A kind of grunge with that cool wild look so associated with the current trend of today.

After releasing Amsi in 2015, this year Sans Beam is now ready to launch with the design that support many different usability from Headline to Body text, and specifically designed to be compatible with other font families of Stawix Foundry. This typeface has been designed under the simple idea of ‘Choose. Play. Repeat.’ on the limited space of typographic layout, in which most of the time faces the problem of choosing appropriate font weight that would serve the right intention. This typeface is designed to erase those problems, preventing impossibility in designer’s layout in both Body Text and Headline, which comes in 15 different weights.

Scoreboard JNL emulates illuminated scoreboards and is based on an alphabet found in an old clip art book of sports-themed alphabets.

MalitiaVetus is a decorative blackletter font with influences of Old English, Lombardic and Tuscan styles. Is perfect to create authentic medieval documents

a fanciful version of an old font by George Bruce and Sons Typefoundry, a historical USA deceased foundry from the victorian era...

Based on the early original Monotype design, you can definitely see the influence of Italian Old Style, Jenson and Morris’ Golden Type.

MalitiaVetus is a decorative blackletter font with influences of Old English, Lombardic and Tuscan styles. Is perfect to create authentic medieval documents

Hand drawn font inspired by years of doodles in Math and Science class. Contains full small caps set and old style figures.

A great looking script can be used for many applications; it even works extremely well as text. Has a old fashioned charm.

A Sans font family of five weight for headline and text use, with old style numerals and small caps, and extensive kerning.

Introducing Kompot - This is the Greatest Font... actually typeface with 4 styles Kompot is swirly, vintage typeface with 4 styles to enchant your next project. They are loaded alternate glyphs, ligatures and multilingual support. Very versatile fonts that works great in large and small sizes. Basic latin, advanced latin, basic Cyrillic and advanced Cyrillic character sets are supported! Kompot is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase numeral, punctuation & Symbol Regular Styled Outline Styled Outline Alternate glyphs Ligatures Multilingual support Basic and Advanced Cyrillic support How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Roihu is a sans serif type family with 16 fonts: eight upright and eight italic weights. Each weight offers more than 1,100 glyphs. Roihu includes some groovy stylistic alternates and swashes that make your titles, packaging, logos, etc. pop out. Roihu also includes small caps, old style and lining figures, and ligatures to make sure your text and designs won't be boring. Download the PDF specimen from the Roihu gallery to see more-specific OpenType instructions and a full glyph set. Opentype features: - small caps - stylistic alternates - swashes - proportional lining figures - proportional old style figures - tabular lining figures - tabular old-style figures - standard ligatures - discretionary ligatures - case-sensitive punctuation - fractions - ordinals - superscript - subscripts - arrows

Iwan Stencil is a new revival of an old display typeface. Based on type originally designed by Jan Tschichold in 1929, the style was revived by Klaus Sutter in 2008. The letterforms in this peculiar design are very high contrast; all of the thin bits are much thinner than the thick parts. They have a modern, upright axis. All in all, the creation has a bit of a Bodoni-gone-crazy touch. The thin elements are the unique part of the design that binds this face together. They almost naturally fade away in the stencil gaps (or pylons), making you wonder if you are really looking at a stencil face at all. These thins contribute greatly to the typeface's overall serif-style, making the design at least a semi serif typeface, if not a full serif one. The lowercase n, for instance, has no serifs of its own, but many of the other letters have clear ones, or serif-like terminals. A serif stencil face is a peculiar variety, especially in this day and age, but in the past they were much more common, if not the norm, The Iwan Stencil typeface has only one weight. Naturally, this is just for display. Use Iwan Stencil to cut real stencils, or only to create the effect of stenciled type in your design work. Ivan Stencil includes all of the characters that you have come to expect in a font. Just because this design was originally made in 1929 does not mean that is has a 1929 character set. Instead, it includes a 21st century, with extended European language support Jan Tschichold, who we have to thank for today's Iwan Stencil inspiration, was a man of many faces. A trained calligrapher who went on to codify the New Typography, would go on to become a teacher, a classical book designer, and the creator of the Sabon typeface. Like all young designers, he was occasionally in need of money. Before his emigration from Germany in 1933, he took on many kinds of commissions. In the late 1920s, a time full of waves of economic turmoil within Germany and across the world, he began designing a typefaces for different European companies, mostly display things like this. For a time during the mid-1920s, Jan Tschichold went by the name Iwan" "

