The straight-sided form of condensed Geometric slab-serif, Font Bureau Constructa provides a stronger and more geometric form than the customary design.

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Want to build elegance and sophistication into a font? First, start with a narrow stance. That’s always a strong beginning. Second, look to the past for inspiration. But what if you mix in hints of deco and gently sweeping curves and arches and heavily contrasting thicks and thins? Well, that means it’s August, 1935 all over again, and SIGNS of the Times magazine by ST Publications has just released its 44th alphabet by master sign painter, Alf R. Becker.

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Carouselambra is a tribute to the lettering on Led Zeppelin’s Houses of the Holy album sleeve.

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Fidelity Hour is a tall, narrow, all-caps, handwritten typeface that screams retro inspiration.

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A triple condensed gothic based on the letter form of Franklin Gothic.

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Inspired by the Jack Daniel’s Black Label Whiskey logo from 1866, the Black No.7 has over 400 glyphs including ligatures, alternates and special characters.
Download the font for the price of a bottle Tennessee Whiskey.

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Zag is a custom sans 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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Neubau is a condensed geometric display typeface, designed in 2009. The inspiration for this face came from Joost Schmidt lowercase letters developed during 1925-28 in Bauhaus Dessau. Schmidt was one of the proponents of New Typography – a movement advocating the use of only lowercase letters which were constructed strictly geometrically using only ruler and compass.

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Heroic Condensed is the graphic embodiment of the idealized, no-nonsense, narrow grotesque.

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For gritty reality and rust-belt appearance, Garage Gothic Regular was derived from numbered tickets given at city parking garages.

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Neubau Grotesque is an upright italics variation of Neubau Sans and is built in three weights. The main difference of this typeface is that it presents a softer and more human look (less techno), while retaining the condensed geometric structure of its counterpart.

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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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Back in 1936 the German Standards committee Deutsches Institut Normung (DIN) proposed DIN 1451 as the standard type of lettering for road signage. As the original manual states ‘the purpose of this standard is to lay down a style of lettering which is timeless and easily legible’.

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Decima+ is a subfamily addition to Decima, a new face by TipografiaRamis.

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Ambroise Std Francois is the extra condensed variant of the Ambroise Std family.

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The irregularities normally found in script can enliven sanserif letterforms.

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Driver Gothic is based on the typeface used for Ontario license plates. Although unique among Canadian provincial license plates, this face is very similar to, if not outright identical with, the face used on car plates in 22 American states: Arizona, California, Connecticut, Florida, Illinois, Iowa, Kentucky, Louisiana, Maine, Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Mexico, Ohio, Oklahoma, Vermont, Washington, and West Virginia.

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Oval is a custom sans 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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Trump Gothic is a revival and expansion of two different takes on Signum, Georg Trump’s popular mid-twentieth-century condensed gothic.

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Tesca is a condensed modern grotesque typeface. Tesca is great for uses such as headlines or text body. Features Latin and non-latin glyphs.

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Press Gothic is a revival of Aldo Novarese’s Metropol typeface, released by Nebiolo in 1967 as a competitor to Stephenson Blake’s Impact (designed by Goeffrey Lee). Though Metropol enjoyed a few short months of popularity and use in Italy, Germany and France, Impact won the technological outlasting battle by moving on to film type then to computer outlines bundled with mainstream software, while Metropol never made it past the metal state until now. Too bad really, since this is one of the few faces that could have played well with all the horrendous stretch'n'squeezing of the 1970s.

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Inspired by 1930’s Art Deco lettering styles, the Mighty Tuxedo font family comes complete with a Regular, Shortcaps, and AllCaps Luxe version, to give it an impressive range of flexibility & flair.

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Grant 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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Blandford Press strikes again, with a delightful, delicious, de-lovely offering from their 1946 tome, Lettering for the Commercial Artist. The editor, A. H. Hunter, called this one simply “The Elegant Alphabet” and cautioned that it, “being neither quick nor easy, needs to be used with discrimination.”

