Yalta Sans combines the warmth of a traditional humanist design, the clarity of a grotesque and the modernity of a square sans. Several design traits contribute to this melding of diverse typographic concepts. Characters find their foundation in stroke-based shapes rather than constructed forms. Curve stokes are also slightly squared and counters are open. Curved strokes join verticals at nearly right angles to create a strong horizontal stress, aiding the reading process. The resulting design is exceptionally legible while still inviting. Although Yalta Sans is clearly differentiated from its calligraphic ancestors, many details of the design emulate the distinctive characteristics of typefaces from the Renaissance. Tapering horizontal stokes also give Yalta Sans a dynamic relationship with linear grotesque while its angled stroke terminals echo the work of a calligraphic brush Yalta Sans italics are cursive designs that are in keeping with humanistic letterforms and are markedly narrower than the Roman characters. Lining and old style figures, small caps and a suite of ligatures also make for a remarkably versatile typeface family.

The Stempel family consists of two fonts; each made to look like a set of block stamps. Each letter appears inside its own roughly drawn square. Stempel One's letters are very simple form/counterform objects. Stempel Two's forms are more ornate: each square stamp has a thin border inside of it, and then the individual letterforms have been knocked-out, so that the colored area depicts the counters around the letters rather than the letters themselves. As a line of text is typed, a box appears for each letter entered, and all of the boxes slightly nudge against each other to form the line. The Stempel fonts have the appearance of a hand-made quality to them. Their forms appear too random, too delicate, and too thought out to have been made on a machine. Using these fonts will add a nice warm, linoleum-cut touch to your work. Both Stempel One and Stempel Two were designed by German designer Martina Balke in 2002, and are part of the Take Type 5 collection from Linotype GmbH."

Pepperwood font is a joint work of the typeface designers K.B. Chansler, C. Crossgrove and C. Twombly. These artists also created the typefaces Rosewood, Zebrawood and Ponderosa together and as the names suggest, all of these typefaces are so-called wood types. The origins of this kind of typeface can be found in the early 19th century. Called Italian or Italienne, these typefaces quickly became very popular. They are distinguished by square serifs whose width is larger than the stroke width of the characters. When the letters are set together, the heavy serifs build dark horizontal bands. Pepperwood font has a couple of unique characteristics of its own. Small squares decorate the middle of the letters and the edges of the serifs are not straight, rather, they have small, fine tips. Pepperwood is reminiscent of the Wild West with its shootouts and heroes, but also suggests the glamor of the 1970s with their platform shoes and wild hair-dos. The different weights allow a large range of design possibilities. Used carefully in headlines, Pepperwood font is sure to draw attention.

The word Zawiya in Arabic language means Angle in English language. "Zawiya" is a Kufic modern square-shaped Arabic typeface. The typeface has only right-angled angles which makes it full of open and closed squares and free from any curves or arches. This font comes in two different weights. I am originally an engineer and I have liked to draw geometric shapes since my early childhood. I decided to design a typeface that embodies both of the technical and artistic human that I have inside me. The main characteristic of "Zawiya" Typeface is in its modern and attractive right-angled and square-shaped styles for its all-Arabic characters. The character "Faa" is one of its most distinguished characters that I myself adore it so much. "Zawiya" Typeface is suitable for books' covers, advertisement light boards, titles in magazines and newspapers, posters, greeting cards, cards, covers, satellite channels, exhibitions' signboards and external or internal walls of malls or metro's exits and entrances, geometric instruments and tools, technical devices, computers and laptops, IT and electric devices and also calculators. It is advisable to use the font in fields related to sciences such as geometry, mathematics, physics, chemistry, astronomy, industry, economy, and other fields. It can also decorate surfaces of calculators, geometric tools, rulers, pens, computers, cars, ships, trucks, and other related electric and electronic devices. It is sharp design qualifies it to be printed in public signs in streets, airports, hospitals, schools, malls, hotels, mosques, and other public places. It can also be used in titles for Arabic news and advertisements appeared in different Arabic and foreign satellite channels.

A sequel to my own Herakles font, with multiple faces, and more to come, so the name refers to his second labor, slaying the Hydra. The straight lines and sharp angles make it suitable for evoking the feel of many ancient civilizations where writing was cut into stone. Whether your heroic deeds include slaying mythical monsters, or making the best spanakopita in the city, this font is for you.

Bodrum Collection: 1- Bodrum Sans 2- Bodrum Sweet 3- Bodrum Stencil 4- Bodrum Slab 5- Bodrum Styte 6- Bodrum Soft Bodrum Stencil is a stencil serif type family. Designed by Bülent Yüksel in 2018/19. The font, influenced by style serifs, popular in the 1920s and 30s, is based on optically corrected geometric forms for better readability. Bodrum Stencil is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give "Bodrum Stencil" a harmonious and sensible appearance for both texts and headlines. Bodrum Stencil 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 “Bodrum Stencil 14 Regular” forms the central point. "Bodrum Stencil" is available in 10 weights (Hair, Thin, Extra-Light, Light, Regular, Meduim, Bold, Extra-Bold, Heavy and Black) and 10 matching italics. The family contains a set of 650+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Bodrum Stencil is the perfect font for web use.

