Brecksville is a condensed grotesk typeface that takes inspiration from early German designs of the mid-19th century. It was designed as part of my current research into grotesk typefaces and different letterforms, as part of my dissertation research, “Perfected Letters: German Grotesk in the Nineteenth Century”, which focuses on the role of German design in typography. The Brecksville font family provides a wide range of weights, ranging from light to bold for both its rounded display style and more rugged sharp style. Both its styles feature the same horizontal proportions and metrics so they can freely be combined with no spacing issues. Brecksville's visually punchy condensed style and sharp edges, allows it to stand out on the screen – at almost any size. Its black composition also brings out the details needed in magazine and tabloid headlines, while maintaining readability throughout. The rounded display version is ideal for posters and other uses where you want something eye catching but not too hard on the eyes.

Introducing Perfect Dream – a new serif with all the nostalgic vibes! A classy eighties magazine-inspired serif - with a complementary italic version :) Comes in two normal and condensed versions, mix them together to create an interesting effect. Perfect Dream is a beautiful nostalgic upper and lower case typography that looks amazing in both large and small settings as display and body text. I love combining regular and italics, either all in one word (as in the Missfits sample) or in body text! Don't forget to use all caps as well in your blending and matching - this adds contrast and impact to your type design.

The Neue Frutiger Variable Set is a single font file that features three axes: Weight, Width and Italic. The Weight axis has a range from Ultra Light to Extra Black. The Width axis provides a range of condensed values. The Italic axis is a switch between upright and italic. Variable fonts act as a complete family of fonts in a single file. The new Variation font feature is supported by a growing number of desktop design applications, and more importantly by all the major web browsers. Variable fonts provide a variety of benefits to web and print designers and developers including flexible, responsive typography.

Alfabetica is a modern and humanist Sans Serif typeface. We were looking for a new grotesque energetic but with some classical features. The result of the design is a grotesque slightly condensed with soft strokes, open counters and terminals; giving it a great readability with an esthetic elegance and sensitive appeal. Alfabetica comes in eight weights from Thin to Black, with a matching italic for every weight. This family of fonts provide advanced typographical support with OpenType features such as CE languages, ligatures, oldstyle numeral, case- sensitive forms, fraction and small capitals. Alfabetica is perfectly suited for texts, signage, magazines, web pages, packaging design, advertising, corporate identity and logotypes.

Univers Next Variable Set is a single font file that features three axes: Weight, Width and Italic. The Weight axis has a range from Light to Extra Black. The Width axis provides a range of condensed and extended values. The Italic axis is a switch between upright and italic. Variable fonts act as a complete family of fonts in a single file. The new Variation font feature is supported by a growing number of desktop design applications, and more importantly by all the major web browsers. Variable fonts provide a variety of benefits to web and print designers and developers including flexible, responsive typography.

Get to know Norman, elegant and fashion forward. This new condensed and high contrast serif font is based on expansion giving a sense of self confidence. The oblique ax was specially added to get a contemporary and innovative sense. Norman is young and idealist, he has a distinctive sense of style. A complete set of ligatures and stylistic alternates is included, this will help the designer to customize and give a special look to any layout. We recommend to use it for big title, magazine, editorial purposes and display. Norman Family contains 2 styles, Regular and Italic, both fonts have another version a bit heavier called Regular 2 and Italic 2.

Hello, now I tell you. its time for "Kelphyn". Yes you heard right. Kelphyn is a serif font family that allows you to try out new, innovative designs that suit your taste. Created to support all forms of design, art and ideas. especially for modern magazine designs, website layouts and supporting branding layouts. Grab it fast here Free updates

ITC Nora was designed by James Montalbano when he was on a 1930s sign-lettering kick, poring over showcard manuals to find inspiration for new typeface designs. A few letters led him to create this informal, goofy" script, which falls between the many formal scripts and the completely extravagant. ITC Nora displays a free-flowing openness and elegance."

Introducing the WBP Cor. A retro font based on the old drugstore signage (DROGISTERIJ). Many happy customers have observed it and is now made available for all. Accents have been added, and there quite are a few alternative glyphs. The A has two options for example: there's a sharp version consistent with the original signage, but also a rounded version consistent with the rest of de design. The font can be used to recreate retro signage or other niche designs.

