HU Flat White is a retro vibe headline typeface. It has a full module, but, the inner space created by large strokes' contrast gives a cool feeling. Overall, the extended typeface with a wide width is attractive, and the shape of every alphabets' tip create a retro feel.

The Pacific Sans and the Pacific Serif originated from the Pacific Standard, a space effective type face, especially designed for poster lettering. The implementation of serif strokes in the Pacific Serif and the contrast in vertical and horizontal strokes in the Pacific Sans, gave these fonts a distinct elegance.

Karin's free reinterpretation of the early Renaissance Lombardic tradition, in two different versions. In the upper case the fill is blacker and has a straight pattern with diamond elements; in the lower case the fill is thinner with more white space and has a wavy pattern with rounded elements.

The Tecn@ Narrow family was designed so that its characters are legible and easy to interpret in any writing and where space saving is necessary; among them, the descriptive memory of plans or instructions, for example. Tecn@ Narrow complements the Tecn@ Background Light, Dark Square & Triangle font family.

The Pacific Sans and the Pacific Serif originated from the Pacific Standard, a space effective type face, especially designed for poster lettering. The implementation of serif strokes in the Pacific Serif and the contrast in vertical and horizontal strokes in the Pacific Sans, gave these fonts a distinct elegance.

Ordax is a condensed display sans-serif type family. Simple, clean and modern, it was designed to assert reliability and gravitas to the content. It is particularly suitable for projects that demand simplicity and space economy. Details include four weights with matching italics, 447 characters and the Opentype features.

Fine-built, straight but not official, with soft corners is suitable for short texts, placards and advertising. It was inspired by 1970s when people were mad about robots, space and so on. I decided to create a font as if it was a progressive font of the 1970s.

Bartkey is a modern sans serif display all caps font. The font is distributed in OpenType format including kerning and other features. Ideally suited for a space mood, future tech and innovative products great for big titles and small subtexts. Combine with images to really wow them humans.

PT Adonis™ was designed by Natalia Vasilyeva and licensed by ParaType in 2002. An original typeface, its characters have slightly oblong proportions, with rounded serifs and generally soft letterforms. The face is both space-saving and quite legible in small sizes. For use in text and display typography.

Reduta is a new, modern font family, with fresh wide line, graphically attractive both upper and lower case letters. Spaced and mastered for optimal readability, Reduta plays well in a wide range of projects and applications. The typeface comes with a wide character set and provide multilingual support.

Hazel is the work of British designer Phill Grimshaw. It is an all capital typeface with friendly, scratchy strokes ornamented with a whimsical, free-flowing embellishment. Hazel should be set slightly wider than usual letter and word spacing and will lend any headline or display both naturalness and elegance.

Derived from Valibuk, Britva is designed like from broken glass for eye-catching headlines. It's a heavy, condensed face with a high x-height and tight spacing. While Valibuk can write it loud, Britva literally shouts it out even louder. The unbroken glyphs are accessible through OpenType contextual alternates.

Tall and narrow in stature, elegant by design and Art Deco in style, Deco Elongated JNL is a wonderful type design for setting long lines of copy in less space. The retro elements of this font conjure up images of fine fashions, fancy nightclubs and big band music…

ITC Leawood was begun by designer Les Usherwood and finished by his talented staff at Typsettra in Toronto, Canada, after his untimely death. A similar calligraphic series to ITC Usherwood, following alternative options, the typeface features small, well-defined serifs which aid legibility and allow for close spacing.

Odessa was designed by Peter O'Donnell, an impressive, refined sans serif typeface based on the compass and ruler design of Futura. It is best set with wide letter spacing and is particularly good for an upscale, fashionable look. The fine-line casing of Odessa emphasizes its clean, proportioned features.

Here's a faithful rendering of an old face from the James Conner's Sons specimen catalog of 1888, alternately known as Aetna or Painter's Gothic. Its compact descenders allow for tightly-spaced headlines. Both versions of the font contain the complete Unicode Latin 1252 and Central European 1250 character sets.

Pleasure is the work of German designer Holger Seeling, a condensed open sans serif typeface featuring a shadow behind each character. Its geometric forms are flexible and best used closely spaced. Pleasure reflects no particular time or setting and is therefore ideal for a wide variety of headline applications.

TagBoyHardcore is based on my own tagging style when I did graffiti in the mid-eighties. The font is roughly scanned and spaced narrowly in order to keep the original bad boy style. Pump up your text by starting and ending sentences with parentheses, brackets or the curly brackets.

Avadar is a typeface with a fine serif of straight lines and an inner line that breaks the glyph in two. The type is indicated for use in large or very large sizes, especially for display graphics; the spacing between glyphs makes the readability of the text increase.

