The first cuts of Trade Gothic were designed by Jackson Burke in 1948. He continued to work on further weights and styles until 1960 while he was director of type development for Mergenthaler-Linotype in the USA. Trade Gothic does not display as much unifying family structure as other popular sans serif font families, but this dissonance adds a bit of earthy naturalism to its appeal. Trade Gothic is often seen in advertising and multimedia in combination with roman text fonts, and the condensed versions are popular in the newspaper industry for headlines.

Cooper Black The Cooper Black font should be used in display sizes only. Cooper Blacks serifs are rounded and the counters are small. Cooper Black was designed by Oswald B. Cooper for Barnhart Brothers & Spindler in 1921 for advertising and posters. The capital O and Q of the Cooper Black font are tilted back; in the lowercase, the dot on the I and j become elliptical. The extra bold Cooper Black font has a remarkable personality and reproduces well in sizes over 18 point in titles, subheadings and generally short sentences.

Sleepy time… Ah, if only your kids would go to bed, close their eyes and drift off to sleep. This font was created when my son had some problems falling asleep: he'd cry, he wanted to sleep in a different bed, he wanted a different animal friend (he has Tij - a tiger, Meh - a sheep, Rafi - a giraffe, Moo - a cow, Woofy - a dog, Kikker - a frog). Sleepy Time font is an all caps typeface with uneven letters and a very different upper and lower case. It comes with all languages, including Cyrillic!

Lakony Regular, italic and display serif lacony are combined into one into a modern serif, lacony pays attention to high readability and a soft font model so that readers feel comfortable. lakony font also has unique alternates, making it easier for you to design as unique a text as possible. However, this does not leave behind the function of the font itself, namely readability, so this font is suitable for titles, posters, branding, invitation cards and much more. Lakony Regular Lakony Italic Lakony Display Uppercase Lowercase 75+ Language Alternates Font

Racetrack is the work of American type designer, Alex Kaczun, and was conceived as a result of developing a logo for a client. Alex was experimenting with a uniform grid pattern, outline and inline, connecting the dots which lead to this interesting typeface effect. Racetrack is a bold display font, which also works well at many point sizes. It has a futuristic appeal with straight lines and sharp corners. The uniform strokes, inline treatment and symmetry make for a powerful headline. The applications for this font design are endless.

We have adapted the version of our Arquitecta font for use in Microsoft Office™. It only has 4 variants: regular, italic, bold and bold italic. Font weights have been named in a way that can be clearly shown up in the font list in Office™ programs for the sake of a good hierarchy (the bold variant is quite bold and does not look the same as the original font). Arquitecta Office update: Improvements of proportions and drawing. The set was extended to the current one of Latinotype.

The Kimchi font had its starting point in the making of the film "Cloud Atlas", based on the novel by David Mitchell and directed by Lana & Andy Wachowski and Tom Tykwer. A first version of Kimchi was created for "Papa Song" – an underground fast food restaurant in a futuristic Neo Seoul in the year 2144. It was used for the menus, advertisement and packaging. Kimchi was later further developed to become a useable typeface: it works for headlines, street art stencils and of course as logo font for korean fast food restaurants.

Vow is an incredibly stylised font, strutting its stuff on the typography catwalk. Vow does everything to excess, even when cutting down: where it’s curvy, it’s very curvy, but where it’s thin, it’s thin. Vow’s regular weight has a certain boldness at text size, but its ultra-thin alternative is much better used at larger sizes, managing to take up very little space even when scaled up. Using a mix of the two creates a subtle emphasis, especially when coloured, which helps to create stunning messages in elegant ways.

What if Platt R. Spencer and Charles P. Zaner were born in mid-20th Century? What if they were fans of The Beatles or The Mamas & Papas? Beatle is what those masters would have made. Letters shouting for peace, like a true hippie does, with a lot of elegance. With Beatle I wanted to mix the delicacy of engrossers script with the exuberance of flower power. The result is a font designed with freedom, full of provocative alternates and fat tails. Enjoy it and of course, let it be.

