Donald DBXL Beekman lives on a ship in Amsterdam’s waters (well, the Amstel river, actually). Living on the water inspired him to design this ‘cruise ship’ typeface VLNL Decks. Available in several variations, it’s a fabulous cocktail of freshly caught fish typography. Decks is recommended for seafood restaurants, speed boats as well as slick city boys wearing overly expensive sunglasses or Ibiza sunset parties. Decks is the tiger prawn amidst sea foods. VLNL Decks has a distinct modern techno look but the rounded corners give it a warm and human feel. It is available in 3 monolinear weights (Light, Medium, Bold) and 3 weights with contrast between horizontals and verticals (Different Light, Different Medium, Different Bold).

German type designer Erik Spiekermann and American type designer Christian Schwartz created this display and sans FontFont in 2008. The family has 6 weights, ranging from Light to Ultra and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards as well as wayfinding and signage. FF Unit Rounded provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Unit super family, which also includes FF Unit and FF Unit Slab.

The 1930s era French textbook on lettering "100 Alphabets Publicitaires déssinés par M. Moullet" featured a hand lettered chamfered alphabet with slab serifs reminiscent of sports lettering. Although intended for advertising and signage inspiration, only a partial lower case was illustrated along with the capitals and no numbers or other characters existed. These had to be created from scratch. The finished result is not only a bit of classic lettering from the past, but the font also doubles as a typeface with a sports look and feel. A traditional (rather than stylized) M and N are located on the solid bar key and the broken bar key respectively. Old Sport JNL is available in both regular and oblique versions.

Fellbaum Grotesk is a condensed typeface with both grotesque and cursive/humanist attributes. Fellbaum Grotesk Regular presents a clean, “grotesk” exterior, while the Italic version features faint slab-style flourishes. These characteristics, combined with a subtle stroke contrast and slightly extended x-height make for a distinct, and artisanal appearance. The family was inspired by the condensed & sterile, yet quirky, sans serifs found on a lot of vintage apothecary labels & municipal street signage. Both styles in the family are modest enough to work as secondary fonts, but also sport enough character to work as a primary sans face for wordmarks, logos, headers, etc. Fellbaum Grotesk Features: • 14 Fonts, 7 Weights, 2 Styles • OpenType Support • Adobe CE Language Support • Dingbats

Designed by hand-drawn slab serif style font, Protagonice font comes in two varieties of regular and dotted textures. You can enhance your project with a retro-style using Protagonice Font. Ensuring carefully crafted styles result from the use of this font. Its imperfections keep it casual but allow it to still be legible. There is an incredibly wide range of uses for it, so give it a try and see how it inspires your creativity! It's ideal for headlines, flyers, posters, greeting cards, product packaging, book covers, printed quotes, logotype, and album covers, among other applications. Because this font is PUA encoded, you can easily access all of the glyphs and swashes!

Magistech is a display font inspired by technology and future design. Designed with modern sensibility build based on slab serif with square letterform, consist in any character either uppercase or lowercase. This font is fit for any design like headline, video, or social media, particularly for future or modern nuances design. What's you get : Standard glyphs Ligatures (Opentype features) Web Font International Accent Works on PC & Mac Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support Image used: All photographs/pictures/vectors used in the preview are not included, they are intended for illustration only. Thank You

Egon is a contemporary Slab-Serif typeface family built in ten styles—extra-light, light, regular, bold and black weights in roman and italic respectably. This is a refreshed (second) edition of Egon Serif, originally designed in 2008. The typeface has been updated—four new styles in ExtraLight and Black weights were added to the family and minor adjustments to glyph shapes (mostly italics) have been made.The typeface is designed with industrial and architectural flavor, as homage to Egon Eiermann, one of Germany’s great architects of 20th century. Egon is ideal as text and display font for publication use. Egon is released as OpenType single master with a Western CP1252 character set.

Slope Sans is an original design that combines a technological shape model borrowed from the early Macintosh system fonts with organic, open elements looking futuristic in a retrospective manner. Designed as part of a font family without different weights, Slope Sans Pro provides OpenType features for alternate letter forms in two stylistic sets. The basic version works similar to a stencil font, an alternative set has consistently closed shapes and a more rigid appearance, while the second stylistic set offers some alternative letter forms. Headlines and shorter texts set in Slope Sans provide a variable, modern appearance. Slope Slab Pro goes very well with Slope Sans Pro and can be used as style variant or display.

