Sauro is a font family based on proportions derived from automobile designs of the seventies. It supports 113 languages, features a total of 482 glyphs and includes an italicized version for each of the 5 weights.

Radical Brush is a rather radical font: I made it with a really wild brush and Chinese Ink. I’d probably use it for revolutionary posters, packaging design for extreme products or for R-rated movie posters.

Introducing a vintage look label font named Bobber Motorcycles. It includes five styles - Base, Rough, Outline, Shadow and Light. This font will good viewed on any retro design like posters, t-shirts, labels, logos and more.

Here comes a New Font,Introducing Racerboy is a Racing Themes Display Font .Racerboy has 2 is Normal and Slant styles is perfect for the purposes of designing templates, brochures, videos, advertising branding, logos and more.

Marguerita is the work of designer David Quay, a pseudo-Latin, 1950s concept based on a copperplate script. The capitals are meant as initials only. Marguerita is idea when a cheerful, light-hearted effect is desired.

Spring#7 is a 1900s-style font based on text on postcards found after the turn of the century. Italic in nature, it works nicely for text and graphics that need a humble old-timey look.

French Wine JNL is an Art Deco thick-and-thin type design based on the hand lettering from a vintage poster for Monarch Cabernet Sauvignon wine. The typeface is available in both regular and oblique versions.

An elegant face with dashing swash caps, based on an old American Type Founders typeface called Canterbury. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

Starge is a professional hand-drawn typeface. It works perfectly for a crafty project where a functional font is required. The font supports all Latin-based European languages, contains numbers and all symbols you'll ever need.

It is not really a font, the are more icons. Based on a grid op seven squares al 127 possibilities – filled and unfilled. Use it decorative or just for fun. There is also a dotted version.

Cantona Script is a beautiful, swirly script typeface. With its hundreds of decorative alternates, this font is perfect for a swashy logo or headline. It contains ligatures, and has support for all Latin based European languages.

An original design based on the Frederick Goudy design first shown in 1912. Originally a caps only design in one weight. Produced as a foundry face by Lanston Monotype 1924. Featured in: Best Fonts for Tattoos

Allora is a serif based typeface with three font styles: regular, display, hair and double. Mix them as you want: integrate Allora to your website, create mobile app or just make an awesome print. Enjoy it!

Floridian Script is a contemporary script font, released in 1972, with a clean appearance. Floridian Script's uppercase M and Q are unusual while the lowercase script is more simple than standard scripts based on copperplate handwriting.

The NOS font embodies sleek, dynamic lines mirroring the speed and energy of modern sports racing. Its bold typography captures the essence of velocity, with sharp, futuristic contours that evoke a sense of adrenaline-fueled motion.

Drawing Tablet JNL was created based on those two words hand-lettered on the cover of a sketch pad from the late 40s - early 50s. It is reminiscent of the popular Deco typefaces of the time.

Snob is a high-contrast display face with a touch of luxury. It represents a classy typeface with a fashion magazine style. You can easily combine Snob with Ambassador, which was the base for creating Snob.

Legible, simple and very lovely sans serif is based on art deco advertisement from 1800s to early 20th. The sweetest sans for your retro-style project. This font include ligatures and small capital for advanced typography.

Based upon remnants of the Ludwig & Mayer font Magnet, first released in 1951, this Italian-style design was completely redrawn and extended for most main European languages, West and Central, plus a character set for Turkish.

A futuristic interface font originally developed for event artwork; now expanded for full multi-language use. Also includes limited dingbats. Good for techno, rave, electronic, sci-fi, and other genres that require a more unique look.

A revival of one of the popular serif wooden type fonts of the 19th century, tall x height, quite short descenders, thin, rounded serifs, thick stems, based on Roman styles, deliberate, accurate rendering of the original.

Based on a written pen-form of 'runes' (translation of Elvish Certar and Cirth), it was used by Dwarves to write their own secret tongue. NOTE: this font comes with an interpretation guide in pdf format.

The Alphacorsa font embodies sleek, dynamic lines mirroring the speed and energy of modern sports racing. Its bold typography captures the essence of velocity, with sharp, futuristic contours that evoke a sense of adrenaline-fueled motion.

The Helinda Rook font is a popular choice in advertising, invitations, greeting cards, and wherever a formal hand-lettered or engraved look is desired. Helinda Rook is an elegant connecting alphabet font based on formal handwriting.