Decart is retro display font inspired by "Art Deco" style with more than 1100 characters, covering many languages using latin and cyrillic alphabet. The font also has 15 OpenType features : (All access Alternative (aalt) - Contextual Alternates (calt) - Fraction (frac) - Numerator (numr) - Denominator (dnom) - Superior (sups) - Inferior (sinf) - Tabular Figure (tnum) - Old Style (onum) - Ordinals (ordn) - Small Capital (smcp) - Small Capital From Capital (c2sc) - Case Sensitive Forms (case) - Stylistic Set (ss01 - ss02 - ss03) and Kerning (kern). Decart has, in addition, circled letters (basic latin & cyrillic), figures, fraction and arrows.

Neuch is a neat typeface for greeting cards, children's books, labels and signs, handmade goodies packaging, and other cheerful designs. Drawn with a sharp-tipped ink pen, the letters kick their legs up and down, stretch out their tails, and hop along gaily, as if not obeying any rules. The cute characters look like they are one big family—they get into arguments, mix noisily and good-humoredly, push each other, yet always stick together. Neuch can speak several languages and has ligatures, decorative elements, and even a cat and a dog.

Kate Greenaway was a very famous British (1846-1901) author and illustrator of childrens books. Her books were an outstanding success in English publishing during the Victorian period. Recently I found these sweet Mignonettes in an old foundry specimen book. Mignonettes is derived from the French word "mignon" which stands for lovely, charming, sweet, delightful, pleasant and that does exactly describe these little drawings. I already published a Kate Greenaway's Alphabet a couple of years ago. So here is my second installment. Yours, Kate Greenaway fan Gert Wiescher

Step Right Up, Step Right Up, the Font Circus is in town and ready to reveal our stupendous new tent-pole feature! Step inside for the best seat in the house. Ringmaster Roshell Beauregard dons his Big Top Hat especially for this occasion and promises us that Clowntime ain't over until the Bearded Lady takes a custard pie in the face. Our Big Top Bonanza performance begins with sideshow attractions and distractions, high-wire acrobats and low-cost rubber band guns. Can you smell the greasepaint and hear the roar of the crowd already...?

Fini. Done. You've just discovered an infinitely useful font that polishes things with youthful and stylish vigor. Fini provides playfulness with double letter ligatures with a twist of friendly sophistication. Fini Things, also designed by illustrator and font designer, Amy Dietrich, is a decorative collection of 26 loopy, spotty repeating border designs and kid oriented icons (like a pea coat, owl hat, hoodie, rubber duckie etc, plus a coffee cup - for mom and dad). Fini Things coordinates with Fini font, and in fact, works very nicely with Merci, and other Atlantic Fonts.

Impact wide was developed from the designer's original drawings for the production of 'Impact' metal type, with many detail changes because of the density of the letters. These include the restoration of the bevelled i and j dots of the original. Character maps show some useful alternative characters in both roman and italic. Included are a crossbar numeral 1, mirror quotes and some sorts which were cast in metal but never reproduced in digitized versions of the typeface. There is also a font-specific Euro symbol. (Impact is a trademark of The Type Museum, London).

-This font has been basically designed for poster display in black weight and big size (mostly for capital letters). The rest of the family is a derivative work of it. I can’t guarantee if it works well on small size print. -Future updates may follow in the near future or on request. Please feel free to contact me via rolandhuse@aol.com about the following: -This family does not contain all the language extensions, but I am willing to create any extensions (including Cyrillic) on request; - Discovering kerning problems while using; Or any other question.

Accolades C and C2 share the same main ornaments but differ in finishing. Accolades C uses pearls and diamonds, C2 does not. Accolades CX is an additional fitting set of borders. All fonts are available in two variations. A clean one and a distressed, grungy version (old). The layout samples from the PDF-specimen are included in the font packages and stored in InDesign CS3 format. Mostly all of the featured fonts of the specimen are available on MyFonts, too. Have a look at Secca Art Std, Secca Saloon Std, Gracia, Battista and Prillwitz.

Compagnon is a friend, a partner. This handmade display font will come in super handy when you are working on that book cover, or the packaging of a product. It will shine on posters and websites and it will keep you warm at night. I guess that last bit is an exaggeration… Compagnon comes in three distinct styles: a ‘regular’ version, which is a bit rough around the edges, a ‘dirty’ version, with a juicy eroded look and a polka dot version. All three have their accompanying italics.

