A Bold Powerful Condensed serif face; great for book jackets, magazines, ads and just about any application.

One of the classic display types of the 19th century, an Egyptian with bracketed serifs. Quite bold.

Tone was inspired by classic geometric sans-serif fonts but has a distinct modern day spirit. Contains 16 styles from ultralight to black: 8 regulars and 8 italics. Have a multilingual support and big amount of OpenType features. This typeface is comfortable to read in small sizes. Great for big pieces of text or as the main typeface in website design. Logotypes and branding, packaging, posters, editorial design, music covers, navigation systems, videos — these are just a few areas in which Tone can help you. Opentype features: old-style figures, tabular and tabular old-style, tabular currency symbols, ligatures, stylistic alternates, fractions and automatic frations, circled numbers, arrows and stylistic alternates for arrows, superscript and subscript, case sensitive forms. Multilingual support: Latin, latin extended, cyrillic and cyrillic extended (more than 70+ languages).

Sharp End fonts support Latin Based Languages only (see Tech Specs). Sharp End's creation is inspired by Gothic sharpness shape but only applied to the ends of normal letters. Make the font look beautiful and elegant, look as semi-serif, as calligraphic touch or others. The base of the Capital Characters is set a little bit lower than the small cases/lowercases. On small/normal size typing, the difference is less visible (obscure), but will be more visible/more clear as the typing set larger. Thus, Sharp End fonts will work well for both text and display. The fonts has also character variants. The character variations (in PUA) set in 5 stylistic sets ss01 ... ss05 (see Sharp End opentype features poster). So, these character variations will be easier accessible in more common application such as MS Words, Text Edit or the others. The glyphs may also be accessed via Character Map, Character viewer, insert character, insert symbol or other similar tools. You can use Sharp End for most of typing and design means such as: greeting, invitation, wedding and other cards; books, magazines, news, banners, logos, Pamphlets, advertising etc., for printing or digital/web display. As addition, with 3 weight variants, the regular will fit for longer text for normal use, while the bold and semi-bold is more suited for the covers, impressions, titling, Logos, design or other usage. With its smoothness curve and sharp ends, Sharp End will pairs well to most fonts of various kinds: Sans Serif, Serif, Handwritten, Scripts and others. As the example in one poster, Sharp End is paired with Astonice and Apresia Script (ornamented script font, one of the richest letter variations and ornaments). Thank you for visiting. Again, thank you very much for downloading this awesome fonts.

USKOK is great typeface for headlines, posters, books, covers, labels and apparel.

A versatile multilingual display font for headlines, posters, ads and much more.

This is a beautiful font to book covers and posters, and invitations

Nostalgic and elegant solution for any outstanding poster or banner. You choose..

Marina is great typeface for titles, posters, books, covers, labels and apparel.

Introducing the "Violent Brave Brutalism Typeface" - a cutting-edge font that seamlessly merges modern aesthetics with a fearless and commanding metal concept. This typographic masterpiece is designed for those who seek to make a bold statement with their visual communication. Design Concept: The Violent Brave Brutalism Typeface exudes an uncompromising and audacious personality. Inspired by the world of heavy metal, the font features fierce and firm spines, capturing the essence of raw power and strength. The design strikes a perfect balance between modernity and bold brutality, making it a standout choice for those who crave a unique and impactful typographic experience. Style Characteristics: The font boasts a distinctive metal-inspired aesthetic with sharp edges and robust letterforms. Each character is meticulously crafted to convey a sense of aggression and intensity, creating a visual impact that leaves a lasting impression. Glyph Diversity: With an expansive set of 1240 glyphs, this typeface goes beyond the ordinary. It includes ligatures, alternates, and a comprehensive multilingual character set. The ligatures and alternatives add fluidity and variation to the text, allowing for a dynamic and expressive display of content. The multilingual PUA Unicode support ensures compatibility across various languages, making it a versatile choice for global communication. Usage Scenarios: Ideal for graphic designers, musicians, and artists who want to inject a dose of unapologetic boldness into their projects. Whether used in album covers, posters, merchandise, or any other creative endeavor, the Violent Brave Brutalism Typeface is designed to command attention and convey a sense of fearless individuality. Key Features: Modern and bold metal-inspired design. Fierce and firm spines for a powerful visual impact. 1240 glyphs with ligatures and alternates for versatility. Multilingual PUA Unicode support for global accessibility. Incorporate the Violent Brave Brutalism Typeface into your projects and let your words roar with the intensity of a metal anthem, making a lasting impression on anyone who encounters your design.

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."

