Rev up your designs with the bold power of Hemi-Head, the square industrial typeface inspired by the classic muscle cars of the 60s and 70s. Its audacious letterforms and stylish gaps will give your message a commanding presence, instantly conveying authority and technologically superior design. With its sleek, constructivist squareness, Hemi-Head is the perfect typeface for any project that demands strength, speed, and raw power. From high-performance automotive advertising to cutting-edge tech branding, Hemi-Head delivers the perfect blend of style and substance. Available in 8 versatile weights and italics, Hemi-Head offers a wide range of options for any project. Choose the style that best suits your needs, from the light and nimble to the heavy and powerful, and add a touch of italicized style for even more visual impact. So whether you’re looking to create a design that demands attention, or simply want to add a touch of muscle car style to your next project, Hemi-Head is the perfect typeface for the job. Embrace the bold, square industrial aesthetic of the 60s and 70s, and let your designs roar with power and precision. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Fantastic ML is an exuberant Art Nouveau font. It was originally released as “Modern Style” by Fonderie G. Peignot & Fils, Paris, France sometime before 1903. Since “Le style moderne” was the generic French name for Art Nouveau, it is possible that someone decided a less generic name was needed. The typeface became known as Fantastic. Compared to conventional text letters, it is just that. Fantastic has a whimsical, architectural feel. The typeface reminds me of a cross between Hoffmann’s Palais Stoclet in Brussels and Gaudi’s Sagrada Familia church in Barcelona. The letterforms themselves are similar to those by Ludwig von Zumbusch on the cover of “Jugend” in March, 1896, but with the addition of serifs. Fantastic ML is a decorative, all-cap font intended for display use and functions best at 18 points or larger. There are a total of 306 glyphs. In addition to the standard 1252 Western Europe Code Page with character slots up to decimal position 255, there are glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. However, some older applications may only be able to access the Western Europe character set (1252). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS format and a TTF version which is in Open TT format. Use whichever works best for your applications.

Fifteen hundred years from now, a man will be selected to go back in time to prevent a catastrophic event which turned his world into a dystopia. Sent back in time, he was enveloped in empyrean fire, the strands of energy that make up time itself. Crash-landing near Astro City in late 1985, he learned how to master and channel the empyrean forces that had suffused his body -- finally learning to control his powers in time to prevent the destruction of the Space Shuttle Challenger, the event he had been sent to avert. He described himself to journalists as nothing more than "a Good Samaritan", and has continued to help his fellow man in Astro City ever since. John JG Roshell has also been struggling with the empyrean challenge of fitting all of Kurt Busiek's Astro City dialogue into balloons with the regular Samaritan font, so he created the Samaritan Tall font to help his fellow comic book letterers! It's kinda the same thing really. See the families related to Samaritan Tall: Samaritan &

Qubo, a new forcefully drawn monoline face. Its clear graphics create its appeal and give it distinctive characteristics. The slightly squared round elements make for an open and elegant look; subtle details refer to humanistic models. Qubo is a neutral, cool and very versatile typeface. It works superbly both in print and on the web. Qubo is well-equipped for ambitious typography. The Qubo family consists of 14 styles, comes in OpenType format with extended language support for more than 40 languages. 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.

Rutherford is clear, robust and authoritative, and reads well at small text sizes while also having the required heft for larger headlines. A wide range of weights makes it a versatile choice for magazines, branding, brochures and advertising. A slightly condensed obround serif with squared stroke terminals. The t, j and f curve around to harmonize with the terminals on the a and g, as does the tail of the Q. The italic incorporates cursive forms on the ends of the lower right and upper left strokes, and uses a single-story a. Includes full European Latin support and alternate designs for the Q and g in all weights.

Obvia, a geohumanist type for all media. Obvia appeared as a result of direct observation on typefaces classified as geometric and the plan to explore for the first time width axes - to be published soon - expanding its usability. The idea behind Obvia’s design was to create a distancing from geometrically pure shapes, in this case, square shapes. Then some details were added, such as subtle inktraps, concave endings of the stems and carefully drawn alternate characters, giving a ‘geohumanist’ tone to the font. This first family of Obvia has 9 weights ranging from Thin to Black with their respective italics, delivering a strong typographic identity, from the paper to the pixel.

