This all cap, bold, sans serif font features one face that slants backward ("Back") and one that slants forward ("Forth"). Use in combination to create headlines and designs that call for a sense of speed, motion and power. Uppercase and lowercase letters are the same.

Gluten is an experimental font family designed by Carlos Fabian Camargo. It includes irregular shadows to communicate craftsmanship. Its multiple upper cases with condensed width and naive lines are notable for their expressive drawing with a high amount of contrast between thick and thin strokes.

The Sans serif companion to Astoria. Based heavily on Gill especially in the mid weights and with a consistant series of condensed weights. Designed specifically as a text face it still works very well as a headline font. There are 6 weights with accompanying Italics.

Digby is friendly, honest and active. Digby family includes twelve hand-drawn fonts. They work well together, in fact Digby Line Thin fits nicely over Digby Regular. All have a generous set of double letter ligatures and are designed to work great as all-caps.

Hogira Inspired by technological developments, Hogira is a future-looking display font, Hogira is very suitable for use in writing titles, making text-based logos, websites, and modern design types that are related to emerging technology themes. Hogira also supports 20 families and multiple languages.

Haarlem, designed by Leslie Cabarga, was inspired by the sort of marks you get when you write with a flat-headed magic harger. There are two fonts in the Haarlem family, White and Black. Haarlem White is an outlined, shadowed version of Haarlem Black.

Based on retro vinyl records in the early and middle of 20th century. the mixture of funky, hippie and mid-century’s futuristics. There are three other fonts designed by in the same concept. -Rebel Train Goes -Word From Radio -African Elephant Trunk -Moon Star Soul

Introducing Lamarkie, a classic yet modern typeface with lots of style. For those who are needing a touch of elegany, stylish, classy, chic, and modernity for your design, this font was created for you!. Complete with ligatures alternates regular italic hollow icon kerning multilingual support

Country Charm is a picture font. A cute collection of vectored sketches brought to life by designer Natsuko Hayashida. More than 50 unique illustrations. Her depictions of fruits, vegetables & herbs are beautiful organic shapes, perfect for you to use on signs, posters, invitations, and more.

Dearest is a distinct flowing script based on handwritten characters found in a 19th Century German book chronicling a history of the Middle Ages. Originally released in 2001 as a set containing two styles, Script and Swash, Dearest is now expanded in 2014 as a pro font with several hundred new characters including support for Central European, Cyrillic and Greek languages. Other Opentype features include ligatures, fractions and figures, Roman numerals, alternate letterforms and more swashes to expand the possibilities of this designer-friendly font. In addition to the Dearest Pro font, a new companion font has been added- P22 Dearest Alternates. The characters contained in this font are part of the pro font, but are also designed to be used with Dearest Script and Dearest Swash and is intended for those who have applications that do not support Opentype features.

Visiting the end of 2018, we launched "Controwell Victorian Typeface" which adheres to Serif and Script style. Controwell Regular has 2 layers that give a cool metal effect. Besides that, there are many alternative character choices that suit your taste. This charming Controwell Script is very well suited combined with Controwell Serif Regular. the elegant and unique impression looks very hard. just like the serif font, this script also has many alternative character choices, up to "SS10" and 600 glyphs. You create designs with modern Victorian themes or classically themed themes that are suitable for collecting Controwell Victorian Typeface, in addition to many choices of your character is also very easy to use. just choose and change some characters, the design that you design is ready to be printed or published on social media. This font is very suitable for logotype design, packaging design, beer design, vodka, whiskey label, poster design, victorian book cover and design.

Jokerman is the work of British designer Andrew Smith. It is a wild and energetic font that is effective when set in all caps, or as mixture of caps and lowercase. Included are a number of alternate letters and funky forms. Jokerman is a fanciful display font that exudes excitement and vitality.

Because ebooks will not normally accept .otf fonts, and they don't support Opentype features, this font family was designed to be used for the ebook conversions of print books. It uses old style figures. The italics are slanted a bit more. And Heavy is a little bolder than the bold in Contenu Book.