Use this font to make lines, borders, patterns, backgrounds, unique bullets, or use it inline within text. Let your imagination explore the possibilities to combine these geometric shapes. Use letter spacing to connect the shapes in a continuous pattern, or space them apart horizontally. Stack them vertically and control their distance with leading (line spacing). Make fields of pattern and explore layering and opacity for color mixing. FormPattern Color Six takes inspiration from mosaic patterns seen in the south of Italy. It is easier to use this font to make patterns than to use drawings because you can control the size, color, and spacing from the type menu. It is also an effective way to make web graphics that are responsive with text. Using it is simple. As you type, forms will appear instead of letters. Each font in this collection is a colored set. The sets are primary, secondary, tertiary, analogous, dark, old world, vintage, greyscale, cool grey, and warm grey. There is a solid font that can be colored in the same way as regular fonts. The color fonts are accessed in the type menu where you would normally find the different weights or italics Most design software, such as Illustrator, InDesign, and Photoshop provide a glyphs palette where you can choose the precise form you want. It can work with the simplest text editors too. However, these may not support the color options. FormPattern Color Six is a vector-based and fully scalable SVG OpenType format. Color fonts are supported by Photoshop 2017, Illustrator 2018, and QuarkXPress 2018 (and later versions). This version of FormPattern Color Six is compatible with all FormPattern fonts by Tarallo Design. The display artwork shows it paired with the typeface Scanno.

Introducing Hipweee Layered Font Hipweee, A new carefully crafted layered rounded Typeface. The Ideas of this fonts are from wide range of reference, baby, kids, school, cafe, food desert & beverages are our main focus for this fonts. So the looks of this fonts must be in the wide range of the reference above. It’s Versatile, Fun, Cute and Beauty feel that you get in Hipweee Typeface Hipweee Created with 7 Layer : Base, Extrude, Shadow, Dot, Flower, Hatch & Inline. Perfect fitted layer to give you a more contrast, more bold look of the title. Our creation on the display to give you a reference what it looks like on your project. such as Branding, Header, Logotype, Poster, and etc. It shows that Gemoy clearly can accommodate various design style. Language Support : Afrikaans, Albanian, AsuBasque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, IrishItalian, Kabuverdianu, Kalenjin, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa, Meetto, Makonde, Malagasy, Maltese, Manx, Morisyen, North Ndebele, Norwegian , Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Western, Frisian, Zulu

Swedish designer Karl-Erik Forsberg created the original Berling typeface in 1951. Owned by Verbum in Sweden, Berling was completely redesigned and released in 2004, under the name Berling Nova. Forsberg (1914–1995) is considered one of Sweden’s most masterful graphic designers, and his original Berling has come to be seen as possibly the most definitive Swedish typeface. But a redesign was necessary in order to secure that the spirit of Berling would survive in the digital age. Linotype, the distributor of the original Berling™ , provided its collection of source materials to the designers working on Berling Nova. Additionally, Akira Kobayashi — Linotype’s Type Director — lent them his advice as their project advanced. Berling Nova is available in two optical sizes: Text and Display. The original Berling was a classic Renaissance roman face, with fine terminals and sharp, beak-like serifs. If one looks at Berling’s old lead type proofs in the smaller type sizes, it is clear that these had a fuller and more readable form than in later digital versions. So, in order to help return the new Berling Nova to its original splendor, both the base forms and the serifs were softened and inflated. In the text version, the x-height has been increased a bit (by 4%), the diagonal axis is less apparent, and special glyph ranges, such as those for small caps and old style figures, have been included in the font’s character sets. The display version still has the unmistakable “Berling” character that displays Forsberg’s mastery. Berling Nova is well suited for longer text passages in books, publications, and magazines. This typeface fulfils all the demands that one can make on a legible newspaper typeface. Access to both text and display versions are important to the demanding typographer. This is the first time since the typeface was digitalized that it is possible to use it in order to create truly beautiful and functional typography in all type sizes.

After the Second World War, the Ionic style replaced Modern Face as the favored typeface for newsprint. A couple decades later, it was in turn replaced by the next generation of newspaper fonts, a mix of Old Face, Transitional and Modern Face forms. Olympian itself tends toward the Old Face style but is nevertheless an example of this new generation, a result of a time of change and experimentation.

