http://www.myfonts.com/fonts/pesic/tact-slab-new/

Tact Slab New is geometrically a slab serif font, with 3 weights, condensed looks glyphs, with an alternative glyph set to improve its use in different graphic contexts. Tact Slab New is compatible with the sans serif font Tact New. It is suitable for use in the fields of science, art, architecture, urban planning, techniques, electronics, advertising, posters, corporate designs, futuristic themes, sport, film, computers, phones, video games, publishing... Contains all the Latin and Cyrillic glyphs.

http://www.myfonts.com/fonts/nowak/ripley/

Ripley is a handwritten fully connected script with ligatures and contextual alternates to help with flow and readability.Every lowercase letter has three variations. When the font is used in OpenType-savvy applications, the 3 variants of glyphs are automatically alternated to achieve a random-like effect.Language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages.

http://www.myfonts.com/fonts/type-department/scarlet/

Scarlet might have been the result. In his admiration of the graphic language of the 1960s, Jürgen Huber has designed this sans serif typeface with a matching script in 2015/16.Scarlet comes in 12 styles, Scarlet Script in 7. Both typefaces have small caps and an extended character set to support Western, Central and Eastern European languages. OpenType features help you handle ligatures, old style figures and other glyph sets, in a smart way.With Scarlet’s warm unique flavor and touch in the design of the stylish and playful sixties, you can feel where it works best, whether in the pages of magazines, on packaging, or on the screen.

http://www.myfonts.com/fonts/without-foundry/lupulus/

Lupulus is a typeface inspired by the works of german expressionist artist and type designer Rudolf Koch. Drawing inspiration from types such as Neuland and Kabel for some of its features, it possesses a gothic and contemporary essence. Its constant rhythm; strict, solemn, yet boldly exuberant keeps it clean and functional. Its expressiveness allows for a wide range of uses: short texts, headlines, posters and branding, for which it is exceptionally well-suited.Lupulus consists of 17 fonts: 8 weights, 8 italic variables and one free ornamental variable.Featuring alternate characters, it is a comprehensive and versatile set built to suit your design needs. It comes fully equipped with Opentype for any and all technical requirements.

http://www.myfonts.com/fonts/grype/offroad/

Geometric typefaces can harken back to and visually tie themselves to so many genres, from constructivist posters, to techno club flyers, to raw industrial era power. The Offroad family finds its origin of inspiration in the O’Neal MX logo for their motocross division, represented in its truest form in the MX styles of this family, and expanded to a type megafamily.Offroad grabs hold of that unique pseudo-unicase style and runs with it to create a range of widths and weights that are perfect for historical through modern use. It embodies the hardcore motocross rigidity from the limited inspiration of the original logotype and expands to include a full and expansive glyphset, and a comprehensive range of widths and weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers.

http://www.myfonts.com/fonts/kenrusselldesign/dinghy/

Dinghy is a shore thing. Like three fonts in one, Dinghy sports a friendly, bold lower-case, a salty, strong upper-case, and in all-caps with discretionary ligatures turned on, Dinghy is tightly interlocking. Turn some ligatures on, others off, to craft the look you want - whatever floats your boat.Dinghybats contains 26 original Amy Dietrich seaside illustrations from curious ocean animals to dune grasses to, well, dinghies.... So enjoy making waves with Dinghy family!

http://www.myfonts.com/fonts/cifonts/tapas-signpainting/

Tapas Signpainting is a typeface based on traditional sign painting letters designed by Cifonts. This family has six variants and is useful to compose display texts, vintage logos, headlines & packaging.

http://www.myfonts.com/fonts/antipixel/austral-slab/

Austral Slab has three sets of alphabets in uppercase and lowercase to avoid repeating the same character pattern, and giving the font a more natural handwritten feel. This is included in the Open-Type Contextual Alternates, which applies an automatic substitution of glyphs as long as the Open-Type features are activated. Also, Austral Slab offers other Open-Type features such as Stylistic Alternates, Ligatures, Discretionary Ligatures, Fractions, Superscript, Subscript, Denominator, Numerator, Scientific Inferiors & Kerning.This font has a very large glyph coverage and can be used in a wide range of languages, including English, Spanish, Italian, French, German, Polish, Czech, Vietnamese, Finnish, Icelandic, among many others.

