Pinback was inspired by the science fiction movies of the 60s and 70s. The name is taken from one of the protagonists of John Carpenter’s Dark Star.

Born in the 70s Personal influences are unavoidable in type design and usually find their way through into finished fonts. At Fontsmith, one period in particular provides inspiration, according to FS Pimlico designer, Fernando Mello. “Jason and Phil have always known that I’m very into the visual language of the 70s. I know that Jason shares my love of the 70s and Phil will sometimes admit to being a fan, too. I think that’s the reason they were both so supportive in the development of this font. “And, of course, we all share an interest in good-humoured and intelligent design. We like to think it’s a Fontsmith characteristic.” Back from black FS Pimlico started in an unusual place: with a tubby, penguin-like lowercase “a” that Fernando Mello had been sketching. From “a” grew the rest of the alphabet – a bubbly, fat, friendly family with a brush-written quality that became FS Pimlico Black. The black weight certainly isn’t the normal starting point for creating a regular and bold weight, but Fernando pressed on, driven by a glut of influences: brush-writing; Letraset and early digital systems catalogues; the type of Herb Lubalin and Tony di Spigna; 70s clothes and vinyl; and 70s revival disco nights in London’s Pimlico and Vauxhall. Natural or flourished Not often do fonts come along that seem to span the ages. FS Pimlico is at home in an office environment providing a fresh clear identity in communications or providing text that’s clear and easy to read. But it likes to party, too, 70s style. With the OpenType features switched on, a designer can totally change the look of their work, and create point-of-sale, headlines and titles that stand out and get noticed.

Born in the 70s Personal influences are unavoidable in type design and usually find their way through into finished fonts. At Fontsmith, one period in particular provides inspiration, according to FS Pimlico designer, Fernando Mello. “Jason and Phil have always known that I’m very into the visual language of the 70s. I know that Jason shares my love of the 70s and Phil will sometimes admit to being a fan, too. I think that’s the reason they were both so supportive in the development of this font. “And, of course, we all share an interest in good-humoured and intelligent design. We like to think it’s a Fontsmith characteristic.” Back from black FS Pimlico started in an unusual place: with a tubby, penguin-like lowercase “a” that Fernando Mello had been sketching. From “a” grew the rest of the alphabet – a bubbly, fat, friendly family with a brush-written quality that became FS Pimlico Black. The black weight certainly isn’t the normal starting point for creating a regular and bold weight, but Fernando pressed on, driven by a glut of influences: brush-writing; Letraset and early digital systems catalogues; the type of Herb Lubalin and Tony di Spigna; 70s clothes and vinyl; and 70s revival disco nights in London’s Pimlico and Vauxhall. Natural or flourished Not often do fonts come along that seem to span the ages. FS Pimlico is at home in an office environment providing a fresh clear identity in communications or providing text that’s clear and easy to read. But it likes to party, too, 70s style. With the OpenType features switched on, a designer can totally change the look of their work, and create point-of-sale, headlines and titles that stand out and get noticed.

The glyphs of AndrijScript typeface are based on usual calligrapher's handwriting, my own native Cyrillic. This strange mix of freedom and professionalism looks vivid but a bit elegant. In three very different weights it has some ligatures and contextual alternatives for more natural look. All you need is love, you know ;)

Here's another experiment in minimalism, using just three basic shapes to fashion an alphabet. Use it liberally when you want an air of intrigue, or to send secret messages. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Introducing MBF Avturo, a square, condensed, modern, minimalist typeface that redefines versatility. Clean lines and a sleek design make it an eye-catcher, while its three weights – light, regular, and bold – offer a spectrum of possibilities for your creative endeavors. Elevate your projects with MBF Avturo’s contemporary charm and minimalist sophistication.

Power Display Inspired by Fun cartoon style combined with modern style. This Playful Font Comes In Three Widths; Condensed, Normal, Expanded. This Font Can Be Used For Modern And Vintage Designs, Also Can Be Easily Paired With Some Graphic Elements (Illustration, Photography) This Font Perfect For, Logotype, Branding, Title, And Packaging.

Ethem is a semi-geometric typeface, ideal for posters and flyers. Provides three weights: light, regular, and bold without leaving out the italics of each. The Ethem font family provides six typefaces. If you need a strong, prominent or dominant typeface in your project, Ethem font is the ideal typeface.

Amsi has been designed to equipped with three different widths; Normal, Narrow and Condensed, addition to expanding weights to support various usabilities ranging from Thin, XLight, Light, Regular, SemiBold, Bold, Black and Heavy. Which makes Amsi along with a numerous features support the creativities of the designer from the Font Menu.

Inspired by Typoart’s Minima, Tablica which comes in three styles - Regular, Italic, Bold - fills ideally narrow columns, charts and tables. Since all numerals are monospaced, you can sum up all numbers of a table. Though this is a condensed sans serif family, it offers a high legibility even in small degrees.

