Sackers Roman is an engraver, all-capitals family for invitations and stationery. The letters have strong contrast between thin and thick strokes. See also Sackers Gothic, Sackers Square Gothic, Sackers Script, and Sackers Classic Roman.

The Meez is a geometric, extremely extended sans-serif typeface strictly intended for use as a display font. The family consists of three styles: Light, Regular and Bold. In each weight, all letterforms retain the same width, which make it ideal for titling use.

ITC Flatiron is a revival of an extended all cap headline font from the Photo-Lettering Collection. This hand-drawn sans serif face has uncharacteristic mono-weight letterforms. Deliberately expanded and almost absurdly wide, ITC Flatiron has an unusual style, one that is almost irreverent.""

Stencil Sheet JNL was modeled from an antique brass stencil sign that was custom hand punched for the customer. Sets of punch dies were available for years that allowed rubber stamp shops and similar trades to make custom stencils out of sheets of zinc or brass.

Redoneta Rounded is an extension of Redoneta font family created by Rafael Jordan, adding kindness to the rational geometry, keeping its workhorse vocation mixing efficiency and the beauty of simplicity. Redoneta Rounded is available in 6 weights and its matching italics. It has an extended collection of OpenType features, including seven stylistic sets to customize how performs in multiple ways.

Zawlbuk is a type inspired by Blackletter (sometimes black letter), also known as Gothic script, Gothic minuscule, or Textura. The Letters are drawn using a flat nib pen on a paper, scanned and drawn into a vector format.

PT Quadrat Grotesk™ was designed for ParaType in 2001 by Vladimir Pavlikov. An expanded sans serif with square letterforms due to what the face was named. Based on the shapes of one of old Russian wooden types. Wooden types were used for placard display composition at large sizes. Their printouts retained wooden texture and traces of handling. These features are reflected in the shapes of Quadrat Grotesk. It is a good typeface for display and advertising typography.

Flying, elegant, handwritten font Orange Mochi. The font is built on the basis of personal handwriting, has narrow and wide glyphs, brave external elements, alternative letters and funny ligatures. The font works well in an array of text, titles and logos. Display font Extended latin & cyrillic

Quebra Expa (Expanded) is an extend display sans-serif font family, available with four widths (Extra Condensed, Condensed, Normal and Expanded) and ten weights, italics versions are available. The main strokes contain small breaks simulating modulated variations on the letterforms, these details are more present on large body sizes. All font versions contain Latin and Cyrillic encoding characters and also ligatures, case-sensitive forms, fractions, oldstyle and finally tabular figures.

Time to grunge it up again with another detailed masterpiece from Guillaume Séguin. Character set has been greatly expanded, ready for some rough and tough designs in many languages. Rock on! 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.

TOBOGGAN | Utility Display Typeface Toboggan is a utility display typeface with classically influenced proportions, calligraphic elements, and sporting roots. With 9 weights, upright, and true italics, Toboggan comes in a total of 18 fonts. With flexibility from a crisp Thin weight to an imposing Super in both upright and italic, Toboggan thrives as a utility font spanning the columns of extended text, in artful editorial layouts, eye-catching motion graphics, or commanding headlines in a title role. First drafted around the frame of a perfect circle, Toboggan evolved by taking inspiration from the sweeping contours of the automotive world, expanding into wider proportions, and adopting an abrupt set of constructed features. Sturdy with the spirit of sport, Toboggan’s final form preserves a human connection through features of the written hand, while minimal contrast and its chopped terminals bring a decisive tone with clinical precision. Features: - Nine weights and true Italics - Multilingual support (Extended Latin - Includes Western European coverage and more) - OpenType features including small-caps, stylistic sets, contextual punctuation & more - Extensive numeral sets including stylistic sets, circled, and squared numbers

Stobart is a script font based on the characters written in a letter by Mr Henry Stobart, dated 1899. It contains over 1200 individual glyphs, supports the extended latin character set and includes a total of 8 different alphabet sets to make up the extensive OpenType contextual substitution needed to make the font appear as genuinely handwritten as possible. It is for this reason that Stobart is an exclusively OpenType font and is intended for use in an application that has advanced OpenType support, although it should be said that the font will work (as in appear) in any application on any operating system that supports the OpenType font format, albeit without all those delightful features that make it a connected script.

