Brian Miller is a graphic designer who loves hillbilly culture, which is what inspired his popular phrase, 'country fangs!'--used to describe anyone with teeth that - well - just don't quite line up right. Git Cletus an' Jimmy Ray an' we'll hold down a piggy an' make 'er SQUEAL!!!!!--be sure t' put yer teeths in, too! Country Fang includes multiple grit patterns and appropriate "teeth" icons to spiff up any layout on the fly.

Slipstream font was developed by Letraset Type Studio in response to the growing need to convey competence and speed through typography. It is based on an italic sans serif letterform and its horizontal lines look like streaks left behind letters speeding to the right. Characters can be slightly overlapped for small spaces without losing this feeling of movement. Slipstream font is ideal for service-oriented advertisements, especially where efficiency and quick service should be emphasized.

Jungle Monogram Font is a perfect circle shaped monogram font consisting of 78 letters. With just a single font file you will be able to create beautiful monograms in just a matter of minutes after the purchase! Jungle Monogram Font comes with font file in OTF format. It features all the modern advanced font features such as Contextual Alternates, effectively eliminating the need to use multiple separate font files for left, center and right letters.

Diplomat was designed in response to Portfolio’s very ornate script - a much more legible and formal script that has plenty of flare but without the elaborations. It is still more ornate than Duet so if you need to find a script right in between Portfolio and Duet, Diplomat will do the trick! Diplomat in combination with its elegant lowercase, creates a prestigious presentation useful for Certificates, Wedding Invitations, Corporate Identities, Brochures, and Headlines.

Introducing Night Crow . A display deathmetal font. This font is inspired by underground and metal music band logostyle. There are alternate directions of the thorns (right and left), alternate is in lowercase. I purposely made the spines a little so that the font can still be read. Night Crow is suitable for death metal music, underground, hardcore music, blackletter, death metal logo design, clothing, logos, music covers, posters or other designs with the theme deathmetal.

ITC Bette is a particularly elegant calligraphic design from the hand of Patty King. Refined and friendly, this vertical script appears to be drawn with a brush held delicately at a right angle to the page. The unconnected letters and flared ascenders create a feeling of spontaneity, while the design's vertical stress produces a calming counterpoint. Many capital letters drop comfortably below the baseline, and terminals echo a flick of the wrist.

Looking for a font which has a modern futuristic looks? Yes, you come to the right place. We have Sandborg to cover your needs. The characteristic of Sanborg is the digital looks of each letter. If you want to write a headline or title about technology or digital content, we suggest you to try this font. We're honored and proud if we can be the part of your special works. Thank you.

"Disco Pang Pang" is the Korean name for Tagada rides. It is a characteristic typeface that is good to use when you want to make use of a unique and bouncy feeling. Light and Extrabold are made with the thickness of normal typefaces, but Left and Right have strange shapes with stroke thicknesses that are biased to one side. Its unique shape can make a strong impression on people. This font contains Korean.

Hand Draft is hand crafted to emulate both the early printer’s serif font and/or a hand-drawn version of an early Serif font, using either a felt or round nibbed pen. Carefully designed to recreate a sturdy Sans Serif font with just the right amount of artistic imperfection, in three styles: outlined, hatched, and solid. A little funky and slightly grungy, this hand-drawn font is intentionally not quite perfectly rendered.

Welcome to the Jet Age! LIETZ Rathoga jumps right out of the covers of vintage Space-Hero comics and onto your flickering cathode ray tube monitor. Fight the evil Zombies of the Stratosphere with sharp serifs! Race the Rocketmen with narrow stroke widths and fast italics! Loaded with Ligatures for more firepower! Team up with Rathoga's brothers and sisters from the LIETZ font family and you will triumph over the hordes of evil! Power on!

Call me some kind of weird, but I find designing fonts about the most fun you can have out of bed. Legible-scmedgible, sometimes you just have follow the font muse regardless of where she takes you. She threw me a circle, a triangle, a rounded stroke and a rounded-cornered square; “Make glyphs,” she sang. Okay! Is it legible? Yes. Is it readable? Kinda. For the right project, though, that’s enough!

Golondrina, spanish for swallow, a bird that cannot carry a coconut but migrates form north to south like the angles in this font. Also, like the bird, Golondrina can adaptate to different needs, going from a traditional blackletter with small lowcase characters and ornamental capitals, to a hardcore uppercase and sharp small caps. The right font for designs with a medieval, traditional spirit or a coarse lettering for a Heavy metal band.

