Linotype Vision is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. Created by German designer Dan-André Neimeyer, the font contains five weights. The characters look as though they are constructed of fragments fitted only loosely together. Just enough of each character is put onto paper so that the eye of the reader can complete the conventional form. Based loosely on sans serif forms, the font has a futuristic, mathematical feel. Linotype Vision is exclusively for headlines in point sizes of 18 and larger.

I seem to be in my comic book font fase. It's not that I have tons of comics lying around (I actually have none), but when I was a kid, I used to read them all the time. Laser Eyes is a handmade comic book font. It is a little rounded, a little fat and very useful. You don't really have to put it to work in an actual comic book; it will feel at home just about anywhere. Laser Vision comes with two sets of alternate glyphs that cycle as you type, plus extensive language support, including Cyrillic and Vietnamese.

Horse Pro is another popular sans-serif typeface. Horse Pro was designed by Atok Khoirudin and released through the Studio Fat Cat Type foundry. It is characterized by its bold and uppercase letters, giving it a strong and impactful appearance. Horse Pro is perfectly used in various design contexts, such as headlines, posters, logos, and banners, where a bold and modern look is desired. The font family includes different weights and styles, allowing for flexibility in design projects and have become go-to choices for many designers looking for a bold and stylish sans-serif font for their projects.

OLDASH is a bold, all-caps serif font, perfect for motorcycle and vintage-related designs. A fairly simple font with not much variation from the serifs of the past. With only a thick feature and the hook is a little fat. This font is also suitable for headlines or short texts not for paragraphs. This font is also suitable for modern designs. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Guides to access all alternates glyphs : http://adobe.ly/1m1fn4Y Cheers!

Proudly introducing Volume Rustic, where hand-craftsmanship meets professional design. Each of these meticulously handcrafted fonts were thoughtfully designed to harmoniously complement one another, oozing the essence of authenticity, warmth, and the human touch. These fonts are tailor-made for projects that celebrate the organic, the handmade, the local, and everything that puts people at the center. Compatible & Multilingual The fonts are in the OpenType font format. OpenType fonts are accepted within the vast majority of design software (including mobile and tablet design apps). Multilingual support is also included for Basic Latin, Western European, Euro & Pan African Latin.

Inspired by public fonts in New York in the 1970s. Authority pays tribute to the almost unnoticed but powerful effect type have on our lives. From waiting on a cold morning to catch the 307 to Morton West High School, to the rain and snow worn stencil on a postal box. Public typography is a part of the little spaces in your lives where life actually happens. Government designed fonts were chosen to communicate authority and help grease the gears of the day-to-day grind. Authority beckons back to these days with it's mildly condensed feel, squared corners and weight presence.

SpittingImage is a font which speaks of mechanical exactness, cool and reserved. The SpittingImage font family is formed by two different weights (regular and bold), each one with uppercase and lowercase letters, numbers, punctuation marks and diacritic characters in regular and italic. The outline version included as a part of OpenType-Feature. There are in all styles numerous ligatures, alternate characters, small caps, and different sets of numbers that you can put both headlines and short texts without any problems. OpenType features: contains over 1.000 Glyhps Central European Glyhps Standard Ligatures Small Capitals Stylistic Alternates Discretionary Ligatures OldStyle Figures Ordinals Slashed Zero Feature

BOUNESVA is a bold, all-caps serif font, perfect for motorcycle and vintage-related designs. A fairly simple font with not much variation from the serifs of the past. With only a thick feature and the hook is a little fat. This font is also suitable for headlines or short texts not for paragraphs. In addition to vintage motorcycle designs, this font is also suitable for modern designs. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Guides to access all alternates glyphs : http://adobe.ly/1m1fn4Y Cheers!

This slinky number will seduce you with its linking letters and special ligatures. Brimley's strokes are tight and sharp, and its characters are tied together with slender, whispy hooks. Although its elegance is timeless, this is a style that typifies lettering of last century's late '50s and early '60s. Chank Co. intern Tim Drabandt created Brimley with inspiration from antique type books. He named the font after Wilford Brimley. You know... the chubby old guy who tells you to check your blood sugar and eat your Grape Nuts and Quaker Oats. Haven't you ever seen Cocoon?

