Fixture is our massive 72-font take on plentiful offerings of the late 19th century’s typefaces, posters and wood letterpress sundry done in the Grotesk genre. Four widths ranging from Ultra Compressed to Expanded each come in nine weights and accompanying italics. Some common sans-serif alternates, such as the a and g, are included in all the fonts. The idea with this design was to put together a workhorse font family with enough functional flexibility to work in multiple environments, from the subtlety of magazine layout or film credits to the visual drama of billboards or packaging. Aesthetically speaking, it is quite interesting — though in retrospect quite unintentional — that each different width and/or weight of this face ended up pulling a different dominant trait from the melting-pot origins of the entire family. It’s almost like a tribute album to some famous band’s covers of older songs. It may also be a good conversation piece on our tools shaping the very things for which they’re used. Can’t really get any more post-Grotesk than this. In the 21st century, this is the one genre to rule them all.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Pickatoon is a fun display font that we made because we knew what people wanted. Pickatoon has the look of your favorite childhood markers. It's not just for comic books, it's for EVERYTHING. It's for your Instagram selfies, it's for school projects, it's for your business logo, it's for your coloring books—it even works great with watercolors! We put a lot of time into making Pickatoon perfect. We knew you'd need it to be thick and thin and fat and skinny, so we did our best to make sure all those variations were available in every letter. And when you're drawing, you don't just want to draw the same thing over and over again—you want to be able to change things up with some simple tools. So we made sure that Pickatoon had different ways you could vary the thickness and give your work some character. Start create with this font!! A Million Thanks www.colllabstudio.com

In 1990 I designed the font XLeafMeAlone. In 2006 I decided that it was time to improve it. Instead of adding to it, I created two new fonts containing almost 200 leaves: MapleOaks and More Leaves. Among the leaves you will find in MoreLeaves are elm, cottonwood, tulip tree, ash, hickory, locust, ginko, aspen, sassafras, hawthorn, beech, and birch. There are also a few that come from shrubs and I am not sure what they are, but they looked interesting so I put them in. You will not find oaks, maples, or sycamores--they are in MapleOaks. Why leaves? Because people like them. As a large part of the biological world that is all around us, leaves are fascinating in their shapes and endless variations. In XLeafMeAlone I took about 50 shapes and rotated them 180 degrees to give a typeface with approximately 100 glyphs. In each of these two typefaces, MoreLeaves and MapleOaks, there are almost 100 glyphs. Each of those glyphs is rotated in 90-degree increments to yield two families of four typefaces that should be very useful if one wants to create borders of leaves.

Spirited, unaffected and buoyant, the ITC Oldrichium type family pays homage to the calligraphy and typeface designs of Czech designer Oldrich Menhart. “I came upon one of Menhart's typefaces over a decade ago,” says George Thompson, designer of ITC Oldrichium. “I've been collecting examples of his work ever since.” Thompson was born in Chicago and grew up in north-west Indiana. “While I've been an educator and general graphic designer for over 30 years, lettering and type design have always been an important part of my work,” he says. Thompson now spends much of his free time designing typefaces. ITC Oldrichium is a subtle melding of the shapes and proportions of Menhart's Manuscript typeface, the energetic strokes of his calligraphy, and Thompson's own design skills. The result is a distinctive, powerful, and exceptionally versatile typeface family. Available in light, regular, demi bold and bold weights, with corresponding italics for all but the bold, ITC Oldrichium is comfortable setting both text and display copy. In addition to the basic weights, Thompson has created an Engraved version for those times when an especially powerful statement is called for.

Centro Slab Pro is an award-winning typeface. It received a Gold Award from the European Design Awards 2008 and an Excellence Award from the International Type Design Competition 2009 as part of the Centro Pro type system. This large series of 40 fonts with 1519 glyphs each is composed of three superfamilies (serif, sans and slab), includes true italics and supports Latin, Greek and Cyrillic. According to the jury of the European Design Awards “...Centro Pro is an almost ‘invisible’ typeface with distinct personality, it has legibility as its main attribute and is ideal for a wide range of design works. It does not attract any unnecessary attention, but rather serves its purpose. A rare case of contemporary type family working across three alphabets. Centro Pro meets an ever-growing demand for such typefaces among pan-European companies and institutions”. Centro Pro has become very popular among printed media and is ideal choice for newspapers, magazines and corporate applications. Furthermore every font in this series has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life.