Pritchard is the work of British designer Martin Wait, a capital, condensed sans serif font inspired by the geometric styles of the 1920s Soviet Constructivist movement. Despite unusual letterforms, Pritchard remains legible and effective in large display sizes. Two fonts make up the Pritchard family: Pritchard Regular and Pritchard Line Out. Pritchard Regular is a caps-only font, but Pritchard Line -- a bold, open font suitable for a wide variety of headline applications -- does include lowercase letters. A similar font from Linotype is Linotype Reducta. Unlike Pritchard Regular, Linotype Reducta's character set contains lowercase letters."

French Kiss is an expressive brush font that was drawn by hand on paper to ensure that it captured an intimate and personal quality. The texture of the brush has been left in, and can be seen when displayed at large sizes. French Kiss contains 28 alternates and ligatures for enhanced diversity and legibility. Unfortunately, the MyFonts display engine does not show the contextual alternates. Additionally, the entire font has been meticulously kerned, letter by letter to ensure a smooth flow, in spite of the expressiveness of the letters.

Polias is an all-caps uniwidth typeface inspired by an ancient inscription carved on a monoblock stone in hybrid characters — between no-contrast linear sans to low-contrast flared serif. The inspiring inscription is the dedication by Alexander the Great, discovered in the Temple of Athena Polias in the ancient Ionian city of Priene. Stanley Morison mentioned this inscription in one of his lectures: “The distinctive feature of this inscription consists of a consistent thickening towards the ends of perpendiculars and horizontals.” … “We have not the right to say that the serif was invented for Alexander the Great's inscription, only that this is its first datable appearance.” The letter proportions are almost identical to the original, but the stroke features have been reinterpreted and characterized. Serif-like nodes at the end of the strokes are subtle extensions that serve to accentuate rather than break its monoline elegance. With an analogy, they are not flowers, but like blooming buds. Polias is a flared sans typeface which is closer to sans-serif forms on the spectrum between sans and serif. It’s especially light looking by design to convey rather thin and white typographic color of its original monumental look. It comes in eight weights and a variable font, scaled from Thin to Bold. It is multiplexed, so the weights do not affect text lengths. Light weights are closely based on the actual carving of the inscription. Thicker weights can be used on smaller typesettings to compensate for the weight difference of larger letters’ strokes, and to keeping the monoline appearance of the entire text block intact. This method can be used for any purpose, such as setting a hierarchy between the lines or to justify their lengths. Some of the original letterforms have been preserved and stylistic alternatives such as Ionic four-bar Sigma, dotted Theta, palm Y are provided as open type feature. Some of the other ancient forms, such as the three-bar Sigma (S), the pointed U, were also added for both the Greek and Latin scripts. Polias is preferable for big type settings such as logos and headlines as a modern representation of perennial classical forms. Its a fine fit for product branding, movie posters, book covers, packaging materials, and more, which require an epic look to attracting attention with a distinctive elegance. Polias can be considered for distinctiveness wherever Roman Capitals work. As a noun, Polias is one of the epithets of Athena / Minerva, and in this case referring to her role as the protector of the city of Priene. Polias is one of the seven typeface designs in Esintype's ancient scripts of Anatolia project, Tituli Anatolian series.

