Geffry is a retro inspired display typeface. It's fun and groovy with a bold personality. Perfect for masthead, logo, or anything your creativity takes you.

Utica JNL takes the basic components of Boat Decals JNL and reworks the characters into a bold, block font with thick-and-thin line variations.

This new font family full fit all your comic balloons, onomatopoeia and... SCREAMS! Comes with Regular, Italic and Bold Italic with a great organic look.

Boheld comes with 6 different style variations such as Sans, Serif, Bold, Condensed, and Inline. It is inspired by classic labels, tickets, posters, and more.

General Merchant JNL is a bold, compressed sans design in the 'Grotesk' fashion with varying character widths and flattened tops on the usually rounded characters.

Susa is an elegant and flowing brush script typeface. Ideal for short text in the lighter weights and for headlines in bold and heavy weights.

Boa bold is a basic display font made for print. It was created for an Artbook about reptiles. It needed to be round and clear.

This caps only hand lettering could have come from an architect. Speedy written on a 45 degree slope with a bold felt pen or brush.

Rosianne is a bold and unique handwritten font with a distorted and classic feel. It will effortlessly turn any creative idea into a stand out.

Battom Glory is a bold and distinct blackletter font. Add this font to your creative ideas and notice how it will make them stand out!

TT Lovelies Script useful links: Specimen | Graphic presentation | Customization options About TT Lovelies Script: Without any false modesty we can say that TT Lovelies Script is one of the most complicated projects we have ever carried out – there are 1115 glyphs, more than 2000 contextual alternates, 10000 kerned pairs and a large number of OT features, including ligatures and Old Style numbers. The most important characteristic of this font is that it is really seamless. We've done the impossible: in TT Lovelies Script, even capital letters are connected to lower-case letters without any breaks. The base for our typeface is original calligraphy by Russian designer Alena Korobanova. The beautiful handwriting was painstakingly crafted into a fully functional font. TT Lovelies Script is a very lively and playful typeface with some unpredictable nuances. Turn on the use of OpenType features CALT & DLIG in your graphic editor and use the font to the full. Every lower-case letter has characteristic pen strokes which begin and end a word. The pen strokes are turned on automatically when you accordingly type two hyphens at the beginning and at the end of a word. For instance, type '- - apricot - -' and you'll see the beautiful pen strokes at the beginning and at the end of the word. TT Lovelies Script uses a great number of contextual alternates and ligatures which help maintain the handwritten impression. For each letter, a separate grapheme is created for the end of a line, and we've also integrated the Case Sensitive OpenType feature to make working with upper-case characters easier. We've enabled onum, sups, sinf, numr, dnom, frac, ordn as well in order to work with figures. To benefit from all of these wonderful options, you need to use software which supports OpenType features. TT Lovelies Script language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana , Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

The Typist Code SansSerif is part of a big family, the Typist Family. The family consists of a monospaced, a Slab Serif and a SansSerif version. The idea behind this family originated from the research into the design of typewriter typestyles, which is also the reason why the monospaced version was released first. Since it was decided from the start to make a SlabSerif and a SansSerif version of these monospaced fonts, it was also a logical consequence that the proportional variants also became available in these versions. The monospaced SansSerif fonts have been given the name 'Code' since they are designed to be used while writing code for a software program, for example. The proportional variants with each 6 weights of the Typist Slab Serif and Code (SansSerif) are now available. Although the name may seem a bit strange, it is a logical consequence from the monospaced variant. The SansSerif variant therefore has Typist Code Prop, written in full the Typist Code Proportional. After all, who wants to be bothered with long font names in their font menu. The entire Typist family is designed as a font for use in editorial and publishing publications. A lot of attention has been paid to the spacing and kerning of the fonts. Due to the many variants and weights, this font is versatile. Typist Font Family was designed by Nicolien van der Keur and published by vanderKeur design. Typist Slab Prop and Typist Code Prop contains each 6 styles (Thin, Light, Regular, Medium, Semi-Bold and Bold, each weight also designed as a true italic) and has family package options. The links to the monospaced version of The Typist are here: https://www.myfonts.com/collections/typistslabfont-vanderkeur https://www.myfonts.com/collections/typist-code-font-vanderkeur