http://www.myfonts.com/fonts/yellow-design/lullabies/

Lullabies from Yellow Design Studio is a warmhearted brush font family featuring regular and heavy scripts plus a companion all-caps sans and fun filled versions. All weights include multiple options for every letter and number along with automatic double-letter ligatures for authentic hand-lettered typesettings. Also included is a set of 95 festive icons…for free!

http://www.myfonts.com/fonts/schizotype/blanket/

Blanket is a friendly, baby-soft typeface with a gentle slant. With the warmth of an italic but less of the speed, it is designed primarily for use on child oriented material. The ‘schoolbook’ a and g are default, but the more adult double storey versions are available through stylistic sets / stylistic alternates. Blanket is child friendly without being childish. Typographically sophisticated, it features a wealth of figure styles, automatic fractions, ligatures, alternates, case sensitive forms and a small spattering of swashes.Although the intent was to make a typeface fit for children’s books, the finished product works well anywhere a casual (but not sloppy) look is desired.

http://www.myfonts.com/fonts/pesic/tact-new/

Tact New family is geometrically sans serif font, with 3 weights, condensed looks glyphs, with an alternative glyph set to improve its use in different graphic contexts. It is suitable for use in the fields of science, art, architecture, urban planning, techniques, electronics, advertising, posters, corporate designs, futuristic themes, sport, film, computers, phones, video games, publishing... Contains all Latin and Cyrillic glyphs.

http://www.myfonts.com/fonts/dootype/bommer-sans/

Bommer Sans is a warm and friendly type with a distinguishable look. It has been designed to add our twist to the flavour of English humanistic sans serif typefaces. Bommer Sans works like a charm for editorial, headlining, exhibition, signage and wayfinding projects. The big x-height and ascenders close to cap height favor tighter interlinear spacing. The ‘Q’ tail, resting on the baseline, is an invitation to play vertical, stacking lines of caps. Curved strokes on the ‘i’, ‘k’, ‘l’, ‘K’ and ‘R’ bring a friendly touch without compromising the sturdy structure, a marked characteristic of the design of the figure set. With seven weights in the upright and its matching italics, Bommer Sans has 14 styles and is part of the Bommer family. Check Bommer Slab for a great companion!

http://www.myfonts.com/fonts/nootype/stratic-script/

Stratic Script is an elegant family of seven fonts, all based on handwriting. The main idea was to create a script font with almost no contrast, easy to use and quite legible. The design is flawless, every letter is carefuly connected to another, in all fonts. The 6 weights, which are very close to each other, allow the designer to choose precisely the weight he needs. It’s an ideal font for fashion magazines, posters, book covers, etc…This family contains OpenType features, such as Proportional Figure, Tabular Figures, Standard & Discretional ligatures.

http://www.myfonts.com/fonts/s-core/core-sans-ar/

Letters in this type family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Core Sans AR family consists of 8 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy) with their corresponding italics. Core Sans AR contains complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. 

http://www.myfonts.com/fonts/cstm-fonts/kazimir-text/

Kazimir Text is a Modern serif typeface with a quite simple graphic idea. It is a Text version of display Kazimir typeface. Kazimir Text has a bit wider proportions, a bit lower contrast and much wider codepage with extended language support compare to Kazimir. A set of stylistic alternatives called Irregular was also reconsidered — they became also more suitable for text usage. The amount of styles also became much wider: 11 romans and 11 italics.

