, punctuation. OSKAL font was designed by Viktor Pesotsky.

DIN Serif: Specimen Manual PDF The DIN Type System: A Comparison Table This is the first ever release of a true serif companion for the popular DIN typeface. DIN Serif originated in a custom project for a watchmaking journal which required a modern serif to work in unison and match the inherent simplicity of DIN. As a result, a solid, confident and well-balanced typeface was developed which is simple and neutral enough when set at small sizes, but sturdy and powerful when set at heavier weights and bigger sizes. It utilizes the skeleton of the original DIN and retains its basic proportions such as x-height, caps height and descenders, whereas ascenders were slightly increased. DIN Serif makes no attempt to impress with ephemeral nifty details on individual letters, but instead it concentrates on a few modern, functional and everlasting novelties which express an overall distinct quality on the page and set it apart from most classic romans. This is a low contrast typeface with vertical axis and squarish form which brings out a balance between simplicity and legibility. Its narrow proportions offer economy of space which is critical for newspaper body text and headlines. At small sizes the text has an even texture, it is comfortable and highly readable. The serifs are narrow at heavy weights and when tight typesetting is applied at large sizes, the heavier weights become ideal for headlines. DIN Serif was inspired by late 19th century Egyptian and earlier transitional roman faces. Bracketed serifs were placed on the upper part of the letterforms (this is where we mostly concentrate our attention when we read) whereas small clean square serifs were placed on and under the baseline to simplify the letterforms. In order to reduce visual tension at the joins and make reading smooth and comfortable, a slight hint of bracketed serif was added at the joins in the form of a subtle angular tapered serif, which softens the harsh angularity. These angular tapered serifs tend to disappear at smaller sizes (or smooth out the joins) but stand out at bigger sizes exuding a strong, modern and energetic personality. What started out as a custom 2 weight family, it has developed into a full scale superfamily with 10 styles from Regular to ExtraBlack along with their italics. Additional features were added such as small caps, alternate letters and numbers as well as numerous symbols for branding, signage and publishing. All weights were meticulously hinted for excellent display performance on the web. Finally, DIN Serif supports more that 100 languages such as those based on the Latin, Greek and Cyrillic alphabet.

Opinion varies regarding the role of Claude Garamond (ca. 1480–1561) in the development of the Old Face font Garamond. What is accepted is the influence this font had on other typeface developments from the time of its creation to the present. Garamond, or Garamont, is related to the alphabet of Claude Garamond (1480–1561) as well as to the work of Jean Jannon (1580–1635 or 1658), much of which was attributed to Garamond. In comparison to the earlier Italian font forms, Garamond has finer serif and a generally more elegant image. The Garamond of Jean Jannon was introduced at the Paris World’s Fair in 1900 as Original Garamond, whereafter many font foundries began to cast similar types. The famous Stempel Garamond interpretation of the 1920s remains true to the original Garamond font with its typical Old Face characteristics. The bold italic was a modern addition at the end of the 1920s and the small caps provided an alternative to the standard capital letters. In the mid 1980s, a light version was added to Stempel Garamond. Since its appearance, Stempel Garamond has been one of the most frequently used text fonts.

Kaat is a new type (2013). It was designed by Chris Nuijen and named after his daughter Kaat. It represents the period in which everyone has their face behind the latest mobile phone screen or interactive games console. "Kaat"is slick, modern and progressive, to reflect our busy immediate life style, whilst providing the essentials in a period where people can be judged on television. Kaat is here to stay and to evolve. Everyone wants to try to be that little bit different, but essentially we are all the same, with the same inherent needs, just like babies or children. We need to be fed, watered, nurtured and loved, the only difference is in today's world you can do all that from behind a screen. "Kaat" bridges that gap, transcending the basic needs of type, with the sophistication and fast paced sharpness of today, everyone wants to be different but we all stay the same, this is a reflection in the thickness and shape of each glyph. The font represents how we are molded and cast differently in yet we still stay the same, because we need the repetition! Everything needs to be done quicker, simpler and cheaper. We eat we sleep we communicate.

