Mangotea is bold script brush font with a hand-lettering brush style, and includes Opentype features. It is suitable for design, element design, wedding, event, t-shirt, logo, badges, sticker, and awesome work, etc...

Basketball is a bold and authentic slab serif font. It has a cool style and it will make any of your designs stand out. Use it for sports, racing design, or anything sports-related.

Albeit Grotesk Rounded Caps is a graphic geometric rounded all caps display font family of four weights (Light, Regular, Medium and Bold) with slightly exaggarated diacritics for better readability making it ideal for headlines.

Emotios is a display font with a bold brush style. suitable for posters, logotypes, apparel, branding, and so on. contains standard English letters, numbers, punctuation, Ligatures and several accents that support multilingualism Thank you!.

Grandes is a bold script font, grandes is perfect for design illustrations on t-shirts, logos, product brands, Use it to add that special vintage touch to any design idea you can think of.

Rearviewmirror (no space) is a Pearl Jam song and it happens to be my favourite! Rearview Mirror is a handmade tall & thin font. It comes in a regular and bold style with their italics.

Lüdickital is a handwriting script design. Lüdicke wasn´t satisfied with existing scripts which he though of too stylish and uneven. He simply digitized his own handwriting and developed a regular and a bold.

The hand lettered title for the 1890s book called “The Octopus” featured extra bold Art Nouveau lettering with rounded serifs. This is now available as Headline Nouveau JNL in both regular and oblique versions.

Designed by Heinrich Johannes Machler and released in 1931, the Salut font is a bold, upright connecting script for headline use. Salut is a good face for logotypes where a modern style is desired.

Vintage sheet music with the title of "Aparcero" lettered in a bold, Art Deco sans is the basis for Aparcero JNL. The title is a Spanish word that translates to "tenant farmer" or "sharecropper".

Another William H. Page classic, Gothic Dotted, provided the pattern for this bold and brassy typeface. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

With Monas Grotesk, you can write bold banner writings and bring your slogans to life. Monas supports many language options and will not let you down. Also includes many alternative glyphs, ligatures and more.

Monssla is a display font that comes with a block bold style. suitable for posters, tshirt, branding, social media, and so on. contains standard English letters, numbers, punctuation, and several accents that support multilingualism.

Christo - a serif with elegant, artistic, Renaissance touch. Specially designed for bold, artistic, grand projects. The font is perfectly suitable for creating elegant, artistic, classic design such as logo, packaging, social media, and more.

Atol is a contemporary take on classic didone types. High contrast and modern proportions, combined with subtle details, makes it ideal for characteristic, bold, tightly-set headlines in magazines, branding, animated typography and more.

Donuto is a bold rounded font. It's suitable for create logos and branding of food, children's and eco-products. The font contains a number of alternate characters, which allows you to create unique combinations.

Dujour is an art deco revival of the 1930s typeface Independent from the Collette and Dufour typefoundry. Steve Matteson created Dujour to enhance posters, signs or other documents with a touch of historical boldness.

Balika is a bold, trendy, and thick lettered serif font. This font is suitable for many projects, for modern or even retro vintage design, branding, logos, crafting, stickers, sublimation, wedding invitations, and many more.

Bold, graphic and with a strong vertical emphasis. Built from simple geometric shapes, Zeno is similar to some of Joseph Albers’ Bauhaus experiments, though with attention paid to normalising the lettershapes to improve readability.

Black Wednesday is a bold serif typeface in modern and classy style. OpenType features include more Alternative character sets. Black Wednesday is ideal for headlines, headers, logos, labels, packaging, postcards, presentations, magazines, invitations, etc.

Family Deco JNL was inspired by the bold Art Deco hand lettering of the movie credits for the 1936 Laurel and Hardy comedy “Our Relations”, and is available in both regular and oblique versions.

EQUALIZER is a bold font. The capitals have a set of alternates that can be used to give more personality when needed. EQUALIZER is great for display projects such as packaging, posters and branding.

Road Repair JNL is a bold (hand lettered) sans serif stencil font based on the opening credits from the 1954 film “Drive a Crooked Road” – and is available in both regular and oblique versions.

Juicy Fruit is a bold and paint-brushed display font. No matter the topic, this font will be an incredible asset to your fonts’ library, as it has the potential to elevate any creation.

Twas brillig and the slithy toves did gyre and gimble in the wabe. All mimsy were the borogoves and the mome raths outgrabe. Nuff Said! Features: Two weights (Regular & Bold) with alternate uppercase characters.

