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.

http://www.myfonts.com/fonts/insigne/sabler-titling/

Make the right statement with the elegant Sabler Titling. This showstopping font features an inherent grace combined with the classic style of the Art Deco period. The subtle beauty of its letters is highlighted by the typeface’s stems, which taper towards the baseline highlight--a feature that adds clear distinction to your design.Originally inspired by a WPA poster, this typeface has been expanded to include three equally elegant proportions. Sabler Titling includes more than 60 free alternative forms, including support for most Latin-based languages.Add a hint of seduction to your work with Sabler’s high-contrast letterforms--ideal for magazines, advertisements and books on fashion, fine arts, and luxury goods of all kinds.

http://www.myfonts.com/fonts/mostardesign/fengo/

Fengo is a beautiful handlettering font inspired by Sino-Japanese and traditional Chinese hieroglyphic characters. As a result the font looks authentic and very friendly. It contains a wide range of features such as initials, finals, swashes, arrows, circled numerals. Fengo can cover all kind of graphic design project from packaging, signage, branding, titles… Fengo was designed in duo by Jean-Claude and Olivier Gourvat.

http://www.myfonts.com/fonts/emigre/cholla-ot/
Originally Hagmann set out to design a typeface that, as she recalls, “I could feel comfortable making, first of all, and one that would serve a purpose and had a clear idea behind it, and something that I would want to use myself.” Stylistically Hagmann set out to create "12 cuts with slightly different personalities, with different ideas applied. For example the bold weight isn't simply the Regular with weight gain, but has bold letterforms with their own peculiar details. What all weights share and what is the necessary unifying detail is the tapered curve - marked out, for example, in the lowercase b’s left top and bottom of the bowl." Gonzales adds: "The forms seemed classical as well. This combination could have a long life, and be timely. I also saw - at least in the beginnings of Cholla - forms that connoted hybrid, of inter-connection, of human and machine growing together. These notions seem appropriate for a school that teaches design and art." 

Syntax Font Family $157 | 15 x TTF | Turkish Support
http://www.myfonts.com/fonts/linotype/syntax/ 

Basic Commercial Font Family $300 | 16 x TTF | Turkish Support
http://www.myfonts.com/fonts/linotype/basic-commercial-lt/
 Basic Commercial was distributed for many years in the United States under the name Standard Series. The typeface worked its way into many aspects of daily life and culture; for instance, it became the face chosen for use in the New York City subway system’s signage.The Basic Commercial family members have a clear and objective design. Their forms exhibit almost nothing unusual, but remain both lively and legible nonetheless. Perhaps for this reason, Basic Commercial’s design has been popular with graphic designers for decades.

Kikster Font Family $79 | 6 x TTF
http://www.myfonts.com/fonts/laboitegraphique/kikster/ 

Palatino Font Family $229 | 24 x TTF | Turkish Support
http://www.myfonts.com/fonts/linotype/palatino/
Hermann Zapf’s first popular typeface, based on his own elegant calligraphy, effective in text and display, carrying little trace of the Trump Mediaeval eccentricities. 

FF Suhmo Pro Font Family $359 | 8 x OTF | Turkish Support
http://www.myfonts.com/fonts/fontfont/suhmo-pro/
The family has 8 weights, ranging from Light to Black (including italics) and is ideally suited for advertising and packaging, film and tv, editorial and publishing, logo, branding and creative industries as well as web and screen design.FF Suhmo provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters.It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. 

Telingater Display Font $30 | 1 x TTF | Turkish Support
http://www.myfonts.com/fonts/paratype/telingater-display/ 

Antique Olive Font Family $99 | 16 x TTF | Turkish Support
http://www.myfonts.com/fonts/urw/antique-olive/ 

Motorcross Pro Font Family $100 | 2 x TTF | Turkish Support
http://www.myfonts.com/fonts/redrooster/motorcross-pro/ 

Walbaum Font Family $135 | 13 x TTF | Turkish Support
http://www.myfonts.com/fonts/linotype/walbaum/
With Walbaum, Justus Erich Walbaum (1768–1846) created the best known and most beautiful example of a German Modern Face. This elegant font distinguishes itself through its legibility and flexibility. 