FranklinGothicHandCond is another part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked in advertising. When I was in advertising – before computers – a very time consuming part of my daily work was sketching headlines. I used to be able to sketch headlines in Franklin Gothic, Times, Futura, Helvetica and several scripts. We had a kind of huge inverted camera – which we called Lucy. We projected the alphabet onto a sheet of transparent paper, outlined the letters with a fineliner and then filled them in. It was very tedious work, but the resulting headline had its own charm and we had a permanent race going on who was best and fastest. I won most of the time! They used to call me the fastest "Magic Marker" this side of the Atlantic. Great days, just like today! Your sentimental type designer from the past, Gert Wiescher.

FranklinGothicHandBold is another part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked in advertising. When I was in advertising – before computers – a very time consuming part of my daily work was sketching headlines. I used to be able to sketch headlines in Franklin Gothic, Times, Futura, Helvetica and several scripts. We had a kind of huge inverted camera – which we called Lucy. We projected the alphabet onto a sheet of transparent paper, outlined the letters with a fineliner and then filled them in. It was very tedious work, but the resulting headline had its own charm and we had a permanent race going on who was best and fastest. I won most of the time! They used to call me the fastest "Magic Marker" this side of the Atlantic. Great days, just like today! Your sentimental type designer from the past Gert Wiescher

We used to have a composite worktop in our 'old' kitchen. It was cheap and the kitchen-guy warned us not to put any hot pans on the worktop, as it could crack due to Thermal Shock. Duh... When we installed our new kitchen, we opted for a ceramic worktop, which can handle hot pans being placed on it! Thermal Shock font is a very nice, handmade brush font. If you ever bought any brush fonts of mine, you will know that I almost always use Chinese ink and cheap brushes to create 'the look'. It is always a bit of a surprise how a Chinese ink brush font turns out: I created one the other day and it looked horrible, so it was banned.. Thermal Shock turned out to be a looker. Thermal Shock comes with one set of alternate glyphs, extensive language support (including Greek and Vietnamese) and a guarantee it won't crack in super hot designs.

Introducing Catto Puroo, the perfect font for all animal-related products. With three different versions - regular, display, and extruded - Catto Puroo offers versatility and a range of design possibilities. The display version features a paw print on the font, which is perfect for creating fun and playful designs. Combine it with the extruded version for a 3D look that will make your designs stand out. Catto Puroo is the go-to font for animal lovers, pet enthusiasts, and anyone looking to create designs that are fun, quirky, and memorable. Features : - Catto Puroo Family Fonts - Ligatures - Multilingual, US Roman, Latin 1 Support --- Hope you enjoy with our font! Attype Studio

Gerücht Typeface is a family of digital fonts designed in 2019 by Gabriele Bellanca for Rumors Foundry in three different weights and their corresponding slanted versions. All rights reserved. Gerücht (in English rumor) is the name of the font-family: today the name of a font is part of the graphic design itself, unlike in the past, where it usually consisted of a simple retrospective description (such as in the case of Gothic Condensed No.2) of its characteristics. It's a "one-word advertising slogan", writes Tobias Frere-Jones, which serves to build an idea and a charm to associate with that type of character.

Cayuse is a super-slab, all-caps titling face that tips its hat to the classic French and Italian “fat face” serifs of the nineteenth century. Structurally, Cayuse utilizes a reverse-stress stroke configuration—with thick, meaty slab serifs and sinuous, spiked connecting strokes. This crackling contrast gives Cayuse a very black, dense texture, and the ability to combine and contrast well with other typefaces. Arm yourself with Cayuse to create richly-textured, high-impact typography for packaging, editorial, brand identity, posters, signage, and many other applications. What's more, Cayuse also features an array of “word logos”, providing you even more options for creating dynamic typography.

