JustTall is an ultra condensed typeface with open type features, 400+ characters with 80+ languages support made for tight spaces. Useful for - Logos for companies with really long names Different texts with very little space available Very tall design types Give feedback: https://bit.ly/3FlmhDS

Many people asked why we removed Design or Die of our collection. After years of hibernation in our vault, one of the sexiest italics of the Classic Type-Ø-Tones is back. New subtle changes for a definitive version of this Luis Mendo type.

Brandzet is a unique display font. Its random shape makes it outstanding and great for titles. This type of font is perfectly made to be applied to logos, headlines, labels, logos, magazines, books, packaging, fashion, makeup, stationery, novels, labels, or any type of advertising purpose.

Designed at Polygraphmash type design bureau in 1986. Based on "English" bold styles of the Ossip Lehmann type foundry (St.-Petersburg), of mid-19th century. The digital version was developed at ParaType in 1992 by Vladimir Yefimov. For use in advertising and display typography.

Tuzonie imitates misprinted or degraded and distressed type. It especially imitates type where the outline has only small imperfections, (which at smaller sizes might even appear fairly-well defined) but where the imperfections in the interior of the letter shapes are more obvious and frequent.

A light and playful sans serif type design with Art Nouveau influences was called “Tasso” within the pages of the 1893 edition of the Barnhart Bros. & Spindler type specimen book. This is now available as Nouveau Boutique JNL in both regular and oblique versions.

Apparently original with the Lindsay brothers type foundry in New York shortly before they were merged into the American Type Founders Company. A few characters of the original font have been modified slightly to make them more harmonious with the rest of the alphabet.

News Ticker JNL was inspired by some 1930s film footage of the famous electronic message sign that surrounded the New York Times building in Times Square. A blank panel is located on both the regular and broken vertical bars for use in spacing between words.

Bernyck is a vintage fonts inspired by bold advertisers hand lettering styles, popular in the late 1940s through the early 1950s. It has the same charm as his brother “Cinefile”, but, this time, connected and with more alternates. The Bernyck family is integrated by Bernyck and Bernyck Extrude to interact together. To this we add a beautiful set of 131 ornaments, Bernyck Ornaments and of course, Bernyck Ornaments Extrude. The Open Type features include a full international character compliment, standard and contextual alternates, swatches, stylistic sets, initial forms, standard and discretionary ligatures. All this makes the text lively and bouncy, without the monotony of obviously repeated letterforms. A total of 634 glyphs to offer you many more options for your designs! Bernyck, like all our fonts, was carefully designed, controlled and tested in both aspects: readability and technical aspects. We take care of the kerning pairs, hinting and the precise programming of the Open Type functions; as well as the final touch of each glyph. Bernyck adapts well to titles, packages, invitations, greeting cards, magazines and book covers, children's material, fashion, logos and, posters and wherever you need a fun and sympathetic display font.

In 1925, at the request of Barnhart Brothers & Spindler, the foundry he worked for, Oswald Bruce Cooper designed a wide selection of "screamers", oversized exclamation points used to grab attention in display advertising. The foundry rushed the screamers into production, much to Cooper's dismay. Cooper was disappointed with the final form of the screamers– they were designed in assorted weights to match the assorted Cooper series of typefaces, as well as in a variety of other formal solutions- squaredoff, incised, wavy, Tuscan, and rounded. Cooper's working design methodology was to re-draw his projects a number of times in order to refine the formal results. However the screamer project was hastily cut by the head of BB&S's matrix engraving room in fourteen sizes from the initial sketches, causing Cooper to fire off a fiery missive stating, "Everything I draw is bum the first half-dozen times I draw it; the trouble with these is that I drew them only once!" This typeface is the result of researching Cooper's original drawings and series of engraved proofs for the screamers, as well as the original Screamer type specimen. Cooper Screamers have never been available before in digital format.

Sodra is a wide-accented antiqua with sharp serifs and hints of futuristic forms. This typeface emerged from a passage in the Manifesto del Futurismo by Filippo Tommaso Marinetti. One short word was the inspiration and the guidance for the creation of this font. An attempt to create something unique and distinctive, an attempt to add a bit of futurism to something historical. The special aesthetics and expressiveness the type conveys will make you look closely at each letter and draw attention to your design. The font has been in development for a long time and painstaking work has been done on it. Large language support, about 470 characters and almost 4,000 kerning pairs. Hinting and testing the font itself in business and in a wide variety of applications. The uses of the type are very wide. Whether it's a branding, logo, identity or merch, a headline or product design. The nature of typeface is not limited to something rough and gloomy, on the contrary, it all depends on how you look at it. I've shown you my point of view, you in turn will see yours!

