Kari Display is the product of a long standing idea I had to give the well-received Positype typeface, Kari, plastic surgery. Just referring to giving a typeface plastic surgery, or letter lipo, stuck in the back of my head until I was able to pick the project up.

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Parisine Plus Std Sombre is a set of heavy variants of the Parisine Plus family.

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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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Introducing... SPEEDING BULLET -- featuring SPEED TRAILS for increasing the, ah, speed of your bullets!

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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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The design for Titulata was based on the need for a titles of extreme weight, dynamics and soft morphology. Strong and clear, it takes graceful form in the line and is legible even in small bodies.

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The specimen book Alphabete: ein Schriftatlas von A bis Z identified the pattern for this typeface as Stymie Black Flair. Although neither the designer nor the original foundry is identified, it bears a strong resemblance to the work of Dave West for Photolettering in the 60s and 70s.

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Boldina consists of 18 fonts with a lot of personality.

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Kare 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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Based on the design ‘Phosphor’ by J. Erbar, for Ludwig & Mayer, circa 1922-30.

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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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Misadventures is a heavy-flare, small-cap fashion headline font family in Black and Black Italic

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One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Spaghetti Western is a based on an Italian interpretation of a classic ultrabold Western-style face; so, fittingly, the font is named for the genre of “cowboy” film pioneered by Sergio Leone.

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The name says it all. It is aesthetically located between American Gothics and European Grotesques and features small caps, a Central European character set and four number formats plus small caps numerals.

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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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Pokerface is an industrious mixed-case display font devised on the theme of playing cards, designed by Jim Ford.

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This design was based on letters made on wood engraving, the immediate association was Neuland, by Rudolf Koch, so it has a source of inspiration in it, but Barrilito is more uniform in its design.

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Considerable heft and clean lines—with a few whimsical grace notes—characterize this font, based on a typeface originally named “Ryter Night”.

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A geometric script with a strong 1940’s early '50’s flavor. Varga’s lower case looks best when set closely, even with a little overlap on the linking elements where appropriate. Suitable for a wide variety of headline applications. Designed by British lettering artist Alan Meeks.

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Manifesto was designed for an article written in response to opinions that philosophy and personal expression have been wiped clean from today’s design profession. Contemporary design is sterile and sublime. Enter Ken Garland’s revision of the original 1964 Manifesto. The publishing of the “First Things First” manifesto 2000 is exhibit A that a trend for social belief systems is growing. Or is it? Many comfortably accept that designers are indeed “engaged in nothing less than the manufacture of contemporary reality”. The four ‘voices’ of the TX Manifesto Family (Regular, Slant, Stout and Stencil) is intended for your typographical response, and push for conscientious design.

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Motoring at top speed calls for your own high-performance machine and a special racetrack font to run it on. Speedway was built with blacktop smooth caps to ease you through those short and dangerous curves. And its sleek, aerodynamic lowercase linking makes getting your speedy cruiser to the checkered flag a breeze. Developed in typeface alley for discriminating designers.

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A raw stamped letterpress style font, make your mark.

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Thump is a fat, casual, sans-serif headliner.

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This casually elegant script, similar to the logotype lettering found on Mason jars (hence the name), is patterned after an offering from the 1930s chapbook 60 Alphabets by The Hunt Brothers.

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Inspired by retro propaganda posters from the 60s to 80s.

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Inspired by retro lettering on advertising posters from the 20s to 50s.

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Inspired by retro lettering on advertising posters from the 50s to 80s.

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HiH Large is another “Hey, Look at me” font, somewhat similar to our Shout, but with rounded corners. As a result it is softer and friendlier than Shout. It is appropriate to similar applications requiring an attention-getting font, such as posters, flyers and ads.

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Is a very bold display alphabet having a slightly aggressive expression. That is why it is suitable for book covers, posters and headlines in magazines. It is only very vaguely inspired by “Latin” of the type foundry Stephenson Blake, which evokes a similar period atmosphere.

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Habano is an eleganty flowing bold script with some very surprising traits. Taking its roots in both the art deco style and the kind of lettering used for pop culture, its minuscules are classy yet obedient, and its majuscules and figures are playfully round and memorable. This contrast in character between cases makes for an appealing display face that can turn simple words into images that are hard to forget. Once again, the unique lettering talent of Angel Koziupa makes itself evident through an alphabet that leaves the memory of its soft touch for long after it is initially perceived.

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The Italic version of CA Emeralda was inspired by a headline in an industrial advertisement magazine from the early fifties. Starting from a few letters it evolved into a catchy retrofont and was completed with a more modern script style.

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Employees Only. No Parking. Deliveries in Rear. Old hand-lettered signs from the early twentieth century provided inspiration for Mark van Bronkhorst’s Magnesium.

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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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Kwaktur began as an attempt to make a whole typeface from the letters in the logo for an obscure beer called Kwak. Through my naive approach, it quickly took on a life of its own and started to look more like a modern graffiti font.

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An ultra black blackletter, Avebury Black and Avebury Open were inspired by an early blackletter from the Caslon Foundry. Early blackletters from the Bruce Type Foundry are also reflected in this slightly modernized and more readable typeface. Caution. For display only.

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BillieBob was made by cramping straight shapes into squares. Somewhat reminds me of pre cold-war Russian type.

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The pattern for this delightful little font was originally released as Bernhard Heavy Antique Cursive by the Bauersche Geißerei of Frankfurt am Main and designed, of course, by Lucien Bernhard.

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Modern and bold, LemonTwist gives your designs a little zest of fresh feeling...