Introducing Troback - A Vintage Display Font Step into a realm of timeless elegance with Troback, a meticulously crafted vintage display font that pays homage to the design aesthetics of the past. With its distinctive retro charm, Troback encapsulates the spirit of a bygone era, where every letter tells a story. Inspired by the ornate typography of vintage signage, Troback is a masterful blend of boldness and sophistication. Its characters are imbued with intricate details, from the delicate serifs that harken back to a more refined age, to the captivating curves that dance along the baseline with a sense of purpose. This font conjures nostalgia with every stroke, summoning memories of old cigar box labels, antique shop signage, and classic posters that once adorned bustling city streets. Troback isn't just a font; it's a journey through history, a bridge between the craftsmanship of yesterday and the creativity of today. Ideal for branding that craves a touch of vintage authenticity, for designs seeking to recapture the allure of a vintage era, Troback stands as a testament to the enduring power of timeless typography. Let your words resonate with the elegance of a bygone time - let them speak through Troback.

Centro Sans Pro is an award-winning typeface. It received a Gold Award from the European Design Awards 2008 and an Excellence Award from the International Type Design Competition 2009 as part of the Centro Pro type system. This large series of 40 fonts with 1519 glyphs each is composed of three superfamilies (serif, sans and slab), includes true italics and supports Latin, Greek and Cyrillic. According to the jury of the European Design Awards “...Centro Pro is an almost ‘invisible’ typeface with distinct personality, it has legibility as its main attribute and is ideal for a wide range of design works. It does not attract any unnecessary attention, but rather serves its purpose. A rare case of contemporary type family working across three alphabets. Centro Pro meets an ever-growing demand for such typefaces among pan-European companies and institutions”. Centro Pro has become very popular among printed media and is ideal choice for newspapers, magazines and corporate applications. Furthermore every font in this series has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life.

Ravensara Sans — fashionable, high-contrast humanist sans. Ravensara family was born from the idea of taking the concept of Didone to weight extremes. Ravensara Sans is available in 7 weights, including Thin, Light, Regular, Medium, SemiBold, Bold and Black. Depending on weight, Ravensara Sans, like the other members of this font family, show quite different behavior. Heavy weights function above all as display fonts and work particularly great in all-caps. Medium weights of Ravensara Sans represent humanist grotesque, descended from the pages of fashion magazines. Thin weight perfectly complements the others if you need an especially wide choice of weights. Also, all the weights work great in all-caps. Ravensara Sans is a part of the Ravensara superfamily, united by the same anatomy, which currently also includes Ravensara Serif and Ravensara Stencil. If you need to achieve classic Haute Couture look — Ravensara Sans is a great choice. It’s a perfect choice for fashion logos, headlines, short texts, magazines, due to its simplicity looks great in oversize typography, branding, identity, website design, album art, covers, posters, advertising, etc. Ravensara Sans extends multilingual support to Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Pan African Latin and Afrikaans.

Neue Frutiger Tamil was created by Pria Ravichandran and a team of designers and font engineers from the Monotype Studio, under the direction of Monotype type director Akira Kobayashi. The family is available in 5 weights from Light to Bold to support the Tamil script. The typographic forms of Neue Frutiger Tamil are familiar and friendly. The Tamil shows traces of elements that is reminiscent of the calligraphic influences found in the 20th-century designs. Reflecting the modern typographic needs of the Tamil script, this type family is in the upright style. These two factors ensure that the two scripts, Tamil, and Latin pair elegantly. The result, Neue Frutiger Tamil, is an eclectic contemporary type family that bridges the past and the present. Neue Frutiger Tamil embodies the same warmth and clarity as Adrian Frutiger's original design, but allows brands to maintain their visual identity, and communicate with a consistent tone of voice, regardless of the language. It is part of the Neue Frutiger World collection, offering linguistic versatility across environments – suited to branding and corporate identity, advertising, signage, wayfinding, print, and digital environments.