Bingo Player JNL is a thorough reworking of Jeff Levine's old freeware font - cleanly redrawn with fresh glyphs and a set of "alphabet balls" for creating short headlines. To match the fonts in these dingbats for other text applications, use Shopkeeper JNL, Trade Journal Wide JNL and Market JNL.

Sagan was designed as an alternate to Ramsey ; you could call them brothers. It was drawn, redrawn, and expanded on, to put it lightly. It boasts 770 glyphs in each weight, covering all European languages, and also contains an extended Cyrillic. Sagan provides advanced typographical support with features such as case-sensitive forms, old style numerals, fractions, and many alternate glyphs. Like all of our typefaces, Sagan is fun to use. Sagan has 7 weights, with accompanying italics for each weight, ranging from Extra Light to Black. It is ideally suited for branding, editorials, advertising, packaging, posters, billboards and digital screen design. Sagan will work hard for your brand or project. Make a statement that demands notice.

Wayland (Vølund or Völundr) is the mythical blacksmith from Norse mythology. I chose this name, because Wayland is a bulky, sturdy display font. Wayland can be used for many types of design, but headlines, posters and book covers spring to mind. Comes with extensive language support.

Adso was born out of a research that studied the possibility of reintroducing Gothic writing in our contemporary world. Inspired by Textura, Adso was decidedly freed of all those little details that make Blackletter faces appear foreign or even displeasing to the contemporary reader’s eyes. Nevertheless, the basic features of Gothic color were preserved: verticality, modularity, and darkness. Adso is a gothic font for today’s age, highly readable and open to all fields of expression.

Inspired by Henry W. Troy, BLAQ is a new version of Trojan Text not available as font. Is an ornamental blackletter alphabet. Works great in headlines and other ‘masculine’ like design settings. The Victorian Gothic or Neo-Gothic is an architectural movement that began in the 1740s in England. Its popularity grew rapidly in the early nineteenth century. The revived Gothic style was not limited to architecture. We recommend to combine Blaq with: Turquoise Nautica

Linotype Gotharda is part of the Take Type Library, chosen from contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This display font started as an experiment of the Croatian-German designer Milo Dominik Ivir. He wanted to design a font with characteristics of both sans serif and Gothic faces. From the Gothic he took the heavy strokes, the narrow letters, the exaggerated overmatter and the high x-height. The modern standard forms of the letters s, a, x and z, the clear capitals and the lack of serifs are the characteristics taken from sans serif faces. The result is a font with a constructed, old German feel. Linotype Gotharda is intended exclusivley for headlines in large point sizes.

A retro looking gothic with that "South Beach" look.

A sans serif casual gothic. Works for many applications.

The original brief for Vox was a extensive monoline typeface that can be both precise and friendly, yet contain enough choice of seamlessly interchangeable variants for the user to be able to completely transform the personality of the typeface depending on the application. Basically, a sans serif with applications that range from clean and transparent information relay to sleek and angular branding. When the first version of Vox was released in 2007, it became an instant hit with interface designers, product packagers, sports channels, transport engineers and electronics manufacturers. This new version (2013) is the expanded treatment, which is even more dedicated to the original idea of abundant application flexibility. The family was expanded to five weights and two widths, with corresponding italics, for a total of 20 fonts. Each font contains 1240 glyphs. Localization includes Cyrillic and Greek, as well as extended Latin language support. Built-in OpenType features include small caps, caps to small caps, four completely interchangeable sytlistic alternates sets, automatic fractions, six types of figures, ordinals, and meticulous class-based kerning. This kind of typeface malleability is not an easy thing to come by these days. For additional versatility, take a look at Vox Round, the softer, but just as extensive, counterpart to this family.

