Lazar takes its inspiration from the designs of early Russian designers like El Lissitzky.

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Clotilde Olyff challenges and surprises us.

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Inspired by the graffiti of “CEYS” comes the Gobe Family, a Geometric/Thematic typestyle. WIth it’s bulky blocklike appearance, it comes with Regular and Compressed styles with their respective Oblique versions. Heavy handed, yet surprisingly readable at even small sizes, Gobe is perfect for designs from Offbeat Display to Childrens books. Graffiti is all around us wherever we go, get the Gobe Family and put it to work in your designs!

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Rody is the inspired by early russian typographic designs and works well with Lazar.

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Wood Body w/ Electric Heart & Synthetic Mind...

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“Faux” is false or phony in French and Decaux is a spoof spelling of Deco, thus “False Deco”.

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Based on ten characters found on the cover of a 1960s Blue Note jazz album.

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CA Kink was originally created for a book cover.

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Darkheart is an OpenType interlock font. In OpenType savvy applications, certain letter pairs are automatically substituted with custom letter pairs or autoligs.

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A marvelous idea for a font inspired by the stenciled lettering on imported merchandise containers. Chinese Rocks looks like it was made by a hand cut rubber stamp, used about a million times. Uneven line thickness and odd stem widths combined with sharp corners give the effect of having been cut out with a box knife in a hurry. It ain't pretty but it sure gets the message across.

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A strong, heavy font that really packs a punch. Muscleman is there when your design needs a little extra lift.

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MoanLisa, a font for monster movies.

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Five years into the 21st century and the promise of nanotechnology, high-end popular culture design seems to thrive on combining opposites and drawing a fine line between traditionally contradictory ideas. This is seen in modern society’s usual cultural frontrunners - like consumer electronics, fashion items, music packaging and publications, where it is evident that traditionally complex marketing statements of fashionability and lifestyle are attempted with simple minimalism. But at the typographic end of this realm, the creative majority still uses old faces that help the modern statement only in passing. Some of the more adventurous creative professionals actively seek new elements to emphasize contemporary impact in their modern design.

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Structia pays tribute to the classic font, Machine. Structia includes four styles: regular, italic, panel and war. Panel features thin stencil lines. War has a spraypainted stencil effect.

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Classic graffiti style blockbuster letters. Italics resemble the alternating tilting style where caps lean back and lowercase lean forward.

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This rather quirky typeface is based on a design by Collette and Dufour, originally called “Independant”, for the Maison Plantin foundry of Belgium.

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Our clone army of Stormtrooper letters is now ready to be unleashed upon the rest of the universe... although their journey to the darkside is not yet complete, we still suggest that if you'd like to avoid any Imperial entanglements, this is NOT the font you are looking for... You can go about your business... Move along...

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Digitally engineered by Steve Jackaman. Originally in five weights, Steve produced three additional weights.

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Even though DropCase features only the characters of the capitalist American English alphabet, this solid headline font is supplied to you in armor casing.

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Payload began as an early concept for Loaded magazine, and here is developed into a clean outline and rough splattery spraycan version.

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The characters in this font are the key players in a global conspiracy reaching down into the lives of every man, woman and child on the planet.

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Nantua is inspired by the Russian Constructivism from the early 1920s. Artists like Aleksandr Rodchenko used typography as forms.

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A very black letter packs a lot of punch, great for paperbacks, posters and most powerful headlines

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Kurtzberg was created after the bold type on the splash pages of many of the classic comics of the 'fifties and 'sixties. Thick and chunky and filled with all those symbols basic comic book fonts rarely come with. Kurtzberg is always ready to swing into action when injustice rears its ugly face.

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Chuck is an ultra bold, all caps sans.

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Re-tooled from the QBF Collection.

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SF Portabello is a bold and edgy typeface that should work great for just about all of your headlines and more.

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PUNCHED is a modular font based on the negative space created by serif letterforms.

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C rial is two fonts for the price of one!

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A newly expanded and improved version of the original Badaboom font!

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Originally designed as an in-house font for Blambot Comic Fonts & Lettering, SQUAREJAW got so many inquiries it has finally been made public! Designed as a simple, blocky comic book sound effects font that pulls double duty with logos and titles.

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Aircraft marking alphabets and numerals drawn in accordance with FAR Part 45 ¤ 45.29 (c), (d), and (e) of Federal Aviation Regulations. All characters are also in EPS files.

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Created by Richard Starkings for the Powerhouse Punches thrown by Marvel’s more muscular heroes, CLOBBERINTIME is sure to bring the house down!

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The PIXymbols™Baby Blocks font is designed to create both single color, and two-color titles or initials. Each package includes a document showing the full character set with key codes.

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Was God an Ancient Astronaut? Are crop circles signposts for UFOs? Are we or are we not alone? Do you Want To Believe?

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Lump started as a series of hand-drawn buttons I made for a Lumpen event in 2005.

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The IronOn fonts are a collection of geometric display faces that were inspired by the iron-on t-shirt lettering of the 70s. The original source came from a submitted sample to the MyFonts “What the Font” forums, and while it had similarities to ITC Machine, it could not be tied to any existing typeface. And so, this new geometric sans family was born, exhibiting a more open letterstyle with several weights and widths, with a complete capital and lowercase set, no allcaps set here.

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A chunky font for headline use.

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Add a little spark with Corrente.