a, g, k and y It was a forensic examination by Jason Smith of his existing designs that laid the groundwork for FS Jack. Jason made a list of unique characteristics that would give the sans serif font its typographic thumbprint, which included an unusually large x-height and slightly off-the-wall letters like the lower-case “a”, “g”, “k” and “y”. “I wanted to make something that was slightly uncomfortable,” says Jason, “and in doing so simplify the quirkiness down to a few letters.” Fernando Mello did “the rest of the cooking”, filling the design out and making the additional weights. Tipos Latinos Upon its release in 2010, FS Jack was submitted by Fernando, who is Brazilian, for the esteemed type design biennial, Tipos Latinos, where it was selected as a winner in the Families category. It went on to be selected for type exhibitions throughout Latin America and around the world. “FS Jack is a workhorse,” says Fernando, “but also very ownable and distinctive, and available in a good range of weights, crafted by Jason and I.” Corporate “FS Jack took a couple of years to get noticed and is still fairly underused,” says Jason, “which is good in a way, for our Brandfont clients that have adopted it.” FS Jack was chosen as the signature font for The Shard in London, from its signage down to business cards. Fontsmith also worked with Lloyds Bank to customise FS Jack into a bespoke font for the bank’s updated brand identity – part of Fontsmith’s Brandfont service, which you can read about here. Fat Jack Included in the FS Jack family – just – is FS Jack Poster, the super-heavy weight of the range. “That was a last minute addition,” says Fernando, “after Jason and I started talking about how much we liked Gill KO, a typeface that is almost comically fat.”

The typeface PIXEL pattern is designed from 2021 for the font foundry Typo Graphic Design by Manuel Viergutz. The display typeface is inspired in the past and present. 8 font-styles (Square, Circle, Square Flicker, Circle Cloud, Square Bold, Square Fat, Star, Star Spike) with 830 glyphs (Adobe Latin 3) incl. 100+ decorative extras like icons, arrows, German Capital Sharp S, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (8 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: PIXEL pattern ■ Font Styles: 8 font-styles (Square, Circle, Square Flicker, Circle Cloud, Square Bold, Square Fat, Star, Star Spike) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.ttf (for Print) + .woff (for Web) ■ Glyph Set: 830 glyphs (Latin 3 incl. decorative extras like icons) ■ Lan­guage Sup­port: 93 languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, Northern Sami, North Ndebele, Norwegian Bokmål, NorwegianNynorsk, 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, Walser, Welsh, Western Frisian, Zulu ■ Design Date: 2021 ■ Type Desi­gner: Manuel Viergutz

Always intrigued by Bodoni's original work, I was set out—back in 2000—to examine his work and study Manuale Tipografico, one of the greatest specimen books ever printed. Issued in 1818 at Parma, Italy by Bodoni's widow, the two-volume work shows an impressive array of 142 roman alphabets and some foreign ones such as Greek and Cyrillic. After a careful examination of all characters, I decided to create a typeface based on the distinct script capitals presented in the book. Matching lowercase italics were later selected and designed to complete the series. Since my intention was not to create simply a digital version of Bodoni's work, this typeface was designed with connected characters and capitals with extra calligraphic elements. The result was released in 2002 and published in our award-winning catalog/book IDEA/Trendsetting Typography vol.1. Later in 2005 we revived a large number of ornaments and borders (credit goes to designer George Lygas). All this work was left behind till recently when it was revisited to create a complete 'Pro' family. Several new uppercase and lowercase glyphs were designed in order to create a distinct typeface, which is based on Bodoni but yet it stands out on its own. The new version also takes care of conflicts between neigbouring letters, something that was not included in the first version. Bodoni Script Pro is a 3-weight superfamily. It supports 10 special opentype features including 'contextual alternates' as well as support for both Latin and Greek. Each font comes with 725 glyphs including a large number of alternates as well as 144 ornaments. Furthermore, when you purchase the whole package you get a bonus font which contains 120 frame parts. These parts, when put together, create some truly amazing borders. -Panos Vassiliou

Grufy is an awesome bold and fun display font that will look stunning on any poster flyer or print. It will put a modern twist on any design project with its urban charm. Use this font for your designs and explore its endless possibilities.