Bylum is put together with a bulbous line segment that makes up the bulk of the font. The verticals bulge out in the middle, the curves vary in width along their lengths. This gives the font a relaxed sway to it even while its verticals are upright and its design is fairly regimented.

Treatmill is a playful hand-lettered font family. There are 9 font families included from thin to black styles. It is perfect for title, headings, flyer, greeting cards, product packaging, book cover, printed quotes, logotype, apparel design, album covers, children book, comic etc. Treatmill comes with uppercase, lowercase, numbers, punctuation, multilingual support. Cheers!!

The fonts "Outr" were created with the concept of typography in motion. These display fonts look unique as movie titles, TV show logos, game titles, and many other products, especially with edgy and tech designs on screens. These are more suitable for and work very well in 2D and 3D motion graphics.

Choosing - a new fresh handmade calligraphy font. Very suitable for greeting cards, branding materials, business cards, quotes, posters, and more!This font are perfect for wedding postcard. Or you can create perfect and unique design of your logo, blog, stationery, marketing, magazines and more :) Features : UpperCase & Lowercase Numerals & Punctuations Multilingualcharacters(AÀÁÂÃÄÅCÇDÐEÈÉÊËIÌÍÎÏNÑOØÒÓÔÕÖUÙÜÚÛWYÝŸŸ ÆŒßÞàáâãäåæçèéêëìíîïðñòóôõöøùúûüýÿ)

Lovan will bring an elegant, romantic and warm feeling of love to your design project. Equipped with a choice of Alternative Characters and Discretionary Ligatures, all of which are PUA Encoded. Lovan will be a versatile font because it can be used as a Display Font and is still good for writing text.

Chicken Mayo - Handmade Cartoon Font is a playful and whimsical typeface that brings a sense of fun and lightheartedness to any design. Characterized by its bold and exaggerated strokes, this font features quirky shapes, reminiscent of the animated world. The letters are typically rounded and bubbly, adding a cheerful and approachable vibe.

Bugmansta - a new fresh handmade calligraphy font. Very suitable for greeting cards, branding materials, business cards, quotes, posters, and more!This font are perfect for wedding postcard. Or you can create perfect and unique design of your logo, blog, stationery, marketing, magazines and more :) Features : UpperCase & Lowercase Numerals & Punctuations Multilingualcharacters(AÀÁÂÃÄÅCÇDÐEÈÉÊËIÌÍÎÏNÑOØÒÓÔÕÖUÙÜÚÛWYÝŸŸ ÆŒßÞàáâãäåæçèéêëìíîïðñòóôõöøùúûüýÿ)

Books Script — this is a good-hearted font, which was created based on the books of the Soviet period between 1960 and 1970. This font is perfect for illustrators and books which are designed for children. Scope: emotionality, uneven rhythm, display, titles, illustrations, soviet, USSR, poetry, ipad apps, fairy tale, epic poem

Sporting- a new fresh handmade calligraphy font. Very suitable for greeting cards, branding materials, business cards, quotes, posters, and more!This font are perfect for wedding postcard. Or you can create perfect and unique design of your logo, blog, stationery, marketing, magazines and more :) Features : UpperCase & Lowercase Numerals & Punctuations Multilingualcharacters(AÀÁÂÃÄÅCÇDÐEÈÉÊËIÌÍÎÏNÑOØÒÓÔÕÖUÙÜÚÛWYÝŸŸ ÆŒßÞàáâãäåæçèéêëìíîïðñòóôõöøùúûüýÿ)

Crysh Graffiti is the newest typeface with a simple graffiti style. There are three styles of font. Regular, extrude, and line styles Inspired by a simple piece of graffiti. The entire typography has been designed to work on large sizes. This font is good to use on posters, zines, stickers, and t-shirts.