When teaching font-making at the Art Institute of Tucson, I give my students plenty of lab time to come up with design ideas. I designed Pucky while one class created their fonts. It came about through an idea for a capital A: sort of a triangle with two round sides and a crossbar formed by a circle falling out. (You can see it here.) In drawing that, I hit upon the idea of making the tops of the alphabet sharp and square and the bottoms rounded. (See the whole alphabet here.) Pucky suggests both circus and psychedelia. Hmmmm, does anybody have an “in” at Cirque du Soleil?

Garuspik is an original ulra condensed, narrow, tall font with 3 styles: display, round and square. It is particularly well suited to create text blocks, advertising slogans, headlines, and other original and interesting text compositions. For convenience and variation the Uppercase are very tall, lowercase are moderately tall. Garuspik looks especially good when set in all uppercase. So, for convenience and simplicity, the smcp feature changes all characters to uppercase only. In addition, another OpenType feature changes the form of some uppercase, if they stand before to lowercase. And of course, there are all the necessary and popular features such as frac, ordn, locl and others.

Bricbrac is a layered family that allows different combinations. The typeface is full-cap, with a squared style, the font doesn’t contains any curve. The different styles gives 3D effect to the letters and the typeface user can play with the Lines and Pattern effect. Bricabrac consists in a 9 styles family. This is a monoline typeface and the variety of combinations and style make it perfect for magazine and poster design. The fonts have an extended characters set to support Central, Eastern and Western European languages. Notice: The spacing is optimized for the version with volume, therefore the fonts should always be used with the 3d volume effect.

Dabu is a hand paint inspired high contrast decorative display typeface. With unique five ornamental layers which makes Dabu very presentable and eye catchy. Dabu has identical styles that very well goes with logo design, headline, creative sign boards, poster design, social media, fashion brand, beauty product branding, large print and screen. How to use Dabu ? - Select Dabu-Regular. - Copy the same one more time. - Select and choose any one Dabu Depth, Dabu Heart, Dabu Flower, Dabu Diamond, Dabu Square. - Select both and Aline. - Bingo!! :) No animals harmed in the making of this typeface Dabu is supportive to Adobe illustrator, Adobe Photoshop, Adobe In-design and All Adobe.

Cannibold is a Bold, modern, and square font is a typographic style that exudes confidence and contemporary flair. With its clean lines and strong presence, this font captivates the eye and demands attention. Each letter is meticulously crafted to create a striking visual impact, making it perfect for a wide range of design applications. The bold weight of this font adds a sense of strength and power to every character. It conveys a sense of assertiveness and stands out, even from a distance. The thickness of the strokes gives each letter a solid and substantial feel, making it an excellent choice for headlines, logos, and attention-grabbing text.

Sign and Display JNL is a long-overdue companion font to 2009’s Sign and Poster JNL. The original design models were Art Deco influenced die-cut cardboard letters and numbers manufactured by the Duro Decal Company of Chicago. Square in shape with rounded corners, the thick cardboard letters were used for making show-cards and other display signage. Subsequently, Duro used the same style of lettering to manufacture water-applied decals for boat identification and other uses. It was a set of these decals (with a black outline and yellow interior) that inspired the outline typeface Sign and Display JNL, which is available in both regular and oblique versions.

Monocto is an upright italic, clearly evidenced by the lowercase letters a, e, f, g, i, k, l, v, w, x, y and several capitals. On one hand, the design is inspired by an historical German running hand written with a pen angle of 45°, and on the other, by rational, utilitarian monospace types, similar to those designed for the mechanical typewriter during the Industrial Revolution. As the writing tool touches the paper, a double-square with broken corners is produced, which then, according to ductus, transforms itself into letter components that are either 90°-verticals or 45°-diagonals. The systematic geometry of Monocto offers unexpected design possibilites.

My family and I recently moved to a ‘fixer upper’ farm from the 1930’s. It came with a slightly run down barn, 4000 square metres of land and a LOT of redcurrant bushes. I can’t really say that I am overly fond of them. I find them a bit too tart. As a kid, I used to smother them in sugar, but I can’t do that any longer, since I am a responsible dad… ;-) Redcurrant is a slightly wonky, slightly crazy handmade font. It can be used for book covers or post cards, but feel free to use it for whatever. Comes with cute little swashes as well.