Zold is the first font designed by EMME Grafica. It's a simple, statuesque, architectural, eye-catcher, tough yet elegant font, particularly suitable for titling, subtitling, branding and typographic amusements. The solemnity of Zold does not affect the the elegance of the curves of the font, but gives it the right visibility and temper, like that of Zold, the surly character who will be the antagonist of a multimedia project currently under development at EMME Grafica.

Yes, you're right. Blauhaus should have been 'Blaues Haus', as that is the proper way of saying Blue House in German. But hey, Blauhaus sounds much better and in writing, it is quite similar to Bauhaus. Blauhaus is a stylish, rounded sans serif font, modeled after some early 20th century German typefaces. It is easy on the eye and it will certainly give your work a sophisticated punch. Comes with a classy collection of diacritics.

A common creation: (to pass from one hand to the other): For the first time, various hand-signs from diverse sources are unified into one single visual style. This compendium is the result of 15 years of incubation and 7 years of creation. In his travels throughout the world, graphic designer Jean-Benoit Levy, principal of the visual studio AND, has collected pictures of multiple hand signage. Uncertain what to do with those signs, he kept them year after year until the idea came to unify almost 200 handsigns into one single family. In accordance with this entire collection, the name of the typeface is a mix: "h-and-s". A global collection: (To put in good hands): We all have one thing in common: Hand-signs are an international language, they are meant to be understood by all of us. Each of us regularly comes in contact with modern hieroglyphs such as the hand-sign-codes that are so prevalent in our daily life. This way of communication belongs to no one in particular and to all of us in general. Even if the sense of certain signs varies from one culture to the other, there is a common hand-sign language. We are surrounded by this language of handsigns each time we step in a store, we eat, open a container of milk, we clean up, use package of wash-powder, by shaving, when we work, use tools, at home, by tearing the envelope of a condom, by traveling, etc. When we encounter these signs, we all understand them easily. A visual connection: (To go hand in hand): This typeface is a global visual statement. Collecting, ordering, redrawing, unifying. Reconstructed and assembled into one original alphabet, H-AND-S is a unique and complex signs program. Our choice is based on daily gestures and global hand-codes. Logically this typeface starts with the "American Sign Language" and expands on two type-variations, each on two levels of keyboard. The international team of H-AND-S would like to send his special thanks to all of the anonymous graphic designers throughout the world who designed different hand-signage and who influenced and inspired to create such a sign collection into one unified family. We, the global nomad team of AND, hope that you will enjoy our H-AND-S. Additional Credits Production: Studio AND. www.and.ch. Concept, Idea & Creative Direction: Jean-Benoît Lévy, Switzerland / USA. Research & Sketches: Eva Schubert, Germany. Illustration, Graphic Design & Visual Fusion: Diana Stoen, USA. Transfer, Adaptation & Refining: Moonkyung Choi, Korea. Finalization & Checking: Sylvestre Lucia, Switzerland. Coaching & Technical Advice: Mike Kohnke, USA. Creative Energy & Implementation: Joachim Müller-Lancé, Germany / USA.

FF Real is a convincing re-interpretation of the German grotesque style from between 1998 and 1908, but with much more warmth and improved legibility as well as a hint towards the warmer American grotesques. Later on, not just slanted styles, but a “proper” italic version was added inspired by the way Roman and Italic are distinguished in traditional serif faces. NEW: a specially created set of obliques were added in 2018 to give designers more design flexibility, for those looking for a less calligraphic look. In 2020 the family was extended with matching condensed weights. FF Real was originally conceived by Erik Spiekermann as one text weight and one headline weight to be used as the only faces in his biography ‘Hello I am Erik’, edited by Johannes Erler, published in 2014. While Spiekermann drew the alphabets, he passed on the font data to Ralph du Carrois and Anja Meiners who cleaned it up and completed it. In the meantime, FF Real has been extended to a family of two styles and 65 weights each. The design of FF Real is rooted in early static grotesques from the turn of the century. Several German type foundries – among them the Berlin-based foundries Theinhardt and H. Berthold AG – released such designs between 1898 and 1908. The semi-bold weight of a poster-size typeface that was lighter than most of the according semi-bolds in metal type at the time, gave the impetus to FF Real’s regular weight. In the words of Spiekermann, the historical example is “the real, non-fake version, as it were, the royal sans serif face“, thus giving his new typeface the name “Real” (which is also in keeping with his four-letter names, i.e. FF Meta, FF Unit). FF Real is a convincing re-interpretation of the German grotesque style, but with much more warmth and improved legibility. With a hint towards the warmer American grotesques, Spiekermann added those typical Anglo-American features such as a three-story ‘g’ and an ‘8’ with a more defined loop. To better distinguish characters in small text sizes, FF Real Text comes in old style figures, ‘f’ and ‘t’ are wider, the capital ‘I’ is equipped with serifs, as is the lowercase ‘l’. What’s more, i-dots and all punctuation are round.

