Jeff Levine Fonts Family Myfont Bundle - 19 Fonts

Criminal Intent JNL - Evening Out JNL - Outline Sans JNL - Series A Signage JNL - Sign Work JNL - Sixties Pin Buttons JNL - Stencil Product JNL - Subscription JNL - Topographic Sans JNL - Basic Stencil JNL

Typadelic Fonts Collection - 60 Fonts Family $4800
OTF | TTF
Typadelic is a small foundry offering a wide range of very unique typefaces for Mac and Windows. Here you will find a fresh and original perspective in type design, at reasonable prices to boot.
Homepage: www.typadelic.com | www.myfonts.com/foundry/Typadelic/

Libertad Fonts Family

Design can do without images, but not without typefaces. Libertad is a sans-serif typeface that mixes humanist and grotesk models. It’s most interesting feature is the combination of balanced regulars with dynamic italics, which makes it a very versatile font for different uses. This typeface follows the Luc(as) de Groot’s Interpolation Theory, that’s why it has seven specially-calculated weights plus their matching italics, from thin to extra-bold. This allows it to be useful in big headlines and also small texts. It has more than 800 characters per weight and support for more than 70 languages.

OTF | 14 Fonts | JPEG Preview | 8.6 Mb RAR

Stratum 1 & 2 Fonts Family

Stratum is a design solution to what most cripples geometric sans serifs: the lowercase. So commonplace are the blocked and clogged companions to the capitals that one could be forgiven if they were taken for a feature and not a bug of the genre at this point. From a type designers standpoint, their continued presence is perplexing but understandable: forego the geometry and you’re left with a lowercase unlike the capitals. But what to do? Forget the geometric shapes and just make it work? Or maybe Morris Fuller Benton was onto something when he didn’t include a lowercase with Bank Gothic... These are the ideas and frustrations that led to the development of Stratum. As with most projects initiated to solve long-standing problems, the road to a final solution was not direct. And so it was somewhere between scrapping the project altogether and omitting the baseline stem terminations of the b,d,p,q characters that it became clear the geometry itself should be ignored – at least for some of the characters. The solution is simple but effective: merge the oval corners of the lowercase to the stems without breaking the curve while using the geometry as a guide and not a solution. The result is a hybrid of sorts that honors the clean curves of the ovals while delivering a legible lowercase in all six weights.

OTF | 12 Fonts | JPEG Preview | 5.4 Mb RAR

Finkl Pro Fonts Family

Finkl Pro is a heavy bevel display face comprised of over 500 characters and glyphs, producing an extremely customizable font family. The industrial feel of Finkl lends itself  to everything from apparel to technical implementations and signage. Inline, outline and shadow are included as well for even more customization options. Additional glyphs and ligatures are included in the font which can be activated as contextual alternates in OpenType.

OTF | 21 Fonts | JPEG Preview | 4.6 Mb RAR

Millie Fonts Family

Millie is a stressed, geometric script who spends her days as industrial lettering and her nights paired with blackletter on the patches of motorcycle gangs. Millie was weighted by the conventions of broad nib calligraphy, inspired by the Milwaukee Tools logo, and finds herself best used in logos and titles. She was designed to be used on about a 20 degree angle, though she looks just fine on a level plane. By using opentype, many ligatures, and two sets of stylistic alternates, Millie was developed to look great with any string of letters. Access the first stylistic set for a disconnected script look, and the second set for even more connections and fluid script than standard. Millie Round takes the edge off a bit, giving the entire set a more approachable and versatile feel.

OTF | 12 Fonts | JPEG Preview | 3.9 Mb RAR

Lapis Pro Fonts Family

Lapis was Jim Rimmer’s venture into a territory he'd earlier explored with his Lancelot and Fellowship faces. This time he stayed much longer, dug pretty deep, and had plenty of fun in there. The end result is the kind of mosaic of influences only a guy like Jim could consider, gather, manage and apply in a way that ultimately makes sense and works as a type family. On the surface Lapis seems like something that can be billed as what Jim would have called an “advertising text face”. But under the hood, it’s a whole other story. On top of the calligraphic, nib-driven base Jim usually employed in his faces, Lapis shows plenty of typographic traits from a variety of genres, from Egyptian to Latin, from blackletter angularity to Dutch-like curvature, with an overall tension even reminiscent of wood type. There are some Goudy-informed shapes that somehow fit comfortably within all this. Then it’s all strung together with a mix of wedged, tapered and leaning serifs, placed with precision to reveal expert spontaneity and a great command of guiding the forms through counterspace.

OTF | 6 Fonts | JPEG Preview | 5.9 Mb RAR

The Crashed Fonts Family

We destroyed our fonts and create a new collection with our best-sellers types.

OTF | 11 Fonts | JPEG Preview | 10.4 Mb RAR