Jean Evans' interest in type design dates back to her third-grade fascination with fancy script writing. Years later, work at a sign-painting school she found in the Yellow Pages® cemented her relationship with letterforms. Evans went on to study with master calligraphers and type designers, including the likes of Donald Jackson, Hermann Zapf and Matthew Carter. Evans' designs have been exhibited and collected around the globe, and her distinctive calligraphic style has been lauded by leading trade organizations, annuals and publications. Hatmaker, one of Evans' more popular typefaces, was originally developed for the Boston-based broadcast design firm of the same name. Inspiration for the design came from Ben Shahn's famous hand-constructed alphabet. Shahn's alphabet, however, was limited to capital letters. Daunted by the idea of designing a lowercase that would measure up to Shahn's capitals, I developed a second set of caps-simple, quirky, yet almost classic-to work as 'lowercase' with the Shahn-like caps," explains Evans. Mixing the two in Hatmaker, creates a lively interplay of light and dark."

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980’s, but automobile companies don't monopolize the style by any means. During the 80’s and 90’s, a lot of these logos leaned towards the geometric sans styles and the swiss styling of fonts like Handel Gothic, while playing with varying degrees of squared rounds and varying expanded widths per logotype. Mercurial has this flavor, but it wasn’t derived from logotypes. Instead, it began as a digitization of a film typeface from LetterGraphics in the early 70's known as "Sam". It visual ties to this genre of automotive logotypes and fonts like Handel Gothic lend a familiarity to it, yet it has an identity all its own. As with so many automotive logotypes, this singular style film typeface, lacked an expansive family which shows off all potential the logotypes have and what they "could" be and do. And that's where we come in. What originally began as this family’s Regular Width - Bold Style has been expanded into a collection of 3 Width Families, each containing 5 Weights. Here’s what’s included with the Mercurial Complete bundle: 396 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the final poster graphics for a preview of the characters included) 3 widths in the collection: Narrow, Regular, & Wide 5 weights in each width family: Light, Book, Regular, Medium & Bold. Here’s why the Mercurial Family is for you: - You’re in need of stylish sans font family with a range of widths and weights. - You’re love those 80’s automotive logos, but want more range of use. - You’re looking for an alternative to Handel Gothic. - You’re looking for a clean techno typeface for your rave poster designs. - You just like to collect quality fonts to add to your design arsenal.

Racula is an fun, scary, and amazing gothic serif. It will add a unique and stunning look to your designs. It is perfect for fun scary games, children horror story book, logos, branding, advertising, Halloween projects, gothic designs, apparel, tattoos, and more!

Latimer is one of a series exploring a fusion of Roman and Gothic forms. Characteristics of each genre can be seen: the fluid tapering serifs and rounded shapes of the Roman form, contrasted with the angular diamond and hexagonal shapes of Gothic.

The design of the Newspoint typeface is based on the tradition of the American sans serif faces of the last century. This form expression was greatly influenced by the News Gothic type which was created by Morris Fuller Benton in 1908, and has, once again, become very popular. When the development of sans serif types such as Futura and Kabel by Renner and Koch began in 1925, the design of American sans serif types receded somewhat into the background. In the 1950’s, however, they experienced a renaissance which continues to this day. Thanks to its clean design and the relatively large x-height, the Newspoint is well suited for informative texts in newspapers, magazines, and brochures. In packaging design, as well, the Newspoint can display its strength in small print. Newspoint was developed as a customer-specific variation of the News Gothic. In contrast to the News Gothic, however, the face appears to be softer and more appealing thanks to the changed interpunctions. If so desired, the alternative characters give the typeface expanded individuality and a richness of design options.

