Alias Vertical is a sans serif typeface with a vertical cut-off point for letter endings. The vertical cut-offs bend round characters (b, c, o, etc) into a squarish, high-shouldered shape, suggesting Roger Excoffon’s Antique Olive. In mid-weights, the typeface mixes Antique Olive with typefaces such as Gill or Johnston, for example the shape of the t, the l borrowing Johnston’s flick. Vertical has the same minimal difference in weight between verticals and horizontals as Gill and Johnston, and the same sharp connection point where curves meet straight lines. Like Antique Olive, Vertical has a narrow connection point here, adding contrast and definition. The overall effect feels austere at lighter weights and strident and graphic at bolder weights, and sharp and incised throughout. In the Bold and Black weights, the squarish and top heavy shape of Antique Olive is most noticeable. For example the wide uppercase, with the B having almost-even width between top and bottom curves, and the almost-overhang of the top curve of the G. But Vertical does not have as extreme an aesthetic or square shape as Antique Olive. As well as its wide design, the upper case is given extra authority by being a slightly heavier weight than the lower case. This is a device borrowed from Gill, and other ‘old’ typefaces, where the upper case is presented as a titling design. Modern sensibilities are more focussed on an even colour between upper and lower case. Vertical was originally intended as a sister typeface to Ano, like AnoAngular or AnoStencil. Vertical developed into a similar but separate design. Ano was designed for use in Another Man — in its modular, circle-base design, and the way there aren’t the amendments usually made in bolder weights to ensure letter clarity. This is for layouts where different weights are used together in different sizes so that the overall letter weight is the same, a feature of the magazine. Where Ano is simple and graphic, Vertical has nuance and texture. It is a pragmatic, utility design. In the balance between graphic and typographic, its focus is the latter.

The design of Futura seems to be timeless. This typeface family which had been developed in 1926 by Paul Renner for the Bauer Type Foundry in the style of constructivism and as part of the Bauhaus movement, experienced, however, in the course of the past 90 years, repeated time-appropriate revivals which guaranteed its on-going popularity. The version of the Futura EF Pro contains the original character constructions which Dennis Megaw described as the “first designs of Futura” in 1938 in “20th century sans serif types, Typography no. 7” (See: Dr. Christopher Burke: Paul Renner, Princeton Architectural Press, New York 1998). What makes it exceptional is the extension into three weights: “Text”, “Headline” and “Index” which came about as part of a degree dissertation at the Hochschule für Bildende Künste (HFBK) in Hamburg. In this context, the accompanying documentation “Die Kritik der reinen Futura” (“The Critique of the Pure Futura”) by Katharina Strauer was published by the Materialverlag, Hamburg, in 2003. Some copies are still available at Elsner+Flake.

The design of Futura seems to be timeless. This typeface family which had been developed in 1926 by Paul Renner for the Bauer Type Foundry in the style of constructivism and as part of the Bauhaus movement, experienced, however, in the course of the past 90 years, repeated time-appropriate revivals which guaranteed its on-going popularity. The version of the Futura EF Pro contains the original character constructions which Dennis Megaw described as the “first designs of Futura” in 1938 in “20th century sans serif types, Typography no. 7” (See: Dr. Christopher Burke: Paul Renner, Princeton Architectural Press, New York 1998). What makes it exceptional is the extension into three weights: “Text”, “Headline” and “Index” which came about as part of a degree dissertation at the Hochschule für Bildende Künste (HFBK) in Hamburg. In this context, the accompanying documentation “Die Kritik der reinen Futura” (“The Critique of the Pure Futura”) by Katharina Strauer was published by the Materialverlag, Hamburg, in 2003. Some copies are still available at Elsner+Flake.