Balgin brings back the nostalgic era of 90's. The 90’s were a magical time – a time of the Docs, Game Boys, and Cartoon. As everything that was once old is new again, the 90’s are making a come back. The basic of typeface are from geometric/basic shapes (Triangle, Square, Circle) form. Some character in Display font are modified, like 'R'K' stroke are more dynamic. and the tail of 'g' are more generic. Balgin are available in 3 Flavour Typefaces (Display - Normal - Text) and have 6 different weights (For Normal are available on 5 Widths). Available with Variable Fonts on Balgin Display & Balgin Normal

Marit Otto about Picastro: The revolutionary typeface. Picastro is a fusion of Picasso and Castro. Don’t be alarmed by the second name! It is no political statement. Both characters represent different qualities in the typeface. The Picasso influence is the artistic, freestyle and frolic part. The Castro influence is the firm, square, perseverant look with a hint of propaganda to it. To combine two opposite inspirational sources (innovative versus persistent) makes the shape a bit edged. This typeface is very suitable for all kinds of graphic design (flyer, posters, CD covers and artworks) but also casual enough for (non academic) letter and text writing.

English Grotesque is based on the proportions of an early 20th century signwriter’s sans, emphasising the characteristic idiosyncrasies of type of the period. Sharing a similar Roman circle-and-square construction as Gill Sans or Johnston Railway, it has a wide T and W, a narrow S, and a long-tailed R. The Roman alphabet did not include a lower-case, and therefore early sans-serifs tended to base theirs on handwritten or cursive models, resulting in more even character widths. English Grotesque, by contrast, carries the more characterful proportions of the capitals through to the lower case. Available in six weights, with optional alternative versions for the Q, &, £ and J.

Bric Sans is squared, it was inspired by colleges typefaces. Capitals aren't contrasted, giving a raw aspect to this typeface. The variety of styles makes this sporty typeface ideal for editorial projects, posters, packaging, branding, etc… The default setting of the numerals is tabular, proportional figures are available through OpenType Features. Bric Sans consists in a 12 styles family, including 6 weights in Condensed from UltraThin to ExtraBold. Each font includes OpenType Features such as Proportional Figure, Tabular Figures, Numerators, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals, automatic arrows and Fractions. The fonts have an extended characters set to support Central, Eastern and Western European languages.

The name Moreske, Maureske, Morisca, Morisco comes from Spanish “Mauritanian”. This ornament is based on the greenery motif with strongly stylized stems and leaves fancifully interlacing. Such ornaments were widely used in the 16th century in various decorations from architecture to household goods, and book covers in particular. The font contains high quality vector graphics with elaborate attention to details. This collection consists of friezes (borders) and closed compositions in the shape of circles, squares, rectangles and triangles that can be organized into repeats (patterns). Morseke 2D can be easily used not only in a traditional approach, but also in grunge stylistics enriching your compositions.

Eurostile Candy is a fun spinoff from Akira Kobayashi's Eurostile Next family. As the name implies, it is based on Eurostile but with many striking new features. Most obviously, the corners and joints have been rounded off to give it a more friendly and softer feel. On top of those changes, the main skeleton of many characters have been modified. Any extra strokes have been removed - such as in the a, s, or t - and joints have been simplified to create even more square shapes - like in the n and r. With these contemporary and futuristic-styled alterations, Eurostile Candy is a cool new design great for many display projects.

“PGF-Trajanite” is a simple Roman typeface, with capital letters inspired on classical Trajan schemmas such regular square and circle, simple and double root five, early ideas based on the golden ratio, while lowercase have more organic but yet balanced proportions with short ascenders/descenders stems allowing more air to flow between textlines, both (capitals and lowercases) optically adjusted to deliver a better reading experience. Due to simple and universal look it result in versatile typeface perfectly suitable for branding, packaging, label design, UI Interface design. Include standard and discretionary ligatures, alternate glyphs, oldstyle numers, various numerical arrangements. Altogether you will find this a very clean, fashionable, and elegant typeface.

Superba Pro is a condensed Egyptian font family with short ascenders and descenders. The dots on the lowercase ‘i’ and the German umlaut-vowels are square. Haas Type Foundry created the original Superba in 1928-1930. Steve Jackaman (ITF) designed and produced a digital version of the bold weight in 1992. In 2017, Jackaman completely redrew the bold weight, added an accompanying wide weight, and expanded the glyph set to support Central and Eastern European languages. Like other slab serif faces, Superba excels at display sizes and is comfortable at subhead sizes. ­ It is robust, and has “superb” legibility, allowing it to dominate attention in any project it is utilized in.

