A geometrical, modern, angular design inspired by the Greek Key. It's complex yet simple, creating smooth, continuously flowing print. This font is well suited for headlines, posters, greeting cards, and much more.

This old victorian typeface was originally called Constantia. Since that name was already in use, we decided on a the new name of Carlingtown. Digitally engineered by Steve Jackaman and Ashley Muir.

Contains the 19 months of the Maya solar year (in outline and silhouette mode) as well as the 19 Maya numerals. NOTE: this font comes with an interpretation guide in pdf format.

Cattle Drive JNL is based on some examples of a classic condensed wood type. Lettering of this period lends itself well to themes of Western life, carnivals, circuses or classic broadside posters.

Tel Aviv, Display San-serif typeface, 2 Widths, 4&5 Weights. Structured Shapes with familiar look, yet unique! Can be used for wide range of uses, also function well as short text.

Baby Boss was inspired by the writing style of my brother who focused on learning to write and read. This font works well for children themed uses and has multi-lingual support.

Penicillin is a psuedo thematic/destructive typestyle, looking more like a grunge/deteriorated or stencil typestyle, but actually a typestyle made to look as if formed of bacteria cells. From the fungus that breeds the bacteria that heals, comes a highly readable typestyle to add a little offbeat degeneration look to any design. The end result, a little funky fungus of a font, easy to read and fun to look at...let Penicillin cure your design ailments!

Heller Sans JNL is based on the main letterforms of an experimental alphabet designed by Steven Heller; noted author of over 170 books on design and visual culture. Some modifications were made in turning his design into a digital font. In his own words, here is the background to this typeface: “I recently recovered this from the junk heap. It is a yellowing photostat of my first and only typeface design (1969-70). Total folly! At the time I was smitten by Art Moderne lettering. I called it “Klaus Boobala Bold” because I liked the K and B. I’ve lost the letters S through Z, which were made. The letters were drawn with compass, Techno pen (that frequently clogged). as well as a triangle and T-square. The inline and outline made no real logical sense. I based the design, in part, on Kabel, Avant Garde and it was a product of whatever I could accomplish with those tools. The caps-only alphabet was photographed and produced as a film negative that was cut in foot-long strips and spliced to fit on a Typositor reel. Sadly, the negatives made for the font were too brittle and the splice snapped apart in the Typositor. I worked on it for well over a month and used the face only once. I realized with this attempt, like so many other times I attempted different challenges, that type design — indeed mechanical drawing — was not my strong suit.” Heller Sans JNL is available in both regular and oblique versions.

Good, faithful Achates… Named after the trusty Trojan that followed Aeneas throughout his adventures, Achates is a humanist sans workhorse well suitable for broad range of design projects. Its soft, delicate and almost cursive shapes define warm and friendly typeface that is legible and easy on the reader's eye. Following into the footsteps of its namesake, it is humble, informal yet stable and trustworthy. Ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text and signage as well as web and screen design. Achates provides a broad range of advanced typographical features such as language localization, alternates, stylistic alternates, extended ligatures, fractions and case-sensitive forms. It comes with a complete figure range set of old-style, lining and tabular figures. The family has extensive multilingual support, covering more than 70 Latin-based languages and specially designed Cyrillic with Bulgarian and Russian localization. As Achates was a humble hero, a devoted friend and faithful companion to Aeneas on his journey to greatness, so this font can be your trusty sidekick on your creative path. The marvelous Agate is also named after the Trojan hero. It is considered as the stone to call on for support when you need stability and grounding in your life. Along with its supportive energy, the Agate stone has been long admired for its incredible beauty. So… a Trojan hero or a thing of beauty – it is up for you to decide… or just maybe both!