I loved this monster font the second I saw it - it reminded me of Franquins Idées Noires... Reworking it and adding the missing glyphs and diacritics was quite time-consuming - but a lot of fun! Lots of details. The Lupineless variant is Lupine with eyes, decorations and stray hairs removed - which leaves just a very usable fuzzy font for your monster-related headline. Kevin King says: "I love fantasy writing and my favorite author is Terry Pratchett. In Reaper man, my favorite book, there is a werewolf character called Lupine, I wanted to make a font for him and for Ludmilla... It's a long story, it's a hairy font." All fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

LFT Arnoldo began as an all-caps book cover typeface created during the rebranding of Oscar Mondadori, the most important Italian publisher, with over 4,500 titles from ancient classics to contemporary works, and spanning academic essays to children’s and self-help books. For such a diverse catalogue, it was necessary to find a coherent and flexible paradigm which took into account genre and readership differences and ensured harmony among its works. The main idea was to create a typeface suitable for the branding element and which could be used for each title of the immense catalogue. So what makes LFT Arnoldo a companion to the centuries? Starting with the design of the capital letters, it is first a rational typeface with contemporary proportions. But rationality without style wasn’t enough, so its glyphic nature carries an engraved feeling to resemble letters when chisel is put to stone. Once these two traits were settled, the entire character set was developed as a flared humanist sans in order to complete the family and extend its usage, from titles and display settings to texts. LFT Arnoldo sets titles with dignified authority to appear digitally carved and more arresting than the usual sans or flared sans designs of the past. It is calm and dependable in paragraph use and a captivating vehicle of aesthetic expression in title and display use. At once rugged and syncopated, the slight hourglass stems and incised details make each letter come alive and engrave each paragraph upon our emotions. LFT Arnoldo intends to be a resilient type family for centuries to come. Its seven roman weights have italic counterparts and the entire family is loaded with OpenType features: alternates, ligatures, small caps, oldstyle and lining numerals, and science and math capabilities. In the battle of charisma, where the right voice must project intelligence, influence, and refinement, LFT Arnoldo is the victor.

This font family is inspired by printed work made by the Elzevir family back in the XVIIth century at Leiden (NL). They worked with material from several type designers, but further investigations sends us to the tracks of one in particular: Robert Granjon. Granjon italics were way ahead of his time, making some really beautiful signs like swashy ampersands and minuscule v letters. This font also contains old style figures in the same fashion as they were printed, like the flipped number 8 and open forms in 6 and 9. This is as much a revival as an original design, because of their weights bold and heavy (both with italics) that were inspired on some titles. In this font you can also find a lot of ligatures, small caps, diacritics and even a fleuron for each weight and variation. Leidener came up from two books: Constantini Imperiatoris (1611) and Exercitationum Mathematicarum (1657), printed by Louis and John Elzevir on their Leiden Workshop, back in the day.

Arkham Land - Sans Serif Font Family - Multilingual - 12 Style Arkham Land Sans serif font family helps you create many alternatives in your creative projects with its 12 styles.With its elegant and strong structure, different weights, it is also assertive about being a highly readable font. It provides flexibility in the width of usage areas in your projects, from thin styles to Black styles. It is a timeless font family with is rich styles, multilingual supports and modern structure. You can use Thin styles in elegant and stylish projects, and Black styles in strong titles. This font comes with uppercase, lowercase, punctuation, symbols and numbers, ligatures and multilingual options. Great for books and magazines, editorials, headlines, websites, logos, branding, advertising and more. This font family can meet your needs in all creative projects, modern and classic. With this font you can create your unique designs. If you have a question, please contact me. Have a good time.