Although the early 1900s through the 1920s seemed to be the "Golden Age" of ridiculously long novelty song titles, it appears that even the decade of the 1940s had its fair share as well. Song Merchant JNL was modeled from the hand lettered [but exhausting] title of the sheet music for "Princess Poo-Poo-Ly Has Plenty Pa-Pa-Ya (and she Loves to Give it Away)". Despite the obvious double-entendre inferences of the title, the square block letters with rounded corners make for a useful headline font (even if the source material it was drawn from is quite forgettable). Available in regular and oblique versions.

Jim Spiece has a taste and a talent for reviving type styles from earlier in this century. ITC Deli Supreme is a “futuristic retro” face that would be at home as a logo on a car or a roadside diner from the 1940s or '50s; the lowercase nearly joins, in script style, thanks to the long extenders stretching out from the bottom-right corner of most letters, while the caps have beginning strokes leading in from the top left. ITC Deli Supreme, like ITC Deli Deluxe, features slightly rounded corners on all the letters, for a soft, streamlined look despite the squareness of the letterforms.

Freehouse is a reinterpretation of the well-remembered Watney’s logo, a brewery and pub chain infamous for its poor quality beer and brutalist decor. In Design Research Unit’s corporate guidelines from 1966 the font is described as Clarendon Bold Expanded — however, this is not the case. Clarendon has square serifs, whereas the Watney’s font is rounder and friendlier. A fixture of the British high street landscape for decades, this digitisation adds a full international character set, numbers, punctuation and many other characters that did not exist in the original. A distressed version that evokes rough print on a wet beermat has also been developed.

History, as it's said, tends to repeat itself. The round-point pen lettering used in the 1920s logo and ads for Dodge Brothers cars (pre-General Motors) is an early predecessor to the techno type styles of the 1980s. Square in shape, with unique stylization to some letters, Jalopy JNL can cross the decades and be used for a 1920s period piece and still look fresh in an ad for computer parts. Rather than round out the inside lines of the characters to fully emulate the strokes of a lettering pen, the inside lines have straight intersections for the contemporary side of this font's design.

This square serif typeface is a real workhorse. It is a modern tool for text design: extremely legible and well shaped. Bandera Cyrillic has six weights with original italics. It catches attention in headlines of posters and magazines or makes reading comfortable in plain texts. Bandera Cyrillic shares main proportions with sans serif Osnova Pro typefamily so ideally can pair it. It has Bandera Cyrillic Text and Bandera Cyrillic Display sister families as well. Please check also Pro verion for pan-european support (full Latin-Greek-Cyrillic). Bandera is Spanish for 'flag'. And Bandera is a symbol of Ukrainian fighting for freedom for many years.

The Daytona™ typeface family grew out of a desire to provide improved fonts for use in televised sporting events. Jim Wasco drew the design as sturdy squared letters based on humanist shapes and proportions. Letters were kept narrow for economy of space, and inter-character spacing was established for easy reading. While televised sporting events may have initially been his target, the design considerations he incorporated into the Daytona family also enabled it to perform well in a variety of other video and on screen environments. Daytona Variables are font files which are featuring two width axes and have a preset instance from Thin to Fat.

Introducing "Cyberend" – a font that seamlessly marries the raw, edgy aesthetic of cyberpunk with the precision of square pixels and the sleek modernity of italic serifs. As the digital world converges with futuristic design, Cyberend emerges as the quintessential typeface for those seeking a cyberpunk-inspired typographic experience. Dystopian Elegance: Cyberend encapsulates the essence of cyberpunk, embodying a dystopian elegance that effortlessly blends chaos and sophistication. The font's italic serifs add a touch of rebellion and forward momentum to every character. Pixelated Precision: Immerse yourself in the pixelated precision of Cyberend, where each character is meticulously designed with square pixels. The result is a sharp, high-tech appearance that resonates with the digital landscapes of cyberpunk aesthetics. Versatile Impact: From gaming interfaces to film titles, Cyberend makes a bold statement in any digital or print medium. Its versatility allows you to infuse cyberpunk vibes into logos, posters, websites, and more, giving your projects a distinctive and immersive feel. Futuristic Legibility: Despite its cyberpunk flair, Cyberend prioritizes legibility. Each character is crafted to ensure readability, maintaining a perfect balance between avant-garde design and practical functionality. Unleash the power of Cyberend to transport your audience into a cyberpunk-inspired future. Whether you're designing for tech enthusiasts, gamers, or cyberpunk aficionados, this font is your gateway to a digital realm where style meets rebellion. Upgrade your typographic game with Cyberend and let your creations transcend the boundaries of conventional design.