Croma Sans, created in 2016, is a linear sans with a controlled and distinct graphic flavour. The Croma Sans family consists of 16 styles and is well suited for ambitious typography. It comes in OpenType format with extended language support. All weights contain ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and matching arrows.

Sagebrush John, your bank robbin' days are over. I'm throwin' you in the hoosegow! Hoosegow JNL isn't a small town jailhouse, but it is Jeff Levine's take on a classic wood type that brings out the Old West in any design layout. The beauty of many of these vintage wood type alphabets is their "imperfect" letter forms - giving your work a touch of the old days of letterpress printing.

Foro Rounded is the softer sister of the succesful Foro family. Distinct in appearance, with pleasant haptic, objective, and with graphic appeal. Foro comes in 16 styles and in OpenType format. All weights contain standard ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and arrows. Foro supports Western European, Central and Eastern European languages.

Prop-a-ganda offers retro-flavored fonts inspired by lettering on retro propaganda posters, retro advertising posters, retro packages all the world over. This is perfect font for your retrospective project. PAG Bankas is a vintage and old-fashioned that we can find in the posters of old silent film. Bankas’s retro forms lend itself to many design projects from branding to packaging, magazine headlines and so on.

Zahar type family is based on the lettering developed by the famous Ukrainian graphic artist Georgi Yakutovich and designed for Ivan Franko's book Zakhar Berkut. It is good for the design of children's books, folk tales, songs, etc. Zahar is easy to read in short texts. It supports Extended Latin and Cyrillic (including Old Church Slavonic). A special OT-feature is added to support the Old Church Slavonic alphabetic numeral system.

Mario De Libero designed Swanstone while investigating XIX Century Old Style typefaces. Designs like Theophile Beaudoire’s Romana (1860) or Miller & Richard’s Modernized Old Style, that re-imagined the classical “Venetian” letterforms adding flared serifs and early Art Nouveau influences. In Italy, one of these fonts was Raffaello Bertieri’s Raffaello, which De Libero used as the starting point of his research in a contemporary retelling of these exuberant and sexily unsettling letterforms.

“Everything old is new again,” as they say. Introducing "Retro Head" - A retro-modern inspired typeface with a bold, charming and versatile look. This font is also equipped with an opentype feature to support your creations. You will get : Retro Head Regular Retro Head Italic Ton of glyphs Ligatures & Alternates Works on PC & Mac Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Language Support: Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish, & much more.. Thank you for looking.

Coben is a modern and futuristic san-serif font family. Simple and modern shapes with a tall x-height make the text legible and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Coben Family consists of 2 widths (Condensed, Normal), 4 weights (Light, Regular, Medium, Bold), and Italics for each format. Coben provides a Central European character set. Each font includes support for Tabular numbers, Old-style Figures and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. We highly recommend it for use in books, web pages, screen displays, and so on.

Big City Vibes is a display font designed for posters and texture or pattern like designs. The font is based on "Quixotic Sans Bold" and features its sliced and adjusted uppercase lettershapes. This font covers Eastern, Central and Western European accented characters and symbols, as well as Rovas Script (Old Hungarian). In place of the lowercase letters there are the uppercase letters shifted a little differently and set under "Contextual Alternate" OpenType feature, when you enable this feature and type all caps, it will alternating between the lowercase and uppercase for a mixed variety of the 2 versions of each letters that are cycling randomly.

Proudley Presents Morvem font family. Inspired by hi contrast bold retro typeface on early 70's-80's. Had experiment adding fluid shape to make it more modern and dynamic, the idea is make a balance blend of something old, something new. This font is powered with opentype features, such as; 100 ligatures, 2 characters will automatically changed into special characters. Easy to use right, no need magic skill. 105 alternates characters to use (uppercase & lowercase). All characters are available through Glyph panel, even more each of the alternate letter has it’s own unicode (PUA) so you can copy/paste from Apple Font Book or Windows Character Map.

Teaspoon was originally designed by Haley Fiege as a project-specific font in 2007, then completed and produced by Canada Type for commercial viability in 2008. With a personality that can only be described as “ironic cute”, it serves as a much needed alternative for the old overused poster faces, such as Cooper Black and Gill Sans Extra Bold. Words that look good set in Teaspoon include puppies, rainbows, salmonella poisoning and Tom Cruise. Teaspoon is available in all popular formats, comes with plenty of alternate characters, and supports a wider than normal range of Latin-based languages, as well as Cyrillic and Greek.