Milescut is a display typeface inspired by some seminal covers the graphic designer and photographer Reid Miles created for the Blue Note Records between the 1950s and 1960s. Miles made almost 500 covers for Blue Note in this period, including some using the hand-cut technique that consists basically in doing vertical cuts in capital letters and numerals to create a unique style within the universe he created for Blue Note. Milescut is a tribute to this small “cut” 😬 in his trajectory within the greatest record label of all time. This idea came about while I was working on what will become soon a revival of a wood type that I fell in love with when flipping through a Specimen of the MACHINE CUT WOOD TYPE manufactured by The WM. H. Page Wood Type Co. Milescut has two extra sets of alternates that work cyclically when activated in your OpenType menu and lots of ligatures, pretty cool :)

Behrens Initialen is based on the type graphics of the German architect and type designer Peter Behrens (1868-1940). The drawing of the original typeface is in tune with the Art Nouveau (Jugendstil) style in which Behrens worked. This is a light, delicate, somewhat theatrical typeface, the forms of which bear at the same time a certain shade of Gothic and modernity, and can be used, in particular, when there is a need to make a reference to medieval graphics while maintaining the modern style of composition. In the proposed version, the original initial graphics are used not only for uppercase letters, but also for Arabic figures, while for lowercase letters and for the base of other characters are used the letters themselves - without decorative framing. This feature can be useful for obtaining various effects when using both lower and upper cases in parallel, including when they are overlaid. The font includes the Latin, Cyrillic and Armenian ranges. Created by Ruben Tarumian in 2020.

Tepuy is the name given to the ancient plateau-shaped mountains that abound in the Venezuelan Amazon. Tepuy is a display typeface inspired by the symbolic forms of the Venezuelan ethnic roots. It is constructed based on a very precise geometry of open forms that produce a double letter in form and counterform. Tepuy originates as an evolution curve of my Font Makiritare rectilinearly. Was devised for a book of photographs of the ancient mountains of the Venezuelan Amazon, its form and Makiritare are morphologically inspired crafts in the ethnic groups of the region. Tepuy is held in a very precise geometric construction based on rounded forms, each letter is a form envelope enclosing another in counterform, is a letter to display. Tepuy comes in four versions Regular, Light and thin, and there is a double line version enclosed. Tepuy recommended for creative headlines for the label and packaging design aimed at all ages.

This handwritten font is inspired by the cholo calligraphy of graffiti artists. It has a scary design, which is suitable for horor film posters and at the same time for signs and tattoo designs. It has an original style an effect font also available in a color version with drops of blood or paint to give a more lively touch. Try using it for your halloween party invitations or for your tattoo designs, for scary greeting cards. I used the word "Cholo" because this lettering in inspired by cholo-graffiti culture in Los Angeles in 70's years. The one of the best rappresent is Charles "Chaz" Bojorquez the father of cholo-lettering. Cholo because i think that in 70's in Los Angeles neighborhoods where graffiti-culture grow up there was a persons whit a mixed multicultural connexion and Chaz is one of them. Cholo-graffiti or Cholo-lettering is a specifing style o lettering. I think this is a good keyword for this lettering.

Originally commissioned in 1979 as a new corporate typeface for Volkswagen AG, the VAG Rounded™ family’s geometric sans letterforms feature distinct rounded terminals, imparting the design with a friendly, approachable demeanor. With its design led by Gerry Barney, the VAG Rounded family remained in use for Volkswagen AG’s unified, worldwide automobile marketing for over a decade. The design was released for public use in 1989, and was bundled with many desktop publishing software titles available at the time. This opened the door for millions of computer users to work with the VAG Rounded type family. Available in four weights—from thin to black the VAG Rounded family is an apt choice for logo design, identity systems, or any application where a typographic warmth is desired. For contrast in voice, consider pairing the design with a more reserved serif typeface, or a sans serif with narrow styles, such as those found in the Alternate Gothic, Trade Gothic, or FF DIN type families.

The history of this font is those. Once I assorted the old children's books which have stayed from times of my childhood. On one of them I have seen a trade mark of a printing house consisting of two Russian letters "L" and "B". From they were begun also with my font. And though finally from these letters a little that remained, elements of these letters can be seen in font D-block B.

Booden is a name not to boo but to use in display type situations. but as texts funtion s to be read its functionality ges beyond a Cyber-tech font single weight single time use. it can be used for branding purposes or any type of editorial text because of its readability. Be it a logo, or a Title headliner, web or print booden typeface can certainly entertain your need for simple variation.