Perpetua Font Family $118 | 29 x TTF | Turkish Support
http://www.myfonts.com/fonts/mti/perpetua/#index 

http://www.myfonts.com/fonts/marksimonson/sharktooth/

Sharktooth is a somewhat geometric design based loosely on the designer’s earlier typeface Felt Tip Roman. It suitable for either for display or text.

Mostra Nuova Font Family $104 | 30 x TTF | Turkish Support
http://www.myfonts.com/fonts/marksimonson/mostra-nuova/
Mostra Nuova is based on a style of lettering often seen on Italian Art Deco posters and advertising of the 1930s.Mostra Nuova contains many alternate characters, representing commonly-found variations in Italian Art Deco lettering. They can be used in endless combinations to capture a particular mood or style. There are six weights ranging from the almost invisible Thin to the ridiculously bold Black. Mostra features an extended character set (most Western and Eastern European Latin-based languages supported) and kerning tables for display setting.Mostra Nuova includes 20 stylistic sets for accessing the many alternate characters and case sensitive forms. For use with applications that don't support OpenType features, separate Alt versions are included in each package. 

http://www.myfonts.com/fonts/bitstream/clarendon-pro/

The new Clarendon BT Pro typeface family features 450 glyphs in each font with expanded support for Central and Eastern European languages, and enhanced OpenType features including ligatures, diagonal fractions, superscript/subscripts and Case-Sensitive Forms. Clarendon BT is an updated revival of the square serif (also called Ionic or Egyptienne styles) with bracketed serifs, ball terminals and high xheights. These attributes give Clarendon BT a timeless appearance for a wide range of contemporary uses from websites, ads, publications and signage.

ITC New Veljovic Pro Font Family $499 | 30 x TTF | Turkish Support
http://www.myfonts.com/fonts/itc/new-veljovic-pro/
Thirty years after its first appearance, Jovica Veljovi? has produced ITC New Veljovic Pro, a completely revised edition of his first typeface, ITC Veljovic (1984). Prof. Veljovi? has tapped into all the experience he has garnered over the past decades; by carefully adjusting the proportions of the characters he has provided the new typeface with a more harmonious presence. The serifs have been subtly curtailed and the letters made slightly more condensed. Some new features of ITC New Veljovic are the double-story “g” with its completely closed loop and the more open forms of the “c” and “e”. In the italic variants, the latter is much rounder.Thanks to Veljovi?’s outstanding work, the optimized ITC New Veljovic can now be used in all contemporary applications. The new Condensed style saves considerable space when it comes to setting longer texts. The Display versions show off the striking, crystal-clear shapes of the design at their best in larger point sizes. 

Snell Roundhand Font Family $70 | 3 x TTF
http://www.myfonts.com/fonts/linotype/snell-roundhand-script/
Late in the seventeenth century, the English writing master, Charles Snell, decried all flourishes in the Puritan tradition and stood for a plain and efficient form of roundhand. The large x-height of these unadorned forms suited the purpose of the English roundhand, the standard commercial hand of the developing economic revolution, the typewriter face of its day. The overhangs on these letters were too large to cast in metal, blocking evolution to typography. Flourishes on the more elaborate forms could be adapted to fill body space, reducing or eliminating overhangs, allowing flourished scripts to appear in type. In 1966 Matthew Carter translated Snell’s script for photocomposition, later adding two more weights. With its large x-height and severely graceful texture, Snell, impossible in metal, appears as the most typographic of photocomposition scripts. 

Phosphate Pro Font Family $100 | 2 x TTF | Turkish Support
http://www.myfonts.com/fonts/redrooster/phosphate-pro/
Based on the design ‘Phosphor’ by J. Erbar, for Ludwig & Mayer, circa 1922-30. The newly redrawn Phosphate Pro contains all the high-end features expected in a quality OpenType Pro font. 

Granjon Font Family $164 | 6 x TTF | Turkish Support
http://www.myfonts.com/fonts/linotype/granjon/
Claude Garamond’s late Texte (16 point) roman was the model used by George W. Jones when he designed this typeface for Linotype & Machinery in 1928. To avoid confusion with the Garamond romans based on Jannon’s seventeenth-century work, L&M called the typeface Granjon, after the designer of the italic used as a model, thus creating confusion with the typefaces based on Granjon’s romans, Plantin and Galliard.