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.

Named after the steadfast doctor from Albert Camus’ The Plague, Rieux is an even-tempered slab-serif that is confident without being cocky and approachable without being casual. The aesthetic of Rieux is inspired by the industrial age. While the design is not directly derived from typefaces of that era, the shapes of letter-forms are informed by images of over-sized steel machines and the monolithic brick buildings that housed them. Rieux is available in 5 weights and is ideal for uncatalogued, magazines, short publications and company collateral. In addition to supporting Western, Central and Eastern European languages, Rieux includes an array of OpenType features to provide a range of typographic options.

PiS Hansch has its origin on a small graveyard in Salzburg, Austria. The hand-carved epigraph on a weathered tombstone inspired PiS to create this slightly twisted serif monster. It contains OpenType Features including contextual alternates (you get three different versions of 's', two different versions of 't' and much more), some ligatures and a very special Long S substitution feature that throws you over a hundred years back in time by changing your everyday small "s" into the classic "long s". Use PiS Hansch for your new Metalcore band logo, a zombie flick poster or some hack'n slay computer game titles. works both in display size and for texts in smaller sizes.

What is a brutalist typeface? The exact definition is anyone’s guess. Regardless, the Nomos superfamily is our take on the genre. Like the eponymous architectural style, Nomos is raw, direct, and honest. Its unrefined aesthetics reveal an orderly construction that is as firmly rooted in classic modernism as in the internet age—with simple, functional letterforms and the blunt convergence of diagonal and vertical stems. The Nomos Sans subfamily is a low-contrast neogrotesk with 18 styles and a set of 1000+ characters. A confident choice for fashion and finance, for apps and advertising: humble and expedient in body text, vigorous in display sizes. Has extra poise when paired with Nomos Slab.

Thrace (/θreɪs/; Greek: Θράκη, Thráki; Bulgarian: Тракия, Trakiya; Turkish: Trakya) is a geographical and historical region in Southeast Europe, now split among Bulgaria, Greece, and Turkey, which is bounded by the Balkan Mountains to the north, the Aegean Sea to the south, and the Black Sea to the east. It comprises southeastern Bulgaria (Northern Thrace), northeastern Greece (Western Thrace), and the European part of Turkey (East Thrace). Trakya Sans is a modern sans serif with a geometric touch. Futura, Avant Garde and the like. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Ideally suited for advertising and packaging, editorial and publishing, logos, branding and creative industries, posters and billboards, small text, way-finding and signage as well as web and screen design. Trakya Sans provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Trakya Sans 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Trakya Sans" comes in 5 weights with matching italics plus "Trakya Sans Alt", also 5 weights and italics so a total of 20 styles. The family contains a set of 630+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just with one easy touch in all graphic programs. Trakya Sans is the perfect font for web use. You can enjoy using it.

Bunday Clean is a minimalist and friendly font family with different moods. It drops everything unnecessary like spurs and ears and appears crisp and contemporary with a slightly squarish touch. Like the other members of the superfamily (Bunday™ Sans and Bunday™ Slab), Bunday Clean provides uprights, a second set of styles with characters that reference handwritten cursive. These curvy styles give words a distinct look and are especially attractive for use in display applications and logotype design. Bunday™ Clean is space-saving and creates a homogenous text color with good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure perfect appearance in all media. It ships with 9 standard, 9 upright, and the corresponding italic styles from a considerably thin hairline to a quite thick heavy. It supports at least 99 languages and provides OpenType® features for ligatures, alternative glyphs, localized forms, and much more. Feature Summary*: -4 Moods: Normal, Upright, Italic and Upright Italic -9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy -Supports at least 99 Languages incl. eastern european -Overall width: Narrow or Space-Saving -Advanced f- ligature set including fb -Discretionary s- and c- ligatures -Alternative Characters: a, e, f, g, l, t, y, A, E, F, L, and more -Capital German Eszett -Extra characters with Polish Kreska -Catalan Punt Volat -More than 570 characters per font * Some features may only be available in OpenType®-savvy applications Please, take a look at the other Bunday superfamily members: Bunday™ Sans Bunday™ Slab