The Cannon family is the result of combining the clean aesthetics from a classic sans neo-grotesque with a touch of a geometric design. The result is a simple but dynamic typeface with retro and technological airs. Cannon is ideal for robust advertising, bold brand identities and packaging, also suitable for high impact headlines and short texts. This type family consists of 36 variants and 9 weights (thin, extra light, light, regular, book, medium, bold, extra bold, black), matching italics for all weights and widths, matching small caps for all weights and widths, alternate characters and extended language support. We are proud to introduce: Cannon.

Bold as love, Grok is a hand-drawn typeface, assertive but soft. Showy and friendly. It's an all caps font with 2 choices for each letter, accessible via keyboard upper and lower case slots. For that handcrafted look, you know. Turn on the contextual alternates feature to automatically alternate these. Grok originally comes in two cuts: bold and… less-bold :) Later the outline style was added as a gift, a free font. And finally, there's yet a nifty picture font with dozens of dingbats to beautify your words every now and then. Perfectly suited for display uses: packaging, signage, web titlings, editorial design, book covers – and not-only-covers. Grok it?

Gordita is a minimal sans serif typeface with a geometric foundation that has been built upon with modern details that result in an optically balanced, friendly typeface. When designing Gordita referring to features in Futura were influential as were the structural and harmonious strokes of Gotham. Forms have been optically compensated to appear natural and purely geometric. Joints are slightly tapered and ink traps feature in heavier weights with the purpose of achieving maximum legibility. Gordita has been tested in print and on screen in a wide range of point/pixel sizes. The family is equipped with OpenType features including alternate glyphs, fractions, case sensitive forms, small figures, arrows and symbols as well as old style and tabular figures. Now delivered in 7 weights with matching italics that slant at 15°. The italics are slightly lighter and narrower than the upright versions. The horizontal weighting in the italics have been reduced to compensate for the loss of vertical stroke thickness. With support for over two hundred languages with an extended Latin and Cyrillic character set, Gordita is ready to be put to work. Designed by Thomas Gillett, metrics and engineering by iKern (Igino Marini). The family has been recently updated to include two additional weights (Thin & Ultra + their matching italics) as well as slightly opened apertures for better legibility in the heavier weights, new glyphs and more opentype features.

Expanse is a retro futuristic typeface. The font has a bold and big vibe and mixes sharp and round corners, kind of like the very old sci-fi movie titles. Expanse includes uppercase multilingual letters, numbers and punctuation.

Attention all design enthusiasts! Are you tired of the same dull typefaces dominating the design world? Look no further than Ohitashi, the daring and unconventional creation by Typodermic principal Raymond Larabie. In a world where twentieth-century sans-serif typefaces reign supreme, Ohitashi breaks the mold and blazes its own trail. Larabie has masterfully infused this typeface with a unique blend of humanistic stroke contrast, spontaneous licks and curls, and incised detail, resulting in a one-of-a-kind design that defies convention. But don’t let the unconventional nature of Ohitashi fool you. This typeface offers a practical range of three weights—standard, semi-bold, and bold—making it an incredibly versatile option for any design project. Whether you’re looking to add a touch of personality to a marketing campaign, or looking to revamp your brand identity with something fresh and new, Ohitashi has got you covered. So why settle for the same boring old typefaces when you can break free from the rut favored by reductive competitors? Embrace the unconventional with Ohitashi and see your designs come to life like never before. Trust us, your audience will thank you. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, 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, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, 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.

Finesse and style in this condensed hand drawn elegant type forms.

Avenir Next Paneuropean is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though, in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from UltraLight to Heavy, this 56-font collection offers condensed and semi condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Complete your designs with these perfect pairings: Dante™, Joanna® Nova, Kairos™, Menhart™, Soho® and ITC New Veljovic®.

Tapa is a classical old roman typeface family which has been cut with sharp serif; Its stems, proportions, serif and elegant angles, may induce into a new view of the "Old roman faces" by our contemporary digital age. The kerning pairs were carefully controlled to ensure a good readability and nice page tone contrast. The Tapa font family is completed with true italics (without compression). And enriched with a full set of OpenType features containing ligatures, discretional ligatures, old style numerals and swashed letters.