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The Morgan Project can be considered a big type family with ‘many styles’ or a set of different types that match with each other. For me it’s one typeface with different versions with deliberate and visible differences according to the propose to which each version was created. The design started in 2000 as a display type with the design of the Morgan Tower, to which more two display versions were added; Morgan Poster and Morgan Big — all together the make our: FTF Morgan Display Kit 1. All three versions consist only in uppercase with alternate letters in the lowercase and a set of special ligatures. Morgan Tower has four variants that differ in width/weight, Morgan Poster has six variants (often called styles), three weights in upright and oblique and Morgan Big has twelve, six weights in upright and oblique. Lately, the FTF Morgan Tex Kit 1 was added. Apropriate versions to use in text setting. Both versions, FTF Morgan Sans and FTF Morgan Sans Condensed share the same structure and character mapping. Four variants each; regular, bold, oblique and bold oblique with a large character set including: small caps, lining and old style figures (here called Office figures) — both tabular —, small caps lining figures, mathematical symbols and fraction figures, and, a set of foreign characters expanding the possibilities of use for a wider range of languages. Characters are distributed in six different font layouts: Lining, Office, Expert, Caps, Figures & Pi.

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Wavy Rounded is a stylized sans serif display typeface by Japanese designer Hajime Kawakami. Some of the characters possess quirky features that randomly create fun visual “waves”. There is a handful of alternate characters including an old style figure set in the OpenType version. Catch the Wave.

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The idea of creating this font is based on Koch’s Schmale Deutsche Anzeigenschrift which was released in 1923 by Klingspor in Offenbach, Germany.

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One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Ouachita Way is an ultrabold and boxy caps and small caps font, especially well-suited for commadning headlines. Based on nineteenth-century “Grecian” fonts, the name comes from a forest and a river in Arkansas.

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Klatter is a font that is “in your face”. It can't be ignored, and draws attention to itself no matter how noisy the environment.

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Ginky is another one of those grafitti- and comic-inspired pizzadude.dk fonts!

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Lettering whiz Carl Holmes called this creation “Pelt Emphasis Script”, and its funky, chunky charm will indeed lend emphasis to any headline it graces.

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Vernissage, “the typeface which smells like fresh paint”, was originally developed for the Milanese Isola Art Center’s graphic identity.

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This roly-poly, rollicking display font is based on a design from the 1946 book Blue print text book of sign and show card lettering by Charles Louis Henry Wagner, who seems to have had an aversion to combination words (like blueprint, textbook and showcard).

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Skramp is my funky comic text font, looks good with massive text or just a headline here and there.

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The term “podunk” usually refers to a small, insignificant town.

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Machismo is a seductively suave display font with a plump and plush persona.

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Poleno is a custom typeface originally designed in 2006 for the Slovak folk dance ensemble Poleno, as a part of their corporate identity. Ever since, new weights have been added to complete six variables and two different options for accents.

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Dodgy Ultra is a fat typeface for headlines and eye-catchers.

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Poozer is a hand drawn stencil font that started out as a doodle and ended up on a custom skate deck.

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Stuttgart Gothic is based on early 20th century hand lettering samples developed by Ernst Schneidler at the Stuttgart School of Design.

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There is humour in typography as well - a proof of this is Traktoretka Outline with its inserted line gradient. It will enliven circus posters, invitation cards and sweets packaging alike. Various recommended uses are shown in the attached figure.

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

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Alf Becker called this offering “Rounded Modern Bold.” The geometric forms, strong contrasts and unexpected turns of this serious Art Deco typeface command attention.

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Comixed RP Bold and Comixed RP Bold Outline are two new fonts designed by British designer Roy Preston and released by BluHead Studio, LLC.

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This double-wide wonder is based on Oswald Cooper’s original drawings for the typeface Cooper Fullface. ATF rejected this offering because they felt that several of the letterforms, and particularly the numbers, were a little too wacky for the mainstream. By now, you know that such an accusation is a "Please don't throw me in the briar patch" plea to ours truly. So, here, proudly and true to their designer’s original intent, are two versions of a really fun font.

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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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ITC Motter Corpus was designed in 1994 by Austrian Othmar Motter, who is an award-winning designer of logos, posters, trademarks and many corporate identity programs.

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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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Based on the original design, circa 1927.

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UltraGotica is a heavy companion to the Gotica Lumina typeface.

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Grand Slam is based on an old cardwriting style known as Poster Gothic. This dynamic letterstyle was used in the heyday of the Hollywood movie poster because of its powerful and snappy appeal.

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We know what you're thinking... This is not a new font, just an old one with a few bullet holes in its helmet, dirt on its shins and some carbon scoring on its breastplate. You're thinking this is like a variant cover by Joe Madureira or J. Scott Campbell -- handsome and rugged on the outside but weak and effete on the inside.

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This unusual slab serif typeface is the exciting creation of Letraset Type Director Colin Brignall. Influenced by poster styles of the 1910-1920’s, Epokha features strong geometric construction and commands attention in a fresh, contemporary way. Alternative letters add even more flexibility to a typeface that should be set tightly for maximum effect.

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This extremely heavy informal script was created in the early 1920s by Lucian Bernhard. Like so many of his designs, this typeface has its roots in his earlier poster work. Bernhard Brushscript invokes a rather warm, pleasant feeling despite a number of quirky characters. Originally created for the Bauer Foundry of Frankfurt, Germany, the face looks as though it’s been drawn with a brush and contains looping ascenders and descenders. Perfect for situations where a quaint and casual lettering effect is desired.

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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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Based on the Albert Augspurg design, circa 1921-27.

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Handlettering discovered on a 1937 brochure for the Dutch Mails Shipping Company provided guidance in developing this rather unusual but commanding typeface, marked by strong geometric shapes and a very large x-height.

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Yum, yum, a fat sausage font including plain and highlighted letters and a Stencil style if you need to spray something on walls. No, no!

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