The street is the new runway. Pasarela is a display typeface inspired by the new culture of fashion in the streets. A global phenomenon across continents, traveling through social networks, fashion bloggers and street style. Everything is possible, everything is combined. The new culture of fashion is eclectic with hints of each culture at miles away. The complexity generated by the start page of this mix styles is solved perfectly with his neutral and clean tone, streamlined structure and thin strokes. It has been designed in two weights plus a set of borders that can generate graphic compositions for application in blogs, magazines, posters and tv. No one needs to be a fashion victim to cross the pasarela.

Bookman, a little lighter than the original, is the ATF version of Phemister’s Antique Old Style, introduced as a textface at the turn of the century.

»Penta« is a new Sans typeface, designed in the American tradition with contrast between the up- and downstrokes. The contrast is hardly visible on the »thin« cut, but the heavier the weights get, the more contrast becomes visible. That makes this font very useful, almost linear in the lighter weights and very distinct rhythm in the heavier ones. »Penta« is extremly versatile, it can be used for bodycopy in the lighter weights and for heavy headlines.

Ioana is an inoffensive, slightly quirky, slightly fattened sans serif font. It has a full character set as well as ligatures, small caps, superiors, inferiors, numerators, denominators and auto-fractions. Ioana came about as a direct result of 3 previous, private commissions that were all based on an artists hand-writing. For Ioana, I wanted a more regimented (but not boring) sans serif that could be used for headlines, posters and flyers with larger body text. Ioana Lighter is an inoffensive, slightly quirky, slightly lighter sans serif font. It is the lighter weight of Ioana and has a full character set as well as ligatures, small caps, superiors, inferiors, numerators, denominators, old style figures and auto-fractions. These OpenType fonts have support for CE languages and I hope you like it.

Squeezing yet more life out of the Revla skeleton! This is Revla Round, a child-friendly version of Revla Sans, completely overhauled so there's no chance of cutting yourself on any corners. Every rounded terminal and corner has been painstakingly drawn, rather than using a round-corners filter. OpenType contextual alternates make for text that is lively and bouncy, without the monotony of obviously repeating letterforms. It's shamelessly fun, but pretty serious at the same time. The range of weights can be used to maintain an even colour across different sizes - use lighter weights for bigger sizes and vice versa. OpenType features include automatic fractions, ordinals, contextual alternates, standard and discretionary ligatures, and case-sensitve forms. Obviously, in sharing a common skeleton, it will work well with other members of the ever-growing Revla Superfamily.

This is the rounded version of Penta! »Penta« is a new Sans typeface, designed in the American tradition with contrast between the up- and downstrokes. The contrast is hardly visible on the »thin« cut, but the heavier the weights get, the more contrast becomes visible. That makes this font very useful, almost linear in the lighter weights and very distinct rhythm in the heavier ones. »Penta« is extremly versatile, it can be used for bodycopy in the lighter weights and for heavy headlines.

Claxon is reminiscent of the types from the 1920s Bauhaus movement. Designed with very short ascenders and descenders for tighter line spacing. Effective for short headlines and general use.

McCadden JNL was inspired by the hand-lettered credits for the George Burns and Gracie Allen Show [1950-1958]. Its casual theme offers a lighthearted approach to titling and display work. The font gets its name from McCadden Productions (the company started by George Burns), which itself was named after a street Burns' brother William once lived on.

Found within the pages of the 1927 edition of the “Welo Studio Handbook - Letter and Design for Artist and Advertisers” is an elegant Art Deco multi-line alphabet. Digitally redrawn as Theater Alley JNL, it is available in both regular and oblique versions. The font takes its name from that of a street in New York, although the street’s name uses the old-fashioned spelling of “theatre”.

Pillow Puff JNL is a cottony-soft, fluffy, lighter-than-air display font for novelty applications. Use it for advertising fabrics, bath tissue, baby items or anything that conveys something soft and gentle.

A soft-edged shortcaps typeface with enough funk to lighten any mood.

Sign Man JNL is a reworking of Sign Shop JNL, with a lighter font weight and a number of changed characters (including extended horizontal crossbars on the B,E,F,H,K,P and R).

No mystery here—it's a larrupin' good lighter version of the original Whiz-Bang Woodtype goody, Dime Box. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Anti Grotesk is a personal and internal fight. It tries to build elements capable of building personality, message, and introspection through their own shapes. How to escape from trends being part of them, how to design not establishing commercial and economical interests. Why you started designing and why are you designing today, are some of the concepts that build the universe of Anti Grotesk.

Rollback- a clean and smooth typeface with a rounded touch at each end of the caracter. looks lighter, more relaxed and humanist. This font has many alternative options and ligatures, perfect for creating designs such as packaging, logos or titles.

In the world of interior design, a Highboy is a tall chest of drawers with legs. Although this font is wide and bold, it seems ideal for storage. Highboy is best at large sizes, but can easily overwhelm other fonts of lighter weight.

Meal Ticket JNL follows the same basic letter shapes as Jeff Levine's Flatbush Beanery JNL, but with a much lighter look and feel. This is another perfect typeface for recreating the sign lettering and menus of old-time diners, drive-ins and restaurants.