Paris was designed by Crous-Vidal in 1953 and is part of the Grafía Latina collection. Paris Bold originally had two alternative capital letters O, one with pronounced 45° stress; they are both incorporated in the ND version. París is a Trademark of BauerTypes SL

Tubby came about when I made a book with Cooper Black as a headline font. I started playing with heavy forms, and as a result was Tubby. It has a fat and friendly feel, and with swash italics it is fairly versatile in use.

Jambo ('hello' in Swahili) is a cute and bouncy typeface. I guess you can say that it is didone-ish in nature, but comic would also be an apt description. Jambo has generous curves, swirls and curls and comes with a jumbo amount of diacritics.

Half Man, Half Monster, Comicraft’s latest variable font hybrid is not only your burly, hard-edged, upfront and blunt buddy, it’s also your rough-hewn, tough and grim, rocky-featured pal! Not just Two-in-One, our latest offering brings together Four Fantastic Faces!

Veronica is a fun and playful script font with matching caps. Perfect for headlines, logos or display purposes; Veronica is sure to put a smile on the face of everyone who sees it. Veronica comes with opentype features like oldstyle figures, ligatures and stylistic alternates.

A unique and stylized type design with Art Deco influence was found within the French publication “Modèles de lettres modernes par Georges Léculier” (“Models of Modern Letters by Léculier”). This lettering is now digitally available as Deco Wide JNL in both regular and oblique versions.

A blast from the past, this timeless typeface is based on Marble Heart, first released in the United States by Farmer, Little and Co. in 1866. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

This typeface is named after Markus Low, the designer of the 1965 award-winning font Basilea. The design pays close attention to the original work combining romanesque styling with clean lines and functionality. Details include a complete character set, manually edited kerning and Euro symbol.

Inspired by the Techno sound of the 1990s, Alexander Branczyk designed a series of new, wild and controversial fonts which mark a complete departure from typographic traditions. MadZine font is part of the Face2Face package, together with 7 other fonts from young and unconventional designers.

Grosvenor is part of the Staunton Script Family of fonts designed by Ted Staunton for his historic novel centered around a family bible and the handwritten annotation through seven generations. The Grosvenor font is a loose script based on copperplate writing circa late 1800s.

Meet Auntie Lee - a hand drawn and playful sans serif! An upper-case-only font with upper-case-variants on the lower-case letters. With three happy versions - regular, outline & thin - you just can't go wrong! Don't forget to pay Uncle Lee a visit!

Handlettering in an ad from the 1920s for a Chicago engraving company provided the inspiration for this fine, fat, flowing face, full of fun and antique charm. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

AZ Wings font has some inspiration from an old "Gull Wing Trucks" Skateboard sticker and also borrows from blackletter styles, but for the most part is is completely original. This font was designed solely for use as a headline with unique complementing ascenders and decenders.

Designed at ParaType in 1997 by Tagir Safayev. Inspired by Neulin Sans of Ray Gun magazine (1996). The first version of the typeface was created as part of corporate identity program for Aeroflot–Russian International Airlines. For use in both text and display matters.

Just Shoes & Purses… from silly to sophisticated, a collection of 26 line drawings of shoes and purses and those same 26 with areas filled in. Lots of cute girlie stuff… if you need more check out Hat Doodles , Diva Doodles or Diva Doodles Too .

It breathes fire and its leathery hide is impervious to rocket propelled grenades and drone warheads! It destroys everything in its path! Is it a terrifying sound effect font or does it just want to be loved? One thing's for sure – no one is safe!

Katfish is the work of Michael Gills, a unique and inventive script font. Initial capitals are complemented by a lively lowercase and a number of alternative characters, ligatures and swash elements. Katfish has a fun, irregular style and includes charming cat, fish and dolphin illustrations.

Bilestone inspired from vintage baseball, sign painting, and labeling, is suitable for logos, product names packages, labels, old fashioned coffee shops, bars and everything with specific characteristics of past times. Bilestone is a great combination to create something good and with a vintage feel.