Polias Varia is an all-caps uniwidth variable weight typeface inspired by an ancient inscription carved on a monoblock stone in hybrid characters — between no-contrast linear sans to low-contrast flared serif. The inspiring inscription is the dedication by Alexander the Great, discovered in the Temple of Athena Polias in the ancient Ionian city of Priene. Stanley Morison mentioned this inscription in one of his lectures: “The distinctive feature of this inscription consists of a consistent thickening towards the ends of perpendiculars and horizontals.” … “We have not the right to say that the serif was invented for Alexander the Great’s inscription, only that this is its first datable appearance.” In Polias Varia, the letter proportions are almost identical to the original, but the stroke features have been reinterpreted and characterized. Serif-like nodes at the end of the strokes are subtle extensions that serve to accentuate rather than break its monoline elegance. With an analogy, they are not flowers, but like blooming buds. Polias Varia is a flared sans typeface which is closer to sans-serif forms on the spectrum between sans and serif. It’s especially light looking by design to convey rather thin and white typographic color of its original monumental look. It comes in eight weights and a variable font, scaled from Thin to Bold. It is multiplexed, so the weights do not affect text lengths. Light weights are closely based on the actual carving of the inscription. Thicker weights can be used on smaller typesettings to compensate for the weight difference of larger letters’ strokes, and to keeping the monoline appearance of the entire text block intact. This method can be used for any purpose, such as setting a hierarchy between the lines or to justify their lengths. Some of the original letterforms have been preserved and stylistic alternatives such as Ionic four-bar Sigma, dotted Theta, palm Y are provided as open type feature. Some of the other ancient forms, such as the three-bar Sigma (S), the pointed U, were also added for both the Greek and Latin scripts. Polias Varia is preferable for big type settings such as logos and headlines as a modern representation of perennial classical forms. Its a fine fit for product branding, movie posters, book covers, packaging materials, and more, which require an epic look to attracting attention with a distinctive elegance. Polias Varia can be considered for distinctiveness wherever Roman Capitals work. As a noun, Polias is one of the epithets of Athena / Minerva, and in this case referring to her role as the protector of the city of Priene. Polias (family) is one of the seven typeface designs in Esintype’s ancient scripts of Anatolia project, Tituli Anatolian series.

TT Runs useful links: Specimen PDF | Graphic presentation | Customization options TT Runs Version 2.0—an Unusual Wide-Proportioned Sans Serif! An update that expands the font's capabilities. TT Runs is a font designed for the sports industry. Before starting the development, we researched the identities of various Olympic venues and analyzed current sports brands. We put in maximum effort to design a unique yet elegant modern font well-suited for the sports sector. TT Runs has wide and unusual proportions that are different from traditional ones. It is because of the reversed contrast, which refers to the distinction between the upper and lower parts of letters. The uppercase letters have distinctive inverted proportions, particularly noticeable in characters like K, C, S, and R. This design choice gives the font an original personality and makes the letters look stylish and suitable for both athletic and casual sportswear. While updating the font, we kept its distinctive characteristics and preserved the graphical look of the majority of the characters. However, we thoroughly redesigned the outlines and italic font styles and updated the font's technical