Carl Gauss is a modern sans-serif font that combines geometric precision with the beauty of neo-classic design. Its clean lines and sleek appearance make it an excellent choice for logotypes, branding, and other projects that require a crisp, contemporary touch. The font's distinct elegance and attention to detail make it an attractive choice for a wide range of applications, from digital to print. Carl Gauss is designed to bring clarity and sophistication to your projects while maintaining a sense of warmth and approachability. The Carl Gauss font family includes eight high-quality styles to suit various design needs: Regular: A balanced, versatile style for everyday use Italic: Adds a touch of movement and expressiveness to the regular style Bold: A stronger, more assertive version for impactful designs Bold Italic: Combines the boldness of bold with the energy of italic Caps: An all-caps variant of the regular style for a more commanding presence The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

With smooth curves and a deliciously bold personality, InstaLove Smooth leaves good vibes wherever it goes. The InstaLove Smooth Brush font is loaded with opentype features including character alternates and a large selection of natural looking ligatures. Scroll through the previews to get a good feel for what it can do. Included in the glyphs are 8 super handy swashes , and a few extra doodles, to add some extra punch to your designs. Perfect for making a bold statement, and getting second glances - InstaLove won’t let you down.

The Wezer - Display Bold Font Duo is a unique and bold typeface that breaks away from the conventional font styles. It offers two distinct versions: rounded and display, both designed to bring something entirely fresh to the table. The purpose behind creating this font was to introduce a one-of-a-kind typeface that stands out in the design world. Wezer is the ideal choice for projects that require a touch of quirkiness and originality, making it perfect for logos, branding, headlines, posters, titles, billboards, banners, and any design that dares to be different.

Spice up your designs with Radiant Days an elegant retro bold serif with its lovely rounded curves that will give a modern retro touch to your designs. Radiant Days with its alternates will provide your project. Whether you are a logo designer, or looking for a great bold header to your designs, retro quotes, Radiant Days will definitely make your work stand-out. To access the ligatures and the stylistic alternates make sure they are ON in the OpenType Feature option. Supported languages: Western European Central European South Eastern European South American Oceanian

'Horthen' is a Bold Signature Font script with a natural & stylish flow. This font is perfect for personal branding. It was made with the intention to be used for your personal branding. But it works well for many applications. Everything from personal branding, photography signature, advertising could benefit from this collection of this bold signature fonts. These typefaces work well for many different aesthetics. They work well with something like 'cosmetics' for example but would also work well with Liquor Labels, Signage, & any type of signature-styled logo.

The hand-lettered title, cast and crew credits for 1943's "Presenting Lily Mars" (starring Judy Garland and Van Heflin) inspired Pocatello JNL, but the name of this typeface has another Judy Garland connection. In the 1954 remake of "A Star is Born", Judy sings of being born in a trunk in a theater located in Pocatello, Idaho. The name of this Midwest town had such a great sound to it, so it was the perfect choice for the font's name. Available in regular, oblique, bold and bold oblique versions.

Koran Sans is a clean family sans humasnist style that is absolutely perfect for editorial headlines. The complete font family of upright and italic letters is easy for you to use 18 styles in many projects. This font is complete with symbols and multilingual. This font style is bold, bold, and sleek, making it perfect for editorial, web, posters, t-shirts, and magazine covers. . etc Including: Uppercase Letters, Numbers, Punctuation & Symbols. Multilingual Support Koran sans exudes character but is still useful thanks to its restrained geometric styling and modern construction.

36Dope is a display typeface with an experimental serif design. It draws from the event ’36DaysOfType’ held in 2023. Created as part of the ’36DaysOfPower’ theme, this font showcases unique and unconventional serifs, reflecting the creative and powerful spirit of the event. With its bold and experimental look, 36dope is well-suited for attention-grabbing headlines, titles, or graphic design projects that aim to convey a sense of strength and artistic innovation. This font is intended for eye-catching headlines, titles, or other graphic design projects that require a bold and experimental look.

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."

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."

Corpesh was drawn in Adobe Illustrator during the wee hours of the night. It is a single weight set of fonts, no bold version. As is/was much of what I have done over the last year, it was created purely to pass time. As a self taught amateur in this field, I only do this for the enjoyment it brings me. This typeface is being released early, at the same time as 'Brainstroke', for exactly the same reason that typeface is, that being a health crisis. I know this typeface is not complete, with, as mentioned, no bold version, and probably never will have.

Superba Pro is a condensed Egyptian font family with short ascenders and descenders. The dots on the lowercase ‘i’ and the German umlaut-vowels are square. Haas Type Foundry created the original Superba in 1928-1930. Steve Jackaman (ITF) designed and produced a digital version of the bold weight in 1992. In 2017, Jackaman completely redrew the bold weight, added an accompanying wide weight, and expanded the glyph set to support Central and Eastern European languages. Like other slab serif faces, Superba excels at display sizes and is comfortable at subhead sizes. ­ It is robust, and has “superb” legibility, allowing it to dominate attention in any project it is utilized in.

Introducing the Feruka sanserif font. All Capital sans is charming and valiant in its application, a font with a bold style and strong character that makes your design look bold and bold to convey messages to consumers in every design, this font is equipped with regular and bold thin variations to simplify and meet project needs you. We designed this san serif family font by paying attention to the combination of each letter to create a beautiful impression and appearance, making it easier to answer your needs, both formal and non-formal needs. This font is perfect for a wide variety of design projects, sporting events, branding, banners, posters, movie titles, food and beverage, technology, quotes, clothing, logotypes, and more. Of course, by using this font your various design projects will be perfect and amazing, because this font comes with a family of fonts, both for titles and subtitles and sentence text, start using our fonts for your amazing projects.

Regina-Cursiv is a warm, bold, casual typeface. Its friendly, rounded curves remind me of the line from a gospel song by the Canton Spirituals, about "smoothin' up the roughway." Jointly released by the Bauer and Berthold foundries of Germany during the fin-de-siecle period, this typeface has some cultural flexibility. There are alternate versions of the uppercase ‘H’ and ‘I’ that can be chosen to reflect a humanist or blackletter tradition, whichever you prefer. Other alternates offer various stylistic choices. Regina Cursiv is a friendly, comfortable font. You will enjoy using it. Alternative letters: D, E, G, I, K, S, T, d, h, k, m, n and z. The numerals are old-style figures.