A freestyle serif typeface, some details of its letterforms are modelled after flat-nib pen calligraphy (serifs with slanting ends, cutting terminals). Three decorative calligraphic versions with swashes and connecting elements are incuded. For text and display typography. The face designed by Natalya Vasilyeva and licensed by ParaType in 2007.

Kraft Stencil is a bold, display typeface that takes a new approach to vintage crate stencils. Utilizing octagon shapes as the backbone, the aim was to develop modernized stencil fonts. The font family comes in three weights, and each style consists of the different edge finishes of the character sets.

Amsi has been designed to equipped with three different widths; Normal, Narrow and Condensed, addition to expanding weights to support various usabilities ranging from Thin, XLight, Light, Regular, SemiBold, Bold, Black and Heavy. Which makes Amsi along with a numerous features support the creativities of the designer from the Font Menu.

Karty Solid is a freehand typeface that was inspired by John Baskerville’s designs. Karty Solid comes in three version: Regular, condensed and Expanded, including a large set of swashes, ligatures and stylistic alternatives, which bring the chance to create logotypes, originals headlines for fashion magazines, children books, advertising and much more.

A font designed by Christian Acker (2002), based upon neon signage in downtown New York. 24Hrs was an exercise in creating flat artwork from the inspiration of neon's three dimensional forms. All of the tubing's overlapping and twisting is documented and taken into account in the design of the letterforms.

Highlight is the work of British lettering designer Tony Watson, an airy, three-dimensional typeface based on a refined brush stroke style. Capitals can be used alone or in combination with the complementing lowercase and letters should be spaced closely. Highlight is ideal when a restrained, informal look is required.

KyivType superfamily, consisting of three subfamilies: Sans, Serif and Titling. Fonts have variability in weight and contrast. There are also alternates. Initiated by Projector, Dmytro Bulanov Creative Büro, and Banda Agency for Kyiv city (Ukraine) identification and promotion. Freeware. Fonts are free for commercial and non-commercial use. More at Behance

This is a decorative font containing the letters A-Z, numbers 0-9, and enough punctuation to make invitations, playbills, posters, and the like. It is meant to have the feel of the theatre district early last century. "Roaring 20s" comes in three styles: regular/engraved, hollow/white, and black. Enjoy!

A stylish cartoon sans reminiscent of lettering by Harvey Kurtzman on early issues of Mad, or other casual mid-century types. The three widths give full versatility for expressive, customised headlines and layouts, while the lighter weights can be used for text. Conveys an approachable, light touch with style and finesse.

AZ Audiotape font is inspired from a vintage '70s record sleeve company logo. This font is designed for use as a worn and antiqued headline or sub-headline.

Retro Brown, Inspired by 70s Design Era. Retro Brown offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs.

Introducing Grandtown - retro bold script style font. Inspired from retro typography and lettering in the 70's and 80's combine with bold typography style. With this font will bring you back to 70s feel. Grandtown is perfect for vintage and retro design, badge, logos, t-shirt, poster, branding, packaging, signage, book cover and so much more! Come with Opentype feature with a lot of alternates, its help you to make great lettering. This font is also support multi language.

Inspired from 60's and 70's script lettering, bringing a smile and a dose of nostalgia to the daily lives. Where you get to relive the far out culture of the 60’s and 70’s! The era of groovy was all about music, festivals, where icons were created, epic stories were told, and culture was changed forever. The Gv. time came with opentype features such stylistic alternates and others, its help you to make great lettering, also support multilanguage.

Katlynne is unpredictable. Katlynne is erratic. Katlynne is beautiful. Katlynne is an alternating contrast, sans serif type family. Arbitrarily separating the characters into ‘rounder’ and ‘straighter’ letterforms to determine what contrast each glyph will take. Katlynne is inspired by the observations made while watching the inexperienced use of broad tip pens. I found how and when individuals rotated their pen gave a visually intrusive, if not also pleasantly conspicuous effect. Often, the pen would naturally rotate horizontally (vertical contrast) on the rounder letterforms, and vertically (reverse contrast) on the straighter ones. This is more or less the formula Katlynne adopts as the contrast changes throughout the styles. Katlynne’s severity of contrast varies from ‘Negative Three’ to ‘Positive Three’ in four weights. With a central style ‘Book’ being the sensible, low contrast font in the family. Within the family there are four weights with 7 contrast styles, with complimenting true italics. Giving a total of 56 fonts! Katlynne's array of options works for creating stylistic similitude within layouts, where conspicuous title faces are needed with a cohesive text face to compliment. Alone, the ends of the contrast spectrum (Negative and Positive Three) create striking word forms for advertising, packaging and anywhere else a loud voice is needed.

