Bratislava is a rounded and elongated art deco typeface, based on several posters from the 1920's. Bratislava is slender and elegant and would look good on packaging and posters.

Cooper Black, commissioned by Barnhart Brothers & Spindler, is the best known of Oswald Cooper’s typefaces. Bitstream has expanded the 1921 original into a complete series of round-edged text faces.

Sixpak is rooted in the concept of creating a font in which each individual character is composed of no more than six squares with rounded corners, to resemble enlarged pixels.

Countless Blessings is a fun and casual handwritten font. Defined by all-round characters and a flexible style, this font will make each of your designs look readable and trend

British designer David Quay originally created Titus Light in 1984. A serif design, Titus Light is a wide, curvy, and round typeface that is best used in larger point sizes.

Norca is a typeface available in 4 types of styles, regular/clean, round, rough and textured. Available in all caps mode, suitable for designs with classic, vintage, and retro styles.

Arabic font version of Gumela, still with Gumela latin style, based on rounded sans serif whose edges end with unique shapes, to line up in harmony between Latin and Arabic.

TG HALO font is a relatively round font, which can be used in catering industry, children's products and so on. The application of title and text can be well recognized.

Magnetron is a thick/thin sans with a rectilinear, round-cornered construction. Reminiscent of early computer games or contemporary dance music festival posters, it has a fashionable retro-futuristic appeal.

Cassius & Cassius Italic are a postmodern typeface system from the Garaldes family. The main characteristic of this type family is its inverted anatomy and projected terminals. Cassius was meticulously designed with special focus on its structure. With its proposal for a fresh, attractive and rhythmic system, Cassius gives great personality to all kinds of composition. The family consists of 5 weights from regular to black, with respective Italics. Each instance includes; Case sensitives Accents, Ligatures, Fractions, Small Caps, Old Style Figures, Case Sensitives (symbols and punctuation) and more. This font is perfect for books and magazines compositions, and in general for the construction of immersive printed or digital texts.

Cynosure is a humanist sans with a subtle thick/thin stress. This gives it a clean, sharp elegance and precision that can be missing in some more familiar monoline sans faces. The wide range of weights and the matching reweighed italics make it a versatile solution where a consistent appearance across a broad range of applications is required. Its clear and inarguable design make it suitable for a wide variety of uses, from corporate to entertainment, text to headline, signage, logotypes, magazines and reports. The italics retain the design of the upright across all characters, again ensuring consistency. Includes tabular, lining and old-style numerals.

Glad to introducing you Hickory Dickory - a stylish serif with an eighties mood. I really love this old advertising from those magazines. It was a new era of minimalism in photography and typographic design. The playful, stylish and modern. This font will fit perfectly not only this type of design - you may use the alternates characters and get a really playful typography at your project. Hickory Dickory has a lot of alternates, some letters have them up to 17. More than 620 glyphs total! Also, there is a true italic for perfect pairing. Normal & True Italic A lot of stylistic alternates 620+ Glyphs total Decimal and fraction figures

AMARETTO, inspired by classic structure of italics, as an original variation of vertical style. Ludovico Arrighi has given us the legacy of classical calligraphic structures that times later lays the foundations of Cancelleresca style and then, the italics as extension of a classic roman serif used in the Renaissance, as main typographic way of expression in Italian printed books. The name Amaretto reminds one of the most representative and delicious liqueur as strong distinctive Italian taste. AMARETTO can be used mainly in titles, long and display texts. Supports East Europe languages. Includes standard and discretionary ligatures, complete small caps, old style numbers, fractions, numerators and denominators and several OpenType features included.

Mediator Serif is a balanced contemporary serif typeface that performs well both in display sizes (like in packaging or branding) and body text (books or periodicals where narrow styles will be extremely useful). Mediator Serif is a complementary serif face for Mediator Sans. The family contains 32 fonts in 2 widths: 8 romans with matching italics, of slightly extended proportions, from Thin to Black; and 8 narrow styles with matching italics too. The character set in all faces was expanded to include small caps and old style figures. The typeface was designed by Manvel Shmavonyan with the participation of Alexander Lubovenko and released by ParaType in 2017.