A few days ago, my good friend David from Hanoded.com visited me for a few days. We drank a lot of coffee and walked the streets of Copenhagen - we even took a trip up in Rundetårn! :) Well, on one of our walk (of course looking for inspiration for new fonts) we spotted this handmade sign. We agreed to make a font of the 7 letters available, using our own imagination and style! I called my font Mundbind DK and David named his Mundbind NL - of course it is the landcodes of Denmark and Holland. As you can tell, the font is uneven and somewhat unpredictable - following only the "rules" of the person who handprinted that sign ... and not many of the rules of the good old and respected painter who make beautiful signs ... however, this sign had it's beauty in a natural and innocent way.

handwritten decorative variable font A few fonts already exist which have been drawn in accordance with the exact same principles. But these are just drawn - only drawn. The ANATOLE FRANCE retains the hand script character in spite of its stringent composition. An old portfolio of script patterns from the 1920s or 1930s, which appeared in the Georg D. W. Callwey Publishing House in Munich, includes among its pages one with a handwritten poster script, as was very typical for the 1920s. To begin with, there is the emphasized decorative character, which stands out due to stressing the stems. Next, the attempt to portray the character forms with the help of a few but always recurring basic elements is driven to the limits. Theoretically speaking, that which should have led to a contrived, geometrically determined type, obtains a likeable and pleasant look through the ductus of the manually guided brush. The classic version of ANATOLE FRANCE includes 5 fonts: Light, SemiLight, Normal, SemiBold, Bold. The variable font allows seamless font weights from 300 (Light) to 700 (Bold). Alternate letterforms are available through the appropriate OpenType features: style set 1 (O Q V) style set 2 (v w)

Taka is a font that can be used in all situations, be it Articles, News, Titles and so on. We will be adding variants of the font in the coming weeks which will make this font even more complete. This font is only sold by Monotype and its subsidiaries, make sure you get the original only here!

The design of Rosenbaum started with the idea of an eclectic merger of didone stroke pattern and contrast, uncial letterforms and blackletter appearance. It was a destillation experiment. It happened around christmas in 2011. The result is a unique typeface which strongly evokes a peculiar pastiche mood without being any historical in the strict sense of the word. It’s all about the fun to mix ingredients and to freely create reminiscences in a new way. Rosenbaum is a typeface like a fairytale – one of a kind, strangely poetic and incredibly true at once… Use Rosenbaum for emotional typographics, for fairytale books and stories, for headings and invitations, for distinctive labels or menu cards, for Wave Gothic publishing … you will know best! Both Rosenbaum Eins and Rosenbaum Rose contain all characters needed for any European language. They both contain the same range of additional symbols and ornaments, some of them are zero-width calligraphic embellishments designed for direct combination with the letters, even inside of words.

VLNL TpDuro was designed by chef Martin Lorenz and Juanra ‘Wete’ Pastor. Its concept was inspired by an Albrecht Dürer design from 1525, which shows a system to construct a gothic lowercase letter. Following the logic of this lowercase construction, but not the traditional uppercase letters of regular fraktur (brokenscript) alphabets, some brand new upper case letters were designed. The 45 degree tilted square that forms the basis of the letters, is as square and hard as a cracker. And we love crackers. You can put cheese on them. The ‘pixel’ feeling of the downstroke was intensified by repeating the rotated square module as often as they could. All this resulted in a strong, dark typeface with a steady rhythm, with one foot in history and the other in modern times. It works well as a display typeface for short texts, headlines and logos. Music festivals and heavy metal bands should also pay attention. This is hard stuff.

Introducing Kelaskin, a classic serif font that exudes elegance and sophistication. Its timeless design is perfect for any project that requires a touch of old-world charm. Kelaskin features a stylistic set that alternates on both uppercase and lowercase letters, giving you more options to customize and create unique designs. This font is versatile and perfect for a wide range of applications, from branding to editorial design. Its multilingual support ensures that your message can be conveyed across various languages and cultures without any hiccups. With Kelaskin, you can bring a touch of timeless class to your design projects. Get Kelaskin now and elevate your design to a new level of beauty and professionalism.

Plantin is a Renaissance Roman as seen through a late–industrial-revolution paradigm. Its forms aim to celebrate fine sixteenth century book typography with the requirements of mechanized typesetting and mass production in mind. How did this anomalous design come about? In 1912 Frank Hinman Pierpont of English Monotype visited the Plantin-Moretus Museum in Antwerp, returning home with “knowledge, hundreds of photographs, and a stack of antique typeset specimens including a few examples of Robert Granjon’s.” Together with Fritz Stelzer of the Monotype Drawing Office, Pierpont took one of these overinked proofs taken from worn type to use as the basis of a new text face for machine composition. Body text set in Plantin produces a dark, rich texture that’s suited to editorial and book work, though it also performs its tasks on screen with ease. Its historical roots lend the message it sets a sense of gravity and authenticity. The family covers four text weights complete with italics, with four condensed headline styles and a caps-only titling cut. Plantin font field guide including best practices, font pairings and alternatives.

