If you like old style type, ephemera or victorian era, you must be collect this font , its combination of old and modern touch ,it so adaptable and thats make an eye catching design. This unique and classic font for signage, label, poster, gold leaf, sign painting, branding and the other graphic design made. Gold shine inspired of vintage advertising and sign shop around the world. Goldshine comes with tons of alternates characters to make more eye cacthy . It is suitable for authentic logos, headings, sign painting, posters, letterhead, branding, magazines, album covers, book covers, movies, apparel design, flyers, greeting cards, product packaging, and more. To make everyone enjoyed Goldshine give you one extras font including ornament and traditional badge. If you use Goldshine with you imagination, you just combine with the another font like script , serif or san serif font and adding some effect finally BOOM..!! you get a great design for your project.

This font was written with a calligraphic pen, loosely based on old-school calligraphy.

This font was inspired by lettering found on old tradecards from the 19th century.

Created with the needs of branding design in mind, Jan Hendrik Weber's Unitext is a crisp, clean typeface that functions well across print and online use. It blends humanist and grotesque qualities, adopting a style that the designer describes as “neo grotesque”. Narrow spacing is what sets this typeface apart, however it also uses open counters and angled details to boost readability. “The ideal font should work at every touchpoint,” says Weber. “And designers shouldn’t need an introduction or a set of rules on how to handle this typeface. Unitext allows designers to work without explanation.” The Unitext family includes 7 weights, spread across 14 fonts with extensive Western, Central and Eastern European language support. Unitext Variables are font files which are featuring one axis and have 14 names instances: Hairline, Hairline Italic, Extralight, Extralight Italic, Light, Light Italic, Regular, Italic, Semibold, Semibold Italic, Bold, Bold Italic, Black, Black Italic

Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect logarithm. We swooned again over its subtleties (“Ah, that mermaid of an R!”). We rehashed decades-old debates about “Hakzidenz,” “improvement in mind” and “less is more.” We dutifully cursed every single one of Helvetica’s knockoffs. We breathed deeply and closed our eyes on perfect Shakti Gawain-style visualizations of David Carson hack'n'slashing Arial — using a Swiss Army knife, no less — with all the infernal post-brutality of his creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed à la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.” The great hype of Swisspalooza '07 prompted a look at Max Miedinger, the designer of Neue Haas Grotesk (later renamed to Helvetica). Surprisingly, what little biographical information available about Miedinger indicates that he was a typography consultant and type sales rep for the Haas foundry until 1956, after which time he was a freelance graphic designer — rather than the full-time type designer most Helvetica enthusiasts presume him to have been. It was under that freelance capacity that he was commissioned to design the regular and bold weights of Neue Haas Grotesk typeface. His role in designing Helvetica was never really trumpeted until long after the typeface attained global popularity. And, again surprisingly, Miedinger designed two more typefaces that seem to have been lost to the dust of film type history. One is called Pro Arte (1954), a very condensed Playbill-like slab serif that is similar to many of its genre. The other, made in 1964, is much more interesting. Its original name was Horizontal. Here it is, lest it becomes a Haas-been, presented to you in digital form by Canada Type under the name of its original designer, Miedinger, the Helvetica King. The original film face was a simple set of bold, panoramically wide caps and figures that give off a first impression of being an ultra wide Gothic incarnation of Microgramma. Upon a second look, they are clearly more than that. This face is a quirky, very non-Akzidental take on the vernacular, mostly an exercise in geometric modularity, but also includes some unconventional solutions to typical problems (like thinning the midline strokes across the board to minimize clogging in three-storey forms). This digital version introduces four new weights, ranging from Thin to Medium, alongside the bold original. The Miedinger package comes in all popular font formats, and supports Western, Central and Eastern European languages, as well as Esperanto, Maltese, Turkish and Celtic/Welsh. A few counter-less alternates are included in the fonts.