Black Jacky Bold Script Font is versatile script font that has a wide spectrum of applications ranging from greeting cards to headlines and is guaranteed to add a romantic feel to your next project.

Orange Melon, a bold script font that is suitable for headline, logotype, apparel, invitation, branding, packaging, advertising etc. This typeface is comes in uppercase, lowercase, large range of punctuation, symbols & numerals, also support multilingual.

Hello! Introducing a high contrast font named Contraform. It's a geometric shape bold typeface with modern creative look. This font includes lots of multilingual characters (check out a screenshot with available letters and signs).

A triple condensed gothic based on the letter form of Franklin Gothic. Great for fitting a lot into a small space. With its condensed and extra bold appearance it makes a great headline face.

Boughies is modern bold display font. Boughies is great for branding, logo design, lettering, clothing, posters, magazine and other design project and also provides some Stylistic Alternates, Ligatures, Multilingual support and already PUA encoded.

Ora Sepira is a retro bold serif font. This font is specially designed for a charming, elegant and retro appearance. It is suitable for various types of designs to add luxury to your project.

Tralee Font family consist of 2 styles, regular with outline and bold filled with background colour. Originally designed for packaging typography, also would be suitable for titles, headlines, greeting cards, adverts, books and more.

The idea of Limes emerged at the seashore last year in late summer. Getting ready in advance for a dark winter, we've decided to design a special fontfamily which would bring a bit of vitamins and summer sun into the rough everyday routine and help us survive the cold winter. Limes is both a dream of the sun while it’s gone and a refreshing breeze for the time when it finally gets warm! Limes is a completely handwritten fontfamily and consists of 23 typefaces. To create Limes Sans and Limes Slab families, we've used regular watercolor brushes, and to create monolinear Limes Script, as well as for Catchwords and Dingbats, we've used a felt-tip pen with circular section. Limes Sans and Limes Slabs fonts work perfectly together with Limes Script due to the general handwritten idea, as well as due to the widths contrast – despite its width, Limes Script mixes well with narrower opponents and adds a bit of human spontaneity into the general handwritten concept. The Limes collection includes: Limes Sans (Thin, Light, Regular, Bold, Black & italics), Limes Slab (Thin, Light, Regular, Bold, Black & italics), Limes Script, Catchwords and Dingbats. Limes Sans and Limes Slab widely support OT features: tnum, ordn, frac, case, numr, dnom, subs, sups, and Limes Script uses a large number of context alternatives.

The font superfamily Vianova contains each 12 weights of Sans and Slab and 8 weights of the Serif style. The design from Jürgen Adolph dates back into the 1990s, when he studied Communication Design with Werner Schneider as a professor at the Fachhochschule Stuttgart. Adolph started his carrier 1995 at Michael Conrad & Leo Burnett. He was responsible for trade marks as Adidas, BMW, Germanwings and Merz. He has been honored as a member of the Art Directors Club (ADC) with more than 100 awards. On February 26, 2014, Jürgen Adolph wrote the following: “I was already interested in typography, even when I could not yet read. Letterforms, for instance, above storefronts downtown, had an irresistible appeal for me. Therefore, it is probably not a coincidence that, after finishing high school, I began an apprenticeship with a provider of signage and neon-advertising in Saarbrücken, and – in the late 1980s – I placed highest in my field in my state. When I continued my studies in communications design in Wiesbaden, I was introduced to the highest standards in calligraphy and type design. “Typography begins with writing” my revered teacher, Professor Werner Schneider, taught me. Indefatigably, he supported me during the development of my typeface “Vianova” – which began as part of a studies program – and accompanied me on my journey even when its more austere letterforms did not necessarily conform to his own aesthetic ideals. The completely analogue development of the types – designed entirely with ink and opaque white on cardboard – covered several academic semesters. In order to find its appropriate form, writing with a flat nib was used. Once, when I showed some intermediate designs to Günter Gerhard Lange, who occasionally honored our school with a visit, he commented in his own inimitable manner: “Not bad what you are doing there. But if you want to make a living with this, you might as well order your coffin now.” At that time, I was concentrating mainly on the serif version. But things reached a different level of complexity when, during a meeting with Günther Flake which had been arranged by Professor Schneider, he suggested that I enlarge the offering with a sans and slab version of the typeface. So – a few more months went by, but at the same time, Elsner+Flake already began with the digitilization process. In order to avoid the fate predicted by Günter Gerhard Lange, I went into “servitude” in the advertising industry (Michael Conrad & Leo Burnett) and design field (Rempen& Partner, SchömanCorporate, Claus Koch) and worked for several years as the Creative Director at KW43 in Düsseldorf concerned with corporate design development and expansion (among others for A. Lange & Söhne, Deichmann, Germanwings, Langenscheidt, Montblanc.”

