Retro style is hip, so are early 20th century poster fonts. Size is based on these extra condensed letter forms. In the 19th century the need to communicate commercial messages on limited poster space brought up extremely condensed fonts creating a new typographical look. Since not really legible in small sizes these fonts nearly disappeared with the change in the commercial communication in the 20th century. For a couple of years now, these extra condensed fonts have a revival copying the exact historical appearance of its predecessors. Size, though also seeking the inspiration in the historical draft, furthermore aims to interpret this compressed look in a more vivid way by not closing in on the open counters of the round letters, but having its stroke endings slightly curved. Since other characters are defined by straight strokes, Size displays a look more vital and candid, but still distinct, compared to its historical predecessors.

Many of the fonts available from Canada Type are revivals of historic brush scripts (such as Bruschetta, Coffee Script, Puma, Tiger Script). Hunter is a deserved addition to the collection. Imre Reiner's Mustang design from 1956 now enters the digital realm to continue living in this world of new typography. Hunter has a wilder streak than other brush scripts. Its irregular terminals give it an almost wooden appearance and a most natural, hand-made expression. This natural look was extended by the expansion of the original design and the addition of some alternates and ligatures, built within the font and easily accessible from any program's glyph palette. Hunter was also slightly modified to accommodate not only sentence- and lowercase-setting, but also all-capital setting, which is a flexibility hardly ever found in most brush scripts. So if you have been looking for a natural, quirky brush script for your designs, Hunter is your type!

The drawings, for what is now Triplex Italic, were done in Iowa City in 1985 by John Downer. The italic was originally conceived as a companion for another typeface being drawn at the same time called Arcatext, which (like Triplex) could be described as a "humanist sans-serif" having simplified character shapes constructed mostly of geometric parts. At one stage, a certain customer was interested in Arcatext but wanted a different italic drawn for it, so the plan for the italic took another direction and the idea for this one was dropped. Five years later, Emigre decided to commission the abandoned italic as a digital typeface in three weights as companions to the Triplex Sans and Serif families designed by Zuzana Licko in early 1990. The ascenders and descenders have been shortened to match those of Triplex and the new capitals embody more of the features that distinguish the lower case, but otherwise the digital version closely follows the original drawings. See also Triplex OT.

Dueblo is a font family in serif, sans serif and semi serif with variability in weight and serifs. It's a classical antiqua with a sans serif basis, a semi serif version, two decor styles for headlines and initials and the italics in sans and in serif. The small caps, alternates as well as other useful optional and contextual open type features are included in the fonts. It has been in development since 2012 and in use for several projects and publications since 2015. It was worked on until 2020, the cyrillic and greek letters were added, and it was built up in a new and modern way. Now it's really ready for building words and paragraphs.

Cloister Initials™ have become FontHaus's most popular decorative initials font since we began selling it in 1993. First released in 1919 for ATF, Goudy's "Cloister Initials", sometimes called Goudy Initials is recognized as "one of the most beautifully designed set of initials ever made". We agree. Our digital revival is historically accurate because it was referenced from the actual ATF 144-point brass matrices acquired at the now legendary and final ATF auction in Elizabeth, New Jersey in 1993. The exquisite design of each character inspire it's use. Perfect for holiday invitations, elegant note pads, as drop caps or in period design. We've even sold these initials for use as company logos.

Description This is Networkand Family. World's best graffiti and non-graffiti marker-styled font ever. Networkand marker font family, carefully selected from hundreds of letters. Signature-styled Networkand Script perfectly fits next to the Networkand Font. Besides all this, the Networkand Swashes Font is designed to customize your designs to another level. You can read Medium article here. FEATURES: Original: Networkand Fonts and swashes created for your special designs. You can turn your dreams into reality and customize them. Unique Creation: An unprecedented experience a creation that no one has ever had before and will uncover your awareness. Create your Brand: Unlike a standard font to create a new brand concept. Be different. Be different in life. Your own. Create your own mark: That’s the most special part of this font. A brand new identity for your personal signatures.