Designed for global branding and supporting 93 languages, the SST® typefaces blend the organic readability and controlled structure of modern sans serif designs. In combining these attributes, the SST family is understated, versatile – and sure to be a timeless design. The SST Thai family has 4 fonts in total. It spans four weights from light to bold. SST’s subtle design traits provide a quietly handsome and consistently friendly typographic presence that can be used for just about any typographic application. Broad range branding applicability combined with coverage for almost a hundred languages, makes SST one of the most widely accessible and usable typefaces available. Originally designed in partnership with the global consumer brand, Sony, the SST family is one of the most comprehensive type families available. Since extensive multi-lingual support was a critical design goal from the beginning, Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. As a result, the details – which could be as subtle as stroke curvature and width – are consistent across Latin, Greek, Cyrillic, Arabic and multiple Asian languages. SST performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs; while massive print headlines – even complicated wayfinding projects pose no stumbling blocks to the family’s typographic dexterity.

Designed for global branding and supporting 93 languages, the SST® typefaces blend the organic readability and controlled structure of modern sans serif designs. In combining these attributes, the SST family is understated, versatile – and sure to be a timeless design. The SST Vietnamese family has 4 fonts in total. It spans four weights from light to bold. SST’s subtle design traits provide a quietly handsome and consistently friendly typographic presence that can be used for just about any typographic application. Broad range branding applicability combined with coverage for almost a hundred languages, makes SST one of the most widely accessible and usable typefaces available. Originally designed in partnership with the global consumer brand, Sony, the SST family is one of the most comprehensive type families available. Since extensive multi-lingual support was a critical design goal from the beginning, Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. As a result, the details – which could be as subtle as stroke curvature and width – are consistent across Latin, Greek, Cyrillic, Arabic and multiple Asian languages. SST performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs; while massive print headlines – even complicated wayfinding projects pose no stumbling blocks to the family’s typographic dexterity.

Here is my next Celtic Monograms font family. I used a lot of authentic knots and curves to imitate Insular art style. The term derives from insula, the Latin term for “island” in this period Britain and Ireland shared a largely common style different from that of the rest of Europe. I've drawn sketches set, manually vectorized it and assemble the font family. In an attempt to replicate the intricate patterns found in Celtic art, I endeavored to create a design that embodied the essence of true Celtic knot work. The interweaving lines, which were prominent motifs in Celtic art prior to the arrival of Christian influence around 450, served as the foundation for my creation. Over time, these designs seamlessly integrated into early Christian manuscripts and artwork, incorporating depictions of various elements from everyday life, including animals, plants, and even human figures. In the beginning, the patterns were intricate interwoven cords, called plaits. This particular style is often linked to the Celtic regions, but it was also widely embraced in England and spread throughout Europe through the efforts of Irish and Northumbrian monks. The utilization of the Celtic knot as a tattoo design gained popularity during the 1970s and 1980s in the United States. Consequently, it has proven to be a highly advantageous font choice for various applications such as posters, banners, and sportswear. You can also create a vintage color shift effect. Please note, you should use graphic applications such as Adobe Illustrator or Photoshop, but not Microsoft Word. All you need is put Two or Three lines style initial on the top of Back style. I’m happy to present you the Rough, Two lines, Three lines, and Back styles for your design. You’ll get uppercase and numbers set. Thank you!

A few scant examples of some condensed Roman style water-applied decals inspired Sign Letters JNL. The decals were once part of the gold and black "Signmaker" letters and numbers once manufactured by the Duro Decal Company of Chicago and were sold through hardware and variety stores across the country. The condensed letters (which were eight inches in height) did not sell as well as Duro's mainstay sizes of 1/2 inch to 3-1/2 inches and were discontinued long before the rest of the line was supplanted by self-adhesive lettering.

“Drawing letters is my passion,” says Erik Faulhaber, the designer of the Xenois typeface family. Pronounced “zeeno-is,” the design distills character shapes into what Faulhaber believes are their purest forms. “I studied many typefaces, carefully examining their structure, before I began drawing Xenois. Then I actually wrote out a detailed design brief establishing the goals for my design.”