Kandij is a Dutch word and it means ‘Rock Sugar’. We Dutch use it in a lot of products, from ‘ontbijtkoek’ (a rye based spiced cake we sometimes eat for breakfast) to Fryske Sûkerbôle, A Frisian sweet bread. Kandij is a fat and happy font. I’d probably use it for any book or product aimed at children, as it has a certain lumpy cuteness. Comes with diacritics and swashes for the upper case letters.

Kari is a complete redraw and expansion of the award-winning typeface originally released in 2005. Featuring both upright and ‘italic’ styles, this soft and curvy script is perfect for packaging, expressive headlines, and fun settings. Feature-rich and flexible, Kari is stocked full of alternate characters, swashes, titling options, expanded numeral sets, new dingbats, and a lot more… and for the first time, the much-requested ‘Medium’ weight is now available.

In 1999, Jeff Levine released a freeware font called "Channel Tuning JL" scanned from drawings made with a felt tip marker and designed as if the letters were breaking up due to poor reception such as on pre-digital TV sets. Over a decade later, Jeff has totally reworked the font—giving it cleaner lines, an extended character set and renaming it Channel Surfing JNL to set it apart from the roughly-drawn original.

A piece of hand lettered sheet music from the era of the "Roaring Twenties" served as a model for Raccoon Coat JNL. It was a time of Prohibition, bathtub gin, flappers and college boys decked out in beanies and raccoon coats. College pennants, ukuleles and "23 Skidoo" were all part of the youth culture during this period; which gave us such dances at the Charleston, the Black Bottom and the Lindy Hop.

American Type Founders released the pattern for this typeface under the name "Thermotype". In the days of cast-metal foundry type, copyfitting headlines could prove problemmatic at times; this typeface, with a wide uppercase and narrower lowercase of exactly the same “color”, allowed stacked lines of type to be composed with uniform width. Clean, crisp and practical. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Introducing Retro Star Typeface: Unleash Nostalgia in Every Letter! Step into a time capsule with Retro Star, our latest vintage-themed font that oozes old-world charm. Radiating a sense of nostalgia, this typeface takes you back to the elegance pop from days gone by. Retro Star lends an air of authenticity to your designs. Embrace the past and craft designs that resonate with the soul of yesteryears – discover Retro Star today!

Hello Aluyeaholics! Blue Cashews' alternates are inspired by the curved shape of a cashew with a blunt tip. Blue Cashews give the impression that we often see in the packaging of snacks, cereals, milk, and so on. So warm, sweet, fresh, crunchy and full of love!Coming with 220+ stunning and super easy to use alternates and ligatures. To get results like the preview just type B.2l.3ue.2 C.2ash.2ew.2s.3

Design System is a great type system consisted of 5X7X2=70 font styles from 70s-style simple square sans to the widest style of all time that are best for titles, logo and text. Their simple form does not limit the target of design and can be used for any creative work. Additionally they all have been designed not to provide a feeling of strangeness when they are used in mixture each others.

Bietka is a high quality squarish display font - geometric, modernist and playful at the same time. It supports multiple languages, as well as open type features, alternate styles, lining, old style, proportional and tabular figures, fractions, ordinals, subscript and superscript, arrows, symbols and special characters. It was designed for all kinds of display uses - great for posters, headlines, banners, logos and short paragraphs of text. Bietka comes in two styles - regular and italic.

Technically a crowbar is a straight metal rod used for digging. The tool I had in mind when I named this font is called a jemmy or pry bar, but I guess I liked the name crowbar better. Crowbar font, like its namesake, is a very useful tool: its brush-like appearance fits any design, especially if you are aiming for the ‘scary’ look. Comes with a toolbox full of diacritics too!

Dynamic and urgent in style, Delux draws influence from '50s science fiction pulp magazines and hand-painted military letterforms. Delux evokes an era when the future was neo-plastic, solid-state, isotopic bright (and everything was better with fins and chromium plating). Both retro-futuristic and nostalgic, Delux embodies a time when there was no melancholic longing for the past, just a naive burning optimism that 'things to come' would be better.