The name Corpid derives from “Corporate Identity” — which is what this family of low-contrast sans-serifs was made for. Corpid was originally commissioned by Studio Dumbar in the Netherlands as a corporate typeface for the Dutch Ministry of Agriculture, Nature Management and Fishing. The font was designed to replace the existing standard typeface (a well-known business-like sans-serif) to provide the organization with a unique and strong identity. Although it was designed to fit strict technical requirements, Corpid has a personality all of its own. This was in part a result of what Luc(as) calls “creating tension” between the inner and outer curves of each character. “I tend to put a little more diagonal contrast into fonts than is the case in most neutral sans serif fonts. This brings a certain humanistic touch to the typeface. Much more subtle here than in Thesis – but although it is almost invisible, it is still palpable.” Corpid was gradually expanded into a five-weight, three-width family. The new Corpid SemiCondensed has double functionality. It is a no-frills, compact headline font that offers optimum legibility in sizes from small to huge. It is also a great space-saving text typeface for magazines, newsletters or annual reports: economic, versatile, and provided with several different numeral sets. In this OpenType type version, all weights come with Small Caps. With its wealth of numeral styles and complete character sets (including Central European) the Corpid family is now well equipped to tackle the most complex of typographic tasks.

TT Octosquares useful links: Specimen | Graphic presentation | Customization options TT Octosquares is a fresh, revised, expanded, and significantly improved version of our first commercial typeface TT Squares and its narrow version TT Squares Condensed. With all our love for the original font family, it felt there was a lack of functionality, character composition, features, and design freshness, which prompted us to the idea of a complete restart. Now TT Octosquares can be safely called a superfamily consisting of 4 widths (Compressed, Condensed, Standard, Expanded), 72 faces (18 in each width), and 1 incredible variable font in which variability works jointly on three axes. In addition to working on the contours themselves and their design, we completely revised the composition of the typeface. First, we added two completely new widths: Compressed and Expanded. Secondly, we increased the number of weights in each of the subfamilies—while in the old versions there were 5 weights, now in each of the subfamilies there are 9 weights. At the stage of working with the contours of characters, we revised the roundings, changed the forms of shoulder and stem crossings, added noticeable shelves at the letters, removed the sharpness from the triangular characters and cut off all sharp endings. From the very beginning of work on TT Octosquares, we planned to make a variable 3-axis version of it sewn into 1 font file. This means that by installing just one variable font file, you get access to three axial adjustment of the font: by thickness, width and inclination. Thanks to this flexibility in settings, you can always choose a custom combination of thickness, width or inclination that best suits your tasks. Due to the increased language support and the appearance of a bunch of useful OpenType features, the number of glyphs in the typeface has increased from 480 to 825 in each style. Now you can use stylistic alternates, standard and discretionary ligatures, or use old-style figures, numbers in circles and even slashed zeros in your design. Full list of features: aalt, mark, mkmk, ccmp, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, case, zero, dlig, liga, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, calt, locl. To use the variable font with three variable axes on Mac you will need MacOS 10.14 or higher. For other software and browsers, you can check the support status here: v-fonts.com/support/.

»SLAM« is my new, very sturdy but elegant slab-serif font family. I designed this font family with body copy in mind and gave it all the glyphs necessary for use with all latin writing languages. I also gave the fonts all kinds of different numerals as well as a complete set of small caps and overall extensive kerning. It comes in eight normal weights with corresponding oblique cuts and it comes in a rounded version and corresponding obliques as well. Enjoy this original font, it is a real work horse!

The Three Degrees had a song called 'Dirty Ol' Man'; Christina Aguilera danced around to the tune of 'Dirrrty' and my three kids leave everything that way after they have finished their meals, so I guess I really had no other option than to call this font: Dirrrty. Dirrrty is a brush font I painted in one go. It is quite dynamic, with some serious grunge in it. Dirrrty is all caps, but upper and lower case differ and can be interchanged. Comes with with a truly disgusting amount of diacritics.

Rika is a combination of supposedly male and female characteristics, combining together to create a beautifully realised, high impact, condensed typeface. The tall but well-built characters are softened with smooth curves and a mixing in of thin lines, so that the sharpness of many condensed fonts is brought under control. Suave in its application, Rika is all professionalism and elegant showmanship, great for both headlines and text. Rika comes with support for a number of languages, as well as specifically designed glyphs, and its uses might be considered limitless.