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A font inspired by 40s movie posters.

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Ecliptica is an extended family of five very condensed typefaces in a single bold weight. The creation of Australian designer Robert Bell. Ecliptica has a Sans, a Semi-Serif, a Serif and a single Cursive that can be used with any of the other three styles. As an added bonus, Robert also designed a modern Blackletter companion.

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A wonderful, very condensed, 3D font.

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Shadow Gothic great for headlines powerful and dimensional.

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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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Based on an early wood type design. An original creation.

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When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is ‘connected at the hip’ with each style—each character carries the no frills, simple architecture that endeared so many users to it.

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Concurso Italian was inspired by travel posters of the 1920s. Use it for travel posters, passports, luggage stickers or an elegant vintage look.

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Formal in appearance, this elegant, condensed, modern Roman typeface is is suitable for a variety of advertising needs. The capitals can be used alone or with lower-case letters. Designed by the important British lettering artist Alan Meeks.

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Back in 1936 the German Standards committee Deutsches Institut Normung (DIN) proposed DIN 1451 as the standard type of lettering for road signage. As the original manual states ‘the purpose of this standard is to lay down a style of lettering which is timeless and easily legible’.

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Zingende is a narrow Art Deco font family with 6 weights and 1 solid, counterless style.

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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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An ultra light thins all caps Victorian design with a slight stroke contrast. Elongated Roman requires subjective display kerning and compensation.

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Decima is a new display face designed in 2008. The designer’s inspiration was a previous creation, PR41, a monoline condensed typeface developed for use on instrument panels. This time, the intention was to create a typeface with a more modern, yet soft, look while retaining PR41 characteristics.

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Poplar is an Adobe Originals typeface designed by Barbara Lind in 1990 for the Adobe Wood Type series.

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This is the tallest, skinniest, most condensed, non serif font I know of. I designed this because I felt a serious need for that one big, thin word to fit in a narrow space.

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Blackletter typefaces follow certain fixed rules, both in respect to their forms and to the orthography. Possibly, they were a reaction to the half-developed Carolingian minuscule which was soon to end in the Latin script. Narrow, ordered script was to replace the round, hesitant and shattered shapes of letters in order to simplify writing, to unify the meaning of individual letters, and to save some parchment, too. Opposed to the practice common in monasterial scriptoriums where Uncial, Irish and Carolingian inspiration flew freely and as a result, the styles of writing differed in each monastery, the blackletter type was to define one, common standard. It was to express spiritual verticality, in perfect tune with the architecture of the Gothic era. Typography became an integral part of the overall style of the period. The pointed arch and the blackletter type were the vanguard of the spectacular transformation from the Middle Ages towards the modern era, they were a celebration of a time when works of art were not signed by their makers yet.

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As seen on Typophile.com, DTD Silvertone Woodtype had its roots in capitals and figures from a specimen of Ludlow 6-EC Gothic Extra Condensed woodtype. Thometz interpreted and expanded on the set, adding an original lower case and a set of alternates.

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Set it large... I dare you! 100pt+ is definitely encouraged with this face.

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Soyo Gogo was conceived to really make the most of OpenType features. Using contextual alternates, the letters change depending on what type of letter they're next to. The changes happen as you type, with stems wrapping round curves of neighbors in a cool graphic style.

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Trolls are lurking under each and every river crossing.

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With all ego aside, Romp was designed and influenced by my daughter, Angel. For some time now, she has wanted me to design a font based on her handwriting. But each time I sit down to do it, I run into more that she needs to do and redo. On a recent attempt, I ran into the same situation again. Instead of moving on to something else, I decided to whip out a sumi brush and start making letters...for me, type design is something a little ‘serious’ and never a time to just have fun. This typeface proved that notion wrong—it really was fun. As a result, each letter encouraged another and the design grew...and grew!

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Based on the ATF typeface by Morris F. Benton, circa 1934. Steve created two additional new weights.

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Based on an early wood type design. An original creation, that kept growing...!