React is modern athletic display block font family. It's timeless shapes and features will give you an instant athletic feel to your project. React features both chamfered corners and rounded giving it a unique approach. These fonts are perfect for sports logos, branding, posters, apparel design, magazine headlines, labels and so much more.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

Hello, We are so excited to announce our new fonts "Rainy Candy" is unique display font. Use it to make your ideas even more realistic like a kids, sweet packaging, merchandise and create spectacular the Christmas designs! Features : Uppercase and lowercase Numbers Symbols Multilingual Accent What you get : Rainy Candy. OTF If you have any question, don’t hesitate to contact me. Happy Designing !!! Thank You, Bayu Suwirya

Ironwood is an Adobe Originals typeface designed by Joy Redick in 1990. Ironwood font is a homage to the old woodtypes made popular by the wanted posters in Western films. Adrian Frutiger designed his typeface Westside with the same idea in mind. Ironwood font is reminiscent of the Wild West and its shoot-out heroes, and its robust figures are particularly good for headlines.

Giacometti Letter is a fun design by Sine Bergmann and Leonore Poth. It has a rough, handwritten-looking style that is perfect for informal communications. The letters are light and narrow similar to her thin figures in the Pi font Giacometti." When combining Giacometti Letter with other fonts, try using "Jump" - another of Sine's designs - which contrasts well since is it wider and bolder."

Listing Packs family this is a font family with a bold and large appearance, this font is perfect for all types of displays that look unique and bold, there are several variants of the character you use, and make sure you don't miss it, very suitable for all types of design, crafts, social media , magazines, books, banners, and this design is very potential for you to have

Cherry Bell is the perfect font for all your fun designs. The main font file is equipped with ordinary characters, as well as more than 350 glyphs to support most Latin-based languages. It is suitable for you to use in making t-shirt designs, quotes, labels, packaging, logo types, or long writing because we have compiled kerning and matrices that are tailored to your needs.

Celesse - A classic serif font, perfect for creating bold & gorgeous designs. Pour yourself a glass of your finest wine and get classy with Celesse. This font is great for designing elegant logos, quotes, magazine covers, wedding cards, invitations, and brandings. Its stark contrasting lines are best used in headlines and projects with big type. Celesse adds timeless beauty, heavenly curves and a classic appearance to any project.

Hello gaes! How are you guys doing ? i’m sure that’s nice! Meet our newest product, we call this product Heselna font. Heselnas font are serif typeface font Whit a uniqe touch and assertive Heselna font is very nice to use on: fashion magazine, logos, ,and photography, landing page, fliyer, What’s includes - mutilngual support - alternate - ligature Thank you, salutations Ali Sifak Muftari

Nickvic is a font that you can instantly download. You can use this font in Photoshop, Illustrator, or any other program that will allow you to import fonts. This font is for personal and commercial use. Please note that this is a digital download, you will not be sent anything physical. All sales are final. Refunds or exchanges are not accepted.

Hello gaes! How are you guys doing ? i’m sure that’s nice! Meet our newest product, we call this product Alyester font. Alyester font are cute typeface font Whit a uniqe touch and assertive Alyester font is very nice to use on: fashion magazine,logos, ,and photography,landing page,fliyer, What’s includes - mutilngual support - alternate - ligature Thank you,salutations Ali Sifak Muftari

Hello gaes! How are you guys doing ? i’m sure that’s nice! Meet our newest product, we call this product Archanes font. Archaness font are display typeface font Whit a uniqe touch and assertive Archanes font is very nice to use on: fashion magazine,logos, ,and photography,landing page,fliyer, What’s includes - mutilngual support - alternate - ligature Thank you,salutations Ali Sifak Muftari

"Leonisa" is a beautiful and elegant monoline script font. This font is perfect for all your work. The embellishments in this font are very easy to use and are also equipped with procedures for using them. This font is suitable for promotion, business, summer, spring, traveling, holiday, quotes, wedding, invitation, greeting card, birthday, potography, logo, poster, branding, banner, print and others.