Senohraby is an uppercase display typeface inspired by the old sign at Senohraby train station that is now slowly chipping away. Senohraby is available in three interconnected styles that freely various ages of the sign. “Paint” is a more or less preserved font written with a flat brush and featuring slight scratches and errors. The other styles, “Dirt” and “Trash”, follow up on this style and are increasingly marked by age, damage and erosion... In each style one can use simple alternation with lowercase letters, context-based alternation to eliminate repetition of adjacent characters, and a broad range of language support. As a result, each letter offers six variations that can be combined. These can be used as another alternation within a single word or as different bold weights. As a bonus, a fourth, additional style named “Crap” is freely available and as the name implies, it contains a wide array of various impurities.

Cajoun is a bold serif face from German designer Hans-Jürgen Ellenberger. The letters sit visually low on their baseline, in part due to their small x-height. Also, the curved portions of the letterforms have an old-style distribution of weight, which pulls the eye downward. This font has a contemporary feel, however, with crisp edges, and some pointy terminals. The typeface also contains old style figures. Cajoun is recommended for use in larger applications, where the eye can get a change to dance along its wide curves. Cajoun was designed in 2002, and is part of the Take Type 5 collection from Linotype GmbH."

Immerse yourself in the beauty of Arabic calligraphy with our new and modern font, inspired by the Kufic script, distinguished by its boldness and contemporary flair. This font is characterized by intricate details that highlight its elegance and strength, making it perfect for prominent headlines and verses from the Holy Quran. A masterpiece that seamlessly blends the rich heritage of Kufic script with the spirit of modern design, showcasing bold characteristics that emphasize the power of the letters and convey simplicity and sophistication. These designs offer a perfect balance between tradition and innovation, where the beauty of traditional fonts harmonizes with the boldness of modernity. This distinctive font highlights the unique details of each letter, making it ideal for emphasizing the beauty of Quranic texts and shedding light on verses with strength and elegance. Enjoy a fresh and modern experience with Alnajdi 01 font, adding a touch of allure and sophistication to your artistic and design projects.

Horesport is a bold sport font is a typographic style that exudes strength, dynamism, and a sense of action. Characterized by thick, robust letterforms, this font is designed to make a powerful visual impact, capturing the essence of athleticism and energy. The letters are crafted with strong, confident strokes, creating a bold and assertive appearance. Whether used on jerseys, banners, posters, or digital displays, a bold sport font commands attention and reinforces the spirit of competition. Its high-impact design ensures visibility from a distance, making it ideal for conveying a team's identity or promoting sporting events with flair and vigor. We're proud and honored if Horesport can be the part of your special projects. Thank you :)

Max Joseph Gradl designed Art Nouveau jewelry in Germany. At least some of his designs were produced by Theodor Fahrner of Pforzheim, Germany -- one of the leading manufacturers of fine art jewelry on the Continent from 1855 to 1979. I don't know if he designed for Fahrner exclusively, but every example I found was produced by that firm. I assume it was also the same M.J, who edited a book, Authentic Art Nouveau Stained Glass which was reissued by Dover and is still available. For an artist as accomplished as Gradl was, he is very tough to research. There just does not seem to have been much written about him. The jeweler is visible in most of his typeface designs. They exhibit a sculptural quality as if they were modeled in clay (or gold) rather than drawn on paper. His monograms, especially, reflect that quality. Those shown in plates 112 through 116 in Petzendorfer actually appear to have been designed specifically for fabricating in the form of gold or silver pendents. Of the initial letters that came out of Germany during this period, these by Gradl seem unusually open and lyrical. They seem to be dancing on the page, rather than sitting. Please note that Gradl designed only the decorated initials. All other characters supplied were extrapolated by HiH, including the accented initials. Orn.1 (unicode E004) is based on a jeweled gold clasp designed by Gradl (please check out Gallery Image on Myfonts.com). Also included are an art nouveau girl’s face, a swan and the face from Munch’s “Scream”, from scans of old printer’s ornaments. Gradl Initialen M represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 341 glyphs. Both upper & lower case provided with appropriate accents. 2. 558 Kerning Pairs. 3. Added OpenType GSUB layout features: salt, dlig, ornm and kern. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Refined various glyph outlines. 6. Alternative characters: 16 upper case letters (with gaps in surrounding decorations for accents above letter). 8. Four Ornaments: face1, face2, swan and orn1 (silhouette of Gradl clasp) The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Alta Mesa is a revival of an old type design from the 1800's that was sold by most of the type foundries in the US and Europe of that time period so it is difficult to know the foundry of origin. New with this version are the fill fonts and plain styles, the fill fonts may be used as stand alone fonts, however the letter spacing is much wider, the plain versions are recommended if you desire a solid black weight. The regular Fill font is in registration with the Regular and Open versions while the Fill L font is in registration with the L and Open L versions. This was a very charming font in its time which was heavily used on old billheads and letterheads. We're pleased to bring this type design, which hasn't been used for over 100 years, into the digital world today.