Initially inspired by an untitled typeface from an old hand-lettering book, Berber has been extensively developed over two incarnations to function as a very strong and confident sans. The 2011 Berber revisions have enabled Berber to be used across longer settings as well as its more conventional use on larger applications such as signage. Berber was used as the text face for issue 46 of Eye, the graphic design journal. The typeface now features both king caps and small caps. Extensive additions to the numerals sets and complete opentype sets of international diacritics also extend its usage.

Dark Dragon gothic display typeface. Bold stroke, fun character with a bit of ligatures and alternates. To give you an extra creative work. Dark Dragon gothic display typeface support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with script or serif. Make a stunning work with Dark Dragon gothic display typeface. Cheers, Maulana Creative

a gothic font with variations of style ready to use

Dr. Gerard Unger expands the concept of Sanserata to a sans type family with Sanserata, adding specific characteristics which improve reading. Sanserata’s originality does not overtly present itself at text sizes. Rather, at those sizes, it draws upon its enormous x-height, short extenders, and articulated terminals to improve readability, especially on screens. Having articulated terminals means characters flare as they near their end, but readers likely won’t notice. What they would notice is that their ability to take in more content in a line of text is improved because the lettershapes are more defined. Articulation also makes clearer text from digital sources, where rectangular endings tend to get rounded by the emission of light from the screen. Lately there seems a whispered discontent with the lack of progress in the sans serif category. Designs can either stretch too far beyond what is accepted or be too bland to be considered new. Sanserata’s strength is in being vivid and unique without being off-putting. This bodes well for designers of paragraphs and of branding schemes since, with Sanserata’s two flavors, it is well able to capture attention or simply set the tone. Sanserata’s first voice is a generous, friendly, and even cheerful sans serif. But when using the alternate letterforms its voice becomes more businesslike, though still with nice curves, generous proportions, and a pleasant character. Sanserata comes in seven weights with matching italics, covers the Latin Extended character set, and is loaded with extras. Its OpenType features allow for the implementation of typographic niceties such as small caps, both tabular and proportional lining and oldstyle figures, ligatures, alternate characters, case-sensitive variants, and fractions. The complete Sanserata family, along with our entire catalogue, has been optimised for today’s varied screen uses. Dr Unger worked with Tom Grace on the production of Sanserata. For extended branding use with Sanserata, check out Sanserata, the contemporary, eclectic typeface drawn from roots in Romanesque Europe.

Bennet, Richard Lipton’s spirited serif superfamily, was inspired by Moth Design’s logotype and stationery system for the North Bennet Street School in Boston. Initially modest in concept, Bennet grew to an expansive suite of 96 fonts tuned for editorial use. The three widths of Bennet’s Display and Banner sizes—Regular, Condensed, and Extra Condensed—are ideal for precise fitting of newspaper and magazine headlines. Lipton developed graded text styles for the series, offering users precise variations to help compensate for varying degrees of ink spread on different types of paper stock during the printing process. For example, because of ink absorption, the lightest grade—Bennet Text One—printed on low-quality newsprint stock will have the same gray value as the darkest grade—Bennet Text Four—on superior coated paper. (Bennet Text Two is the default grade and offered here.) Bennet also provides for a stellar reading experience in digital media, its carefully considered details vibrant yet legible on-screen.

Bennet, Richard Lipton’s spirited serif superfamily, was inspired by Moth Design’s logotype and stationery system for the North Bennet Street School in Boston. Initially modest in concept, Bennet grew to an expansive suite of 96 fonts tuned for editorial use. The three widths of Bennet’s Display and Banner sizes—Regular, Condensed, and Extra Condensed—are ideal for precise fitting of newspaper and magazine headlines. Lipton developed graded text styles for the series, offering users precise variations to help compensate for varying degrees of ink spread on different types of paper stock during the printing process. For example, because of ink absorption, the lightest grade—Bennet Text One—printed on low-quality newsprint stock will have the same gray value as the darkest grade—Bennet Text Four—on superior coated paper. (Bennet Text Two is the default grade and offered here.) Bennet also provides for a stellar reading experience in digital media, its carefully considered details vibrant yet legible on-screen.