The Azbuka™ typeface family has its roots in a fairly pedestrian source. “The idea came in part from an old sign in London that read ‘SPRINKLER STOP VALVE’,” says Dave Farey, designer of the typeface. Like all good sign spotters, Farey took a photograph of the sign and filed it away for possible use in a lettering or typeface design project. In Prague a number of years later, the street signs reminded Farey of the London signage - and his camera came out again. Comparing the two back in his studio, he realized that the signs from London and Prague were not as similar as he initially thought. However, they were enough alike to serve as the foundation for a no-frills, 21st century sans serif typeface family. “I wanted to draw a wide range of weights, italic and condensed designs all in one go,” recalls Farey, “rather than add on to the family later.” His goal was to create a family that could be used for text and display copy, with sufficient weights to provide a broad typographic palette. Indeed, the completed design, created in collaboration with fellow type designer Richard Dawson, consists of twenty typefaces in eight weights ranging from extra light to extra black. The five mid-range designs have complementary italics. Seven condensed designs round out the family. Azbuka’s lighter weights perform remarkably well in blocks of text composition. “They’re clean and legible - and perhaps a little boring,” says Farey, “but they are perfect for copy with a down-to-earth, yet contemporary flavor.” The heavier weights are equally well suited for a variety of display uses. The designs are authoritative but not overbearing and will readily make a strong statement without calling attention to themselves. The condensed weights of Azbuka are ideal for those instances where you have a lot to say - and not much room to say it. The name Azbuka? It’s Russian for “alphabet.” And what more appropriate name could there be for this utilitarian, industrial-strength type family than alphabet? The Azbuka family is available as a suite of OpenType Pro fonts. Graphic communicators can now work with this versatile design while taking advantage of OpenType’s capabilities. The Azbuka Pro fonts also offer an extended character set that supports most Central European and many Eastern European languages

FF Real is a convincing re-interpretation of the German grotesque style from between 1998 and 1908, but with much more warmth and improved legibility as well as a hint towards the warmer American grotesques. Later on, not just slanted styles, but a “proper” italic version was added inspired by the way Roman and Italic are distinguished in traditional serif faces. NEW: a specially created set of obliques were added in 2018 to give designers more design flexibility, for those looking for a less calligraphic look. In 2020 the family was extended with matching condensed weights. FF Real was originally conceived by Erik Spiekermann as one text weight and one headline weight to be used as the only faces in his biography ‘Hello I am Erik’, edited by Johannes Erler, published in 2014. While Spiekermann drew the alphabets, he passed on the font data to Ralph du Carrois and Anja Meiners who cleaned it up and completed it. In the meantime, FF Real has been extended to a family of two styles and 65 weights each. The design of FF Real is rooted in early static grotesques from the turn of the century. Several German type foundries – among them the Berlin-based foundries Theinhardt and H. Berthold AG – released such designs between 1898 and 1908. The semi-bold weight of a poster-size typeface that was lighter than most of the according semi-bolds in metal type at the time, gave the impetus to FF Real’s regular weight. In the words of Spiekermann, the historical example is “the real, non-fake version, as it were, the royal sans serif face“, thus giving his new typeface the name “Real” (which is also in keeping with his four-letter names, i.e. FF Meta, FF Unit). FF Real is a convincing re-interpretation of the German grotesque style, but with much more warmth and improved legibility. With a hint towards the warmer American grotesques, Spiekermann added those typical Anglo-American features such as a three-story ‘g’ and an ‘8’ with a more defined loop. To better distinguish characters in small text sizes, FF Real Text comes in old style figures, ‘f’ and ‘t’ are wider, the capital ‘I’ is equipped with serifs, as is the lowercase ‘l’. What’s more, i-dots and all punctuation are round.

