The inspiration for Deco Eccentrique JNL was initially hand drawn contoured lettering from a mid-1920s piece of sheet music; the style of the letters showing influences of the upcoming Art Deco movement. This was made into a digital font entitled Poster Contoured JNL. Once all of the excess parts of the previous design were stripped away to only the inner letters, the pre-Art Deco influences remained along with characters of varying stroke widths and shapes. This non-conformist type face is available in both regular and oblique versions.

Monster Truck is a dominant looking bold italic font inspired by extreme sports. The 'in your face' presence of this font is ideal for use in designs looking to snatch people's attention especially in serious competitive sports, fitness, bodybuilding, toys and car wrap designs. The non-apologetic sharp edged spoiler like serifs, straight edges and bevel corners have made this one of the foundry's most popular fonts. The font is all caps and fufills MyFonts character requirements that include a large number of characters including numbers, punctuation and Latin international characters.

Romeo Fans is a natural brush script with texture and similar to hand written. I designed it by hand and I really hope you will enjoy using this font. I love using this one with layer masks in Photoshop, it really looks natural written. Romeo Fans Script includes a couple ligatures to make everything look totally hand-done, it also contains other additional features like swashes and spots. What's Included: - Ligatures - Numbers + Punctuation - Non-English support - Swashes - Spots Please contact me if anything question, I'm glad to help. Happy Designing!

OpenType users benefit from an array of alternate glyphs for lowercase characters including non-connecting contextual alternates for word endings. Other features include crossbar ligatures for common letter pairings, case-sensitive quotes and smart apostrophes. Arbordale Pro extends the character set to support Eastern European and Baltic languages.

Qandas is a handwritten font that has been polished to seem neat and professional, but it is also versatile in its application, making it suitable for both official and non-formal applications. If you utilize this typeface on all of your projects, they will stand out. This font is designed with a natural touch of handwriting which is refined to create a portion and composition that suits your needs. So this font is suitable for craft, children’s writing, adventure posters, food banner titles, wedding invitations, product packaging logos, quotes, social media page covers, furniture banner headlines, book covers, and much more.

Suti is a non-connected sign painters casual script with upper and lower cases. Suti was originally designed in 2010 but it was completely re-drawn in 2016. Casual lettering is a style sign painters use. Every sign painter has more or less their own style to make these letters. The casual alphabets are painted with speed and they don’t need to line perfectly but letters are still clean and easy to read. Suti has smooth and round forms. Friendly and casual looks. It is suitable for logos, titles, package design or where ever you need a fun and sympathetic display font.

Introducing Menthox Typeface The Menthox font is designed with a script font concept that has a decorative stencil style. Strong characters with stencil styles make Menthox fonts look different and unique from other script fonts. A script typeface like "Menthox" is very easy to apply to any design, especially those with dynamic, relaxed, and retro fashion concepts, besides that this font is very easy to use in both design and non-design programs because all glyps in the Menthox font are supported by Unicode. (PUA). The "Menthox"contains 700 glyphs with many unique and interesting alternative options.

Future Bugler Upright is a non-slanted version of Future Bugler, a font based on the second logo created by Harry Warren in early 1975 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore. This font can convey several perspectives or moods. It can suggest a space-age vision of the future, or an art-deco perspective of the future as in the movie Sky Captain and the World of Tomorrow. It also communicates the idea of high performance, or extreme sports, without the grunge. Digitized by John Bomparte.

Weiss Modern Gothic is the first digital re-creation with a lot of improvements of a late seventies well-known edited typeface by Bauer. At the time known as Weiss Initials Extra Bold or Weiß Modern Gothik, the design was inspired by the famous Weiß Initialen N°2 drawn by Emil Rudolf Weiß (1875-1942); also father of the non-less famous "Neuland" typeface. Strangely, this beauty seemed abandoned while sister-flared faces like Friz Quadrata, Flange, Serif Gothic or Romic are in a new wave of revival. Hoping this one will not again disappear... Happy new life.

Was God an Ancient Astronaut? Are crop circles signposts for UFOs? Are we or are we not alone? Do you Want To Believe? We have No Idea. Nevertheless, we've put together a rather attractive little typeface -- by the name of Aztech -- which will undoubtedly add fuel to speculation vis-a-vis the existence (or non-existence) of Extra Terrestrial Intelligence. Yes, in our ongoing quest to spread enlightenment and dispel anxiety throughout the universe, we've created a font which will allow you to enjoy the concept of Alien Intervention without the embarrassment and discomfort of anal probing. Tell your friends.