Meila is a cheerful font, visually featuring bold and cute characters. Meila has smooth lines on each side, especially on the outside, almost no sharp corners. On the inside there is only one line that functions as a counter space. We made as little sidebaring as possible on each letter character, so that each character letter would intersect and that made "Meila" look solid, fat but still soft and huggable. Meila consists of several style variants and thickness variants, namely; Lines, Strokes and Solids. Meila is very suitable for children's themed designs or others such as; T-Shirt Designs, Birthday invitations, Product packaging, Logos etc.

Hello, Are you looking for a strong bold font? Do you want of creating Something that stand out and inspire creativity, imagination, and endless fun? Wait no more, we will give you the best choice. Black Scratch a Strong Bold Font Black Scratch a Strong Bold Font, Inspiring from strong bold typography. This font is perfect for a design that makes it more attractive and playful. made with a very good level of aesthetics making this font suitable for book cover, poster, packging, merchandise, logotype and much more.

Jeff Levine's collection of stencil fonts based on original source material has grown by one with the addition of Term Paper JNL, a bold sans serif based on a stencil lettering guide from the 1950's.

Browser Sans is a companion to Browser Sans, sharing similar forms and metrics. The four styles (Regular, Italic, Bold and Bold Italic) make it simple to use in desktop applications and easy to implement on websites.

Browser Sans is a companion to Browser Serif, sharing similar forms and metrics. The four styles (Regular, Italic, Bold and Bold Italic) make it simple to use in desktop applications and easy to implement on websites.

Hua type family is a sans-serif with very humanist details to represent the essence of nature. It features 14 weights from the very thin to the very bold, generously covering a wide range of the natural spectrum. Aiming to represent the soft and elegant side of nature, Hua features very unique italics that have their own take on the identity. The letterforms of the italic fonts are inspired by the lineage of both traditional calligraphic approaches for serifs and much simpler forms for sans-serifs. Hua provides very crisp performances on screens and its large x-height combined with fine-tuned proportions help it retain legibility very well on smaller sizes.  Features: • Support for 200+ Latin languages • Double & single storie “a” & “g” • Unique italic letterforms • Low contrast with unique details • Small caps with symbols • Arbitrary and defined fractions • Support for superscript & subscript in normal & scientific alignments • Proportional lining, proportional old-style, tabular lining, tabular old-style

Around the turn of the 20th Century, the Inland Type Foundry produced a display face named Studley. It was a variation on a design by another foundry called Florentine. A condensed face with a bold, clean look, the design resembled the warmth and feel of a classic wood type. Best applied to headlines and titles, the font reads amazingly well at even 18 point renderings. Jeff Levine had added his own personal touch to his digital version of this old favorite and renamed it Bayview JNL.

short and bold font, cute and looks professional and a nuanced logo font that you can customize with the elegant look you want there are several alternatives that you can use and combine, and there are italics to make it easier for you to work on your design project

Metalworker JNL is Jeff Levine's take on a perennial favorite originally known as Eagle, but available under different names over the years. This bold, clean Art Deco font was the basis for Jeff's star-studded National Spirit JNL.

