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Download Fixture Font Family From Sudtipos

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Designed by Alejandro Paul, Fixture is a sans serif font family. This typeface has seventy-two styles and was published by Sudtipos. Download Fixture Font Family From Sudtipos Fixture is our massive 72-font take on plentiful offerings of the late 19th century’s typefaces, posters, and wood letterpress sundry done in the Grotesk genre. Four widths ranging from Ultra Compressed to Expanded each come in nine weights and accompanying italics. Some common sans-serif alternates, such as the a and g, are included in all the fonts. The idea with this design was to put together a workhorse font family with enough functional flexibility to work in multiple environments, from the subtlety of magazine layout or film credits to the visual drama of billboards or packaging. Aesthetically speaking, it is quite interesting — though in retrospect quite unintentional — that each different width and/or weight of this face ended up pulling a different dominant
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Download Flink Font Family From Moritz Kleinsorge

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Designed by Moritz Kleinsorge, Flink is a sans serif font family. This typeface has sixteen styles and was published by Moritz Kleinsorge. Download Flink Font Family From Moritz Kleinsorge Flink is a geometric typeface characterized by its clean and simple appearance. It is inspired by early classic geometric typefaces like Futura, Erbar, Avant Garde, Kabel and a lot of others, but designed to suit the needs of our time. Due to its pure shapes and geometric forms, Flink is a very versatile typeface that can be used in a wide range of applications either Branding, Editorial or Webdesign. Flink comes along in 8 weights from Thin to Black, each of them consists of an Upright and Italic version with more than 750 characters per style. Two stylistic sets offer variations to the look and feel of Flink, making it even more versatile. Next, plenty of Open Type Features like ligatures, case-sensitive forms and old style figures and symbols complete
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Download Luckystrikes Font Family From Kustomtype

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Luckystrikes is a display sans font family. This typeface has two styles and was published by Kustomtype. Download Luckystrikes Font Family From Kustomtype About the Luckystrikes Font: Introducing Luckystrikes, a handwritten script-font inspired by a poor amount of characters in the 1950-style advertising of the well-known American cigarettes. Kustomtype redrew this font with a very clear and cool old-script style. This font is great for all your creative projects. Luckystrikes comes with uppercase, lowercase, numerals, punctuations in script so you can use it to customize all your designs. Perfect to use for Logos, Letterhead, Poster, Apparel Design, Package design, Label design etc. Luckystrikes is designed by Coert De Decker in 2018 and published by Kustomtype Font Foundry. Download Luckystrikes Font Family From Kustomtype Download Now View Gallery
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Download Fontwax Font Family From Kustomtype

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Fontwax is a display sans font family. This typeface has four styles and was published by Kustomtype. Download Fontwax Font Family From Kustomtype About the Fontwax Font The Fontwax font is inspired by sign painters in sixties advertisings with a touch of Arts & Crafts. This style of type is instantly associated with advertising and design for high-end products. Fontwax is meticulously drawn for quality and readability. Fontwax is great for display, logos, branding, packaging, advertising, food, sports, titles, film, tv, and much more. Fontwax comes in 4 styles which perfectly match together. Fontwax is a great display family with roots in the advertising and sign painting industry of the 20th century. It is smoothly polished with all the features a good designer needs. For the best price, I recommend you grab the whole pack! Fontwax Luckystrikes is designed by Coert De Decker in 2018 and published by Kustomtype Font Foundry. Dow
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Download America Line Font Family From Kustomtype

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America Line is a display sans font published by Kustomtype. Download America Line Font Family From Kustomtype About the America Line Font: Since its foundation in 1901, the iconic building in the Rotterdam neighborhood Kop van Zuid, is shining. Where previously the Holland America Line was housed, you will now find Hotel New York. A building with a tremendous history. We’re glad to take you back in time with captivating memories. In 1991, catering entrepreneurs Daan van der Have, Hans Loos and Dorine de Vos refurbished the at the time vacant property into a hotel/restaurant. To honor its 25 years existence, we celebrate this happening with a brand-new font, ‘America Line’. A tribute to Wim ten Broek, the multi-talented Dutch Graphic Designer. As early as the 1930’s before the Second World War, Wim ten Broek made the famous posters for the Holland-America Line. The influence of A.M. Cassandre here in, is clearly recognizable. Wim ten Broe
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Download Liliana Font Family From Letritas

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Designed by Juan Pablo de Gregorio, Liliana is a sans serif font family. This typeface has eighteen styles and was published by Letritas. Download Liliana Font Family From Letritas Liliana is a geometrical typeface, born throughout comprehensive formal studies while testing new ways of displaying certain words and sentences. The essential structure of Liliana is very conservative: It can look similar to other geometrical typographies, however, it has unique features that make this project very special. Liliana is a typeface that will work perfectly while setting short texts, words, and phrases as well. It shall perform greatly even when the paragraph is too short. Thanks to the versatility of its alternate characters, Liliana is perfect to achieve eye-catching texts. The spirit of this typography is focused on its “s” character, which originates from manuscript writings and provides a very special identity. If the text does not contain the
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Download Chapman Font Family From JTD

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Designed by James Todd, Chapman is a display serif font family. This typeface has twenty-four styles and was published by JTD. Download Chapman Font Family From JTD Chapman is the result of spending too many hours staring at the often all-capital engraver typefaces from long-gone foundries. The wide serifs, high contrast, and various widths seem to have so much character but also remain so neutral. From these references, Chapman began to emerge. It seemed natural that the lowercase would be based on a Scotch Roman model, much like the original all-capital faces. Chapman does not pull directly from any one source but from the genres themselves. It was, from the beginning, the goal to create a typeface that would be relatively neutral but not boring; an adaptable solution that works anywhere and, depending on the chosen width, can be squeezed or stretched to fit anywhere. The idiosyncrasies of the original designs are tamed in some places an
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