Bondie – Condensed Sans Serif is an Elegant Condensed sans serif with solid font files. it is based on the compact solid font, by combining a variety of styles. Suitable for Logo, greeting cards, quotes, posters, branding, name card, stationary, design title, blog header, art quote, typography

Köhler Köhler is a Condensed Headline Type Family. Köhler comes complete with 6 OTF files. Regular, Rough, Clean & Textured with Oblique counterparts. Köhler is a super condensed typeface with a vintage aesthetic but also doubles as a great modern typeface depending on the final use. Thank you!

Tex Writer is a custom handmade / handwritten Serif typeface with a simple and casual personality making it perfect for text typography, logotypes, marketing graphics, branding, package and advertisement design and anything in between. Extended Character Sets Along with the basic Latin character set, we have added Western European, Central European, South Eastern European character sets for your convenience. What You Get This typeface comes with 14 fonts having 7 weights + 7 italics (Light / Regular / Medium / SemiBold / Bold / ExtraBold / Heavy).

The SF Handwriting font family is designed for educational and printing purposes. It is a carefully crafted font that supports Arabic, Latin, Persian, and Urdu. The font is characterized by its clarity, ease of reading, and visual appeal. It is also convenient to use in small sizes. The SF Handwriting font family includes three weights: Regular, Bold, and Black. The Dotted style is designed with a straight background for printing and overwriting by children or other users.

Gandur is a display textura in three weights, split into two families: Alte — the German word for old — and New . Gandur was inspired by other geometric texturas, specially Max Bittrof’s Element (1933). The design began by adhering to a strict hexagonal grid, but during its development, slowly moved from a purely geometric to a more pen-based design (this is especially true in the heaviest weights). The differences between Alte and New are essentially morphological, with reflections in the character set and OpenType features. Gandur New has a more humanistic, contemporary structure and is more ‘romanized’ then Alte. Gandur New also features small capitals. Gandur Alte, on the other hand, remains truer to historical forms, most notably: S s X x Z z. Gandur Alte also features the long-s, which can be accessed via a Stylistic Set or the glyph palette. (As is historically accurate, a short-s will be used at the end of words automatically when the historical Stylistic Set has been activated).

A 1940s travel poster for the Florida East Coast Railway (which then carried passengers but is now a freight line) had the railroad’s name hand lettered in a bold Art Deco sans. This inspired Passenger Train JNL, which is available in both regular and oblique versions.

When Hal Taylor saw the 1930 logo for the Stetson Shoe Company of Weymouth, Massachusetts, he didn't run out and buy a pair of loafers. Instead, he seized on this striking example of an Art Deco logotype as the basis for a new typeface design. “I was impressed with the delicate and sophisticated letter forms,” Taylor recalls, “particularly the enlarged cap S -- in any other case it would have seemed unbalanced, but in the context of this logo, it worked perfectly.” All the letters in the original all-caps Stetson Shoe logo were rendered with condensed proportions except the O, which was a perfect circle. While the prominent O added visual interest to the logo, Taylor knew that such a character would limit his typeface to display applications. For versatility's sake, he drew his O for ITC Stepp with the same proportions as the rest of the alphabet. Taylor also gave the logotype's inverted S a more traditional design, but kept the original as an alternate character in the OpenType font. Taylor's toughest challenge during the design process was creating a lowercase. “A good type design tells you what it wants to be,” he says, “and after a little while the Stepp caps began to tell me what the lowercase should look like.” Taylor's lowercase is slightly more conventional than the caps. The jaunty g" and almost upside-down "s" add subtle charm, while the capital letters provide the broader gestures of Stepp's personality. Together, they create a versatile and distinctive typeface design. One of Hal Taylor's first jobs was as a photo-lettering typographer in Philadelphia, setting headlines and creating custom lettering. This was followed by a stint doing finished lettering for John Langdon, whose ambigrams appear in Dan Brown's best-selling novel, Angels & Demons. Today, Taylor works as a graphic designer in the publishing industry, but he still finds time to create an occasional hand-lettered book jacket, and draw handsome typeface designs. ITC Stepp is available in four weights, ranging from Light to Ultra Bold. All four weights have companion italics, and the lightest three weights also offer a suite of small caps."