The Face2Face (F2F) series was inspired by the sound of 1990s music, personal computers, and new font creation software. For years, Alexander Branczyk and his friends formed a unique type design collective, which churned out a substantial amount of fresh, new fonts, none of which complied with the traditional rules of typography. Many of these typefaces were used to create layouts for the leading German techno magazine of the 1990s, Frontpage. The typeface F2F OCRAlexczyk is one of the Face2Face fonts in Linotype's Take Type Library. It is based on the popular computer font OCR A, which was developed by the American National Standards Institute in 1966 as a system of letters that both humans and machines could easily read. Alexander Branczyk made a more 1990s/techno version, which later became this font.

AmpleAlt is a alternate version derived from Ample type family. AmpleAlt is a display type family, optical mono linear and a bit squarish in nature. It has smooth curve instead of sharp angle formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasis the message. It is graphically strong and command viewer's attention. The overall appearance of type is suitable in setting it as heading, title, headline, etc. The type family consists of six weights viz. Thin, ExLight, Light, Regular, Medium and Bold. Considering the nature of this type family, italics have been excluded. AmpleAlt is designed by Aakash Soneri in the year 2014.

AmpleSoft is a softer version derived from Ample type family. AmpleSoft is a display type family, optical mono linear and a bit squarish in nature. It has smooth curve instead of sharp angle formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasis the message. It is graphically strong and command viewerís attention. The overall appearance of type is suitable in setting it as heading, title, headline, etc. The type family consists of six weights viz. Thin, ExLight, Light, Regular, Medium and Bold. Considering the nature of this type family, italics have been excluded. AmpleSoft is designed by Aakash Soneri in the year 2014.

Oracul is a modern display font with Bohemian motives. The font is created in a psychedelic retro style and decorated with the stars. Oracul includes stylistic alternates and ligatures. The font is suitable for the design on the theme of astrology, mysticism, spirituality, witchcraft, magic, esotericism, fortune-telling, tarot. Oracul has extensive language support, it includes English, French, German, Italian, Spanish, Portuguese, Danish, Norwegian, Swedish, Finnish, Estonian, Turkish. Oracul font includes stylistic alternates for symbols: E, H, I, J, L, O, Q, T, U, Y. There are also ligatures: MA, RA, KA, XA, AA, AM, RM, OO.

Magnum Sans Pro is a strong neutral sans serif consisting of eleven weights with true Italic, Oblique and an alt upright set called Alfa. The definition of Magnum is a large wine bottle that's twice the capacity of one 750ml bottle, today the name is used in any product offering double the capacity, Magnum Sans achieves this by offering two slanted and two upright versions plus a standard and pro set. Designed to be highly readable, Magnum Sans Pro is ideal for text, signage, headlines and media broadcasting or anywhere else quick readable lettering is needed. With the stylistic alternates and swash caps you can expand your creativity in logo designing. Sprinkle in an alternate letter or two makes for a dynamic appeal that's sure to get attention in advertising. This Pro set includes additional language support for Vietnamese, Pin Yin and Greek. Opentype features in the Pro set include, Alternate Fractions, Case Sensitive Forms, Denominators, Numerators, Discretionary Ligatures, Standard Ligatures, Old-style Figures, Tabular Figures, Proportional Figures, Ordinals, Scientific Inferiors, Superscript, Subscript, Stylistic Alternates, Swash Caps, Arrows and Enclosed Alphanumerics.

Monospasz means mono-fun in English. It's spelled with 'sz' instead of 'ß' for all you english speaking folks out there who always mistake it with a 'B'. Monospaced fonts keep on drawing attention to them because their proportions stand out from the canon of common fonts. "Yuck. Look at the condensed little m. Isn't that ludicrous?" But Monospasz isn't copycatting traditional typewriters, the most popular of monospaced fonts. It's completely manually ink-written and hand crafted. Monospasz has been designed and first used for the third incarnation of our annual Weimar based typography symposium dubbed "TypograVieh lebt" in the summer 2006.

Sondela is a gently rounded, informal font, whose name means "welcome" or "come closer". It echoes the openhearted tradition of the Zulu people, where all who come are welcome. The font is available in regular and display (Pizazz) versions. Sondela Pizazz incorporates the zig-zag pattern that has been used in traditional Zulu beadwork for generations. It is highly effective when used in conjunction with the unadorned Sondela regular. The numerals are mono-spaced so that they will line up correctly in columns of figures. The letters of the alphabet are correctly kerned so that they appear correctly in text.

Kaleko 105 Text is the text specific variation of stablemate, Kaleko 105 . With a shallower x-height and longer ascenders and descenders, its more traditional proportions make it more economical with space and better suited to continuous text. It's a well-balanced, versatile, modern sans, highly legible as a text font and with a clean, elegant look as a display font at larger sizes. The Kaleko 105 Text family comprises of four weights and includes old style non-aligning (lower case) numbers, both proportional and tabular as well as accented characters for Central European languages. It is closely related to Kaleko 205 Text , which offers variations in some characters, most notably a two-storey lower case a and g.