http://www.myfonts.com/fonts/lewis-mcguffie-type/cindie-mono/

Cindie Mono is a multi-width display font. Six different widths – A (condensed) through F (super extended) – mathematically correspond with one-another creating a stackable type family. Each face contains all caps full West, Central and East European language support. All diacritics and marks are done in a hairline to add style and contrast. And Cindie Mono is ideal for posters, headlines and display lettering.The inspiration for Cindie Mono came from the lettering styles on optometrists sight-test posters. Then through several stages of development the overall concept for Cindie became of a half-broken Commodore64 and the computer from the 1985 movie ‘Weird Science’ hooked up to a dot-matrix printer spitting out reams of mechanical but distorted mono-lettering all the while an old modem you can't seem find keeps beeping and beeping and beeping...

http://www.myfonts.com/fonts/grype/tradesman/

Rough-hewn industrial geometric typefaces have been used and admired from early wood types through the digital age of Machine and beyond, but they have lacked an expansive enough family to become a true workhorse. The Tradesman family finds its origin of inspiration in the Craftsman tool company logo, and from there expands to type megafamily.Tradesman celebrates the angular octagonal forms of industrial lettering, transcending its brand inspired origin to give birth to a font family that pulls on modern and historical styles. It inherited its reliably tough tone from the all capitals lettering that inspired it, and goes on to include a lowercase, small caps style, and a comprehensive range of widths and weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers.

http://www.myfonts.com/fonts/garagefonts/homage-condensed/

Paying homage to the 1960s and 1970s designs of Tom Carnese and Herb Lubalin, Homage Condensed is a digital revival and recutting of LSC Condensed in two weights with italics.

http://www.myfonts.com/fonts/hoftype/taxon/

Taxon is a straightlined Sans with a clean, fresh and unsentimental look. Related to classical faces like Optima and Imago, it appears more contemporary and merges the austere linearity of the Grotesk with the elegance of the Antiqua.The Taxon family consists of 12 styles and is well suited for ambitious typography. It comes in OpenType format with extended language support. All weights contain ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternate characters.

http://www.myfonts.com/fonts/john-moore/virtual/

Virtual is an experimental fantasy font based on a pseudo optical enclosure where a linear system that is not connected there. Virtual comes in three weights: regular. light, and thin also an virtual mix by mixing different thicknesses in a single font, with alternative variations through features of open type.Virtual is an experience based on play with the laws of the Gestalt of closing.

http://www.myfonts.com/fonts/lewis-mcguffie-type/fleischer-display/

Fleischer is a rough and playful display typeface good for headlines and posters. The face is based on historical letterforms combined with energetic 20th century pulp-style lettering. Fleischer comes with caps and small caps plus West, Central and East European language support.

http://www.myfonts.com/fonts/schizotype/schizotype-grotesk/

A neo-grotesk with a bit more bite, this is Schizotype Grotesk. It’s not your usual grot; this is purely display typography. Notches cut deep into the letterforms and the thick/thin contrast isn't always where you might expect. It’s intended to be a challenging typeface - not beautiful or particularly ‘useful’ in any conventional sense, but it is at the very least interesting. In a world where everyone and their dog has their own grotesk offering, perhaps being interesting and that little bit different is in itself enough to give the face its utility. Besides, beauty is in the eye of the beholder. What really matters is what you think! Schizotype Grotesk isn't bogged down with a million and one OpenType features you'll never use, but it does include proportional and tabular lining figures; automatic fractions; numerators and denominators; superscript and subscript numerals; case sensitive forms; and five stylistic sets that change [a], [g], [y], [IJ], and [@] respectively.

http://www.myfonts.com/fonts/pedro-teixeira/crazy-cartoon/

http://www.myfonts.com/fonts/thefoundry/foundry-plek/

Foundry Plek and Foundry Flek are created on the same dot matrix grid system.Each family includes: light, regular, medium and bold weights – with a selection of dot patterns that can extend the grid vertically and horizontally. The underlying matrix common to each weight allows experimentation with overlays, and mixing weights produces varying effects. Foundry Plek used conventionally works well for serious correspondence, with a ‘typewriter font’ effect. Foundry Flek has an integral dot matrix grid as a background. With these two fonts a whole new graphic language can be explored.