The purpose of the original DIN 1451 standard was to lay down a style of lettering which is timeless and easily legible. Unfortunately, these early letters lacked elegance and were not properly designed for typographic applications. Ever since its first publication in the 1930’s, several type foundries adopted the original designs for digital photocomposition. By early 2000, it became apparent that the existing DIN-based fonts did not fulfil the ever-increasing demand for a diverse set of weights and additional support for non-Latin languages. Parachute® was set out to fill this gap by introducing the PF DIN series which has become ever since the most comprehensive and sophisticated set of DIN typefaces. It was based on the original standards but was specifically designed to fit typographic requirements. Its letterforms divert from the stiff geometric structure of the original and introduce instead elements which are familiar, softer and easier to read. The first set of fonts was completed in 2002 as a group of 3 families which included condensed and compressed versions. With its vast array of weights, the extended language support, but most of all its meticulous and elaborate design, it has proved itself valuable to numerous design agencies around the world. Ever since its first release, it has been used in diverse editorials, packaging, branding and advertising campaigns as well as a great number of websites. It was quoted by Publish magazine as being “an overkill series for complex corporate identity projects”. The whole PF DIN Text type system (with normal, condensed and compressed styles) includes 45 weights from Hairline to Extra Black including true-italics. Additionally, every font in the Pro series is powered by 270 very useful symbols for packaging, environmental graphics, signage, transportation, computing, fabric care. There are 2 versions to choose from: The PRO version is the most powerful. All weights support Latin, Cyrillic, Greek, Central/Eastern European, Romanian, Baltic and Turkish, with 20 advanced opentype features including small caps. The standard STD version is more economic. All weights support Latin, Central/Eastern European, Romanian, Baltic and Turkish, with 18 advanced opentype features including small caps. In 2010 Parachute® released 4 new families DIN Monospace, DIN Stencil, DIN Text Arabic and DIN Text Universal. All these are complemented by the popular DIN Display version. Altogether the Parachute DIN series is a set of 8 superfamilies with a total of 96 weights.

If you want your designs to be prominent, you will need a unique, prominent, yet professional, legible font. However, it may be hard and take some time to find the right one due to a lot of options available causing difficulty to figure out the suitable one you desire. With Mirey, you can easily create a unique identity for your design. Mirey is a display serif font in thick weights with small lines on the letters’ edges to look formal and classic. In addition, it expresses unique, artistic touches from its combinations with display font characters. This display font has thick lines and strong contrasts, so that it is perfect to attract attention and to show strong impressions. Due to its high legibility level, this font is applicable for a variety of text sizes. In addition, you can enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Mirey fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

The Yorkten family of fonts is back with another satisfying addition to its clean style. The rhythmic, new Yorkten Slab expands Yorkten’s basic, contemporary form of geometric and simple lines and adds a level of self-confidence and elegance to your work. Slab's basic structure is compact. It’s more condensed than most slabs, so you can save space yet still have clear, consistent readability. The added serifs create a fresh text color, too, that syncs well with the new font’s inherited features. Like its predecessor, Yorkten Slab offers its natural, simple structure with more than fifty fonts in the family and three different widths - extended, normal or condensed. Each group has eight weights from a lean thin to tough looking black, giving Yorkten Slab plenty of bragging rights among its peers. And like Yorkten, too, Yorkten Slab’s greatest value is the ability of its members to work easily and well together and with a variety of other fonts. Yorkten Slab ensures that you have the necessary tools for any challenge. In combination with its superior functionality and excellent readability, this versatile font can be effectively used for many print and screen operations: e-books, applications, headlines, banners, posters and websites to name a few options. Don’t wait any longer. Start tapping the possibilities that Yorkten Slab offers your work.

Volta is a robust typeface from the 1950s. A revisit to styles that were en vogue at the turn of the century, Bauer type foundry designers Walter Baum and Konrad Bauer designed this type family in1955. The form of Volta's letters are similar to those in New Transitional Serif typefaces, like Cheltenham and Century. Developed after the Didone (i.e., Bodoni) style types, New Transitional Serifs speak more to the zeitgeist of the late 19th Cntury, and were typographic adaptations to it's newer technologies. Already in the period of mass production, typographers and printers at the dawn of the 20th Century had to cope with larger print runs on cheaper materials. The robust letterforms of New Transitional Serifs were designed to compensate for this, but they were also ingenious little inventions in their own right. Form the beginning, the new, peculiar forms of New Transitional Serif letters were adopted for use by advertisers. Their robustness also allowed them to be used in virtually all sizes. Volta was designed especially with advertising display usage in mind. The x-height of Volta's letters is higher than average for serif faces. It is recommended that Volta be used exclusively for shorter tracks of text, above 12 point. Headlines look dashing set in Volta. Four different font styles are available for the Volta typeface: Regular, Medium, Medium Italic, and Bold."