Lights up your past memory with Untold History font, a classic typewriting font designed in modern style. Comes in four available styles: regular, bold, underlined, and inky. Each style has its own unique touch, allowing you to create a variety of designs. The inky style adds a subtle ink bleed effect to the letters, giving it a more authentic vintage look. Inspired by classic typing machines, this font gives the taste of the past while still being versatile enough for modern designs. Untold History is suitable for a range of projects, such as editorial designs, vintage posters, books, branding, and quotes. Fonts featured : Uppercase Lowercase Numbers & symbols Punctuation Stylistic alternates Multilingual support Thank you for always supporting our work!

LTC Bixler Ornaments One includes all designs found in the metal Bixler Type Handypacks #1–6 from P22 that were created using actual Lanston mats to cast these metal type sets. The 14 designs found in the metal type are presented in this digital version—each rotated and optimized to align easily and tightly for digital layouts.? LTC Bixler Ornaments Two incudes all designs found in the metal Bixler Type Handypacks #7–14 from P22 that were created using actual Lanston mats to cast these metal type sets. The 17 designs found in the metal type are presented in this digital version—each rotated and optimized to align easily and tightly for digital layouts.

The design of the Jeunesse font family derives from a study of primers which the designer undertook earlier in his career. Jeunesse was designed with the intention of combining excellent legibility and character recognition with the ability to create compact, distinctive words and lines while maintaining basic flourishless letterforms. The sans serif style is pre-dominant in this design, but serifs or rather parts have been added where necessary, mostly at the top left hand parts of the characters, to aid readability. Use Jeunesse as a text and display face. There are also fully sans serif and slab serif versions available which can be used on their own or mixed with each other and the parent fonts.

SlipperyFishes alternates two letter sets to create an undulating line of text that reminds me of a slippery fish. It resembles Undulate, another typeface that uses the OpenType feature of contextual alternatives (calt) to alternate letters, but while the tops and bottoms of letters in Undulate trace parallel paths, the tops and bottoms of letters in SlipperyFishes trace reflecting paths. SlipperyFishes is monospaced with tight letter spacing to accentuate the ripple pattern. The family has four members: regular, outlined, condensed, and condensed outlined. The outline styles that can be used in a layer with their base styles to add color.Slippery fishes is bizarre and weird and can be used in places where those attributes will create attention-grabbing lettering.

The design of Kristall Grotesk Now is based on a cut by Wagner & Schmidt, Leipzig, from the 30s of the last century as well as the digital version Kristall Grotesk MdK, created for the Stiftung Werkstattmuseum für Druckkunst. The implementation of the Kristall Grotesk MdK, a headline font, was deliberately created as a replica to create a faithful reproduction of the original. The design of the complete family Kristall Grotesk Now is based on the one cut Kristall Grotesk Buchschrift by Johannes Wagner GmbH, 1937, with its function as a text family. Designer: in parts Johannes Wagner GmbH, Redesign Elsner+Flake, Hamburg Designdate: 1937, 2009 Publisher: Elsner+Flake Design Owner: Elsner+Flake Original Foundry: in parts Johannes Wagner GmbH

SECONDS OUT! ROUND ONE!  The champ comes out swinging, there’s a left hook, a right hook, another left, another left to the chin, a box to the ears, a punch to the stomach, the challenger is reeling, he’s on the ropes, there’s another left to the chin and here’s the knockout, RIGHT IN THE KISSER! The Kisser. The Mouth. You know, what you kiss with? SMAK! It’s a font with a fat lip or one that makes you look like you’re talking’ with a fat lip. Or if you’re more of a lover than a fighter, it’s a big wet kiss from your loved one when the clock strikes midnight on New Year’s Eve. Either way, you win!

Modérnica is a sans serif type including roman & oblique styles in 9 weights. Originally published in 2014, then in 2020 we released version 2.0, in which we expanded the language coverage and character set, adding a new Fat weight, tabular figures, smart fractions & arrows. We’ve improved the OpenType features adding new Stylistic Sets. Besides this, we have retuned the letters spacing in the whole family. Seeking for the best performance, we added a bit of spacing between letters in the text versions (middle weights from Book to Bold), while as for the display variants (extreme weights from Thin to Fat) we made them gain space in the light versions and loose it in the blacks.