Designed by Malou Verlomme of the Monotype Studio, Macklin is a superfamily, which brings together several attention-grabbing styles. Macklin is an elegant, high contrast typeface that demands its own attention and has been designed purposely to enable brands to appeal more emotionally to modern consumers. Macklin comprises four sub-families —Sans, Slab, Text and Display— as well as a variable. The full superfamily includes 54 fonts with 9 weights ranging from hairline to black. The concept for Macklin began with research on historical material from Britain and Europe in the beginning of the 19th century, specifically the work of Vincent Figgins. This was a period of intense social change--the beginning of the industrial revolution. A time when manufacturers and advertisers were suddenly replacing traditional handwriting or calligraphy models and demanding bold, attention-grabbing typography. Typographers experimented with innovative new styles, like fat faces and Italians, and developed many styles that brands and designers continue to use today, such as slabs, serifs, and sans serifs. Verlomme pays respect to Figgins’s work with Macklin, but pushes the family to a more contemporary place. Each sub family has been designed from the same skeleton, giving designers a broad palette for visual representation and the ability to create with contrast without worrying about awkward pairings. With Macklin, Verlomme shows us it’s possible to create a superfamily that allows for complete visual expression without compromising fluidity. Macklin™ font field guide including best practices, font pairings and alternatives. Featured in: Best Fonts for Websites

Elizabeth ND is known for being the first typeface designed by a woman: Elizabeth Friedlander. It was engraved in 1938 by the Bauersche Gießerei. It has two styles: roman and italic. Its grace, delicacy and beauty allow many compositional possibilities, making it an ideal choice for use as a display and headline typeface. Elizabeth is a Trademark of BauerTypes SL

Volume is a 3D font, with interlocked characters, inspired by vintage wooden block capitals! Superimposed weights bring light and shadow on the structure and allows many coloured combinations. Cubo est une fonte en volume dont les lettres s'imbriquent, inspirée d'anciens caractère d'imprimerie en bois. Les diiférentes graisses se superposent, créant des effets d'ombre et de lumière, et facilitant la colorisation des caractères.

Fractura ND is a stencil typeface designed by José María Cerezo. It includes, in addition to four fonts of different weights, an outline font, a pair of fonts to make bicolor sets and a dripped font. A geometric sans serif that, with the particularity of being a stencil, provides personality and wide compositional possibilities. Fractura is a Trademark of BauerTypes SL

Gaudí ND was designed in 1962 by Ricard Giralt Miracle and awarded with a Delta d’Or from ADIFAD. It combines the constructive spirit of the lapidary Roman with the modern sans serif. The rectangular endings constitute a recurring rhythm, resulting in a futuristic character that refers to a digital context and the interior life of computers. Gaudí is a Trademark of BauerTypes SL.

The genuine Futura takes up Paul Renner’s earliest sketches and brings back to life the original stylistic alternatives of the letters a, g, m, and n. Another of its peculiarities is the curved ends of the j, l, and t. It retains its genetic heritage, maintaining a perfect geometry, but with a fresher air than ever. Futura is a Trademark of BauerTypes SL

The Art Deco hand lettered opening credits for the 1936 French drama “La Belle Équipe” [English title: “They Were Five”] provided the inspiration for Foreign Film JNL, which is available in both regular and oblique versions. According to Wikipedia, the film “…tells the story of five unemployed workers who win the jackpot in the national lottery but their solidarity then proves fragile.”

This font style is commonly seen in traditional tattoo artist portfolios all over the world. Inspired by graffiti seen in bathroom stalls, taco stand tables, public transportation windows, and brick walls in the suburbs of East LA. This font will go great on a banner for a tattoo design, and even on a t-shirt design for all your urban clothing lines.

Living from 1545 in Lyon, France, the famous punchcutter Robert Granjon created a typeface that looked like his own handwriting. The first book printed with this font, in 1557, was probably Dialogues de la vie et de la mort by Innocent Ringhier. We offer the complete typeface. It is a charming font with historical forms (long s, final s and others) and many ligatures, enriched with accented letters and other characters that did not exist in the original (thorn, eth, lslash and others), and a lot of alternates that permit rich and varying typography. Warning: all characters appear with the 1500s manual blackletter old style, especially letters “e” “r” or “h” alternate and some ending forms, and may be difficult to read at first, but it quickly becomes very easy. The font contains all characters for Baltic, Western European (Including Celtic), Eastern European, Northern European, and Turkish languages.