Great Scott, Marty! This font is your density, charged up to 1.21 gigawatts through the Power of Love! Originally created by Comicraft for the official BACK TO THE FUTURE fan club, Remastered DOUBLEBACK has been rebuilt from the ground up, with a new vertical “Curve” weight, six new “Parallel” weights, stylistic alternate letters AMNUWY, and language support for Western & Central Europe and Vietnamese. And if that weren't enough, we've traveled into the future and brought back Solid & Open Variable Fonts which provide precise control of Time and Warp! We cannot be held responsible for any ruptures in the space-time continuum due to use of these fonts. SPECIAL INTRO SALE: from October 21 through November 12, get DoubleBack at half price and we will donate $20.15 of each sale to the Michael J. Fox Foundation for Parkinson's Research. We love ya, Mike.

PODIUM Sharp is Extended version of DUDU typeface designed in 2012. After many years I’ve decided to rebuild and develop this typeface by adding new masters and weights. Finally PODIUM Sharp consist of 234 styles: from ultra compressed hairline to extra expanded heavy. Main purpose of this project was idea to make hybrid between different modular and geometric woodtypes that I found in old polish specimens: Rex, Blok, Bacarat etc. Thanks to big range of different styles, PODIUM will be perfect choice for visual identities, posters and display usage. For better comfort of using PODIUM I’ve prepared new idea of styles naming based on Frutigres’s Universe and Climbing evaluation. First digit means width and the second weights of style. (So for example style 1.1 is ultra compressed hairline, 6.5 is something like regular and 9.13 is ultra expanded heavy.

Hi there! I'm happy to present you my new font! Adrim is a modern symbols and lines display font. Each uppercase character have a unique pattern with moon, stars and leaves. Here are also clear font option. It is perfect to use in any vintage logos, branding, flyers, product packaging, romantic stationery, ecology posters, astrology blog design, holiday invitations. What you will get: * Pattern and Clean styles * Uppercase and lowercase * Numbers * Symbols * Ligatures * Punctuation * Multilingual support If Adrim font family is not ok, please check out Avery https://www.myfonts.com/fonts/kaer/avery/ I hope you enjoy this font. Follow my shop to receive updates of products and the very hottest news! If you have any question or issue, please contact me: kaer.pro@gmail.com Please request to add additional characters and glyphs if you need! Thank you!

Rough Love, it’s fair to say, came before Love Script. The brushed letter specimens that would ultimately serve as the template for the much ‘cleaner’ Love Script have now been turned into a typeface. As I packed these up, I just kept coming back to them and staring at the texture and movement caught on the page. On a lark, I decided it would be fun to let people see an almost a before and after scenario of how one led to the other and decided to produce a typeface from these specimens… Rough Love. For the most part, in typical fashion for me when I brush out a typeface idea, I try to brush the entire character set along with each of the planned variants for swashes, titling, and other alternates—the reason for that is simple -- each letter looks and acts a bit differently when the same movements are imposed on them. With Rough Love, I tried to adhere to that and made very few modifications to the originals, and only had to ‘borrow’ in a few occasions when I happened to forget to brush a variant.