Myla makes it easier to convey the message in your designs. Use its eastern, old soviet inspired style for awesome display, labeling, clothing, movie screen, posters, movie titles, gigs, album covers, logos, and much more. It comes in 3 styles: Regular, Bold and Black, in 2 variations of regular and italic. Inspired by eastern and soviet traditions, hardworking people and 1960s, Myla is ideal for retro and vintage projects, from clear to rough looking designs. Myla features: Stylistic alternatives Ligatures International characters (Multi-lingual) Punctuation symbols OpenType Features Multilanguage Support: English, Albanian, Danish, Dutch, Estonian, Croatian, Bosnian, Slovenian, Finnish, French, German, Icelandic, Italian, Norwegian, Portugese, Spanish, Swedish with a lot of other languages; see the Full Character List. Note: To access the extra alternate letters, you will need to use the glyphs panel. Many design programs offer this ability, including Adobe Photoshop CC 2015 , Adobe Illustrator, Adobe Indesign.

Margit Variable is the single font file of the type family Margit. Containing two-axis, one for setting the weight and another for the italic, this convenient single font file allows you to explore and mix endless typesetting combinations. You can now precisely choose a unique combination using the two-axis sliders, fitting your exact needs. The complete family is included in Margit Variable, containing all the characters and features in Margit, including Latin and Cyrillic scripts, supporting over 200 languages. Margit's letterforms have a contemporary style with pointy edges and friendly curves inspired by old wood-type specimens. Its bold and unapologetic design will be great to use in poster design, giving the content a stronger voice. This font family can bring a unique look to your packaging projects and modern branding solutions. Explore the extensive range of styles and weights that make this typeface ultra-versatile.

Nature Boy was born in a fantasy world of old, where you can find magic, elegance, dreams and fun all together... just like nature in its purest form with its leafy curves and shapes that make it peacefully enjoyable. Soft and simple yet fairly ornamental, attributes that create an enchanting atmosphere but keep the texts legible at the same time when combined. Nature Boy can bring life and magic to every design, from editorial to posters, brands and packagings. Just picture this font on any product intended to move your soul and take you on a journey into a different and most beautiful place and time and let the adventure begin. This font family is made up of optically corrected regular, italic and bold types. All of them contain functional ligatures with alternative glyphs for texts and words to be dynamical and fluently graphed.

MyCRFT was designed as a custom heading typeface for Drew Maughan's IhNohMinecraft project. ABOUT THE PROJECT Beginning life in 2015 under the name Mascoteers, the project was an ensemble of small-scale characters built from LEGO elements. The challenge was in creating the different figures with the restrictions of existing LEGO elements, while being recognisable as individual characters. The project was initially well received within the LEGO community and with the general public, but was eventually ignored and even ridiculed in favour of LEGO's own BrickHeadz theme, launched in late 2016. It was rebranded IhNohMinecraft as a response to the deliberate cries of "Ih dih Minecraft?" since BrickHeadz' launch. The project has no relation to the popular game. ABOUT THE TYPEFACE The motivation to create MyCRFT was as part of establishing IhNohMinecraft as its own project, by giving it a new visual identity. The typeface could be described as a cross between the ones used for Gears Of War and Overwatch. I liked the boldness of the former, and the italicized straight edges of the latter. MyCRFT was intended to be used in its Black Italic form from the beginning, and was designed around the letters from the word MINECRAFT. Where I couldn't decide on specific characters, I've included the designs as alternative glyphs. I've also included the old "square" Mascoteers logo and the newer "head" IhNohMinecraft logo. MyCRFT is paired with Kanit on the official IhNohMinecraft web site. Let me know if you discover a better pairing! PROJECT LINKS View the IhNohMinecraft "reveal" playlist on YouTube. The official Mascoteers/IhNohMinecraft web site.

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Investigator JNL gives a serif treatment to Cold Case JNL, which was modeled from some old lettering stencils manufactured in the 1950s.