Trionik is a monospace experiment in modular, grid-based typography. It is a future-forward take on the computer system typefaces of the mid- to late-20th century—when computers began to rise in usability and integrate into all art forms. Working best as a display font, the Trionik family features 4 separate styles with varying widths.

“Drawing letters is my passion,” says Erik Faulhaber, the designer of the Xenois typeface family. Pronounced “zeeno-is,” the design distills character shapes into what Faulhaber believes are their purest forms. “I studied many typefaces, carefully examining their structure, before I began drawing Xenois. Then I actually wrote out a detailed design brief establishing the goals for my design.”

P22 Salon was originally inspired by Art Nouveau lettering. In the development of the three fonts (P22 Salon Full, P22 Salon Inner and P22 Salon Shadow) they began taking on a slightly more modern feel. All three variations were designed to be completely interchangeable with one another, and can be layered to achieve a variety of effects.

“Drawing letters is my passion,” says Erik Faulhaber, the designer of the Xenois typeface family. Pronounced “zeeno-is,” the design distills character shapes into what Faulhaber believes are their purest forms. “I studied many typefaces, carefully examining their structure, before I began drawing Xenois. Then I actually wrote out a detailed design brief establishing the goals for my design.”

TD Tinda is a display typeface classified by its hand-lettered style infused with a pronounced calligraphic influence. Each glyph carries an organic unevenness, imparting a playful and expressive quality. TD Tinda is particularly well-suited for label and packaging design, posters, and headlines. Typeface Designer/Copywriter: Inu Catapusan Art Director/Copy Editor: Regine Ylaya Foundry: Tribox Design

Ten Oldstyle is a four-weight type family from Principal Designer Robert Slimbach at Adobe. He designed it as the Latin component of Ten Mincho, a Japanese typeface by Adobe?s Chief Designer Ryoko Nishizuka. As it began to take the form of a small type family, Robert decided to release Ten Oldstyle on its own as well.

Vincenza Display is a modern high-contrast semi-sans with sharp edges and sleek curves. A distinctive typeface for exquisite headlines. Winner, Gold Award, Graphis 2018 Typography 4. http://www.graphis.com/entry/f6b469fe-c5d3-4bea-87e3-796c1d727b3c/ We felt there was a missing in the world of fashion-forward high-contrast typefaces, so we created Vincenza Display. Based loosely on the proportions of Bodoni, Vincenza features stylized curved descenders and unique semi-serifs, bringing a bold and distinct look to your headlines. The typeface has several alternates and ligatures, and is spaced for all caps as well as sentence case executions. It also contains a robust number of special characters. Vincenza Display is the debut typeface from the team at The Rare Form.

