a blackletter inspired typeface

Art Deco display typeface.

Blackletter engraved display typeface.

a naive stencil typeface

Sans serif signage typeface.

A modern serif typeface.

Humanist sans serif typeface.

Heavy blackletter display typeface.

Extra condensed display typeface.

Engraved shaded display typeface.

a typewriter emulation typeface

A confident marker typeface.

Extended serif display typeface.

A modern serif typeface

A script-display typeface

A modern sanserif typeface

Blackletter engraved display typeface.

An eccentric serif typeface.

Grotesque shaded display typeface.

Wild trash style typeface.

a gothic bold typeface

Arpa is a display sans and condensed font family. The source of inspiration of this typeface is “wheat-barley”. This typeface has three styles. Extensive Latin language support and features multiple weights.

Arepo is a display typeface inspired both by the Imperial Roman letter and the forms of Giambattista Bodoni. Together with Stone Print, SFPL, and Cycles it makes up a superfamily of typefaces.

A lovely handwritten typeface is called Autumnal. For stationery, logos, t-shirts, paper, print design, website headers, picture frames, flyers, album covers, posters, image sliders, and other things, this typeface is ideal.

This typeface is based on Guillaume I Le Bé typeface. This font has all diacritic accents including the chanting diacritic (trop) and modern Nikud (Holam Chaser, Shevana, Kamatz Katan and Dagesh Hazak).

The typeface was designed at ParaType (ParaGraph) in 1993 (by Tatiana Lyskova). Based on Bernhard Condensed typeface of the Bauer company, 1912 by Lucian Bernhard). For use in advertising and display typography.

Martini™ typeface is a slab-serif based typeface that included six weights, two styles from ExtraLight to Black with advance typographical support with features such as discretionary ligatures and alternate characters.

Dobra is a redesign of the previous released Dione. Dobra is a very geometric and robust sans typeface, specially suited for magazines and newspapers, but it works great as a corporate typeface.

This typeface is based on Guillaume I Le Bé typeface. This font has all diacritic accents including the chanting diacritic (trop) and modern Nikud (Holam Chaser, Shevana, Kamatz Katan and Dagesh Hazak).

Rinzler AOE is a revival of a LetterGraphics film type called Caren. A modular, mechanical, sans-serif stencil all rolled up into one retro typeface. It's not an all-purpose typeface, it's not an everyday typeface, but it is a cool typeface for the right design projects. Rinzler AOE carries itself with a bold weighted style, and stencil cutouts that don't follow standard stencil formatting. It might be considered more of a techno stencil (if there is such a thing). It reminded me in a vague way of TRON, hence the main poster graphic styling, although it looks NOTHING like the Tron titling typeface. Nevertheless, it's a fun typeface that needed to be preserved and used again. WHAT'S INCLUDED: Extensive language support. Rinzler has accented and special characters that support the following languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan Cornish, Corsican, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Irish, Indonesian, Italian, Kurdish, Leonese, Luxenbourgish, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Occitan, Oromo, Polish, Portuguese, Rhaeto-Romanic, Romanian, Scottish Gaelic, Scots, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, & Welsh. One of my guilty pleasures is in taking the time to recreate historical typefaces as digital fonts, but a lot of incredible historical typestyles created as wood or metal or film type usually have bare bones character sets and have been lost or only exist as limited specimen proofs in old books. These typefaces may have more niché uses than modern typefaces, but I believe it is important nonetheless to preserve these typefaces for future generations. These typefaces, if nothing else, can often inspire new creations.

Athletic Dept This typeface is a hand drawn, vintage inspired athletic display font. This typeface was drawn on grid paper, scanned and vectorized in illustrator. The roughness and imperfections vary slight for each letter, giving your project an authentically handcrafted look. This typeface comes with Western European Characters as well as some special Characters. It also includes OTF, TTF & Web Font Files.

Syntho is a modular typeface with 18 variants and a Variable Font. Its structure is geometric and modular, but its proportions resemble those of classic grotesque typefaces, giving it a familiar feel to the designer. It also includes two subfamilies, 200 and 300, which are expansions of the typeface in width, providing greater possibilities for the designer in any project.

Electrica is a contemporary monospaced typeface family; a tribute to classic typewriters, while designed for today’s needs and media. In spite of taking inspirations from several typefaces used in typewriters (most notably the IBM Selectric), Electrica is far from a revival: it’s a typeface on its own, winking to the past while standing its ground confidently in a contemporary environment.

Lisboa Swash is a display humanist sans-serif typeface and it was designed for big sizes purposes. The uppercase letterforms are much more decorative than the lowercase, but both contain hook-head terminals and few contrast. This typeface family contain stylish alternates characters which are more calligraphic than the main version. This typeface family has different encoding languages (Latin, Central Europe and Baltic).

ITC Outback was designed by Bob Alonso, a contemporary typeface with a distressed" look. It combines the rustic 1920s look of Rudolph Koch's Neuland with the proportions of a 1960s headline typeface, then roughens the edges 1990s style. The crude, rough ITC Outback is clearly intended as a display typeface but reads surprisingly well even in sizes as small as 18 point."

SK Shriftovik is a geometrical, caps and small caps only, sans serif typeface inspired by the works of constructivists of the early XX century. Due to its structure, this display typeface is good for posters and magazines. The SK Shriftovik typeface supports many languages, including extended Latin and Cyrillic. The font contains many ligature combinations and stylistic alternatives that significantly transform the text.

A breath of fresh air! Seasalt typeface was designed to emulate natural-looking handwritten notes. Opentype ligatures are included to make the typeface appear more realistic and last but not least, it includes a doodles font - arrows, scribbles and scrawls to help your designs pop! The typeface comes in three different variants to suit the look you are after : Upright, Regular and Slanted.

The typeface was designed at the Polygraphmash type design bureau in 1949-61 (project manager Elena Tsaregorodtseva). Based on Shkolnaya ('School') typeface, 1939 (project manager Evgeny Chernevsky), a version of Century Schoolbook of American Type Founders, 1915-1923 by Morris F.Benton. The low-contrast text typeface of the Ionic-Legibility group, it is designed expressly for schoolbooks and children books.

Askja – A modern, decorative serif typeface with creative ligatures, larger upper serifs and multilingual support. This decorative font features numerous creative non-standard ligatures incl. nested or overlapping caps. Due to its large selection of ligatures, Askja is a very versatile typeface, covering a wide range of project types. Combine this font with sans serif typefaces for a modern aesthetic.

Display Board JNL is based on Futura Display, which was designed in 1932 by Paul Renner as an extension of his original (1927) Futura family of typefaces. According to Wikipedia, the font was developed as a typeface by the Bauer Type Foundry, in competition with Ludwig & Mayer's seminal Erbar typeface of 1926 Display Board JNL is available in both regular and oblique versions.