»SLAM« is my new, very sturdy but elegant slab-serif font family. I designed this font family with body copy in mind and gave it all the glyphs necessary for use with all latin writing languages. I also gave the fonts all kinds of different numerals as well as a complete set of small caps and overall extensive kerning. It comes in eight rounded weights with corresponding oblique cuts and it comes in a normal version and corresponding obliques as well. Enjoy this original font, it is a real work horse!

This typeface is a tribute to well-known Italian designer Marcello Nizzoli. Nizzoli is a modern sans serif font that offers a wide range of alternatives—a workhorse type well suited for headlines, posters, corporate identity and advertising campaigns. This modular design is based on geometric shapes and combines straight lines with rounded corners. The whole family is composed of four 7-weight subfamilies: one normal and one alternative plus rounded versions. Each subfamily includes matching italics. This typeface is my own interpretation of those curves and shapes found in Marcello Nizzoli’s designs.

JollyGood Proper is a fun, friendly typeface that is clean enough to use for longer texts. It is a complete family with 7 weights in regular and italic for a total of 16 fonts. It has an amazing character set, with support for most European languages, as well as alternates and ligatures. JollyGood Proper works well for packaging, children’s books, or wherever you need an informal text without being too cartoony.It is also an excellent replacement for The Comic Font that Must Not Be Named. Check out the other members of the JollyGood family

The Flounder Pro is a simple and clean condensed all-caps sans serif font. It is a close relative of the Floz, but has rounded edges. It comes with Cyrillic, Greek and Latin alphabets, the latter including loads of accented characters. It is also equipped with a bunch of ligatures, as well as alternates for the letters J, W, Q, Z, Ω and Ξ. Those features are easily accessible via opentype features. This family includes three weights with their respective italics and backslanted versions. The Flounder works well for Logos, Headlines, or short texts.

Simah zaza typeface - خط سمة ظاظا Simah Zaza is an Arabic typeface that has luxury yet warm and humane feelings. It's legible, soft, clear, flexible, simple, and contemporary. The design is inspired by the Kufic calligraphic style and influenced by the Naskh style. Simah Zaza is highly crafted in order to perform well both on screen and in print. it functions well even on small font sizes. It has a wide range of use possibilities headlines, logotypes, branding, books, magazines, motion graphics, and use on the web and Tv. Simah Zaza consists of five weights.

Designed for the newspaper technology of the 1980s, Clarion uses many of the findings made in the preparation of Monotype Nimrod, from which it is derived. The Clarion font family differs from Nimrod in its detailing, which is more akin to that of the Ionics, a style which influenced most designers of contemporary newspaper faces. The large x-height and sturdy construction of the characters make Clarion well suited for use on laser printers as well as being an excellent choice for setting newspapers, journals, newsletters and circulars.

Sys is a condensed font designed to work well at small sizes (i.e. phone books, maps, or the like) but it has enough personality to be used at big sizes, too. The TrueType version, thanks to its incredibly accurate hinting, may be used to replace amazingly well TrueType system fonts in every platforms, in web or other screen applications. After the succcess by the first version designed ten years ago, the version 2.0 has numerous improvements in the design of the glyphs, new Unicode ranges, useful OpenType features and enhanced readability.

This serif typeface is a real workhorse. It is a modern tool for text design: extremely legible and well shaped. Bandera Text has six weights with original italics. It catches attention in headlines of posters and magazines or makes reading comfortable in plain texts. Don't forget to try Medium and Medium Italic faces for free. Bandera Text works well with Bandera (slab serif), Osnova (sans serif) and Bandera Display (contrast serif) fonts. Bandera is Spanish for ‘flag’. And Bandera is a symbol of Ukrainian fighting for freedom for many years.

Childfolk is the perfect font for all your fun designs. The main font file is equipped with ordinary characters, as well as more than 350 glyphs to support most Latin-based languages. Everything is made with the same brush, and everything is the same size as Letter Kids, so you can be sure they will work well together! It is suitable for you to use in making t-shirt design, quote, label, packaging, logo type, or long writing. Because we have compiled kerning and matrices that are tailored to your needs.