Diegeometrische is an all uppercase geometric-based serif typeface featuring Latin, Extended Latin and Cyrillic character sets. - Latin, Extended Latin and Cyrillic character sets offer multilingual support. - Over 1000 kerning pairs for optimal letter spacing. - Unique combination of serif, geometric, and stencil design elements provides a distinct design.

Monogamma is an experimental typeface which explores opportunities for harmonious connection of broad nib writing and the aesthetics of monospaced typefaces. The typeface is primarily designed for headings and typesetting in large sizes. It is not intended for technical usage, therefore its metrics and characters proportions are optimized and the spacing between letters is optically evened out. Thereby, Monogamma has even letter spacing, contrasting styles and is free from the imperfections of monospaced fonts. It is supplied with kerning and OpenType features and comes in three weights, with full character set or capitals only. Supporting Latin and Cyrillic, it covers most European languages. The full character set includes an alternative capital U and zero, punctuation marks for the upper case and a set of arrows.

Leaves and Twigs is a quirky handwritten font trio and floral illustrations collection with fun variations, that is perfect for logotype design, branding and packaging, and social media posts. Just in time for the holidays, Leaves and Twigs is also perfect for homemade seasonal designs (such as postcards, prints, and present tags). Included in this collection: a tall, all-caps sans serif font - with a slant alternative a small, spaced sans serif font - with a jumpy alternative a spaced script font - with a slant alternative a floral illustrations dingbat font - with a blackout alternative All written with the same pen, at the same size, so that the line width is consistent throughout the collection, for easy pairing (floral illustrations are sized down by 4x).

Ganache is a smart, intricate, fun, and deceptively simple font. This distinctive hybrid is a unique blend of script, Roman, and italic. My fascination with letter-fitting makes this an intriguing exercise in negative space. The uppercase letters are boldly stylish, and here some of the counters display unexpected shapes. Between some letters, the negative space is transformed into a type of swash itself. Customize your design with Ganache’s 185 swashes and alternates and 10 ornaments. *NOTE* Basic versions DO NOT include swashes, alternates or ornaments See what’s included! http://bit.ly/2bUfPmt These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

Crepe Paper JNL is an alphabet-only novelty font that creates a wavy ribbon headline with a vintage wood type alphabet that somewhat resembles an unfurled stretch of crepe paper. The upper case A-Z keys will produce a white ribbon banner with black letters, while the lower case a-z keys are white letters on a black background. The end caps for the white banner are on the left and right parenthesis keys, while the end caps for the black banner are on the bracket keys. A blank space is located on the period key for the white banner and on the comma key for the black banner. This will allow for a continuous text banner without an open break due to using the space key.

Introducing Minimalist VONESA – a new nostalgic serif revival that will blow your mind. I've started looking at classic serifs with a narrow 80's & 90's range, and wanted to make the perfect one for you too! VONESA Minimalist is a beautiful nostalgic upper and lower case typography that looks amazing in upper and lower case settings as Display, Logo and body text. One thing to note about VONESA Minimalist is that the letter spacing is intentionally set for clean readability if you want to use it for body types, so I recommend setting the spacing a bit tighter for display use (around -20 to -40 should be!). Thanks for watching, and come and say hello on Instagram! https://www.instagram.com/mordex.studio/ ~Mordex.Studio

Crox™ Narrow is the second family of Crox™, designed for long texts and gaining paragraph spaces. It's available in 19 styles, including upright and italic, and the majority of glyphs are compressed to make a different spacing between characters. The basic English characters are provided as both numerator and denominator sets in the narrow version too; this feature may assist with the creation of fractions with letters and numbers, such as in advanced scientific fraction form scripting. Within each style, all weights support over 25 professional OpenType features, with significant coverage of western languages. and include multi-alternative characters in Styles 1, 2, 4, 10, and 11, which were initially intended for advanced usage. Specimen Crox™ is a trademark of Yassine Abdi.

Linotype Startec, from Jan Tomás, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. This is another fun font from Tomás, who also designed Alphabat, and the two share some characteristics. Linotype Startec is an outline font whose unique forms are reminiscent of futuristic dreams and space adventures. It should be used in point sizes of at least 18, but the phrase 'the bigger the better' fits this font well. The careful details and figures of the alphabet turn into UFOs and space ships from another world when set in very large point sizes. Linotype Startc is best for very short texts and headlines.

Introduction to Celan Bold Serif Font The Celan – Bold Serif font stands out with its robust and masculine appearance. It features thick, strong lines and minimal white space. This design choice gives it a dominant presence, making it ideal for impactful titles. Characteristics of the Font Celan is characterized by its bold, assertive strokes. The limited white space between letters enhances its solidity. This quality makes the font appear more masculine and forceful. Its serif design adds a touch of classic elegance. Ideal Uses of Celan – Bold Serif This font is perfect for powerful titles that need to command attention. Its boldness makes it suitable for headers in various mediums like posters, websites, and magazines. The strong character of the font conveys confidence and authority.