Varidox, a variable typeface design, allows users to connect with specific design combinations with slightly varied differences in style. These variations in design enable the user to reach a wider scope of audiences. As the name suggests, Varidox is a paradox of sorts--that is, a combination of two disparate forms with two major driving influences. In the case of type design, the conflict lies in the age-old conundrum of artistic expression versus marketplace demand. Should the focus center primarily on functionality for the customer or err on the side of advancing creativity? If both are required, where does the proper balance lie? Viewed as an art, type design selections are often guided by the pulse of the industry, usually emphasizing unique and contemporary shapes. Critics are often leading indicators of where the marketplace will move. Currently, many design mavens have an eye favoring reverse stress. However, these forms have largely failed to penetrate the marketplace, another major driving factor influencing the font world. Clients now (as well as presumably for the foreseeable future) demand the more conservative forms of monoline sans serifs. Typeface designers are left with a predicament. Variable typefaces hand a great deal of creative control to the consumers of type. The demands of type design critics, personal influences of the typeface designer and the demands of the marketplace can all now be inserted into a single font and adjusted to best suit the end user. Varidox tries to blend the extremes of critical feature demands and the bleeding edge of fashionable type with perceptive usability on a scalable spectrum. The consumer of the typeface can choose a number between one and one-thousand. Using a more conservative style would mean staying between zero and five hundred, while gradually moving higher toward one thousand at the high end of the spectrum would produce increasingly contemporary results. Essentially, variable fonts offer the ability to satisfy the needs of the many versus the needs of the few along an axis with a thousand articulations, stabilizing this delicate balance with a single number that represents a specific form between the two masters, a form specifically targeted towards the end user. Practically, a user in some cases may wish to use more conservative slab form of Varidox for a more conservative clientele. Alternatively, the same user may then choose an intermediate instance much closer to the other extreme in order to make a more emphatic statement with a non-traditional form. Parametric type offers a new options for both designers and the end users of type. In the future, type will be able to morph to target the reader, based on factors including demographics, mood or cultural influences. In the future, the ability to adjust parameters will be common. With Varidox, the level of experimentality can be gauged and then entered into the typeface. In the future, machine learning, for example, could determine the mood of an individual, their level of experimentality or their interest and then adjust the typeface to meet these calculated parameters. This ability to customize and tailor the experience exists for both for the designer and the reader. With the advent of new marketing technologies, typefaces could adjust themselves on web pages to target consumers and their desires. A large conglomerate brand could shift and adapt to appeal to a specific target customer. A typeface facing a consumer would be more friendly and approachable, whereas a typeface facing a business to business (B2B) customer would be more businesslike in its appearance. Through both experience, however, the type would still be recognizable as belonging to the conglomerate brand. The font industry has only begun to realize such potential of variable fonts beyond simple visual appearance. As variable font continues to target the user, the technology will continue to reveal new capabilities, which allow identities and layouts to adjust to the ultimate user of type: the reader.

The legendary retro-futuristic typeface returns, now in digital format! While there may be copycats of varying quality, none of them have taken the time and care to revive, reproduce, and expand the original Roc Mitchell “Corporate” typeface like Corporatus has. Made directly from scans of the original type specimens and expanded to include the full WGL4, Corporatus is YOUR solution for your retro, futuristic, and corporate design needs. Descended from Microgramma and originally designed to be the American competition to distant cousin Eurostile, Corporate and subsequently Corporatus is best known for being the typeface used by video game developer and publisher Nintendo for many NES-related media in the West, including its controllers, and by Colecovision for its logo. With the original Latin character set as well as Greek and Cyrillic lettering available, now you're playing with TYPOPOWER!

Domosed typeface was build during lockdown. As a result of home sitting it appears in two weights. It refers to Italian futurism when all generation understand global changes of industrial revolution. The forth industrial revolution appears with new rules but the main idea is the same – simplifying the processes. Causing the vibe of a bright phenomenon I want you to use my font to match to zeitgeist.

Update November 2022: ULGA Grid now features an oblique variant. It’s also been expanded into a family of different but related designs with the addition of ULGA Grid Solid and ULGA Grid Rounded typeface families. All variants and new designs are monospaced, sharing the same width as the original ULGA Grid font and matching character sets. The character set has also been enlarged and now supports Western Europe, Vietnamese, Central/Eastern Europe, Baltic, Turkish and Romanian. ULGA Grid is a modular, monospaced typeface reminiscent of the old Letraset LCD & Quartz typefaces from the 1970/80s with lots of alternative characters and ornaments to bring a fresh twist to the genre. The idea’s seed germinated while I was going through a phase of binge watching my favourite 1980/90s sci-fi movies (classics such as Terminator, Total Recall and RoboCop). However, perception and reality don’t always align. Thirty years later, when compared to today’s technology, some visual elements look kind of outdated, almost Retro Futuristic. The initial design process started out in Adobe Illustrator when I constructed letters from a few geometric shapes within a square block. Just playing around with different shapes was so engrossing that it wasn’t long before there were enough characters for a basic typeface. The project grew again as I experimented with designs within the shapes and set paragraphs of text in patterns, resulting in over a hundred alternative characters and ornaments, some of which double up as border designs. This typeface may be square but it’s anything but boring. What it lacks in legibility ULGA Grid makes up for in style and the end result is a surprisingly versatile typeface that you'll have fun using for a wide range of display purposes including CD covers, posters, packaging, advertising, brochures and film titles. Ironically, the fixed grid structure frees the characters to create patterns of text not possible with variable widths.