Golden Record is an elegant all caps sans serif typeface with a tall, classic, and high-quality feel. Its timeless design is perfect for adding a touch of sophistication to any project. The font's classiness evokes a sense of luxury and opulence, making it ideal for high-end branding and design applications. Golden Record is a versatile typeface family consisting of the styles Light, Regular, Bold, and Outline, each available in Italic, offering a wide range of creative possibilities. The idea for Golden Record came to life when Mans Greback was inspired by the elegance of vintage vinyl records and their iconic gold labels, merging classic aesthetics with modern design principles. Mans Greback is a Swedish typeface designer known for crafting high-quality fonts with a focus on versatility and aesthetics. He created Golden Records to provide designers with a unique and sophisticated typeface for upscale projects. Greback is committed to delivering exceptional quality in every font he designs, consistently pushing the boundaries of typography.

FuturaClassic is a recut of Paul Renners original Futura. This version was what Mr. Renner wanted the Futura to look like. He had to change his very stringent design because the market wanted a more pleasing typeface. I think the original design is worth saving because it is much more typical and has a personal and distinguished touch. I have also designed Geometra Rounded with rounded endings that looks more interesting than your usual DIN type Yours trying to save the typographical past Gert Wiescher

Vin (translated from Ukrainian as “he”) is a superfamily consisting of three robust typefaces with pronounced vertical stems and rounded corners. All three typefaces feature very large x-height for even more expression and assertiveness. Vin Sans Pro is a quite narrow rigid sans-serif typeface with extra-large x-height and rounded corners. It is perfect for any kind of short copy with lots of attention guaranteed. Be sure to check other two typefaces of Vin superfamily: Vin Slab Pro and Vin Mono Pro .

Part of the extended Rahere typeface family, Rahere Slab is a humanist slab serif (or Egyptian) in six weights from light to extra bold with corresponding italics. Rahere Slab – like its sibling Rahere Sans – features subtle detailing, giving the typeface a distinctive, warm appearance without distracting the reader. Legible at large and small sizes, Rahere Slab is a versatile, workhorse typeface that is suitable for a wide range of applications such as information signage, packaging, annual reports, advertising, brochures, catalogues, screen text and visual identities. Slab serifs are ideal for projects that need to convey a sense of authority tempered with diplomacy or messages that just need some serious oomph – and Rahere is a great slab for the job. The italic lowercase is more cursive and expressive than the roman and when they’re used together it displays enough character to create emphasis without looking out of place while harmonising admirably. Set on its own (for example, pull-out quotes), the italic exudes a charm that draws attention to the text. The character set covers most European languages plus Vietnamese. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles (matching Rahere Sans too) – indispensable for financial tables in annual reports. If a companion sans serif is needed, Rahere Sans is the perfect partner. They are both part of the extended Rahere typeface family and have been designed to complement each other beautifully. The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded the Priory of the Hospital of St Bartholomew, London in 1123. In 2007 I was successfully treated at Barts for relapsed testicular cancer so I’m indebted to all the doctors, nurses and support staff who work there. A special shout out to Orchid Cancer – a UK charity that helps men affected by cancer – who funded the research for my treatment.

CANNABIS company is a vintage display typeface, it has an old American feel. CANNABIS company typeface includes 5 font styles: serif, sans serif, rough, outline, round. CANNABIS company font with bonus cannabis leaf, hemp, CBD, pre-roll, joint illustrations are great for CBD company logo design; label for cannabis products and CBD packaging design; badges, clothing and t-shirts; posters and headings; distillery and brewery branding design; spirits label design (such as rum, gin, whiskey, bourbon, vodka, tequila, mezcal, beer); coffee and tea; supplements and cosmetics design and much much more.

Barkanon is not your ordinary humanist sans serif typeface. Blending modern styling with classic humanist flow creates a bold and captivating look. Designed to be expressive in the right places and legible where needed. Barkanon is great for headings, body copy, logos, etc. Barkanon was picked to be a part of the 2024 Typodarium and an early version of the font was featured on James Edmonson's (Oh No Type Co) YouTube channel Barkanon covers 96 languages, 9 styles plus italics, with stylistic alternates, ligatures, and other opentype features.