Introducing Kinship, a Grotesque 9 weight font family by We Are Colt. Kinship has been created to be your all-round go-to grotesque font that works well for copy and titles. With nine standard weights, this font is more flexible than a bungee rope. Kinship is a sans serif modern classic grotesque font, perfect for adding personality to logos and brochures. Pairs well with script and brush fonts: I recommend Stroom . Features: 9 separate font weights Western European, Central, South-eastern Upper and lowercase Numerals Free 300 font weight

Syrup is a friendly, subtly rounded type family combining sans and script styles. It’s aesthetic roots are in the sign painting of the 1950’s but the execution is distinctly modern. The different styles are designed to work well together so you can have multiple levels of typography all with the same feeling and aesthetic. Try combining the styles in different ways for maximum impact. All styles are packed with Opentype features to enable flexible customisation of your design and the font is especially well suited for branding and packaging typography.

Copyman is an experimental one for the creative ones. Monumental & minimalistic, great for the contemporary & urban design, this font is a good choice for confident branding & logotypes as well as for brutal or futuristic interfaces. Copyman’s title is an anagram for a Company. First of all, this font was created for branding purposes of businesses, who want something as practical as a little bit different from what they already get used to. This chamfered typeface contains 8 styles, Regular & Italic, both Cyrylic & Latin, 287 glyphs, 8256 pairs, 119 groups, has well–balanced kerning & clever spacing.

Here comes Rambuk! (Well ... it's Danish for rambuck) Rambuk is not a silent font! It’s big and noisy! The font is designed to be used in magazines, as an expressive poster font, for book covers, logotypes and much more! This font is bold, and it fits your style! The font is also handy when it comes to having big letters to fill with art or pictures. Rambuk comes with specific numerals for its small and big letter as well as carefully designed superior and inferior numerals. Make your design count — knock in some doors!

Grodsky is a modern high contrast Antiqua with well-defined, recognizable features. Based on the architecture of classic Antiqua fonts, Grodsky is typical of the typefaces from the first half of the 20th century: pronounced serifs, contrasting geometry, and an interplay of right angles and flowing lines. Grodsky has a lot of stylistic alternates and ligatures and true small caps. They give you more authentically typographic style. Grodsky comes with oldstyle and modern, fraction and tabular figures. The font is well suited for both headlines and body text.

This serif typeface is a real workhorse. It is a modern tool for text design: extremely legible and well shaped. Bandera Text Cyrillic has six weights with original italics. It catches attention in headlines of posters and magazines or makes reading comfortable in plain texts. Don't forget try Medium and Medium Italic faces for free. Bandera Text Cyrillic works well with Bandera Cyrillic (slab serif), Osnova Cyrillic (sans serif) and Bandera Display Cyrillic (contrast serif) fonts. Bandera is Spanish for ‘flag’. And Bandera is a symbol of Ukrainian fighting for freedom for many years.

Centuria is a sanserif humanistic family. Unlike many sanserif fonts, Centuria has modulated strokes and a moderate x-height. Centuria has a contemporary design with a soul of early grotesque fonts. Its slightly condensed letterforms and its short descenders allow a considerable amount of text per column. Centuria is very readable at small sizes! It is suitable for use in: newsletters, magazines, newspapers or just for any simple editorial application. Works very well in continuous text, short paragraphs or headlines. Provides a balanced and friendly texture. Match very well with Century.

Tiza is a rough take on informal faces and handwriting, brought on by the recent demand for scripts and brush lettering. Its flow leaves traces simulating runny pen ink, which makes it very suitable for handwriting-like paragraphs as well as casual greeting card and invitation setting. The bold weight, Tiza Negra, fits very nicely on book covers as well as large signs. Tiza is the proverbial reminder that typefaces can sometimes be more human than they are normally perceived. Designed by lettering great Angel Koziupa, and digitized and completed for Sudtipos by Alejandro Paul.

Povetarac Display font family is part of Povetarac Superfamily together with Povetarac Sans and Povetarac Didone. Available in 6 weights and one variable font file, Povetarac Display relays on lively uppercase proportions that took inspiration from vintage typefaces. It is well balanced, elegant and fully recognizable high contrasted sans serif family. One of its characteristics are straight and wide terminals. With sharp overhang, Povetarac Display works pretty well in all situations – from editorial use to branding, websites or just titles. Comes with 3 Stylistic Sets, SmallCaps and Fractions and extended Latin character map.