ATF Poster Gothic is an expansion of a typeface designed in 1934 by Morris Fuller Benton for American Type Founders. The one-weight design was a slightly condensed display companion to Benton’s ubiquitous Bank Gothic family. This new family of aggressively rectilinear headline types expands the design’s possibilities, offering 30 fonts. The all-cap design sports square corners in the counters, creating tension between angular and curved details; this feature, and the generally rectangular shape of the whole alphabet, makes ATF Poster Gothic distinctive on the page or screen, while its relationship to Bank Gothic makes it seem somehow familiar. Vertical strokes on the C, G, J, and S, as well as on several of the numerals, are cut off at an angle, which suggest the curves those strokes might typically display if the characters were less boxy in design and more along the lines of late-19th-century headline faces. Certain weights also recall the style of lettering used on athletic team jerseys, television crime dramas, action & adventure movie titles, and engraved stationery. With three widths and five weights, ATF Poster Gothic is distinctive and versatile at the same time. The full family is also available in a “Round” version, with corners subtly rounded for a softer, more “printed” feel.

Bellas Artes is what happens when the brush of Angel Koziupa and the technical expertise of Alejandro Paul go face to face with the Art Deco aesthetic. The recognizable Koziupa curves become players of a game of halves, where there is no such thing as a better half, but both sides complete each other like in that perfect romance you will never forget. Bellas Artes is an excellent choice not only for packaging design, but also for book and music covers meant for the feminine demographic, collateral of classical taste, and of course pre-WWII visuals.

This face was recommended to me by Mark Solsburg, president of FontHaus. At first I was a bit reluctant to revive it, if for no other reason than Frederic Goudy’s admission that he created this design “in a moment of typographic weakness.” However, I put the sample that Mark sent me up on my bulletin board, and over a period of time, it grew on me. It finally got to the point that I had to recreate the face, and from the response that I’ve gotten, I’m glad I did! Uppercase only with numerals and punctuation.

Marbach is a strong text face, solidly built with a commanding structure. Although firmly situated in the lineage of classic book faces, it features many contemporary graphical elements. It is stable in small text sizes and will show appealing formal qualities in display applications. The Marbach family consists of 14 styles and is well suited for ambitious typography. It comes in OpenType format with extended language support. All weights contain ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and matching arrows and some alternate characters.

Sole Serif is a newspaper face with features relating to book typography. Inspiration from Francesco Griffo’s romans was adapted to resist the rough usage typical of newspaper printing without any loss of quality. Sole Serif is available in an extensive range of cuts including extra bold and ultra thin. With its big x-height, short ascenders and a roundish and wide italic for text and titles, it has all the attributes of a newspaper face. Nonetheless, details like the inclined axis, calligraphic terminations, Renaissance proportions and a refined but slightly mannered design, all evoke the book rather than the daily paper.

Bonning is a Roman face full of the spirit of the 1920s. It was inspired by a (real)estate agent's For Sale board seen in an old sepia photograph from that era and combines visual flair and period with good clear legibility. A range of Opentype features including alternate forms, old style numbers and fractions, as well as discretionary and standard ligatures are included. Three weights are offered, including a shadowed black form are offered, all in a choice of three widths. It's the ideal face for signage with a period feel, as well as posters, headings and feature paragraphs.

Mynaruse is an elegant and regal roman inscriptional titling family. It has sharp and elongated serifs that give the face extra punch. The face shines in settings that call for elegance and splendor. Mynaruse’s six weights range from a fine, delicate thin to a powerful and solid heavy weight. Mynaruse includes many useful OpenType features, including a set of swash alternates, alternate titling forms, ligatures and miscellaneous alternates. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages.

Stannard speaks to us of the happy days of the inter-war period, of enamel advertising 'street-jewelry' as seen on the railways and in all the best shops, of youngsters' train set boxes and toy catalogues, of traditional magazine mastheads, of a simpler, happier and just maybe better era, when summers lasted for ever and all was well with the world. It's a great family of faces for use in nostalic poster design, for nostalgic packaging design or signage or book covers, or even just for making a bold statement anywhere. Four decorative faces are offered.

Anavio is named in honor of the ancient Roman name of an English Derbyshire town. Anavio is a classically inspired family of Roman faces, emphasizing simplicity of form and elegance. Regular and Bold weights are offered, along with condensed forms. Anavio is offered in both upper and lower case and small capitals faces. Its simple lines are immediately legible, lending it to both text and display uses. A range of ligatures, both standard and discretionary, are included as are stylistic alternates and two styles of numerals. Use Anavio to lend that indefinable air of elegance to your next project.