A retro seventies idea of the Futuristic typeface, Automatic is a reflection on the simple and innocent ideas of the future from our past. To reach to moon, to colonize other planets, feed and clothe the earth, and spread peace throughout the universe and our own planet. Those ideals of the future are now changed forever by genetics, and the progression towards automation, amongst others. Will the future still be an innocent place for our children, or something out of a Terminator or Matrix like film...? Put the retro techno edge into your designs, and bring the dreams of yesteryears future back into our future!

Food Truck package is a wonderful set of fonts. During my recent trip to Japan, I stumbled upon a food truck / street food festival in Nara. Besides drinking the best cup of coffee ever (seriously, it was THAT good!), I got the idea of creating a font package based on the various handwritten signs I saw at the festival. Food Truck package consists of a fat headline font, a couple of outlined fonts, a great chalkboard font, a rather messy script font and a whole bunch of food-related doodles. I am sure you will come up with some great ideas to put these babies to use! Enjoy!

CA Cape Rock, first released in 2007 and now reissued and expanded, is an impressive display typeface. Designed with a fat Clarendon and wood type in mind, the typeface’s bold and distinctive forms add spice and personality to any design that requires a strong display aesthetic. CA Cape Rock is particularly enjoyable for use in headlines and ideal for highlighted text. With already two dozen existing ligatures and many OpenType swashes, the new edition also received letters for use in the Central European and South Eastern European area. Cleaned and harmonized paths, a completely new kerning as well as a newly added Italic (Slanted) style are also among the new features.

Big fat font.

Durazno y Amor is a cursive font family. It is inspired by love, hearts, and Chilean script. It can be written in Aymara, Mapuche and Rapa Nui from Chile. It can also be written in Dutch, Maltese, and other languages. This font family is cute and fun. It has many heart decorations. The strokes are drawn with a round cap tool, with no contrast. The form is upright. Parts A have capitals with high starts. Parts B have capitals with low starts. Parts F are Final forms. Parts U are love line Unions.

The design of Futura seems to be timeless. This typeface family which had been developed in 1926 by Paul Renner for the Bauer Type Foundry in the style of constructivism and as part of the Bauhaus movement, experienced, however, in the course of the past 90 years, repeated time-appropriate revivals which guaranteed its on-going popularity. The version of the Futura EF Pro contains the original character constructions which Dennis Megaw described as the “first designs of Futura” in 1938 in “20th century sans serif types, Typography no. 7” (See: Dr. Christopher Burke: Paul Renner, Princeton Architectural Press, New York 1998). What makes it exceptional is the extension into three weights: “Text”, “Headline” and “Index” which came about as part of a degree dissertation at the Hochschule für Bildende Künste (HFBK) in Hamburg. In this context, the accompanying documentation “Die Kritik der reinen Futura” (“The Critique of the Pure Futura”) by Katharina Strauer was published by the Materialverlag, Hamburg, in 2003. Some copies are still available at Elsner+Flake.

The design of Futura seems to be timeless. This typeface family which had been developed in 1926 by Paul Renner for the Bauer Type Foundry in the style of constructivism and as part of the Bauhaus movement, experienced, however, in the course of the past 90 years, repeated time-appropriate revivals which guaranteed its on-going popularity. The version of the Futura EF Pro contains the original character constructions which Dennis Megaw described as the “first designs of Futura” in 1938 in “20th century sans serif types, Typography no. 7” (See: Dr. Christopher Burke: Paul Renner, Princeton Architectural Press, New York 1998). What makes it exceptional is the extension into three weights: “Text”, “Headline” and “Index” which came about as part of a degree dissertation at the Hochschule für Bildende Künste (HFBK) in Hamburg. In this context, the accompanying documentation “Die Kritik der reinen Futura” (“The Critique of the Pure Futura”) by Katharina Strauer was published by the Materialverlag, Hamburg, in 2003. Some copies are still available at Elsner+Flake.

Akimoto is a fat slab typeface.