Lighten things up and let your imagination run free with Mrs. Shmelding JNL, a lighthearted novelty font from Jeff Levine.

This typeface takes its inspiration from Lightline Gothic, designed by Morris Fuller Benton for ATF in 1908. This version is even lighter, making it suitable for headlines. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Montas is an elegant display serif with high contrast. Designed to be fit on a vintage-themed design project or the modern one. Its bolder weights are suitable for a striking headline, while the lighter weights are suitable for a short paragraph as well.

Num.91 is a strong and elegant street art display typography. Inspired by currently popular street art, this is the answer to the long-awaited need for a street art font. Num.91 is superior and very different from the street art fonts currently circulating. This font really has the soul of street art in it. And another amazing thing, you get bonus vector illustrations in it. Its weight is superior in posters, social media, headlines, titles, large-format print - and anywhere else you want to get noticed.

When this font slips on a pair of ordinary, over-the-counter spectacles, applies a little hair gel and straightens its red, white and blue tie, it disappears amongst common mortals like you and I... But when danger raises its ugly head, when Truthiness, Justice and the American Way are threatened, MildMannered abandons its secret identity, rips open its shirt and takes to the skies to fight evil... ... and, of course, to help sell colorful paper plates, halloween costumes and happy meals.

This unique type treatment was born after working in a mixture between a pixel based font and a retro logo. With lot of details it looks great a bigger sizes, but you can also apply it to write long sentences or even as body text! This font was chose as the official online font of our favorite band Foo Fighters some time ago, when it was just a work in progress.

Pavement is a display typeface, based on the roughness and hardness of a street tile. I wanted to make a font with some real streetvibes, so it can easily be used for all kind of street cultures like music, (stencil) graffiti, street-art and fashion.

ITC Abaton, by Argentinian designer Luis Siquot, is an exercise in geometry and simplification. “It is done,” says Siquot, “with few elements, with modules of only straight lines (horizontals, verticals and diagonals of almost 45 degrees). Drawing the I and the O, I got the basic elements, and so started the fight between strict geometry and optical impression, until I obtained the rest of the characters.” The basic rectangular form is characterized by wedge-shaped serifs, almost like caps on the heads and feet of the letters. “Abaton has the 'spirit' of 19th-century faces used on money bills or postage stamps, but the realization is totally different,” Siquot explains. Abaton is a “shaded” typeface of caps and slightly smaller caps, upright and slightly condensed in form. Although the letterforms are legible at small sizes, the shading tends to clog up if it gets too small, so Abaton is happiest as a distinctive display face.

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. Please Note: these fonts include only the latin alphabet; no accented characters, no numbers or punctuation. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Gemma was born in Madrid 37 years ago. After spending many years in the capital, she decided to start over again and moved to Barcelona. A series of misfortunes and wrong decisions left her on the street. Gemma is a calm, emotional person who likes to take her time to do things and, if there’s one thing the street can offer, it’s time. The street lets you listen carefully, watch without being seen. Being in the street isn’t pleasant at all. Seeing people who’ve just showered go past makes you miss even more things that many take for granted. Breakfast, a clean smell, paying for a metro ticket. Being homeless is much more than having nowhere to sleep. Life in the street is hard, says Gemma, but she also sees the positive side. “It’s the best way to get to know human beings.” She likes to see the street as if it were a school. A school she has been in and out of for too long.

Higher and higher! Arriba burns and churns with the life and spirit of Latin American culture. Its unique style and extensive character font will give all kinds of film, video, print and multi-media work real altitude. Created by English graphic designer Phill Grimshaw. Featured in: Best Fonts for Logos

Little Bossque is a modern sans serif family. Its variety of weights provide a range of choices that will help you find the best typographic color for your project. Lighter weights are well-suited for body text while heavier ones are ideal for high impact headlines

Don your Flying Suit and tighten up your Atomic Powered Jet Pack buckle! Pencil in your pencil-thin moustache and stick your head into that Rocketeering Helmet! It's Zero Hour, 9am, 1949! Five Days a Week, you ARE the King of the Rocket Men, ready to Burn out your Fuse on a Timeless Flight into Outer Space Alone! Mission Control has advised our Space Race Typeface that Mars is not the kind of place to raise your kids and, furthermore, it's gonna be a long, long time until touchdown brings you round again to find you're not the man they think you are at home. You are in fact a ROCKET MAN; not a postman or a milkman, you're a modern man, a higher-than-a kite flying masked hero on your first manned flight to Infinity and Beyond!

Loft is a typeface family of extremes: from the extra compressed Hairline to the extra wide Mammoth. Paris-based designer Julien Janiszewski’s aim was to create a type family based on a strict hierarchy — a suite that would provide graphic designers with a tool to create systematic solutions. Its design was inspired by 19th-century wood type as well as the sign saying “DÉFENSE D'AFFICHER” (Post No Bills) that is ubiquitous in France. Loft comes in seven weights with matching italics. Interestingly, counter widths remain the same across all weights. As weights increase, the characters extend by building stroke thickness outside the counter. Loft is space-efficient in lighter weights while making an increasingly stronger statement as the designs become heavier. The Loft typeface family is distinctive, versatile, and always intriguing.