IT’S MAILBAG TIME! Dear Jolly JG Roshell and Rascally Richard Starkings, Comicraft Fonts are a thing of Beauty and a Joy Forever! You guys must be a Wild Bunch, and I roar with delight whenever a new comicbookfonts release appears in my emailbox. But I have to level with you daredevils...what about us Letterhacks? We need representation too! We haven’t spent years hammering away on our typewriters to be ignored! BRING BACK THE LETTER HACK! In fearless font form. You know it makes sense! Truly Yours, Forbush, Irving, senior.

This beautiful old design was originated at the Connor Foundry, New York, about 1888. Ideal for the small "in between" lines in modern versions of Victorian job printing.

Widia hand brush is a script in a new, modern, handmade calligraphy, with decorative characters, suitable for invitations, greeting cards, branding materials, business cards, quotes, posters, and more.

Southern colonialist is a new slab typeface from Intellecta, based on ancient advertisements from the Wild West of America Good for titling and display usage; in many styles.

The new release is called Noki. A font family Ideal for flyers, label, logos, magazine, product branding, corporate branding, signage, posters and certainly in advertising. Check it out !

New modern font with aesthetic principles of renowned Bauhaus design school. It's based on radically simplified forms, functionality and rationality. The embodiment of modernism, modern and authentic style.

Completely new font inspired by 1920's design and architecture. This elegant font is suitable for titles and bold headers and would work great on invitations and posters.

Rotunde is a very bold contemporary sans serif font. It is ideal for headlines, titles, branding, small blocks of text or wherever a fresh new look is desired.

Based on vintage wood type, Nostrand JNL is a tall, condensed serif face - named for an avenue in font designer Jeff Levine's home town of Brooklyn, New York.

The 2031 typeface is a toolbox made of fonts from the 2030 typeface. 3d, outlines, shadows and other graphic effects remix each style into a new postmodern typeface.

A unique looking sanserif that connects like a script. It's different and innovative design creates a whole new look. A great decorative display font with lots of applications.

Misano a new, modern and fresh script with a handwritten style making this font looks elegant, natural, stylish and perfect for any awesome projects that need handwriting taste.

Nakeisha New fresh & modern style with handmade calligraphy, decorative characters and dancing lineage! So wonderful are invitations like greeting cards, branding material, business cards, quotes, posters, and more !!

Dedicated to the XXII summer Olympic Games. I was inspired by the icons of these games when creating font Olymp80. This is an excerpt from the official report of the Moscow Olympics: "Sports pictographs, as we know, are pictographic drawings symbolising sports. They serve as points of reference and help overcome language barrier. Over the past few years, they have been integrated into the decoration of Olympic cities, and have been depicted in Olympic posters, commemorative medals, postage stamps, tickets, souvenirs, etc. On the OCOG-80’s request, graduates from several art colleges took up the design of the pictographs of the insignia as the theme of their dissertations. With the help of the research institute of industrial aesthetics, the Organising Committee chose the work submitted by Nikolai Belkov, Mukhina Art School graduate from Leningrad. The State Committee for Inventions and Discoveries under the USSR Council of Ministers recognised the new design as a production pattern. Though highly stylised, the new signs are easily comprehensible. They are smoother in outline because they are constructed at an angle of 30-60 (previously the angle was 45-90). Another merit of the new system is that the designs can be adapted for use in four representations: direct (solid, black against a white background), reverse (solid, white against a black background), contour (black contour against a white background), and reverse-contour (white contour against a black background), and permit several colour and shade and size variations." All text and pictures you may see on 1980 Moscow, Volume 2, Part 2, Page 420. Monospaced font for names, logotypes, titles, headers, topics etc. Font includes only uppercase letters with two alternative designs for each letter.