I would like to introduce this cool font, The Blacklight Script, which is a Bold script font with a touch of charming Retro style. This font also looks interesting because I added some alternative features that you can use. stay relevant for a charming modern look. there's nothing wrong if you feel all the experience of using this font in your design, make this font one of the font collections on your computer what will you get: Blacklight scripts Alternative PUA features coded We hope you enjoy this font! feel free to comment if you have any thoughts or feedback. Thank you for buying and happy creating! :)

This font was inspired on graffiti texts, sentences of street walls. The intention it's to give an style of old school words spreaded on some walls around the world. This can be cool for an design of a poster, headlines and so on.

One of the classic display types of the 19th century, an Egyptian with slab serifs. Quite bold.

A revival of one of the popular of the early 20th century fonts, suitable for bold text.

One of the classic display types of the 19th century, an Egyptian with bracketed serifs. Quite bold.

Mr Palker Dad — has appeared in a natural evolution of the Palker-Palkerson family. Its closest relative - grotesque Mr Palker Dadson. This generation is more stout than the previous one. One may even be brave enough to use them for composing small texts. Notably Mr Parker Dad has become one of the frequently sold typefaces on the «Peterburg. The city speaks» map as it is highly readable while remaining extremely tight. Mr Parker Dad has all the features of P&P’s family.

Inspired by circus billboards, old west posters and torn paper constructs, "Lonely Cowpoke" is an oddity of bold graphic forms and cheerful curving lines. Revelling in its own quirky nature, this playful font lightens up any mood.

This typeface is inspired on Bodoni, but this is like his gross sister, because it has angles instead of curves. Is a typeface with personality, strong and robust but at the same time sweet with his italics. This typeface has 5 weights, regular, italic, bold, poster and poster italic.

Mellow Sans is a soft and friendly rounded sans serif. Its bold styles are great for packages of something tasty, while light and regular ones work well in rather long texts, from a children's book to a reading app, or a family restaurant menu. The typeface was created by Natalya Vasilyeva, an expert in designing text and calligraphic typefaces. Mellow Sans’s forms are based on humanist sans serifs. The nobility and liveliness of Renaissance calligraphy reads beneath its curves and makes the typeface even friendlier, while helping the eye to move along the line. The typeface supports extended Latin, extended Cyrillic (all major languages of the Russia’s peoples) and Greek. It also has old style figures, arrows and non-alphabetic signs. With Mellow Sans as a heading typeface (in that case bold styles fit the best), calm open sans serifs, f.e. Vast or Fact, are its optimal text companions on the screen. Calm serifs, f. e., Octava, Scientia or Aelita, will work as its companions on paper. And to create expressive typography, for example, in packaging, you can match Mellow Sans with quirky rounded serifs — Cooper or Epice.

I set out to create a solid, bold, strong, rugged font, one that would lend itself to any industrial type of use, and by that I mean industry in general, but probably sectors that would still be considered male preserves such as carpentry or metalwork. I thought specifically of mortice & tenon joints, whilst toying with shape and form for this self imposed challenge. I was also visualizing a router tool used for producing most wood joints nowadays. I think the general premise worked out well; in the end I settled on the name Mortice, referring to the slots or negative spaces that the matching part, or tenon would fit into.

Monde Libre is a display typeface that exudes optimism, joy, and whimsy. I designed this typeface based on a sign in a clip from some old film footage I saw somewhere. It stayed with me as a typeface that evokes the France of my dreams. Enjoy!

This font family was inspired by lettering found on old letterheads from the 19th century.

Samarquand is a handwritten script design from Roy Preston. Based on the handwriting of a friend, Roy has expanded this friendly, semi-connecting script to include three weights, Light, Regular and Bold, opening up even more design possibilities. The Samarquand fonts support an extended character set, as well as some ligatures, inferior and superior numbers, and unlimited fractions. There are some really nice letterforms in these fonts, particularly that uppercase W! Peruse the posters to see. I'm kind of partial to the Light weight, which is really quite elegant in use, but that Bold can really make a strong statement! Samarquand. Check it out for yourself.