Tavern is a super font family based on our Algerian Mesa design, with Tavern we've greatly expanded the usability by creating light and bold weights plus all new for 2020 with the introduction of extra bold and black weights Tavern is now a five weight family. The addition of the bold weight made it possible to go further with the design by adding open faced shadowed, outline and fill versions. Please note, the fill fonts are aligned to go with the open faced versions, they may work with the outline versions, however you will have to apply them one letter at a time. The Tavern Fill fonts may also be used a stand alone font, however, the spacing is much wider than the regular solid black weights of Tavern. In the old days of printing, fill fonts rarely lined up perfect with the open or outline font, this created a misprinted look that's much in style today. To create that misprinted look using two different colors, try layering the outline fonts offset over the top of the solid black versions. Next we come to the small caps and X versions, for a font that's mostly seen used in all caps we felt a small caps would come in handy. The X in Tavern X stands for higher X-height, we've taken our standard lowercase and raised it for greater visibility in small text and for signage where you want the look of a lowercase but it needs to be readable from the street. In August of 2016 I started the project of expanding this font into more weights after seeing the font in use where someone tried creating a bold version by adding a stroke fill around the letters. The result didn't look very good, the stroke fill also caused the shadow line to merge with the serifs on some letters. This lead me to experiment to see if a new bold weight was possible for this font and I'm pleased to say that it was. After the bold weight was finished I decided to type the regular and bold weights together in a first word thin second word bold combination, however the weight difference between the two wasn't enough contrast. This lead me to wonder if a lighter weight was possible for this font, as you can see yes it was, so now for the first time in the history of this old 1908 type design you can type a first word thin second word bold combination. So why the name change from Algerian to Tavern? Since the original font was designed in England by the Stephenson Blake type foundry I decided to give this font a name that reminded you of the country it came from, however, there were other more technical reasons. During the creation of the bold weight the engraved shadow line was sticking out too far horizontally on the bottom right of the serifs dramatically throwing the whole font off balance. The original font encountered this problem on the uppercase E, L and Z, their solution was a diagonal cut corner which was now needed across any glyph in the new bold weight with a serif on the bottom right side. In order to make the light and regular weights blend well with the bold weight diagonal cut offs were needed and added as well. This changed the look of the font from the original and why I decided to change the name, additional concerns were, if you're designing a period piece where the font needs to be authentic then this font would be too new. Regular vs. Alt version? The alternate version came about after seeing the regular version used as a logo and secondary text on a major product label. I felt that some of the features of the regular version didn't look good as smaller secondary text, this gave me the idea to create an alternate version that would work well for secondary text in an advertising layout. But don't stop there, the alternate version can be used as a logo too and feel free to exchange letters between both regular and alternate versions. Where are the original alternates from Algerian? Original alternates from Algerian are built into the regular versions of Tavern plus new alternates have been created. We're excited to introduce, for the first time, all new swash capitals for this classic font, you're going to love the way they look in your ad layout, sign or logo. The best way to access alternate letters in Tavern is with the glyph map in Adobe Illustrator and Adobe InDesign products, from Adobe Illustrator you can copy and paste into Photoshop as a smart object and take advantage of all the text layer style features Photoshop has to offer. There may be third party character maps available for accessing alternate glyphs but we can't advise you in that area. I know what you're thinking, will there be a Tavern Condensed? It takes a lot of hours to produce a large font family such as this, a future condensed version will depend on how popular this standard version is. If you love Tavern we're happy to introduce the first weathered edge version of this font called Bay Tavern available in February 2020.

A big fat quirky face for big bold weird uses. Inspired by E. McKnight Kauffer and vintage travel posters, both styles have support for multiple languages.

Happily-lettered handwriting full of optimism. This handwriting was drawn with a chunky round marker and is bold enough for drawing attention yet still completely legible.

Safety Goggles is a bold, strong, masculine display font. This font is perfect for SVG design, sticker, home decoration, quotes, headings, blogs, logos, invitations and more!

Friskily is a soft bold script font with a retro and simple vibe. It will look great on headlines, magazines, logos, branding and so much more!

A modified remake of one of the popular wooden type fonts of the 19th century. This is an extra bold, shadowed, sans serif suitable for display.

Cap off your project with this all capital letter font. Bold and stylish with hand lettered appeal. Great for any paragraph or headline that demands attention.

A revival of one of the popular wooden type fonts of the 19th century, extremely condensed, bold, flat thick serifs, a very useful design for display.

Display Engraved JNL was inspired by the bold, engraved Sphinx Blanc from the Deberney & Peignot circa 1925, and is available in both regular and oblique versions.

Pipo is a minimalist rounded tubular and stencil font in 5 weights (Thin, Light, Regular, Medium & Bold) — many symbols and cleverly ligatured! language: all latin glyphs

AZ Claire was inspired by hand scripts, but with the necessity for a bolder look. This font was designed for use as a fun bold headline.

Ugaritica is an uppercase typeface. Blocky, sharp, and aggressive. Nice for headlines to catch the attention. Ugaritica is available in two styles - regular and bold. Enjoy!

Introducing Greywall, a bold stretch sans serif font. Greywall it perfect for posters, logos, magazines, covers, banners, t-shirts and headers, or even large-scale artwork.

bb-book A — breaking rules typeface Expressive book serif (triangular and curved) kicking up weight, width and contrast — in 4 styles: light, regular, medium and bold.

Fagies is a modern and bold sans serif typeface featuring characters that stand out from every background. Suitable for logos, posters, packaging, branding, invitations, notes, etc.

Flute was a font that was released in 2006 now, in 2022, it has been updated to increase the number of faces, including a bold version.d.