Chipperly is a brand new face inspired by the art of the Edwardian poster, especially travel posters. It’s good for clear ad legible headings which need a gentle and unobtrusive period touch, and is the latest is Greater Albion’s line of faces to explore the ‘small capitals’ idea. In its regular weight, Chipperly’s glyphs are semi-shaded within an outer outline giving a distinctive look, while the Heavy weight maintains the separate outline but is completely filled. The Light form is an outline alone. All forms unite period elegance with the modern need for clear readiility.

Bitstream typeface based on Koch Antiqua by Rudolph Koch (Klingspor, 1922). Koch Antiqua, also known as Locarno and Eve, is the most popular face of one of the great lettering artists of the 20th century. This delicate display face has a small x-height, very tall ascenders, and main strokes that taper gracefully downward. Koch-Antiqua appeared extensively in advertising between the wars. A refined letterform, it is best used sparingly for a distinctive look in advertising, book, and job work. Two weights of Cyrillic version including alternative lc characters were developed by Isabella Chaeva and released in 2008 by ParaType.

Empira is a new high-contrasted face. While its principal structure shows some reference to transitional faces, the pronounced graphic shape of its elements are definitely of contemporary origin. It appears crisp, sharp and even somewhat fancy. Empira supports up to 80 languages and its OpenType format allows a wide range of typographic applications. 20 styles offer a fine gradation of the weights. All weights contain small caps, ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternate characters.

Tradition meets tomorrow in Mexborough. Mexborough owes its origins to a challenge from a client of ours- they wanted a clear and easily readable typeface to use for signage in public spaces, but with enough flair and style to be suitable for use in heritage precincts. The result is a family of six Roman faces in a single weight, encompassing Regular, Text, Flamboyant, Small Capitals, Capitals and Title forms. These faces combine legibilty with traditional character, ideal for signage and poster work, where dignity and character are required. Mexborough's simple clean lines also lend themselves readily to web and online use.

A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial-style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

Portello is a display family in the tradition of Tuscan advertising and display faces. It's a family of three 'all capital' faces. A perpendicular regular form is offered, along with an italic form (a true italic - with purpose designed glyphs-NOT merely an oblique) and a basic form for small text - which dispenses with the family's characteristic outlined look. It offers the spirit of the Victorian era with ready and distinctive legibility. It's ideal for poster work, especially at large sizes, and for signage with a period flair. Why not give your work the flair of colorful 19th century commercial design today?

Get ready to be bold and elegant at the same time. It’s time to see Wildrace, a display font created in capital letters with the racing theme. The font’s character is the thick letters formed similar to rectangles to give strong impressions. Therefore, it will be more noticeable and match the large-sized texts. Wildrace also provides interesting features to enjoy. Features: Multilingual Supports PUA Encoded Numerals and Punctuation Use Wildrace for any design projects such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Purchase now. Happy designing.

Zoran Kostik began designing the Just Square font family in 1999, based on a logo that his son, an art student, had designed. The design project grew until Kostic had designed eight weights, for both the Latin and the Cyrillic writing systems. Just Square is a very geometric and constricted face best used in experimental designs (i.e., logos, web sites, flyers, and expressive headlines).

Cloudbuster is K-Type’s take on the mid twentieth century style of extra condensed slabs/moderns inspired by Imre Reiner’s Corvinus Skyline of 1934. Unusually, Cloudbuster has a printed-look softness, courtesy of very slightly rounded corners throughout, so it looks a little less harsh than similar typefaces. The font is an imposing display face with elegant, unfussy letterforms and a generous x-height.

Life is an elegant roman face, designed by W. Bilz and developed by Francesco Simoncini at Ludwig & Mayer in 1964. It is a contemporary design based on the Transitional designs of the eighteenth century. The Life font can be used for almost any kind of copy. Life is especially suitable for newspapers, both in editorial and advertising due to its high degree of legibility.

Maxfield Parrish (1870-1966), whose career spanned nearly ninety years, holds a unique place in American art and culture. He was enormously accomplished and successful in both fine art and commercial endeavors. Parrish's hand-drawn letters were a significant part of his works, which bridged the familiar with a startling otherworldliness. P22 has created the Parrish font set in cooperation with the National Museum of American Illustration.