Yakout is an Arabic text face that was developed by Linotype & Machinery in 1956 for hot-metal typesetting. Similar to the typewriter fonts created during this period, it utilises a limited range of letterforms to represent a full Arabic characer set, thus forming a style of type design known as Simplified Arabic. The skilful reshaping of letterforms demanded by the constraints of the original restrictive technology has given Yakout a very dynamic effect, and has helped to produce a design whose overall pattern works particularly well in newspaper setting. Digital technology has enhanced the original design by permitting the introduction of wide characters and some additional letterforms, and by improving the joining of the strong, slightly curved baseline. Yakout is available in two OpenType weights: Yakout Light and Yakout Bold. Both of the fonts include Latin glyphs (from Times Europa Roman and Times Europa Bold, respectively) inside the font files, allowing a single font to set text in both most Western European and Arabic languages. Yakout incorporate the Basic Latin character set and support all languages that use the Arabic script. They include tabular and proportional Arabic, Persian, and Urdu numerals and a set of tabular European (Latin) numerals.

A few years ago I've discovered the work of one of the most prolific typeface designers of the Bruce type Foundry in NYC during late nineteenth century. Browsing Julius Herriet's work I found a very unique kind of ligatures in his patented "Old Style Ornamented" type design. Some letters were designed with a little top tail that allowed them to connect to each other. After that, I found that he also designed a single italic weight of the same font 7 years later. Since the beginning of the Opentype days I’ve been deeply obsessed with exploring different ways to build ligatures, so that lead me up to this point where I felt the need to create “Plethora”, this new font inspired by Herriet’s work. Extrapolating weights, adding variable technology and playing with additional interconnected letters and alternates. Definitely, Plethora means a large or excessive amount of something, and this font tries to bring back this abundance of details two centuries later. Available in 9 weights, from roman to italic, and also as variable format, “Plethora” supports plenty of latin languages and is a perfect choice for today’s design tides.

Large font sizes are often hard for the eyes to see and difficult to read. As a consequence, you have to give a lot of extra effort just to find out the right, legible font type with a great weight for your brand. Restages is a capitalized display serif font with less thickness for an effortless readability. This font type is perfect for formal contents because of its stylish, elegant characters to strengthen the impressions delivered. Furthermore, this font is truly legible due to its simple, regular serif forms to ease readers to recognize each letter correctly. Make use of the font features available here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Restages fits best for various design projects, such as brandings, posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Stagen is a cloth with a length ranging from 5-10 meters and a width of about 15 cm which is usually used by traditional Javanese women as part of the traditional kebaya dress. The stagen is wrapped around the stomach to help maintain posture and "lock" the jarik cloth on the kebaya. Stagen existed before World War II in Indonesia and became an elegance in the harsh world at that time. Inspired by the rich culture, Stagen is a modern sans serif typeface that has an upright and sturdy impression, with unique curves in it. A simple, yet distinctive, elegant font that can be applied to many areas of design. Coming with 130+ stunning and super easy to use alternates and ligatures. Very suitable for magazine, headline, website, ads, product package and all type of design project you have. Features: OpenType support Multilingual support (15 languages) PUA Encoded Super Easy to Use alternates - It's OpenType support but you can easly call alternates character using special combination like A.2 R.3 L.A L.a etc so you don't need special software. To get results like the preview just type Sta.gen.

Project Of Code - Display Sans Font. Project Of Code a contemporary, Display Sans inspired display typeface full of character, quirky ligatures, and glyphs to keep your designs fresh. Project Of Code is a display font that we recommend using in the following types of work; magazines (titles and layouts), logos and branding, invitations, quotes, blog headers, posters, and advertising. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. This font is also support multi language.

The Vtg Stencil DIN fonts were developed to made the most common stencil type of Germany available in digital type. Of course there are several, slightly different stencil designs from different manufactures in circulation, but all share the typical design of DIN type. » pdf specimen « Vtg Stencil DIN comes in many styles – Regular, Alt, Fabric, Halftone and Rough. The Alt style features older designs of letter “a” and figures “6” and “9”. Fabric, Halftone and Rough styles have an eroded, weathered look using up to four glyph variations of each letter. For an random effect an glyph rotator is programmed into the fonts opentype-code and applied by typing in opentype-savvy application.

The display typeface is a modern take on a classic style. While paying homage to old-style type sensibilities, Sangect Display takes the characteristics of serif type and leans into drama and boldness with strong contrast in stroke width, and soft edges. Sangect Display appearance emphasizes elegance and elegance; ideal for loud and proud headlines. Which is included in the file Capital letters Lowercase Number Ligatures Alternative Symbol Multilingual Accents (Uppercase and Lowercase) The download includes the Sangect Display font in an (Open Type Font) file, and as a (True Type Font) file. If you have any questions, or are experiencing technical difficulties with a downloaded file, please send a message and I will be happy to help you!

Alterglam is one of my all time favorite fonts, although I didn't think so at first. The font appeared as a modification of my other default font. But over time, the font turned into an independent work. Moreover, the font began to live its own life and constantly demanded attention. So at the same time the Alterglam font is the most thoughtful and polished font in my collection. It is my pleasure to present this wonderful font set for exquisite designs. In the set there are 20 font sizes, which provides a rich typography. If you need a strict, but at the same time artistic font, Alterglam is the font of your choice.