The font superfamily Vianova contains each 12 weights of Sans and Slab and 8 weights of the Serif style. The design from Jürgen Adolph dates back into the 1990s, when he studied Communication Design with Werner Schneider as a professor at the Fachhochschule Stuttgart. Adolph started his carrier 1995 at Michael Conrad & Leo Burnett. He was responsible for trade marks as Adidas, BMW, Germanwings and Merz. He has been honored as a member of the Art Directors Club (ADC) with more than 100 awards. On February 26, 2014, Jürgen Adolph wrote the following: “I was already interested in typography, even when I could not yet read. Letterforms, for instance, above storefronts downtown, had an irresistible appeal for me. Therefore, it is probably not a coincidence that, after finishing high school, I began an apprenticeship with a provider of signage and neon-advertising in Saarbrücken, and – in the late 1980s – I placed highest in my field in my state. When I continued my studies in communications design in Wiesbaden, I was introduced to the highest standards in calligraphy and type design. “Typography begins with writing” my revered teacher, Professor Werner Schneider, taught me. Indefatigably, he supported me during the development of my typeface “Vianova” – which began as part of a studies program – and accompanied me on my journey even when its more austere letterforms did not necessarily conform to his own aesthetic ideals. The completely analogue development of the types – designed entirely with ink and opaque white on cardboard – covered several academic semesters. In order to find its appropriate form, writing with a flat nib was used. Once, when I showed some intermediate designs to Günter Gerhard Lange, who occasionally honored our school with a visit, he commented in his own inimitable manner: “Not bad what you are doing there. But if you want to make a living with this, you might as well order your coffin now.” At that time, I was concentrating mainly on the serif version. But things reached a different level of complexity when, during a meeting with Günther Flake which had been arranged by Professor Schneider, he suggested that I enlarge the offering with a sans and slab version of the typeface. So – a few more months went by, but at the same time, Elsner+Flake already began with the digitilization process. In order to avoid the fate predicted by Günter Gerhard Lange, I went into “servitude” in the advertising industry (Michael Conrad & Leo Burnett) and design field (Rempen& Partner, SchömanCorporate, Claus Koch) and worked for several years as the Creative Director at KW43 in Düsseldorf concerned with corporate design development and expansion (among others for A. Lange & Söhne, Deichmann, Germanwings, Langenscheidt, Montblanc.”

The font superfamily Vianova contains each 12 weights of Sans and Slab and 8 weights of the Serif style. The design from Jürgen Adolph dates back into the 90th, when he studied Communication Design with Werner Schneider as a professor at the Fachhochschule Stuttgart. Adolph started his carrier 1995 at Michael Conrad & Leo Burnett. He was responsible for trade marks as Adidas, BMW, Germanwings and Merz. He has been honoured as a member of the Art Director Club (ADC) with more than 100 awards. On February 26, 2014, Jürgen Adolph wrote the following: “I was already interested in typography, even when I could not yet read. Letterforms, for instance, above storefronts downtown, had an irresistible appeal for me. Therefore, it is probably not a coincidence that, after finishing high school, I began an apprenticeship with a provider of signage and neon-advertising in Saarbrücken, and – in the late 1980s – I placed highest in my field in my state. When I continued my studies in communications design in Wiesbaden, I was introduced to the highest standards in calligraphy and type design. “Typography begins with writing” my revered teacher, Professor Werner Schneider, taught me. Indefatigably, he supported me during the development of my typeface “Vianova” – which began as part of a studies program – and accompanied me on my journey even when its more austere letterforms did not necessarily conform to his own aesthetic ideals. The completely analogue development of the types – designed entirely with ink and opaque white on cardboard – covered several academic semesters. In order to find its appropriate form, writing with a flat nib was used. Once, when I showed some intermediate designs to Günter Gerhard Lange, who occasionally honored our school with a visit, he commented in his own inimitable manner: “Not bad what you are doing there. But if you want to make a living with this, you might as well order your coffin now.” At that time, I was concentrating mainly on the serif version. But things reached a different level of complexity when, during a meeting with Günther Flake which had been arranged by Professor Schneider, he suggested that I enlarge the offering with a sans and slab version of the typeface. So – a few more months went by, but at the same time, Elsner+Flake already began with the digitilization process. In order to avoid the fate predicted by Günter Gerhard Lange, I went into “servitude” in the advertising industry (Michael Conrad & Leo Burnett) and design field (Rempen& Partner, SchömanCorporate, Claus Koch) and worked for several years as the Creative Director at KW43 in Düsseldorf concerned with corporate design development and expansion (among others for A. Lange & Söhne, Deichmann, Germanwings, Langenscheidt, Montblanc.”