Titular is a condensed Sans Serif typeface that works well with headings, subheadings, newspapers, magazines as well as with logotypes, brands and posters. This typeface revives the spirit of old Woodtypes, but adding a contemporary flavour and Latin American seasoning. The family comes with 2 subfamilies: one regular and one alternative. Just like many of our faces, every subfamily includes 7 weights plus italics. Titular is a Latinotype’s typeface designed by Bruno Jara, and produced and supervised by Latinotype Team. Latinotype Team comprises: Luciano Vergara, Daniel Hernández, Bruno Jara, César Araya and Rodrigo Fuenzalida.

Ragnar can be called a typeface for compact typography. It is loosely related to the Saga typeface in many ways, even including its name. During discussing on what Saga should be called, the name "Ragnarök" (Twilight of the Gods) was humorously suggested. "Ragnarök" would of course have been unsuitable, since it uses a letter with a diacritic sign, and in many computer systems, that is a deadly sin. But the shorter form, Ragnar, was kept in mind, and later used for this typeface. Additionally, Ragnar is a common male Scandinavian name.

Liquoia are three scripts with lots of contrast and different embellishments. Liquoia-A has the elegant, flaming decoration it blends well with Fleurons-Six. Liquoia-B has the flowery embellishments and goes very well with my Ornata-A and Ornata-B. Liquoia-C is the plain, straightforward and solid floating script. The name is derived from "liquid", meaning it is a fluid script that has a distinctive waveform. The "oia" part of the name comes from Sequoia, the sturdiest tree that came to my mind. Your sturdy, floating designer Gert Wiescher

Designed at Polygraphmash type design bureau in 1946-51 by Galina Bannikova, inspired by Russian Grazhdansky early- and mid-18th century typefaces as well as Roman Humanist typefaces of the Renaissance. With the archaic features of some characters the face is well recognized because of unique shapes. It is one of the best original typefaces of the Soviet typography. The typeface is useful in text and display composition, in fiction and art books. The revised, improved and completed digital version was designed at ParaType in 2001 by Lyubov Kuznetsova.

Militia is the face of well-orchestrated military coups, tanks and gun barrels, maps and covert plans, camouflage and war paint. It has no irony, patience, or give-and-take politic. It is strong, successful, swift and significantly in your face. Militia comes in all popular font formats, and offers a full range of Latin support, including Western, Eastern and Central European languages, as well as Baltic, Celtic/Welsh, Cyrillic, Esperanto, Greek, Maltese, Turkish, and Vietnamese. The Open Type font is entitled Militia Pro, and contains class-based kerning.

Kurdis Varibel Font Family is a modern sans serif family with six widths and five Weights Making 30 Set Styles and of course 10,000 more combinations when considering the Variable options. This Typeface is a real work horse for titles. At its condensed Width it is sophisticated and professional with well considered ink traps that help it really stand out at Large Sizes. the Regular width works well for longer bodies of text on websites or posters and the Wide Styles give an elevated look to your average wide sans serif.

An original text and display type family was designed for ParaType in 2008 by Manvel Shmavonyan to be used together with Susan and Susan Classic, earlier released type families by the same author. This is a low-contrast sans serif font with open letterforms. Its shape is distinguished by rounded upper parts of lower case. Susan, Susan Classic and Susan Sans forms a super family coordinated on weight, style and proportions. Susan Sans is well suited for short and middle range text composing as well as for use in advertising and display typography.

Francis is a design previously offered by the Lanston Type Co. in the early 1990s. It is a revival of a 1955 Günther Gerhard Lange design, but with a heavier overall weight. Coming out of retirement, it has been fully reworked and refined with elegant curves and an expanded character set. This font works well at small sizes and larger display sizes for everything from wine labels to personal stationery. This type evokes the elegant sophistcation of the Jazz age and pairs well with a Martini and a fine selection of charcuterie.