As a former typographer / lino and calligrapher, Abdallah NASRI had recourse to the nature of the idea of ​​an "INTERCHANGEABLE" collection for types who in reality offer a police collar parallel to the complex typeface of the variable. Our fashion is outlined by a simple calculation defined by superimposed geometric circles where we used only its ¼ to fill the need for the angles of each of our letters. Always with the idea of ​​having in the same allocated space, the same letter nested as many times as fat example from Hairline to Ultrabold. It was in this way that I was able to obtain a large number of styles, with a very interesting kerning which prompted me to extend the font to other languages ​​with +1000 characters and +600 glyphs. I have always been treasured by the all in "1". I assure you that I sought to obtain the maximum of Visibility for a use S / Titling TV, WEB Pages and Typography Typo; once the difficult thing was done, I was rewarded by a font that has countless typographic openings for the world of graphics with 10 styles of weights in hand, and again I am happy to have personalized the charm of each letter by new details; I do not regret the time spent on thinking about it so that it is useful and at the same time pleasant as a working tool, finally profitable in all sectors and more multilingual, without forgetting that it is a family of inter change c ' is to say: All the types occupy the same height of the body and it is their fats which differs in the same space width of each of the letters, therefore no interference in spacing. Here, an additional alternative, a participation of a septuagenarian in the service of the love of modern digital typography. • TEST: At 50% screen in a body of 12 pixels, the A10 STAR Alphabet subjected to a test, has a clear Readability / Visibility. • P.S: A10 STAR integrates Diacriticism in all its forms. Texte d'origine : Abdallah NASRI a eu recours en étant ancien typographe/lino et calligraphe à la nature de l'idée d'une collection "INTERCHANGEABLE" pour les types qui en réalité offre un collier de police parallèle à la fonte complexe du variable. Notre mode est esquissé par un calcul simple défini par des ronds géométrique superposés où on a utilisé seulement son ¼ pour garnir le besoin des angles de chacune de nos lettres. Toujours dans l’idée à avoir dans le même espacement alloué, la même lettre imbriquée autant de fois de graisse exemple du Hairline à Ultrabold. C’est de cette manière que j’ai pu obtenir un grand nombre de styles, avec un crénage très intéressant ce qui m’a incité à étendre la police à d’autres langues avec +1000 caractères et +600 glyphes. J’ai toujours été prisé par le tout en « 1 ». Je vous assure que j’ai cherché à obtenir le maximum de Visibilité pour une utilisation S/Titrage TV, Pages WEB et Maquette typo ; une fois le difficile fait, j’ai été récompensé par une police qui possède d’innombrable ouverture typographique pour le monde du Graphisme avec comme atout en main 10 styles de graisses, et encore je suis content pour avoir personnalisé le charme de chaque lettre par des détails nouveaux ; je ne regrette pas le temps passé dessus à réfléchir pour qu’il soit utile et à la fois agréable comme outil de travail, enfin profitable tous secteurs confondus et en plus multilingue, sans oublié que c’est une famille d’inter change c’est-à-dire : Tous les types occupent la même hauteur du corps et c'est leurs graisses qui diffère dans un même espace largeur de chacune des lettres, donc aucune interférence dans l’espacement. Voilà, une alternative supplémentaire, une participation d’un septuagénaire au service de l’amour de la typographie numérique moderne. • TEST : A 50% d'écran dans un corps de 12 pixels, l'Alphabet A10 STAR soumise a un test, présente une nette Lisibilité / Visibilité. • P.S : A10 STAR intégre la Diacritique dans toutes ses formes.

Linotype Didot™ was drawn by Adrian Frutiger in 1991, and is based on the fonts cut by Firmin Didot between 1799 and 1811. Frutiger also studied the Didot types in a book printed by the Didots in 1818, "La Henriade" by Voltaire. This beautifully drawn family is the right choice for elegant book and magazine designs, as well as advertising with a classic touch.

Geonica is minimalistic geometric sans serif font with different line width. Geonica is suitable for the design on the theme of architecture, game industry, minimalism ect. Geonica includes stylistic alternates for symbols: A, E, K, M, O, Q, T, V, W, g. There are also ligatures: AA, AJ, AM, LA, LM, MA, MM, OO, VV, fi, gg, gi, gj, oo, ri, rr, ti, vv, yy.