Lettering on a 1933 booklet about certain facilities in Italy -- can you guess what they might be? -- by the Bertarelli Design Studio of Milan inspired this decidedly different and engaging monocase face. If you're looking for something that says "casual elegance," this is it. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Here’s another offering based on the work of Alf Becker, long-time contributor to Signs of the Times magazine. This only comes from the 1940s, and is a light and bouncy single-stroke face that’s sure to pep up any project it graces. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

There is something special about thin fonts. On one side there is the sensitive, charming and warm touch, on other side they are uncompromising, thoroughgoing. Here the contrast can't hide the clear shapes. Hilton Serif and Hilton Sans are a pair of highly legible, subtle and elegant sans-serif and semi-serif display faces. The quality of spacing and kerning are ensured by Igino Marini.

In his book, Brushstroke and Freestyle Alphabets, Dan X. Solo called this fabulous fifties face Maidstone Script. Somewhat less willowy than the original, this version is still righteously retro, and takes its name from a collision between a poodle skirt and pedalpushers, two fifties fashion statements. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

Surakarta is a display face of western characters with numerous optional ligatures modeled after the graceful Javanese alphabet still taught in many schools on the island of Java in Indonesia, though it has been replaced by the latin alphabet for most everyday purposes. This is the second in Parquillian Design’s series of fonts inspired by some of the beautiful lesser-known native scripts of Southeast Asia.

Mehriban Outline is a revisit of Mehriban, Michael Browersí most successful text face that was originally released in 2006. Mehriban & Mehriban Outline are deconstructivist revivals inbred from Michael Browers' previous work: Formasi and Disjecta. Formasi characters were morphed with their Disjecta counterparts, and in some cases with previously unpublished letterforms from Disjecta's concept stages, resulting in a grunge font with its own unique swagger.

Released by the Compugraphic Corporation in 1979, the Garth Graphic font family is based on a design by John Matt from the 1960's, reworked by Renee LeWinter and Constance Blanchard. Garth Graphic was named after Bill Garth, a founder of Compugraphic. A fairly strong old style face suitable for text setting; the heavier weights and condensed forms are most used for display work.

The pattern for this face was designed by Will Bradley in 1894 for the cover of Inland Printer magazine, and was licensed the following year to American Type Founders. Its classic lines and condensed footprint make this typeface a natural for elegant and inviting headlines. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Hera Big is a type family in eight weights & 16 fonts. The family explores the motion and fluidity of the ball serif, in an evolution from its previous identity as a counterpart to the slab serif. Informed by great fat-faces from Figgins to Lubalin, but never deferring to precedent by default, Hera is a fresh mix of originality and organic form, never sacrificing function for beauty.

Peanut is a face full of bounce and playfulness but is based on the traditions of the long revered Roman minuscule. The letters are unique in that they imply “youth” without relying on cliché child-like letterforms. Peanut and Peanut Sans come in a ‘Salted’ style which features many alternate letterforms. Both the Salted and regular styles are combined into in the Pro fonts.

Eckhardt Casual JNL was modeled from an example of poster lettering found in a 1941 Speedball® Lettering Pen instruction book. The font is named in honor of Jeff Levine's good friend, the late Albert Eckhardt, Jr. (owner of Allied Signs in Miami, Florida until his passing) and is one of a number of releases with a "sign painter" theme that comprise the "Eckhardt Series".

Twentieth Century Poster, designed by Sol Hess for Lanston Monotype in the 1940s, provided the inspiration for this family of faces. Although, historically, the design falls outside the time period normally considered the Art Deco era, its sensibilities are pure Art Moderne. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Lusta plays with the interchangeability of an inline and an outline, negative and positive space. Often one single character will epitomise the design of a font, and here the S served as the conceptual starting point. The inline/outline was then applied to sans and serif variants, and extended into a multi-line prisma and an offset layered shadow version, probably inspired by Face Photosetting’s Stack.

There is something special about thin fonts. On one side there is the sensitive, charming and warm touch, on other side they are uncompromising, thoroughgoing. Here the contrast can't hide the clear shapes. Hilton Sans and Hilton Serif is a pair of highly legible, subtle and elegant sans-serif and semi-serif display faces. The quality of spacing and kerning ensured by Igino Marini.

Dassitzt is a family of two typefaces, Dassitzt LT Typos and Dassitzt LT Pictos. Dassitzt LT Typos is a heavy industrial-grunge display face, with dark, even letters that appear cut out of black paper or iron. Dassitzt LT Pictos is a whimsical collection of pictograms. The figures in this font are black silhouettes that show a minimum amount of detail, but a maximum amount of expression.