Asterism Clean is the smooth lined version of Asterism. It is a calligraphy style font with a moving baseline and lots of shining personality. Also contains a bold and a monoline version. This hand written style font is based on one of Molly’s signature calligraphy styles and pairs beautifully with Frosted, Icing, Saint Agnes.

Italian Futurism (1908-43) was one of the 20th century's first and most influential avant garde art movements. Futurist typography sought to disrupt traditional notions of harmony, space and composition on the printed page. The bold and jarring shapes of this set faithfully recall a tumultuous era in both Italian history and Italian graphic design.

In the tradition of Goudy Old Style and Goudy Modern, Chong Wah drew Chong Old Style™ and Chong Modern™ as visually different – but complementary – designs. According to Chong Wah, “The extended family of typefaces started as a concept rather than a preconceived design. The concept is different sans serif type styles with a common underlying structure and a clear lineage to traditional serif designs. While there are similarities between the designs, each typeface was drawn as a separate entity.” Chong Old Style has the flavor of traditional old style designs without slavishly replicating the earlier design traits. It has the heft and color of an old style design but lacks the serifs and inclined stroke axis customarily seen in these typefaces. The result is a versatile suite of typefaces that deliver a straightforward message in large or small sizes. Chong Modern is a sans serif interpretation of the classic modern, or neoclassical, designs of Bodoni and Didot. More than a Bodoni without serifs, Chong Modern also has an elegant, Art Deco demeanor. This is a design that walks the line between traditional and contemporary with grace and aplomb. Chong Wah drew his Old Style and Modern designs in Light, Regular and Bold weights, adding an Extra Bold to the Old Style. All designs benefit from harmonizing italic counterparts. Both branches of the Chong family are also available as OpenType Pro fonts, allowing graphic communicators to take advantage of OpenType’s diverse capabilities. These fonts, in addition to providing for the automatic insertion of old style figures, ligatures and small caps, also offer an extended character set supporting most Central European and many Eastern European languages

The Oronteus Finaeus map, published in 1531, shows Antarctica before it was "discovered" and how it looked ice-free. There is still much controversy about the validity of the map, but I was intrigued by the letter forms which appeared on the map itself. I used the typeface appearing on the map as a visual guide in developing my design for Oronteus Finaeus regular and old style figures. I liked that it reminded me of old maps, exploring and adventure. Definitely oldish and roughish in character. This new font is perfect for all those old style and antique applications, or for that vintage typography look.

This family was created inspired from two French (one so common and a very rare large one) "toy print" boxes, named Le petit imprimeur, with rubber stamp characters from the 1920's. The big difference from our 1920 My Toy print is that this font is complete, with upper and lower cases, accented, complete punctuation and some symbols. The doubly of each usual character in each style (A-Z/a-z and numerals) allow to give a rich and variously uneven appearance, looking like the results of the real use of those old rubber stamps, with bad kernings and alignement. The font is containing West (including Celtic), Central, East European, Turkish and Cyrillic characters. The bold style may be used as a reinforcement, mixed with normal style without disadvantage, allowing finally four choices for each usual letter... The original size is 6mm (about 17 pts).

Hand lettered Art Deco lettering for the title on the cover of the 1930s-era song "And I Still Do" provided the inspiration for Swing Era JNL. A bold, casual and friendly typeface, it features an intersecting inline through some of the characters. One could almost picture the hottest big band of the day promoted on a lobby card with this alphabet, beckoning all to come on in and "cut a rug".

The name “Parchemin” is derived from the word in old English for “parchment.” Our modern word “parchment” changed its spelling to conform with French spelling practices during the French occupation of England. The font was created to suggest an informal but antique form of handwriting written on parchment with a quill pen. The scratchiness of the old quill pen is conveyed in the roughness of the characters. The font was loosely based on the font Queen. Use this font whenever you want to suggest rough informality or antique handwriting. The characters have been letter-spaced and kerned in such a way that they join perfectly with one another giving a completely convincing imitation of genuine handwriting. The font is fully professional in terms of its character set. It contains more than 235 characters — (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). In fact, it has all the accented characters used in the major European languages.