aspects entirely. As a result, TT Runs has become more convenient to use, and its range of applications has significantly broadened. - More projects and countries! The set of each font style has expanded from 791 to 917 characters. We added new languages and characters of the expanded Latin and Cyrillic writing systems. - Perfect italics! The new italic font styles are flawless from both graphical and technical points of view. The updated variable font. We have united the roman and italic font styles. You can now change the font on the axes of slope and weight, choosing the suitable values. - The new set of OpenType features! We added the updated numerators with currency symbols, numbers in filled circles, and localization features for the Dutch, Catalan, Turkish, Serbian, Bashkir, Chuvash, Bulgarian, and Romanian languages. TT Runs is an expressive font. It looks aesthetically pleasing on both athletic and casual clothing and is well-suited for printing on any material. Due to its proportions, the font is an ideal choice for headings, offering excellent readability and an elegant appearance in bigger blocks of text. Created with the sports industry in mind, this font brings a touch of style to any modern project. FOLLOW US: Instagram | Facebook | Website TT Runs OpenType features: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, tnum, onum, lnum, pnum, case, dlig, liga, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, calt. TT Runs language support: English, Albanian, Basque, Catalan, Croatian, Czech, Danish, Dutch, Estonian, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Latvian, Lithuanian, Luxembourgish, Maltese, Moldavian (lat), Montenegrin (lat), Norwegian, Polish, Portuguese, Romanian, Serbian (lat), Slovak, Slovenian, Spanish, Swedish, Swiss German, Valencian, Azerbaijani, Kazakh (lat), Turkish, Uzbek (lat), Acehnese, Banjar, Betawi, Bislama, Boholano, Cebuano, Chamorro, Fijian, Filipino, Hiri Motu, Ilocano, Indonesian, Javanese, Khasi, Malay, Marshallese, Minangkabau, Nauruan, Nias, Palauan, Rohingya, Salar, Samoan, Sasak, Sundanese, Tagalog, Tahitian, Tetum, Tok Pisin, Tongan, Uyghur, Afar, Asu, Aymara, Bemba, Bena, Chichewa, Chiga, Embu, Gikuyu, Gusii, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Kirundi, Kongo, Luba-Kasai, Luganda, Luo, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Mauritian Creole, Meru, Morisyen, Ndebele, Nyankole, Oromo, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sena, Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Swahili, Swazi, Taita, Teso, Tsonga, Tswana, Vunjo, Wolof, Xhosa, Zulu, Ganda, Maori, Alsatian, Aragonese, Arumanian, Asturian, Belarusian (lat), Bosnian (lat), Breton, Bulgarian (lat), Colognian, Cornish, Corsican, Esperanto, Faroese, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Interlingua, Judaeo-Spanish, Karaim (lat), Kashubian, Ladin, Leonese, Manx, Occitan, Rheto-Romance, Romansh, Scots, Silesian, Sorbian, Vastese, Volapük, Võro, Walloon, Walser, Welsh, Karakalpak (lat), Kurdish (lat), Talysh (lat), Tsakhur (Azerbaijan), Turkmen (lat), Zaza, Aleut (lat), Cree, Haitian Creole, Hawaiian, Innu-aimun, Lakota, Karachay-Balkar (lat), Karelian, Livvi-Karelian, Ludic, Tatar, Vepsian, Guarani, Nahuatl, Quechua, Russian, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Macedonian, Serbian (cyr), Ukrainian, Gagauz (cyr), Moldavian (cyr), Kazakh (cyr), Kirghiz, Tadzhik, Turkmen (cyr), Uzbek (cyr), Azerbaijan, Lezgian, Abazin, Agul, Archi, Avar, Dargwa, Ingush, Kabardian, Kabardino-Cherkess, Karachay-Balkar (cyr), Khvarshi, Kumyk, Lak, Nogai, Rutul, Tabasaran, Tsakhur, Buryat, Komi-Permyak, Komi-Yazva, Komi-Zyrian, Shor, Siberian Tatar, Tofalar, Touva, Bashkir, Chechen (cyr), Chuvash, Erzya, Kryashen Tatar, Mordvin-moksha, Tatar Volgaic, Uighur, Rusyn, Karaim (cyr), Montenegrin (cyr), Romani (cyr), Dungan, Karakalpak (cyr), Shughni, Mongolian, Adyghe, Kalmyk, Talysh (cyr) .