Multi is an extensive sans serif typeface family that consists of two subfamilies: Multi Text that comprises three weights (roman & italic) and Multi Display (seven weights, roman & italic). Vitality bursts forth from Multi. It has a distinctive ‘phrasing’ (in the musical sense), neither humanist nor glyphic, somewhere in between, exploring uncharted territory. Its design is pragmatic, yet not rigid, slightly tinged with tiny incised touches. This is clearly noticeable in Multi Display: the roman lowercase’s asymmetric stems are very softly tapered, with bevelled, sharp upstrokes. Furthermore, all weights consistently share these idiosyncrasies from Thin to Poster. With its lower contrast, wider proportions, shorter ascenders and descenders, Multi Text was purposely adjusted to meet all the requirements of a legible typeface for newspapers in paper and screen, as they were manually hinted. It also has a few new features, such as the outstrokes of the roman ‘l’ and the italic ‘a’, which bring a subtle calligraphic feel to the text flow.

A mysterious beauty hidden away on a secret island by her eccentric wizard father? No: An elegant display face influenced by Aldine old-style letterforms, Miranda brings classic sophistication to any project. The family includes regular and bold weights.

Akagi started as a rough sketch while on a really long plane ride to Tokyo in 2007. I wanted to develop a sans that was a complete departure from my successful Aaux Pro (now Aaux Next) sans serif family. Whereas Aaux and its siblings are rather unforgiving and stark in their presentation, I wanted this new sans serif to "smile" at you when it's on the page. When the plane landed and I realized I did not sleep through the 15 hour trip, my brain shut off, the laptop closed and I hopped in the car to the hotel—forgetting the "new sans" folder on my desktop. Fast forward a few months and I found myself seeing a lot of crisp, rigid, robot-like sans serif typefaces everywhere... I enjoy these new crop of faces but wanted to see something "friendlier" and remembered my earlier sketch work. The groundwork was there screaming at me to complete and Akagi arose from the ashes. To be truly satisfied with it personally, a great deal of time was spent trying to create a harmony between line and curve in an attempt to show that you can be crisp, clean and legible and still keep some personality. The Light and Fat weights (regular and italic) are my favorites and I hope to see them as the workhorses of the typeface.

A brush font with a script theme that can make your project maximized. Moreover, it is equipped with several attractive alternatives and swashes. Can be used in various print or digital media such as product packaging, content display, social media promotion, broadcasts and many more. Features: -Uppercase -Lowercase -Numeral -Punctuation -Multilingual -Alternate -Swash Don't hesitate to support now!

Nouveau Rock creates a blend of old & new combined. Classic, yet funky. This font has a rough-cut elegance—surprisingly nostalgic. However, the influences of urban folk art also bring a modern familiarity. Nouveau Rock is extended, containing West European diacritics & ligatures, making it also suitable for multilingual environments & publications.

Charles Beeler Jr. designed this in 1895 for Mackellar, Smiths and Jordan, which was part of the American Type Founders combine. The font had a short life because five years later ATF began an "off with the old, on with the new" program, and this font was an early victim.

German type designer Erik Spiekermann, created this sans FontFont between 1991 and 2010. The family has 28 weights, ranging from Hairline to Black in Condensed and Normal (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, small text as well as web and screen design. FF Meta provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options—oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic, Greek, and Hebrew writing systems. FF Meta Variable are font files which are featuring two axis and have a preset instance from Hairline to Black and Condensed to Roman In 2011, FF Meta was added to the MoMA Architecture and Design Collection in New York. This FontFont is a member of the FF Meta super family, which also includes FF Meta Correspondence , FF Meta Headline , and FF Meta Serif .

The first typeface developed by Latinotype Team. Corporative is a semi serif font that has a marked personality and distinctive traits, what makes it suitable to be used at large text sizes.Since it is a condensed font, it can also be used in smaller sizes. Corporative and Corporative Sans come with the Latinotype’s standard set of 350 characters, making it possible to use the font in 128 different languages. Corporative provides users with a wide range of characters, weights and widths for every project. By combining different variants,designers can achieve the best results. The family consists of 64 fonts: a basic family that includes 8 weights plus italics, an alternative family of 8 weights with matching italics and 2 condensed families, one regular and one alternative, both with italics. Latinotype has added new faces to its team. Latinotype Team nowcomprises: Javier Quintana, César Araya, Bruno Jara, Luciano Vergara and DanielHernández. Corporative was created by Latinotype Team and developed by Javier Quintana and César Araya, under the supervision of Luciano Vergara, Miguel Hernández and Daniel Hernández.