It's been said that creativity requires ten parts to perspiration to one part inspiration. But not always. According to its creator, Mira Vucko, ITC Needlescript was designed in one breath." An accomplished lettering artist, Vucko was sketching letters one afternoon. "I was using a calligraphy nib and was drawing the alphabet without much thought," she recalls. "When I allowed the down strokes of a couple of letters to fall below the baseline, I realized that I had created the impression of movement. I kept drawing letters in this fashion and did the same with horizontal lines. I added a firm ending to the descenders. Instead of dots above the 'i' and 'j,' I placed strokes in the opposite direction." In this way, the first characters that were to become ITC Needlescript emerged. The finished design is a lively, distinctive alphabet that produces a striking texture on the page. Letters intertwine and overlap to create a sense of movement and graphic intensity, especially when reversed out of a dark background. Vucko lives, works and was educated in Zagreb, Croatia. She lived in France and Sweden while in her twenties, but then returned to Croatia to work as a graphic designer for the country's largest newspaper. It was here that her passion for type and typography was born. Vucko has since gone on to become one of Croatia's leading graphic designers, and has won many awards for her advertising and packaging design. Vucko recommends that ITC Needlescript be used for "titling, lively but 'thorny' content, and anywhere that a little typographic drama is called for.""

«Quotes» is the second typeface calligraphed by Yani Arabena, designed along with Guille Vizzari and Ale Paul, for Sudtipos. Being thrilled by the use of the pointed brush, spontaneous messages, gesture and freshness to represent inspirational phrases and quotes written by hand, «Quotes» comes in two handwriting styles: Script and Caps. «Quotes Script» and «Quotes Caps» are thought together and complement each other filling with rhythm and infinite sensations to the spoken words. A more free and spontaneous version –Script–, joined by an uppercase system –Caps–, that offers a huge amount of alternate glyphs, ligatures and connectors, to enrich different messages brought to life with this type family. «Quotes Script» counts on a great variety of alternate signs in its lowercase as well as its uppercase letters. It hands a combination of ligatures and capital alternates that allows to shape the beginnings and endings of words and phrases intended to be inspiring and to inspire others that read them. «Quotes» also stands for the fashion universe, Gourmet, Natural, the D.I.Y. passionates, and for all those who seek for the Handcrafted spirit and agrees that it adds an added value to its products and in their communication possibilities. Nowadays, new trends in the calligraphic and drawn letters fields, have lead to the use of the brush pen as a daily practice, bringing to life phrases that motivates people to share their thoughts. «Quotes» is a typeface that invites to write, share and influence others to make their own. Sometimes a feeling can’t be explained, but «Quotes» is a font that can.

Taco is a new Mexican style font family based on our Tavern and Algerian Mesa type designs. When I finished the extra heavier weights for Tavern I decided to play around with a decorated version, the extra bold letters allowed for much more room to work with an inlay pattern. After experimenting with several designs I decided on a Mexican pattern because the original base font is very popular in Mexican restaurant logos and menus plus it's frequently used on Tequila bottle labels. I originally planned three weights for the Taco font family, however, after completing the bold weight I've decided to release it now so you may put it to use while the regular and extra bold are being produced, sorry I can't estimate a release date for the two other weights. To use the fill font layers you'll need an application that allows you to work in layers such as Adobe Creative Suite products. The Taco Fill Uno font may be used as a stand alone font, however, we recommend searching for our Tavern font family where you'll find three different bold weights of this same design. Opentype features aware applications are also needed for accessing the many alternate glyphs in Taco, all the alternates that you love in our Tavern fonts are also available in Taco. While the fill font layers are in registration with one another some applications may throw them out of alignment by changing the spacing. Custom inter letter spacing in Adobe Creative Suite may also throw the fill fonts out of alignment. We recommend doing your custom spacing first then duplicate the type layer and change to the next fill font and color. The inspiration for the Taco name of this font family was from a homemade Taco dinner I made for a guest at my house, after dinner I searched to see if there was a commercial font named Taco. There was no such font named Taco and the rest is history. The old Stephenson Blake Algerian font has come a long way since 1908, and we're not done with it yet. We hope you enjoy our Taco font family, we're looking forward to see it in use.