Our most up-to-date Futura adapted to the new times. Its peculiarity lies in the curved endings of three of its letters (“j”, “l” and “t”), which gives the typeface a more dynamic and modern look, making it easier to visualize on small and low-resolution screens. The original designs of these characters are also included. Futura is a Trademark of BauerTypes SL

Spur Wide JNL was modeled from an example of hand lettering from the antique French alphabet book L'Art du Tracé Rationnel de la Lettre. Heavy Roman style letters with spurs (often referred to as Latin) were most popular with sign painters and show card writers in the early part of the 20th century. Spur Wide JNL is available in both regular and oblique versions.

Tme, new lineal — Tme is an update of Sl (T = S + 1, m = l + 1 and e for natural logarithm), drawn in 2006 for the University of Arts Saint-Luc de Tournai. Its geometrical drawing is based on the directions of the hexagon, a scrupulously followed constraint which confers on some glyphs a very particular drawing. in light, regular and bold language: all latin glyphs

This typeface, in fact a bitmap font 'avant la lettre' is an interpretation of the Old Face condensed type. It is being used where space is scarce. Its skeleton is projected on the chain structure of a fly screen. Eventually your text lines fill the space as wide as hypothetical doors can be. In small sizes the text appears to be drawn with a pencil.

Moreva is a new casual modern script font. This font describes about girly, feminist, elegant, catchy, dynamic, humanist, easy to use and will bring a good harmony when the letters are connected and paired each other. FEATURES - Support Opentype Features - Support Ligatures - Automatic stylistic alternates am an ar at att bb bl cl ct dd fl el elt em en er et ett ff gg gt hh il im in ir it itt kk ll lt mm nn nt oo ol olt om on or ot ott pp rr ss se sh sk sl so st tt the um un ur utt yl yt Sl Sk St Sh Gl Gh Kl Kh Ch Cl Bl Bh - Uppercase - Lowercase - Numbering and Punctuations - Multilingual Support - Works on PC or Mac USE Moreva works great in any branding, logos, magazines, apparel, wedding designs, social media posts, advertisements, quotes, product packaging, product designs, label, photography, watermark, invitation, stationery and any projects that need handwriting taste. Enjoy using! Thanks. HIRO.std

Prêt-à-porter is a project developed as part of a series of type experiments appearing on the blog ‘Letritas’. Prêt-à-porter is a very expressive friendly font with a handwritten look, smooth curves and strong identity. Its counterforms make it a carefree, wild, cheerful, light and highly readable typeface. This type system consists of two Script families—Contrast and Linear—and a Slab family. The Contrast set works as a complement, providing more elegance and formal refinement. Both Linear and Contrast come in 5 weights plus Ornaments, which can be used as initial and terminal forms since they have been designed for connecting with each letter. Linear and Contrast families include ligatures and the whole font family supports 208 different languages.

Postulat Pro is a contemporary slab serif typeface. The family contains 16 fonts: 8 romans with matching italics, from Hairline to Bold. The character set include contains more than 2100 glyphs which support most Latin and Cyrillic languages including Vietnamese, Greek, as well as small caps, stylistic and local alternates, and many other useful characters. The font uses a combination of smooth and extremely simple straight shapes. The author abandoned the use of teardrop-shaped classical elements, replacing them with straight ones, which makes Postulat Pro more dynamic and modern. These unique features give the font a unique personality. Postulat Pro is the perfect choice for headlines, logos, branding, packaging, publications and websites. The typeface was designed 2021 by Alexey Chekulaev.

Neo-grotesque Sans Serif mixed with the classical handwritten Script in slanted geometric shapes - that’s the way Mixa was born. Those two faces of the new font family makes it as much as unique and recognizable. When you’re using the Capitals only nobody will suspect that there is script hidden in the lowercase. That’s why all eight weights can be combined perfectly with wide list of classical Sans Serif, Slab Serif and Serif typefaces. The font offers wide range of ligatures to ensure smooth readability and beautiful letter combinations. The decorative swashes in some of the Capitals presented as a stylistic sets give unique touch in any design. Mixa has it’s own style and personality, but without lacking of legibility.