Kaleko 205 Text is the text specific variation of stablemate, Kaleko 205 . With a shallower x-height and longer ascenders and descenders, its more traditional proportions make it more economical with space and better suited to continuous text. It's a well-balanced, versatile, modern sans, highly legible as a text font and with a clean, elegant look as a display font at larger sizes. The Kaleko 205 Text family comprises of four weights and includes old style non-aligning (lower case) numbers, both proportional and tabular as well as accented characters for Central European languages. It is closely related to Kaleko 105 Text , which offers variations in some characters, most notably a single storey lower case a and g.

Kamerik 205 Text is the text specific variation of stablemate, Kamerik 205. With a shallower x-height and longer ascenders and descenders, its more traditional proportions make it more economical with space and better suited to continuous text. It's a well-balanced, versatile, modern sans, highly legible as a text font and with a clean, elegant look as a display font at larger sizes. The Kamerik 205 Text family comprises of four weights and includes old style non-aligning (lower case) numbers, both proportional and tabular as well as accented characters for Central European languages. It is closely related to Kamerik 105 Text, which offers variations in some characters, most notably a single storey lower case a and g.

Kamerik 105 Text is the text specific variation of stablemate, Kamerik 105. With a shallower x-height and longer ascenders and descenders, its more traditional proportions make it more economical with space and better suited to continuous text. It's a well-balanced, versatile, modern sans, highly legible as a text font and with a clean, elegant look as a display font at larger sizes. The Kamerik 105 Text family comprises of four weights and includes old style non-aligning (lower case) numbers, both proportional and tabular as well as accented characters for Central European languages. It is closely related to Kamerik 205 Text, which offers variations in some characters, most notably a two-storey lower case a and g.

For over 30 years, Tomás Vellvé created beautiful graphics and distinctive typefaces in his native homeland of Spain. First drawn as a phototype display design in 1971, Vellvé’s only typeface in digital form is an uncommon solution to the problem of creating a new sans serif design. The end result, which bears his name, is a design that stands out from the crowd of other sans serif typefaces. The phototype version was only available in a single, light weight. With the release of the digital fonts, however, three additional weights as well as a companion italic for the light weight were created.The typeface designs were originally drawn for Agfa Monotype (now Monotype Imaging) in 1996 as part of the company’s “Creative Alliance” initiative. Through an exclusive licensing arrangement, the Vellvé™ family has now been added to the ITC Typeface Library.ITC Vellvé is a wide design with strong calligraphic overtones. This is no “anonymous” design like so many modern sans. Letters like the `R, `e and `s clearly show the hand of Tomás Vellvé in the design process. Vellvé provides a fresh choice between geometric sans serifs such as Helvetica® and industrial sans serifs like Futura®.

Pieta is a wide sans type family inspired by old typeface lettering from Netherlands, with a more contemporary design. The Pieta family includes 7 weights, from Hairline to Black, with their corresponding italics. Each font includes OpenType Features such as Proportional Figure, Tabular Figures, Numerator, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals, Ligatures and Fractions. Pieta family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afar, Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

KyivType superfamily, consisting of three subfamilies: Sans, Serif and Titling. Fonts have variability in weight and contrast. There are also alternates. Initiated by Projector, Dmytro Bulanov Creative Büro, and Banda Agency for Kyiv city (Ukraine) identification and promotion. Freeware. Fonts are free for commercial and non-commercial use. More at Behance

LABEL PRO XL is a massive high quality collection of classic, modern and vintage labels. Containing more than 150 glyphs, LABEL PRO XL is convenient and essential in numerous business sectors; such as food or non-food labeling, B2B and B2C sales; stickers, stamps or advertising designs etc. LABEL PRO XL offers you a quick & easy solution for all vector designs and application software. The LABEL PRO XL font is fully handtraced, a first-class and worldwide highly appreciated quality. LABEL PRO XL, a complete font that contains twelve different styles, tons of combinations, cool swaches & flags, LABEL PRO XL is particularly developed for creative people.

Breton is a geometric slab serif typeface inspired by Boston. Breton has a strong personality and it is an ideal face for headings and branding design. Its most noticeable characteristic is a great difference of proportions between rounded characters (like "o", "c" or "e") and non-rounded ones (like "n", "m" or "z"). By combining them, you will be able to give your compositions a very unique rhythm. Each font style comprises 417 characters, which support more than 200 Latin-based languages, as you would expect from Latinotype fonts. Breton comes in 10 styles, from Hair to Black, and includes matching italics. Breton was designed by Daniel Hernández and Rodrigo Fuenzalida.