Cloudbuster is K-Type’s take on the mid twentieth century style of extra condensed slabs/moderns inspired by Imre Reiner’s Corvinus Skyline of 1934. Unusually, Cloudbuster has a printed-look softness, courtesy of very slightly rounded corners throughout, so it looks a little less harsh than similar typefaces. The font is an imposing display face with elegant, unfussy letterforms and a generous x-height.

Palmera is a geometric slab serif font. Simple and sharp-looking, this typeface will truly inspire you to create spectacular designs that will impress everyone. Palmera font is perfect for your up coming projects. Such as logo branding, editorial design, fashion, adventure apparel, stationery design, sport design, blog design, modern advertising design, card invitation, badge, art quote, home decor, book/cover title, special events and any more.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Aegypti 7 is a digital revival of Font No.7 or Egyptian Narrow - a Soviet display face cast for hand composition. I settled on the 12pt version as a basis for my digital version, as larger sizes added too much contrast to an otherwise quite orderly slab serif. The Soviet Font No.7 itself was based on an older Semi-Egyptian narrow cut before the revolution.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Rikna is compact, solid and gently condensed slab serif font family that comes in 14 styles. Imagined as family with ability to be used as main project font, Rikna’s visual flow of characters in composed paragraph reveals its high legibility in all sizes. With distinctive serifs, Rikna contains display characteristics with recommend the font for use in bigger sizes as well. Contains Fractions as Open Type Feature.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Senar is a great font family that includes 20 fonts ( Slab serif - 5 weights upright and 5 weights oblique, Sans serif - 5 weights upright and 5 weights oblique ). It is a modern, versatile and easy-to-read font that is perfect for a wide range of design solutions, such as logos, branding, label, packaging, web titles, text descriptions, as a primary or secondary, and much more.

Sovereign Display is a decorative all caps headline face in one style with small caps on the lower case positions. Thin horizontal crossrules underpinned by a heavier solid shadow give the typeface a prominent three dimensional appearance and an air of formal distinction. Ornate and iconic, Sovereign Display is perfect for certificates, manuscripts, titling or anything requiring a more sombre, elaborate or engraved slab serif style.

Decour is a Slab Serif typeface that features low contrast between thick and thin strokes and whose proportions were based on those of Art Deco design. A big height difference between lower case and upper case letters makes Decour a very expressive font and well-suited for headings and subheadings. Its versatility also allows it to be used in other ways, such as publishing and retailing.

There’s nothing stinky about this font, don’t worry! But what’s is up with Stink Buster is a whole lot of serifs gone bad! Each letter is loosely based upon the classic slab serif style, but influence by grafitti and comics just made them crooked and off the grid. But despite that, the font works great if you have a message that you want shouted out loud!

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Hera Big is a type family in eight weights & 16 fonts. The family explores the motion and fluidity of the ball serif, in an evolution from its previous identity as a counterpart to the slab serif. Informed by great fat-faces from Figgins to Lubalin, but never deferring to precedent by default, Hera is a fresh mix of originality and organic form, never sacrificing function for beauty.

Slabton is a font family in the slab serif style. There are six defined weights, from thin to black, and six italic weights as well as a variable font. All latin small caps are integrated and the font contains a lot of useful open type features and options. Also, there is an additional shaded decor style for decorative matters and elements like headlines and initials.

Introducing our new product the name Norheast Slab Modern Font. Modern Serif font that feels beautiful classy, elegant, and modern. This font is perfectly suited for a wide variety of projects, such as signature, stationery, logo, wedding, typography quotes, magazine or book covers, website headers, clothing, branding, packaging design, and more. Also for fashion-related branding or editorial design and displays both masculine and feminine qualities.

Merkén is a typeface inspired in the Slab Serif fonts designed by Vincent Figgins in the early 20th century: his famous designs; Antique and Egiziano, were the main references when developing this project. The typeface is perfect for headlines, medium length texts, branding and advertising. His original set is strong and spicy but it also has an alternative set which is cursive and kind.

Rigrofe is a slab serif font designed to add a touch of nostalgia to any project. It has a cool and playful look that can be used for logos, branding, invitations, stationery, wedding designs, social media posts, and so much more. Featuring the perfect amount of trendiness, this font will make your designs come to life. Features : uppercase & lowercase numbers and punctuation multilingual Alternate Characters PUA encoded

Punch was born because we wanted to create a stencil font. At first glance, Punch gives out an audacious persona with its bold shape and form. It’s softer side is revealed in it’s carefully cut stencil lines. The balance of heavy and refined gives the font family its very own charm. Punch Pro comes in six different weights; Slab, Bracketed, Wedge, Deco, Hairline and Sans.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Proudly Presenting, Twist Jelly a Playful Handwritten Font with two styles, Basic and Slab Serif. Twist Jelly is perfect for any tittles, logo, product packaging, branding project, megazine, social media, wedding, or just used to express words above the background. Twist Jelly come with Multi-Lingual Support for each style. Enjoy the font, feel free to comment or feedback, send me PM or email. Thank You!