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Indoo is a modular geometric design that owes much to the typeface designs of Theo van Doesburg (1883-1931) and the De Stijl principles of abstraction, simplicity, clarity and harmony, as exemplified for example in Emigre’s Oblong and P22’s De Stijl. That inspiration, combined with the lettering of signage often found in the Indian quarter of Paris, led to the connecting block letter motif of Indoo. The text fonts are joined by a common horizontal stroke positioned at the baseline. There is an accompanying Ornament font for building borders that includes various stylized fleurons and the like. Each font has a drop shadow companion that allows you to build three-dimensional and multi-colored lettering.

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A real powerful look great for headlines, a true heavy weight.

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Pound out meaty words with beefy strength. The OpenType format includes custom letter pairs or autoligs which, in OpenType savvy applications, are automatically substituted as you type.

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MASTERMIND was designed for epic comic book title logos and intro graphics.

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A heavy contoured all cap font, great for poster, school and sports, will also work in many other applications where a strong statement is needed.

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Designed with comedy in mind, ZOOOM is a chunky comic book sound effects font with personality!

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Formula is one of those typefaces that never get tired of being modern, in spite of its roots being in early- to mid-twentieth century ideas. Perfect for music sleeves, signage, and all around titling settings. Comes in three interchangeable variations, a regular, an alternative small cap, and a unicase.

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By any stretch of the imagination, Yorso Square JNL is an imperfect font...by design!

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Gno Serif, like its sans counterpart, is unashamedly bold.

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You will not move. You will not breathe. You will not think. You WILL buy this font. You are our prisoner. There is no escape...

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Miniblock is a font face inspired in complex labyrinths.

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This font has sort of a rustic an ancient look, like stone carvings... The lowercase j has been redesigned to better fit with the other letters, and I've also made an alternate f (as an OpenType contextual alternate) to make a tighter fit with following tall letters.

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Colo Pro is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and other items.

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A set of square capitals developing from the interest in geometric forms stimulated by the Bauhaus, Bank Gothic was designed by Morris Fuller Benton for ATF in 1930, the same year that Georg Trump designed City for Berthold.

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MVB Solano Gothic Bold was originally designed as a display face for the City of Albany, California, located on the San Francisco Bay facing the Golden Gate Bridge and bordering the the Berkeley hills. Named for the City’s main street, the typeface needed to work on signage in proximity to older buildings, in contemporary settings, and for general print and web use. Rather than creating a neutered design to cover all bases, Mark van Bronkhorst chose to develop a simple, strong, condensed face that would offer flexibility of style by providing both retro and neutral forms.

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Sweet Gothic is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century. 

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Akimoto is a fat slab typeface.

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Grim is a display family with a lot of room for application, most obvious being the tightly fitted headlines with impact. It works especially well as a counterpart to a serious, refined serif font. Each family member comes with a set of useful pictograms: arrows, triangles, hands, smilies and a heart.

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Typedesigner Hannes von Döhren created Cowboyslang, a display typefamily with a Wild West flair. It consists of three widths plus fitting ornaments. Although it is based on the slab serif typefaces from the nineteenth century Von Döhren gave it a contemporary feeling.

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Comicraft just want Puny Humans to leave Comicraft alone... Why soldiers shoot at Comicraft? PAH! Bullets do not hurt Comicraft... Bullets only make Comicraft Angry... and when Comicraft angry... COMICRAFT SMASH!

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Originally conceived as part of a unique display design created for Hershey’s Times Square flagship store, the PowerStation family is the perfect choice when looking for a font that speaks of strength, solidity and character. It comes in two “faceted” 3-D versions: “Block” where the dark side is dominant, and “Wedge” where you see more light than shadow. The family also includes both “Solid” and “Outline” versions of the font. They are all available in both normal and wide versions.

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Colo is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and logos.

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Designed to Swiss principles by Alessandro Butti and Aldo Novarese for Nebiolo in 1952 as an improvement on the squared-off Bank Gothic capitals.

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Future Bugler is a font based on the second logo created by Harry Warren in early 1975 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore.

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The new block in town; BoxyBlocks. BoxyBlocks is a new 3D font. Each glyph has been crafted by hand providing a unique design. BoxyBlocks is a versatile font and is suitable for many applications, especially for eye catching visual materials.

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Prisma is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and other items.

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Teaspoon was originally designed by Haley Fiege as a project-specific font in 2007, then completed and produced by Canada Type for commercial viability in 2008. With a personality that can only be described as “ironic cute”, it serves as a much needed alternative for the old overused poster faces, such as Cooper Black and Gill Sans Extra Bold. Words that look good set in Teaspoon include puppies, rainbows, salmonella poisoning and Tom Cruise.

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Grunge, in a painterly sort of way; excellent for a wide variety of uses in headline and display.

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Avatar is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and logos.

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Yet another distinctive design from noted, London-based designer Andrew Smith, Potato Cut drew its influences from initial potato-printed letterforms. Liking the effect, Smith decided to continue the theme - cutting out shapes using a scalpel and black card (he was running out of potatoes). The resulting contrasting weights and varied positioning of characters on the baseline give this font a fun and jaunty feel. Working extremely well in small and large sizes, its applications are almost endless.

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LIETZ Lindham is based on letters taken from an old type specimen folder from 1936 featuring handdrawn sans-serif ABC’s. It’s kinda bauhausy and straight but also shows the wonderful lively unevenness of hand-drawn letters.

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Facebuster is a no-nonsense block serif display typeface with hard geometry and minimal negative space.

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Grim is a display family with a lot of room for application, most obvious being the tightly fitted headlines with impact.

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A cousin of Galette, Tertre derives its inspiration from the French signage tradition.

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