ManRay is a photogenic typefamily of 6 fonts designed by @andinistas, with more than 2600 glyphs distributed in 3 Scripts and 3 Caps. Its shapes are ideal for attention-grabbing and for its eloquent character set, each style is presented with three levels of erosion planned with meticulous dotted texture bézier drawing, diagonal texture, and vertical texture pattern. ManRay Script, Script2, Script3 is based on calligraphy made with a fine tip brush and therefore communicates pleasant and attractive ideas. Its capital letters measure three times the height of the lower case and stand out for its artistic curved lines ideal for writing on photos, logos, labels, packaging, posters, covers of food products, spirits, organic teas, etc. In that order, it also offers other expressive alternate letters that activate spontaneously, and each of the three styles is case-infinite with and without Swash, Stylistic, and Titling Alternates. ManRay Caps, Caps2, Caps3 are inspired by calligraphic Roman letters drawn with a brush with a square tip and are equipped with descending flourishes for word start and end. The core of ManRay mixes the ideas of Ed Benguiat and Ross F. George and its name is a tribute to the Dada hero who changed history a century ago by working against the conventions of art and photography.

It started in 2007 with Chennai, the first of a three-part series of sans that I envisioned with slab serif counterparts. Each font would differ from the others in how the stem terminals were expressed. The initial font was extremely well received, and a revitalized and remastered Chennai made its appearance two years later, complete with new weights and new, novel OpenType features. Then came Madurai, a variation of Chennai based on the same core, only without the rounded stems. Chennai’s rounded stems made it distinctive and great for headlines but left it lacking appeal as copy--a problem that Madurai easily solved. And now comes Sangli, the final iteration of my original 2007 vision. Sangli is a happy medium. Like Chennai, it’s great for headlines--but not too distinct for copy. Sangli keeps the same core structure as the other two, but new less sharp forms give this latest font a friendlier look that’s more versatile than the original Chennai and less formal than Madurai. The font includes a whole range of six weights from light to black, along with condensed and extended options as well for a total of 54 fonts. There are plenty of OpenType features, including small caps. Alternates include normalized capitals and lowercase letters that include stems for when you want a more traditional look or when you’re writing copy. Sangli also supports over 70 languages that use the extended Latin script. Use Chennai, Madurai, and their slab serif variants interchangeably with Sangli, too, for even more options in your work. All three complement one another well. So when you need a balanced font that stands boldly on the page and commands your reader’s attention, look within and find your Sangli.

Retro Volt Inspired by 70s-80s Design Era. Retro Volt offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs.

Retro Cool , Inspired by 60s - 70s Design Era. Retro Cool offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs.

Teletext fonts have a defined character set comprising alphanumeric and graphics characters. The Andale Teletext fonts also include G3 Smooth Mosaics and Line Drawing Set support as defined in ETSI EN 300 706, for Teletext 2. Andale Teletext includes the following character sets: Latin G0 and G2 sets, Latin National Option Sub-Sets, Cyrillic set, Greek set. Andale Teletext family includes 3 fonts: Andale Telext regular, Andale Telext 43 and Andale Teletext 83.

The Devil's Poetry is a new blackletter typeface from Michael W. Moss. The lowercase letters feature a pleasing hexagonal visual cadence while the capital letters stand tall and modestly ornate. The Devil's Poetry is available in three styles and features a Unicode Latin Extended-A character set. "Sarcasm is The Devil's Poetry."

Flash was designed in 1953 by the designer Enric Crous-Vidal, as part of the graphic trend “Grafía latina”. It is a three-dimensional typography, which seeks optical and relief effects, similar to those of wood engraving. It gives a handcrafted look to any printed piece. Flash is a Trademarks of BauerTypes SL

Rough and ready artisanal lettering for your fair trade coffee shop, whiskey microbrewery or Victorian bill-poster — or, alternatively, distressed type for the cover of a hard-hitting novel set in a war zone. Fairtrade uses opentype technology to cycle through three versions of each character, giving an authentically uneven time-worn appearance.

Talbot Type Keymer Thug is a display face available in three weights, it is a distressed variation of Keymer Radius . Its textured look brings a characterful, time-worn quality. Keymer Thug features an extended character set to include old style numerals, accented characters for Central European languages and bespoke characters in the italic.

Encorpada Classic, designed by Eduilson Coan, brings the best features of the Didone genre, but with a 21st century look and feel. With smooth details Encorpada Classic is an elegant choice for your type library. The family has three widths – compressed, condensed & normal, support for more than 40 languages and opentype features.

Witchcraft is a classic Roman font in three weights and corresponding italics. The ‘v’,’w’,and ‘y’, use the old style join at the top reminiscent of Georg Belwe’s Roman design “Belwe”. The large x-height makes for a powerful headline font but excellent for text setting especially in the lighter weights.