Aphrodite Slim Pro is not just a lighter version of its sister Aphrodite Pro. Aphrodite Slim Pro has duplicated the quantity of characters of its partner, and that means more than 500 new glyphs, reaching a total of more than 1000. More delicate and meticulous, Aphrodite Slim Pro is once more a new typography with deep calligraphic ideals: We immersed ourselves into the world of each calligraphy ductus and each calligraphy masters by studying from decoration to lettering books. This was the key for the logic of Aphrodite Slim’s behavior. The new concept of Aphrodite Slim Pro was to join diverse styles of calligraphy in one in order to achieve an autonomous expressiveness, in fact, this is what calligraphy aims to, and we agreed to bring those ideals to the world of typography: It is justifiable to be inspired in hundred-year-old calligraphies, but it is even better if the results you obtain have a plus. A personal plus. During the creation process we were wondering whether it was possible to mix certain strokes of such rigid styles as uncial, (Li·n’s favourite style), with strokes of the copperplate, (Sav’s favourite style), and also to take and mix cualities of cancelleresca cursiva, formata and moderna; finally giving our creation a roman-transition italic look. So Aphrodite Slim takes ideals and aspects from those formal styles, following its own logic though, and emphasizing the fact of being a decorative typography. Calligraphy masters of our past are who we are in debt with. They are the cause we have lovely letters now. They have been spontaneous at the moment of creation, what differs from the type-designers of nowadays, whose spontaneity is more limited. Digital faces that we are used to see these days are a result of long hours of optical adjustments, grids, macros and inspirations of other existing typography, but without personal contributions. Aphrodite Slim wants to refute this. Its mission is to rescue de spontaneity of the artesanal lettering in order to obtain unique words; those which only calligraphy masters of our past or lettering artists of our present could give us. We have worked hard to achieve this, making Aphrodite the most universal font we could: It was necessary to study the most common words, focalizing more in the ones referring to “sensitivity”, of four of the most spoken languages in the world. Aphrodite Slim has an enormous quantity of decorative characters and special ligatures for phrases and words in English, French, Spanish and German. (See English, Français, Español, Deutsch PDF in the gallery section). We promise there is no existing type that decorates/ligates glyphs and words like Aphrodite Slim does: It is the first time a font like this really considers its purpose. -The way glyphs are ligated is insane- : Aphrodite Slim rescues some ideals of persons like Jan van den Velde (Italian cancilleresca writing of XVI Century) who understands ascenders and descenders as possibilities to beautify the lines of writing with curved strokes that seem to be dancing above and below of the words. This master also creates ascenders and descenders even where they are not necessary, on letters that do not actually need them: Aphrodite Slim takes this ideal. The font counts with a wide range of glyphs that seem not to be satisfied with its more primitive form and prefer to extreme their parts to be decorative. It also existed masters of calligraphy like José de Casanova of XVII Century, who, with a magnificant skill and a really personal mark, had the particularity of ligating words that were actually separated with spaces. This is another innovative feature in Aphrodite Slim. An investigation of the most common beginnings and endings words of the English language was done. Having that feature activated (discretionary ligatures), common words will start to ligate or to be decorated even when they are separated by spaces. Impossible to forget Francesco Periccioli of XVII Century and our experience us designers to face with works of him: His letters, that today are included in the group of cancellerescas modernas, have been a direct inspiration to the oldstyle figures and historical forms variables in Aphrodite Slim. Giovanni Antonio Tagliente (XVI Century) and his particular way of making tails and diagonals longer than usual, qualities that our creation reflects too. Finally, our adventures in Biblioteca Nacional and Barrio San Telmo, Buenos Aires, were essential for us to make Aphrodite Slim more complete and interesting: Sav did an excellent work when studying how the decorative miscellanea and swirls of early XX century were. She also investigated what particularities made those roman titling characters look antique so she could rescue some ideals for the oldstyle figures and historical forms variables. This also leaded her to create the ornaments variable in Aphrodite Slim. We are really proud of presenting Aphrodite Slim Pro, a typography that was the result of days and nights of working hard, because we do love what we do; and we are glad we are living in a present that gives us the possibility to spread this kind of art, because that is the way we consider our job: Aphrodite Slim Pro is Art. Hope you can appreciate the enormous work this type has. Features. Aphrodite Slim Pro is the most complete variable. It includes more than 1000 glyphs. Thanks to the Open-Type programming, it counts with a easy way to change/alternate glyphs if the application in which the font is used supports this. The variables contained in Aphrodite Slim Pro are also offered separately. Aphrodite Slim Text: It is the variable for lines and paragraphs. Thus it is the least ornamental and the most accurate to achieve a satisfying legibility. It has the Standard Ligatures feature in order to improve the possible conflicts some glyphs could have by others. Aphrodite Slim Contextual: It is the one that makes emphasis in decorating. It has the particularity of ligating/decorating words of common use in English, French, Spanish and German. It also has the quality of ligating common beginnings and endings of the common words in English. Aphrodite Slim Stylistic: With similar features of Slim Contextual. It includes a set of decorative numbers for a display use. Aphrodite Slim Swash: This one has special beginnings and endings to decorate words. Aphrodite Slim Endings: It makes words look as a signature. Aphrodite Slim Historical: It adds an antique look to the written word. It also has the special historical ligature function. Aphrodite Slim Titling: This one is the most decorative. Its copperplate inspired ornaments give words a special color, in order to handle the quantity of decoration, it comes with the standard ligature feature, which has the most common ligatures plus others that make decorative swirls not to be conflictive. Aphrodite Slim Ornaments: A set of 52 ornaments. Aphrodite Slim Pro includes all this features plus the Stylistic Set 1; Stylistic Set 2 and the possibility of Slashed Zero. We recommend you to check out the gallery in order to see all these features in action.