Introducing FLICKING, a font that's like a groovy time machine to the 60s. With its bold retro script and the added Shadow version, creating that perfect vintage look is a breeze. FLICKING offers two styles: Regular and Shadow, making it versatile for logos, invitations, labels, magazines, books, and even greeting cards. Features: Flicking Main File Has 2 Families: Regular and Shadow Instructions (Access special characters, even in Cricut Design) Simple Installations Thank you, Dharmas Studio

Make a little extra impact with this strong athletic font with big geometric muscles, clean lines and sharp teeth, too. Originally created for a local pro basketball team in Minnesota, this sporty and big-shoulder poster font is now available directly to you for the first time ever to add some punch to your printed or web designs. Crisp and clear and ready for action a concise variety of weights and styles!

Morthern is inspired by the work of charming lettering artists with a combination of Old Style Display Bold. Each letter is modified so that the distance, width and weight can give the beauty of the alternates given. A passionate curve gives a touch of beauty to this font. With both weights you have two different shapes in terms of uppercase letters that aim to distinguish between title of the letter and the paragraph.

The initial inspiration for Technical Standard VP came from examining precisely machined labels on tools from cameras to cars, which need to be legible at all sizes. The streamlined look such processes achieve was reinterpreted and refined - the resulting font at the same time being robust and stylish, universal and unique, with its ten distinct styles offering great versatility. With 1120 glyphs in each style, it guarantees full support for all Latin languages.

Introducing Troops Display Typeface: Where Vintage Meets Bold! Inspired by the rugged charm of the past, this slab serif typeface exudes strength and character in every letterform. From striking headlines to impactful branding, Troops Display commands attention with its rough lines and distinctive serifs. Whether you're reviving a classic look or adding a touch of timeless flair, Troops Display is your go-to choice for designs that stand the test of time.

Flagtail Display combines the familiar feeling of classic typeface with the modernish touch to suit the nowadays trend. With its semi-bold and sharp type of shape, it can easily catch and engage the reader's attention in an instant. The excellent readability of Flagtail Display will put any of the messages being delivered to be the limelight. This typeface suits for you who aim to catch attention through headlines, rebrand your products, and beyond.

Pi fonts which had been used for the time tables of the Deutsche Bahn

The Journal Sans typeface was developed in the Type Design Department of SPA of Printing Machinery in Moscow in 1940–1956 by the group of designers under Anatoly Schukin. It was based on Erbar Grotesk by Jacob Erbar and Metro Sans by William A. Dwiggins, the geometric sans-serifs of the 1920s with the pronounced industrial spirit. Journal Sans, Rublenaya (Sans-Serif), and Textbook typefaces were the main Soviet sans-serifs. So no wonder that it was digitized quite early, in the first half of 1990s. Until recently, Journal Sans consisted of three faces and retained all the problems of early digitization, such as inaccurate curves or side-bearings copied straight from metal-type version. The years of 2013 and 2014 made «irregular» geometric sans-serifs trendy, and that fact affected Journal Sans. In the old version curves were corrected and the character set was expanded by Olexa Volochay. In the new release, besides minor improvements, a substantial work has been carried out to make the old typeface work better in digital typography and contemporary design practice. Maria Selezeneva significantly worked over the design of some glyphs, expanded the character set, added some alternatives, completely changed the side-bearings and kerning. Also, the Journal Sans New has several new faces, such as true italic (the older font had slanted version for the italic), an Inline face based on the Bold, and the Display face with proportions close to the original Erbar Grotesk. The new version of Journal Sans, while keeping all peculiarities and the industrial spirit of 1920s-1950s, is indeed fully adapted to the modern digital reality. It can be useful either for bringing historical spirit into design or for modern and trendy typography, both in print and on screen. Designed by Maria Selezeneva with the participation of Alexandra Korolkova. Released by ParaType in 2014.