The Face2Face (F2F) series was inspired by the techno sound of the mid-1990s, personal computers and new font creation software. For years, Sibylle Schlaich and her friends formed a unique type design collective, which churned out a substantial amount of fresh, new fonts, none of which complied with the traditional rules of typography. Many of these typefaces were used to create layouts for the leading German techno magazine of the 1990s, Frontpage. Schlaich and her fellows would even set in type at 6 points, in order to make it nearly unreadable. It was a pleasure for the kids to read and decrypt these messages! F2F Styletti Medium is one of 41 Face2Face fonts included in the Take Type 5 collection from Linotype GmbH."

Jefith is a family of san serif fonts that are designed with great care by paying attention to the combination of each letter to create a beautiful impression and appearance, making it easier to answer your needs, both formal and non-formal needs. All Capital sans is charming and brave in its application, a font with a bold style and strong character makes your design look bold and bold to convey a message to consumers in every design, this font is equipped with rough and stamp variations This font is perfect for a wide variety of vintage, retro and various outdoor events, sporting events, branding, banners, posters, movie titles, food and drink, technology, quotes, clothing, and more.

Kaleko 105 is inspired by the classic, geometric sans-serifs such as Gill Sans, but has shallower ascenders and descenders for a more compact look. It’s a well-balanced, versatile, modern sans, highly legible as a text font and with a clean, elegant look as a display font at larger sizes. It includes old style non-aligning (lower case) numbers, both proportional and tabular as well as accented characters for Central European languages. The Kaleko 105 family comprises of six weights, and is closely related to Kaleko 205. The most notable differences between the two variations, are the single-storey lower case a and g in Kaleko 105, where they are two-storey in Kaleko 205.

Kaleko 205 is inspired by the classic, geometric sans-serifs such as Gill Sans, but has shallower ascenders and descenders for a more compact look. It’s a well-balanced, versatile, modern sans, highly legible as a text font and with a clean, elegant look as a display font at larger sizes. It includes old style non-aligning (lower case) numbers, both proportional and tabular as well as accented characters for Central European languages. The Kaleko 205 family comprises of six weights, and is closely related to Kaleko 105. The most notable differences between the two variations, are the two-storey lower case a and g in Kaleko 205, where they are single-storey in Kaleko 105.

Kamerik 105 is inspired by the classic, geometric sans-serifs such as Futura and Avant Garde, but has shallower ascenders and descenders for a more compact look. It's a versatile, modern sans, highly legible as a text font and with a clean, elegant look as a display font at larger sizes. It includes old style non-aligning (lower case) numbers, both proportional and tabular and accented characters for Central European languages. The Kamerik 105 family comprises of six weights, and is closely related to Kamerik 205. The most notable differences between the two variations, are the single-storey lower case a and g in Kamerik 105, where they are two-storey in Kamerik 205.

NorB TypeWriter Roughen is the roughen version of my NorB TypeWriter typeface witch's my emulation of the IBM Selectric 'Light Italic' ball witch was used by my grand-brother for his correspondance during the 70’s and 80’s. It's however a slanted mono-spaced looking typewriter font. You may want to use this font with any word processing program for text and display use, print and web projects, apps and ePub, comic books, graphic identities, branding, editorial, advertising, scrapbooking, cards and invitations and any casual lettering purpose… or even just for fun! NorB TypeWriter Roughen features 677 glyphs, OpenType features and comes in 6 weights each with their matching italics and in a Light, Normal and Bold version.

Italian type designer Albert Pinggera created this sans FontFont between 1996 and 1998. The family has 6 weights, ranging from Light to Bold (including italics) and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, software and gaming as well as sports. FF Letter Gothic Text provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Letter Gothic super family, which also includes FF Letter Gothic Mono and FF Letter Gothic Slang.

Meet Think, a varied-width sans serif font with fun options. At first glance, Think appears to be your standard all-caps mono weight sans. But if you look more closely, you’ll see that Think pairs wide and narrow characters to create a bold, eye-catching look that’s perfect for headlines, editorial design, monograms, branding, logos, poster design, and more. Think includes over 800 glyphs and uses 4 stylistic sets to give you lots of options in terms of the width of each letter. OpenType features include character variants, stylistic sets, and multilingual support (including multiple currency symbols). These features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign.

This African font is modern and fluid. Its name means "water" in the Zulu language, and like the deep rivers that flow through the African jungles, it contains few straight lines. Use it when you want to convey a feeling of strength combined with flexibility. Use it for headings, posters and adverts when you want to create an impact. This African font includes a full character set: - all the upper and lower case letters, as well as all numerals, punctuation and special characters. The numerals are mono-spaced so that they will line up correctly in columns of figures. The letters of the alphabet are spaced according to their width and are carefully kerned to create an attractive appearance.