Sharka is heavy sharp condensed system of 7 display typefaces widths, plus 7 italics and 7 alternative version on each family member, inspired on dangerous personality and aggressive reputation of the great white shark, it was thought to create the feel of high impact, high risk action on extreme situations, polemic public scandals, financial advertisement alert, the italic version specially creates the feel of velocity, powerful mechanical energy and related similar topics. Recommended to use in big headlines, magazine covers, advertisements, robust public visual calls, but also, if it applied with good taste and good typographical skills, could be a good choice not only for prints but also for web and digital media devices.

"VTF League" is a fully-kerned, hard working, 14-font athletic block display family. Its letterforms feature a synthesis of heavy verticals and lighter horizontals that create a steady visual rhythm, and chiseled terminals to help establish a competitive personality. Although developed for sports branding and similar projects, "VTF League" was inspired by the harmonized mix of sturdy, industrialized, no-nonsense typefaces and the brand uniqueness of local distilleries around Eastern Tennessee during a week-long moonshine tour in February 2018. As of July 2019, "VTF League" has been redeveloped to include a complete alphabet of uppercase, lowercase, and small cap alternates with 7 weights and oblique style variants for each. Enjoy!

Raw herring is the Dutch sashimi. Every year at the beginning of the summer a new batch of freshly caught herring arrives at Holland’s quays. Fishing boats actually race each other to be the first boat bringing it home. The fresh herring is called ‘Hollandsche Nieuwe’ (Holland’s new). This typeface, designed by Donald Roos, is based on the typography of Dutch fish shops and stalls. Inspired by lettering from the 30’s and 40’s, infused with some ‘techno’ flavour, Hollandsche Nieuwe is the brand new fresh fishy type flavor on your computer! It is traditionally eaten with sliced onions and pickles. Simply pick up the fish by the tail, open your mouth and take a bite! Enjoy!

Seconda XtraSoft is the extra soft companion of Seconda and Seconda Soft. Friendlier, easier on the eye, more informal, more fashionable — but still the refined and reliable Seconda. Seconda XtraSoft’s extra softness comes from the moderate rounding of both the edges and the inner corners of its characters. Seconda XtraSoft has sixteen styles, extensive language support, eight different kinds of figures, sophisticated OpenType features — so it’s ready for advanced typographic projects. For text and display use. When using Seconda XtraSoft in small text sizes, it will be a reliable and legible text face. When using it in big display sizes, it will show its interesting details. For more information about Seconda XtraSoft, download the PDF Specimen Manual.

Super fresh paintbrush style lettering with a definite graffiti slant. Reverse italic and highly detailed these hand-made letters, splats, swipes, numbers and symbols give an energetic human feel to your custom text. This font is an all-caps style with no real lowercase letters however the single font actually contains 3 full alphabets (78 individual letters) so you can mix and match to create endless unique letter combinations. Fresh Paint also includes several highly detailed paint splatters, brush strokes and swipes to use along with your custom lettering. All glyphs are created from hand made, painted letters, all splatters and strokes are made from real specimens & have sufficient detail to work even at very large sizes.

Fontanella is a typeface designed by Coto Mendoza, which emerged from calligraphy and manual drawing exploring the skeleton and classic proportions of Roman capital letters. This initial process later gave rise to a sans serif family composed of 8 pesos and its italic variants. It also includes small caps, old numbers and width variants in the set of alternates. The slightly enlarged x-height makes it perfect for composing short texts in editorial, fashion, branding, magazine, television, window display and other media projects. Fontanella a classic spirit reinterpreted in a contemporary language. We especially thank Alfonso García for his impeccable work on the digital edition and Nicolás Tobar for the art direction on the specimens.

Conga Brava is the work of type designer Michael Harvey, a combination of the high-minded, purist letterforms of revivalist, modern calligraphers with the mundane, even crude, lettering of warehouse stenciling. The resulting lyrical yet utilitarian forms have a visually exciting graphic effect, which Harvey has frequently used in his book jacket designs. Like his other typefaces, Ellington, Strayhorn, and Mezz, Harvey named his design after a jazz classic, Conga Brava", by Duke Ellington and his trombonist Juan Tizol. The rolling rhythm, polished swing, and stacatto brass treatment of the tune suits the look of this sassy roman design and even more so, its stencil mate. When you need a typeface that radiates sound and motion, think Conga Brava."