A revival of one of the popular wooden type fonts of the 19th century, suitable for display. The bold version has rounded ball shapes at top and bottom of stems as well as at horizontal strokes. The pointed version has pointed shapes at top and bottom of stems as well as at horizontal strokes. Lowercase was not originally designed for these fonts. These new versions include caps, figures and accented caps.

Although inspired by the engraved lettering on eighteenth-century English trade-cards, ITC Vineyard has unusual characteristics of its own. The type retains some quality of copperplate scripts, but the differentiation between thicks and hairlines is not very sharp. There are a few cursive forms, but most of the letters are romanized: they are almost upright and not joining. Occasional flourishes are casually interpreted from various sources such as the lettering on trade-cards and writing masters' copybooks. “I think it is a new kind of 'copperplate script' which is not too formal and easier to read,” claims designer Akira Kobayshi. Irregularities are apparent in the angle of caps and numerals, but the face's quirkiness gives a type page some friendliness rather than cold brilliancy. ITC Vineyard is designed in two weights: regular and bold. Each variation includes several extra characters such as an alternative lowercase 'd' with a long arm, a T-h ligature, swelled rules, and a pair of flourishes. Swash caps are available for both weights. The swash caps variation also includes oldstyle figures. Kobayashi notes: “There are a few swash-cap lowercase combinations that collide or look awkward. In that case, I recommend using the plain caps. Setting all swash cap copy should also be discouraged.” Featured in: Best Fonts for Tattoos

Oliviar Sans Variable is a modern sans serif with Grotesque touch. It's my experimental to study the new trends for the future fonts that is Variable Fonts. Inspired by a Geometrical fonts and also Humanist Sans serif. Created with 8 Masters that export to the traditional OTF to 28 Styles!. On the Applications that support variable fonts such as Adobe Illustrator & Photoshop, you can get more than only 28, you can customize the Weight, Width and Slant. Weight created from Thin (100) to Bold (900), Width created from Standard (100) to Expanded (900) and Slant based on degree angle from 1˚ to 10˚. There is a new slider icons for accessing this features Check on Last Display Image. Another advantage on the Variable fonts are you just need 1 files to install to your computer and it will install all the styles available. All of the Fonts are support for Multilanguage, Carefully Crafted.

Isabel was made out of necessity to create a new font for children and teenagers, that could be enough friendly and versatile for text in words or even easy-to- read long texts. The purpose of Isabel is to combine all the nice and friendly features of the simple letters that the teachers teach to the pupils at primary school, as they starting to learn to read, together with the normal editorial fonts we read every day. In this way it generates a very joyful serif font, or even friendly font, with some conservative aspects. In other words, Isabel is a font that, despite of being a “classic features” typography, is proud to show its innocent and ingenuous elements, this gives to the font a new point of view. The family is composed of 3 parts: the regular version, the italic version and the unicase version. Each one of them has 5 weights, 551 characters and is composed of 208 languages.

Violeta script- a new modern calligraphy font. This font is ideal for branding and to decorate your projects, perfect for wedding invitations or your blog. You can also create a logo or beautiful frames for your home. Or just use for your small business, book covers, stationery, marketing, magazines and more.

Spinach - a new fun display font. This is a fun font that is perfect for creating your project, it can be used to create a beautiful inscription for t-shirts, children's books, branding, small business, book covers, stationery, marketing, blog, magazines and more. All characters of this font support PUA encoded.