This commanding typeface is based on Welling Black, a Fotostar offering from the 1970s. Equally well suited for headlines and subheads. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Dolphus-Mieg Monograms is a collection of monograms from a rare cross-stitch booklet from the first year of the 20th Century. This new Monograms series was entirely designed by hand, without use of auto-tracing.

Rangly is a square-based and rough typeface. It has graffiti inspired shapes built with wide paint rolls. The font is designed and created by Måns Grebäck in 2017, and has support for hundreds of languages.

Plowright is a new font based on hand lettering from the 1880s. It's a great example of the style we often associate with signmaking in the old west, with a lot of quirks and original character.

An historical font based on early 18th century printing, with the visual effect of uneven inking and indifferent presswork on handmade paper. Ideal for evoking the period. Effective in continuous text setting or in display sizes.

Pen Gothic JNL emulates lettering made with a round nib lettering pen, and is loosely based on some text found on the popular 1918 song "Ja-Da". The font is available in regular and oblique versions.

Omniscript is a confident hand-lettered script without self-conscious style or idiosyncrasy. Four weights together with monospaced numerals and math symbols make it ideal for architects and engineers. The fonts support all Latin-based languages.

Pixettish is a fun-font, a slightly ornamental sans serif typeface with curls to the upper and lower case characters. The zip files contain both OTF and TTF versions of the font - install one version only.

The typeface Liebelei has its roots back in 1932, when Vienna-based painter Rudolf Vogl created the poster for a movie called Liebelei after the popular play by Arthur Schnitzler. Now also available as Variable font!

Back Lot Stencil JNL is a hand lettered slab serif stencil design based on the titles and credits from the 1954 film “Human Desire” and is available in both regular and oblique versions. Caps only Font.

The Vtg Stencil series of fonts by astype are based on real world stencils. The UK No. 2 design was derived from authentic one inch A2 Roman stencil plates from Great Britain, manufactured around the 1950s.

PXL3287 is pixel art font inspired by '80s space and sci-fi cartoons and arcade games. It contains more than 220 glyphs (capitals, lower-case letters, numbers, plus many other characters) and supports many european languages.

Flatsider JNL is a simple block (square) stencil font available in both regular and oblique versions. Plain, stark and with no unwanted embellishments, Flatsider JNL gives the look of structured compliance to any stencil-based text.

Neutrinos includes seven assorted dingbats, and like all Burghal Design fonts, includes upper and lower case letters, as well as numbers, symbols, punctuation, and accented foreign characters. Neutrinos is cholesterol free and contains no artificial sweeteners.

Oxford Street is a signage font that began as a redrawing of the capital letters used for street nameplates in the borough of Westminster in Central London. The nameplates were designed in 1967 by the Design Research Unit using custom lettering based on Adrian Frutiger’s Univers typeface, a curious combination of Univers 69 Bold Ultra Condensed, a weight that doesn’t seem to exist but which would flatten the long curves of glyphs such as O, C and D, and Universe 67 Bold Condensed with its more rounded lobes on glyphs like B, P and R. Letters were then remodelled to improve their use on street signs. Thin strokes like the inner diagonals of M and N were thickened to create a more monolinear alphabet; the high interior apexes were lowered and the wide joins thinned. The crossbar of the A was lowered, the K was made double junction, and the tail of the Q was given a baseline curve. K-Type Oxford Street continues the process of impertinent improvement and includes myriad minor adjustments and several more conspicuous amendments. The stroke junctions of M and N are further narrowed and their interior apexes modified. The middle apex of the W is narrowed and the glyph is a little more condensed. The C and S are drawn more open, terminals slightly shortened. The K-Type font adds a new lowercase which is also made more monolinear so better suited to signage, loosely based on Univers but also taking inspiration from the Transport typeface both in a taller x-height and character formation. The lowercase L has a curled foot, the k is double junctioned to match the uppercase, and terminals of a, c, e, g and s are drawn shorter for openness and clarity. A full repertoire of Latin Extended-A characters features low-rise diacritics that keep congestion to a minimum in multiple lines of text. The font tips the hat to signage history by including stylistic alternates for M, W and w that have the pointed middles of the earlier MOT street sign typeface. Incidentally, Alistair Hall (‘London Street Signs’, Batsford, 2020) notes that when the manufacturer of signs was changed in 2007, Helvetica Bold Condensed was substituted in place of the custom design, “an unfortunate case of an off-the-peg suit replacing a tailored one” and a blunder that has happily since been rectified, though offending nameplates can still be spotted by discerning font fans.