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Impressed with the strength and the clarity of John Downer’s personal “thick/thin” signwriting style, a fitness magazine commissioned a single weight of Roxy in 1990 to stress its headlines.

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This 19th century antique typeface comes in two different flavors. Tall, squarish ornate caps center-aligned on a flowery lowercase body comprise the exquisite and memorable Asteroid Primo One classic design. As perfect today for initials and short headlines as it was when it was created.

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The Sans Narrow and Slab versions were added to the Vista family in 2008, extending this super-family to a total of 108 fonts.

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

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A light destructive western slab serif typeface inspired by Astro Zombies, the 1968 Cult Cinema Classic.

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Helvetica Inserat is a heavy condensed face with short ascenders and descenders. It was released in 1966 by the D. Stempel foundry. “Inserat” is German for advertising and, accordingly, is ideal for display uses such as advertising, billboards, and news headlines.

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A very thin light line gothic, great headline face.

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A raw stamped letterpress style font, make your mark.

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This 1935 design from the Monotype Corporation is an extremely condensed display face that has a slight flavor of nineteenth-century wood type. Runic Condensed is tall and lean with a huge x-height and hairline serifs.

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Jeff Levine’s Newshawk JNL emulates the tall, condensed headline fonts often used years ago when an urgent story broke and a newspaper rushed an “Extra” edition to the streets.

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Coldfield JNL is the revival of an old wood type font from Jeff Levine.

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When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is ‘connected at the hip’ with each style—each character carries the no frills, simple architecture that endeared so many users to it.

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Oksana Sans Condensed is designed for tight-fitting text.

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

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Ulsteros was inspired by old horror movie posters.

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Containment is a multilayered font system for creating headlines with fizz, gravel, snow, sand etc. With Containment, you get four fonts: A plain layer, a shadow layer, a crunchy-little-dots layer and a mix of all three. Looking for a companion font for Containment? Try Tandelle.

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A revival of one of the popular sans serif wooden type fonts of the 19th century, narrow, short ascenders and descenders.

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Gothic Tuscan One is a all-cap condensed gothic with round terminals and decorative “tuscan” center spurs. It was first shown by William H. Page of Norwich, Connecticut among his wood type specimen pages of 1859. Gothic Tuscan One exemplifies the strength of decorative wood types: large, simple type forms that provide the visual boldness sought by advertisers of the Victorian period. While our marketing has gotten so very sophisticated, there is always a place for simple, visually strong typeface.

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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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A strong geometric style specifically designed for very close letter and word spacing. This condensed typeface is ideally suited for large headline settings where space is limited.

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Octynaz is more than grungy: It’s been to hell and back . . . more than a couple of times.

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Inspired by Sol Hess’s 1938 typeface of the same name.

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The Pacific Sans and the Pacific Serif originated from the Pacific Standard, a space effective type face, especially designed for poster lettering. The implementation of serif strokes in the Pacific Serif and the contrast in vertical and horizontal strokes in the Pacific Sans, gave these fonts a distinct elegance.

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Tasse can be seen as a straight-sided Futura, a design useful wherever Futura and its derivatives might apply.

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Unsprit jumps up and down, use the ligatures and the letters combine in all sorts of funky ways!

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A compressed wood poster type from the mid-1800s. Certainly handy for excessive copy on a single line.

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Inspired by Hamilton Gothic.

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As a result of our our pig-headed pre-Guttenbergian experiments, Moyenage offers a unique combination of blackletter with a sans-serif cuts. Some reviewers refer to it as “the world’s first blackletter superfamily with Cyrillics”.

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Zen Arcade is dedicated to the greatest punk band of all time, Hüsker Dü. And named after their greatest record. If you don't own it, you are nothin' but a poser.

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Jim Parkinson’s Mojo is an adaptation of a lettering style that was popularized by 1960s artists Wes Wilson, Victor Moscoso, and Rick Griffin. During the heyday of rock concert impresario Bill Graham, their psychedelic posters were seen all over the San Francisco Bay Area.

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