Sometimes you get an idea stuck in your head and the only way to get rid of that demon is to put something down on paper. A year later the doodles became a skeleton, and then the skeleton had a body, then the body had a name, then the name got a personality. What was left was a clean set of ten fonts that encompass a very simple skeleton with a lot of visual appeal. During the process, I saw ways to expand the typeface's display capabilities by producing inline styles as well as a down-and-dirty rough set. Each font has a full set of glyphs that include Central European and Small Cap characters.

Sultan Plain is an active contemporary variable font, complete with a flexible range of cases tailored to responsive layouts The font places itself at the boundary between two eras of contemporary typographic design, Between stillness and movement, between past exclusivity and present diversity, between the finite and the infinite. Although it is like many of the modern Naskh fonts, Sultan Plain has amazing unique energy Which is missing by many of the fonts that we designed since the beginning of the second millennium. The font is clear and legible in small sizes, suitable for printing for large texts, web pages, and other visual uses. The font includes a matching Latin design and support for Arabic, Persian, Kurdish, and Urdu.

"Enter Cromix" is described as a futuristic display font that comes with multiple styles, including bold, italic, and outline. Fonts with a futuristic design often feature sleek and modern letterforms that convey a sense of innovation and cutting-edge aesthetics. The different styles—bold, italic, and outline—provide versatility in creating various typographic effects. The bold style emphasizes a strong and impactful appearance, the italic style adds a dynamic slant, and the outline style creates a distinct and open character structure. "Enter Cromix" is suitable for a range of design projects where a futuristic and dynamic typographic style is desired. Its variety of styles allows for creative exploration in conveying different visual elements within the text.

Introducing "Vagodha" a captivating retro reverse contrast script font that brings a unique and striking visual appeal to your designs. Inspired by vintage aesthetics, this font features an intriguing twist with its reverse contrast, where the thin strokes are replaced by thick ones and vice versa. The result is a font that effortlessly stands out and grabs attention. With its bold and dramatic letterforms, "Vagodha" adds a touch of retro charm and edginess to your projects. Whether you're designing logos, headlines, posters, or any creative work that calls for a standout retro style, this font will make a bold statement. Features: Uppercase and lowercase letters Alternates Letter Ligatures Multilingual, numerals, and punctuation Thank You!

This Vintage One - Retro Font is a script typeface that embodies bold retro aesthetics with a touch of nostalgia. The font is crafted with a multitude of alternative characters, each offering unique variations and even decorative swooshes in the alternates. Its thickness and groovy style make it a great choice for a wide range of applications. Whether you're working on logos, packaging, invitations, greeting cards, posters, magazines, titles, business branding, or designs with a retro and vintage theme, This Vintage One adds a sense of classic charm and style to your projects. The font's alternative characters and swooshes allow for a myriad of design possibilities, making it a versatile resource for creating captivating visuals with a vintage flair.

Cooper Goodtime is a font based on the lettering used on the CBS-TV variety series The Glen Campbell Goodtime Hour (1969-1972). The name pays tribute to its two origins, the other being Cooper Black. It was never an actual complete font set on the TV show, only a limited number of handmade letters, all upper case. It has lain dormant since the show went off the air in 1972. With this incarnation, a set of lower case letters has been created to complement the upper case letters. These lower case letters never existed before now. Cooper Goodtime is a funky, nostalgic, cool way to create a display, and it works surprisingly well in text sizes, too.

Marseilazi – 9 Strong Bold Style Font is an imposing and robust typeface with nine additional versions, all sharing the same bold and powerful character. This font's thickness and strength make it incredibly versatile, as it can be seamlessly integrated into a wide range of designs, alongside various other fonts and themes. The nine available versions include serif, sans-serif, sport, grunge, slab, stencil, display, and more, providing ample choices for your creative needs. Whether you're working on logos, titles, headlines, posters, films, magazines, business materials, personal names, and more, Marseilazi delivers an impactful visual presence. With its versatility and commanding presence, this font is an excellent choice for making a statement in your designs and leaving a lasting impression.