Say hello to State, this family is inspired by sport and a further development on Comply Slab. This family of fonts has some bold letters as well as stylistic alternates to give your layouts some interesting variation. State comes in 3 styles, Regular, Soft and Rough each with 7 weights and italics. It was specifically designed with a wider structure for better appearance in small sizes and the extra attention to the detail was needed for the big sizes. Use State to get the delivery you need, whether its for print, online or Television.

German type designer Jürgen Huber created this sans FontFont in 2003. The family has 8 weights, ranging from Regular to Extra Bold (including italics) and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, small text as well as wayfinding and signage. FF Plus Sans 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.

Sophia is a display font that strikes the perfect balance between classic and modern, combining serif and sans serif styles in a unique way. Its timeless appeal makes Sophia a great choice for stylish and impactful designs. The font family includes 5 different weights, uppercase, lowercase, punctuation, and multilingual support. Includes: Sophia Regular (uppercase & lowercase) Sophia Italic (uppercase & lowercase) Sophia Outline (uppercase & lowercase) Sophia Bold (uppercase & lowercase Sophia Heavy (uppercase & lowercase) Numbers & punctuation Foreign language support If you have any question, don't hesitate to contact me by email :bosstypestudio@gmail.com Thank you!

AFTERMATH?? has been designed to come in four different widths; Normal, Italic, Narrow and Condensed, additional to add weight to support various uses ranging from Thin, Light, Regular, Medium, Bold, Extrabold, and Black. AFTERMATH It comes in 40 weights with various features that support designer creativity from the Font Menu and extended language support. AFTERMATH will suit many projects: fashion, magazines, logos, branding, photography, invitations, wedding invitations, quotes, blog headers, posters, advertisements, postcards, books, websites, etc. If you have any questions, you can contact us by email: bosstypestudio@gmail.com| Thank you!

Stroma is a serif display faces with moderate contrast and quirky cuts. Intended to use it on headlines in the editorial design environment or big type style graphics, The function of this typeface allows it to use on larger and compact text for any graphical elements that need special treatment. The details interpreted from the straight axis pointed into flourish calligraphic serif, the shape of the letter contains straight details and cuts, this gives them a rich and fine looks. The Stroma family includes four weights, ranging from Light to Bold with italic uprights.

Bagoni Type is a very versatile, clean and visually elegant font inspired by the serif typography used in editorial media in the 80s. Bagoni Type with its high contrast and very simple and easily recognizable shape makes it very easy to read, so it also works with small and long text. Great for magazine pictures, for wedding invitations, for branding, poster design and more. Bagoni Type comes in bold and italics that is complemented by various features of open type. Check out Gradia which is a great pair for Bagoni Type.

We created a serif version of our popular "Werk" Sans Serif that will greatly enhance the Work family of fonts. Like “Werk” Sans Serif, “WerkSerif” is a sturdy, well-tuned font that is a true “werkhorse” with plenty of character without being overbearing. “WerkSerif”is an ideal choice for corporate branding offering a complete typographic solution with the sans and serif range of fonts — also a prime choice for distinctive and dynamic logotype use. “WerkSerif” comes in a range of offerings from Light to Regular, to bold and Black with matching Italics.

introducing Dx Grove, a vintage-inspired font that seamlessly blends nostalgia with elegance, making it the perfect choice for your design projects. This timeless serif font comes in 4 Style regular and Condensed including the italic too. offering you versatility and style for your graphic design, branding, and packaging projects. Capture the essence of the past with Dx Grove free-spirited vintage charm, bringing a touch of yesteryear to your creations. Ideal for wedding invitations, branding, or projects that need nostalgic 90’s font aesthetics, this hand-drawn typeface is bold and versatile.

Angesia is a script type family of four fonts. It is inspired by Lovely Fonts and has a soft and welcoming look. Angesia can be used for branding, packaging and wherever you need a script font that is easy to read and smooth. Angesia has many ties, strokes, and alternative characters that will make your designs unique and beautiful. You can also purchase Angesia as a Font Family and adjust the weight of Angesia seamlessly between Italic and Bold weights. Note that you need design software that supports the Font Family. Thank You...