Sketchson is an aesthetic vintage typography font, contains of script, serif and wide serif . Inspired from the past, elegant signage, gold leaf art , sign painting , lettering , tattoo , logo and old label product. Sketchson Script comes with tons of alternates characters and special alternate (i) lowercase is a ending swash thats to make more eye cacthy and the Sketchson Serif is a pairing font to combine in your design . finally BOOM..!! you get a great design for your project. Sketchson It's suitable for authentic logos, headings, sign painting, tattoo, posters, letterhead, branding, magazines, album covers, book covers, movies, apparel design, flyers, greeting cards, product packaging, and more.

Oswald Bruce Cooper designed Cooper Black, an extra bold roman face, based on the forms of his earlier typeface Cooper Old Style, which appeared with Barnhart Brothers & Spindler Type Founders in Chicago. Copper Black was produced by Barnhart in 1922 and acquired in 1924 by the Schriftguß AG in Dresden, where it was later completed with a matching italic. Although Cooper Black appeared in the first third of the 20th century, it still looks contemporary and it can be found on storefronts in almost any city scene. The flowing outer contours create forms that are both strong and soft, making Cooper Black an extremely flexible font.

Drunk Cowboy is a bouncy version of the popular Old West type style, inspired by hand-made signage in Paducah, Kentucky. The strokes are loopy and loose. The exaggerated terminals give this font a loud, boisterous presence. Drunk Cowboy is a brutish rogue that emanates the fierce independence of Rio as played by Marlon Brando in One Eyed Jacks, but it is most like Paul Newman's Butch Cassidy—a mischievous wise-cracker. And there's gold worth mining for in this font. Dig deep enough and you'll find swash characters and special ligatures, like Th, ST, CT, NT and other popular letter combinations found in the Cowboy dialect.

Quimbly was designed to shine! This hand-drawn font family comes in three weights (light, regular and bold) and was carefully created with coordination in mind. Warm, balanced letters pair very well with just about every modern calligraphy typeface. And unlike many other hand drawn fonts, Quimbly's thoughtful kerning means your text is easy to read at all point sizes! You'll find this versatile family is equally at home in everything from large-scale signage to wedding invitations. Rich Opentype features include decorative swashed capital letters, stylish proper titles, old-style numerals and a full set (uppercase & lowercase) of small caps. Multi-language support is also included in the font.

Introducing Ouders - Stencil & Regular Font A display font that has a strong and bold look. This font is made by hand so it looks natural and very suitable for vintage and rustic theme. Perfectly made to be applied especially in logos, and the other various formal forms such as invitations, labels, magazines, books, greeting/wedding cards, packaging, stationery, novels, labels or any type of advertising purpose. By combining both styles (stencil and regular) you will create a single design with an old style that is perfect! That's why you have to use this font. If you like the previous styles, you are right to use this font!

WARNING! Roughed version is quite heavy to open. Highly recommended to install the font without previewing it first. GOODRICH come in 2 different styles, with same character; Bold & Strong, and can evoke a different emotions. It comes in both clean and rough styles in only Uppercase Latin characters. When choosing a font, it’s important to consider the visual theme of your design. A clean bold fonts can lend a more stronger tone to your design, making it a great choice for Logo or Title. On the other hand, a textured fonts can lend a more natural printed-looks, making them perfect for designing 70s-80s themed parties. It can be used for various design purposes ; Posters, Logos, Packaging, Books or Movie Titles. In summary, these fonts are versatile and can add a unique look to any design project. If you want to add a touch of nostalgia and elegance to your designs, these fonts were timeless asset. With plenty of vintage and retro design resources available, it’s easy to find the perfect ideas for your next project.

Airora is a sweet and cool script font, perfect for adding a playful feel to any design idea!

Pretty Lily is a dry brush handwritten script font. Very cool if use for logos, headlines, branding, etc.

Stricken Brush is a very cool brushed font. Suitable for posters, movie titles, book covers, quotes and more.

Heima is a sweet and simple handwritten font with a cool charm. Get inspired by its unique charm!

Feris Script is a cool typeface, unexpected and informal, good for logos or to add personality to designs.