Angelline Script Font! If you are needing a touch of casual chic calligraphy for your designs, this font was created for you! Angellyne was built with OpenType features and includes beginning and ending swashes, alternate characters for both lowercase and uppercase letters, loads of different swash alternates for lowercase letters, numbers, punctuation, alternates, ligatures and it also supports other languages :) with many glyphs! Accessing the swashes / opentype features / glyphs: This font works best in a program that supports OpenType features such as Adobe Indesign, Adobe Illustrator CS, or Adobe Photoshop CC. You can access the swashes and alternates from the 'Glyphs Panel' in these programs. More Questions? Here are some (potential) answers! You are not permitted to resell this font in any way. Multilingual Support is included for Western European Languages Also, the sans-serif font used in the preview images is Gotham :) Cheers!

Introducing the love script Paris Helen! If you are needing a touch of casual chic calligraphy for your designs, this font was created for you! What's Included: Paris Helen (OTF) Paris Helen Slant (OTF) Paris Helen was built with OpenType features and includes beginning and ending swashes alternate characters for both lowercase letters, when combine it would be love letters (without space), numbers, punctuation and these also supports other languages :) Accessing the swashes / opentype features / glyphs: This font works best in a program that supports OpenType features such as Adobe Indesign, Adobe Illustrator CS, or Adobe Photoshop CC. You can access the swashes and alternates from the 'Glyphs Panel' in these programs. More Questions? Here are some (potential) answers! You are not permitted to resell this font in any way. Multilingual Support is included for Western European Languages Also, the sans-serif font used in the preview images is Gotham :) Cheers!

American Authors is a unique collection of signatures of 75 famous American authors, poets, writers, and novelists. A must-have for autograph collectors, desktop publishers, history buffs, fans, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous literary figures. This font includes signatures from the following literary figures: Joel Barlow, Charles Brockden Brown, J. Fenimore Cooper, Stephen Crane, Richard H. Dana Jr., Theodore Dreiser, W.C. Bryan, Timothy Dwight, T.S. Eliot, Ralph Waldo Emerson, William Faulkner, Eugene Field, Philip Freneau, Robert Frost, Hamlin Garland, Alexander Hamilton, Bret Harte, Nathaniel Hawthorne, Lafcadio Hearn, Ernest Hemingway, W.D. Howells, Henry James, John P. Kennedy, Washington Irving, Oliver Wendell Holmes, Julia Ward Howe, Francis Scott Key, Sidney Lanier, James Russell Lowell, Edgar Lee Masters, Cotton Mather, Herman Melville, George John Nathan, Henry W. Longfellow, Edna St. Vincent Millay, Eugene O'Neill, Thomas Paine, Edgar Allan Poe, J.K. Paulding, Sydney Porter (aka O. Henry), Carl Sandburg, Samuel Sewall, John Howard Payne, W.H. Prescott, W. Gilmore Simms, Captain John Smith, Gertrude Stein, Harriet Beecher Stowe, John Trumbull, Daniel Webster, Noah Webster, Samuel L. Clemens (aka Mark Twain), John G. Whittier, Thomas Wolfe, Henry D. Thoreau, Walt Whitman, Emily Dickinson, Jacqueline Susann, Louisa May Alcott, Wystan Hugh Auden, Pearl Buck, Edgar Rice Burroughs, F. Scott Fitzgerald, Erle Stanley Gardner, Horace Greeley, Zane Grey, Sinclair Lewis, Jack London, Norman Mailer, Ogden Nash, Beatrix Potter, Ezra Pound, John Steinbeck, Leon Uris, Thornton Wilder. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map. Article abstract: American Authors is a unique collection of signatures of 75 famous American authors, poets, writers, and novelists in a high-quality font.