Berenjena is a captivating font family designed by type designer Javier Quintana Godoy in Santiago de Chile. Berenjena has the right combination of comfort in reading and a lyric spirit. This helps keep readers in the delicate atmosphere in which novels and tales can display all their charm. Most typefaces created for books cannot reach this. Either they are too expressive so they tire the eyes of the reader, or they are dull and reading becomes a tedious task. Berenjena was designed for text use bearing in mind this concept of subtle balance. Berenjena (Spanish for aubergine or eggplant) gives your text that spicy environment in which words shapes are easy to read while letterforms maintain their capricious feeling. It comes in roman and cursive declined in four weights: Blanca, Fina, Gris, Negra. All Berenjena character sets include extensive diacritics coverage for more than 200 languages plus the usual contextual features. The Berenjena Pro fonts (available at PampaType.com) include smalls caps, elegant ligatures, cute swashes, every kind of figures, and all contextual sorts. Berenjena will give your design a very individual character. It wears captivating details of calligraphic poetry which link subtlety to vernacular sign painting from Santiago de Chile. See a pdf of Berenjena here http://origin.myfonts.net/s/aw/original/306/0/156716.pdf or visit PampaType.com for more information.

A throwback design reminiscent of 1950s signage and print ads, Merrymakers JNL takes a previous release (Bluesman JNL) and places the letters and numbers inside parallelograms with ‘TV screen’ openings. Merrymakers JNL is available in both regular and oblique versions. The upper case A-Z characters have the taller side of the shape to the left, while the lower case a-z has the taller side to the right. To make a ‘fan fold’ or zig-zag message, simply alternate upper and lower cases as in this example: C-a-R D-e-A-l-E-r-S You can type spaces between words, but if you prefer blank connectors, use the following: Upper case solid black connector – left bracket key Lower case solid black connector – right bracket key Upper case ‘TV screen’ connector – left brace key Lower case ‘TV screen’ connector – right brace key There is a very limited set of punctuation available. The upper case ampersand, question mark, exclamation point, period, comma, single quote and double quote are all on their respective key positions, but to accommodate the lower case [smaller side] versions, those glyphs have been reassigned to other standard keyboard positions: Type @ to get & Type # to get ? Type $ to get ! Type ^ to get . Type * to get , Type - to get ’ Type = to get ” Additionally, to access the lower case [smaller side] versions of the numerals, type the following keys: Type % to get 0 Type ( to get 1 Type ) to get 2 Type + to get 3 Type / to get 4 Type : to get 5 Type ; to get 6 Type < to get 7 Type > to get 8 Type \ to get 9

Hedon is hedonistic & humanistic, but not an egoistic, sans serif family that comes in 4 weights and matching italics. It declares itself a neutral, versatile and legible partner for any kind of publication, with a tiny dose of impressionable characteristics that softens its base.

With some slight variation, Merchandising JNL was modeled from the lettering on a display box for Meyercord Decal letters and numbers. The phrase "make your own signs with decals" was lettered in a casual brush-like style, and is reproduced for the first time digitally.

Merge Pro is a soft family of sans, available in 2 weights with character sets for Cyrillic and Greek. Readable at small sizes, it sets open and wide. At display sizes, the softness makes for a friendlier, more casual alternative to other rounded sans.

Cat Paw embodies fun, quirkiness and authenticity. It features gorgeous and fun characters that will brighten up your crafting projects. It will elevate a wide range of design projects to the highest level, be it branding, headings, invitations, signatures, logos, labels, and much more!

Inspired by Karl-Heinz Lange’s Publica, Bravura Pro is a versatile humanist sans font family with a slight calligraphic touch which makes it ideal for private correspondence as well as for body texts in magazines and books. All styles contain small caps and oldstyle figures.

In 1912 Gerard Meynell, with J.H. Mason, Ernest Jackson and Edward Johnston, commissioned this large x-height typeface modelled on Caslon’s designs from Pierpont and the Monotype Corporation as the text face for The Imprint, a short-lived magazine about fine printing and typography.

Caffe Lungo is a beautiful set of handmade fonts. Lungo is very legible, very clear, but has that authentic ‘handmade’ look. Caffe Lungo comes in three weights, each with its own Italic style. I also added ligatures for the g_j and j_j letter combinations.