No: Jethro Bodine didn't design this typeface although, to look at it, you might be tempted to think so. Rather, the pattern was a product of the fertile imagination of famed lettering artist Alf Becker. The lowercase letters are the same as the uppercase, but angled differently so, if you want a randomized appearance, you can activate Contextual Alternates and the font will do the shift-key double-clutching needed. Both versions include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets, with localization for Moldovan and Romanian.

The original sheet music for Ted (Is Everybody Happy?) Lewis’ signature tune, When My Baby Smiles at Me, inspired this whimsical wonder. The sheet music was discovered in the Library of Congress American Memory Collection, an incredible online resource. The typeface gets its name from a slightly loony early 1900s comic strip by Fontaine Fox. This new and improved version has beefed-up outlines, so it renders well even at smaller sizes. Both versions contain the complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Artographie is a Art Deco sans-serif family. The lettering was designed by Måns Grebäck during 2019 and 2020. It gives any project a moderist appearance, as a reinvention of the hundred-year-old style of design, adapted and adjusted to fit in present-time purposes and technology. The typeface is a family containing five styles: Thin, Light, Medium, Bold and Black. The weights are top quality and created to balance perfectly against each other. It has a very extensive lingual support, covering all European Latin scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

This family was inspired by a small French "toy print" box, with rubber stamp characters, from the 1920s. The set contained only capital letters, no accented letters and limited punctuation. We have reconstituted a complete modern standard set. The doubling of each usual character in each style (A-Z/a-z and numerals) gives a rich and variously uneven appearance, looking like the results of the real use of those old rubber stamps. The bold style may be used as a reinforcement, mixed with Normal style without disadvantage, allowing four choices for each usual letter... The original size is 6mm (about 17 pts).

Benord is a bold elegant modern serif, it comes with stylistic alternates and creative ligatures. The idea behind Benord was to modernise an old style serif for today’s design industry. The main aim was too creative a serif take has a nostalgic vintage feel with a modern twist. Benord is an ideal font for graphic designs and advertising agencies who are looking to create beautiful logos and designs. Benord was designed to look great in both large and small type settings, making it perfect for cover and layouts. With its great multilingual support, Benord can produce a large number of different languages.

While helping produce a trade magazine years ago, I admired the hand-lettering of the art director -- a woman named Marydale -- and suggested she let me model a font after her penmanship. She agreed and drew out the alphabet, and I launched an old copy of Fontographer and (to shorten a long story) ended up developing my very first digital typeface. Which has since, astonishingly, become famous worldwide. So now the real Marydale gets the mixed blessing of seeing her handwriting (and name) plastered all over the planet. Full release has regular, bold, and black weights.

Introducing Lagerta it's bold monoline script with vintage texture inside the shape. This font comes with a retro style for a retro design, Lagerta a combine from modern script touch with some little roughness inside the shape to make this font look more like an unfinished old style. Lagerta will be perfect for designs such as logotypes, headlines, branding, signage, clothing, label, packaging and etc. Features: Ligatures Numerals & Punctuation Accented characters Multiple Languages Supported HOW TO ACCESS ALTERNATE CHARACTERS Open glyphs panel: In Adobe Photoshop go to Window - glyphs In Adobe Illustrator go to Type - glyphs

Nubian was one of the first typefaces ever designed by G-Type and is an elegantly proportioned, crisply modern sans serif family. Comprising five weights from Thin to Bold with true matching italics, each font also includes two sets of figures (lining and old-style numerals) and an extended European character set. Nubian has a noticeably open, semi extended appearance providing very even 'colour' and excellent legibility when set as text. The contemporary letterforms work well at all sizes in print and on screen making Nubian a great choice across all media. The family has been updated to OpenType with extended language coverage.

This is long awaited thorough revision to Skarpa family. The revision has inculded both another look at letter shapes as well as kerning and metrics of the files. The shapes encapsulated in this font stem from old time architectural drawings hand executed at drawing board with tracing paper and rapidographs. Think of lettering stencils sliding across the tracing paper and craftily exectuted drawing descriptions. The font is based on geometric forms devoid of excessive flourishing. Would suit modern designs either in fashion, technology or laboratory setting. Would look good on door plaques in pharmacy or simple drawer plaques - especially Medium or Bold specimen.

Alkeno is a rounded bold display font with an elegant old-school look. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with the script, sans, or serif. Featured: Standard Uppercase & Lowercase Numeral & Punctuation Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ Alternate & Ligature PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

A pure neo-grotesque typefamily inspired by the first typographies' old wooden characters, and by the marks soft and sometimes imprecise these left on the paper. All typographic elements are also influenced by the Cyrillic alphabet letter-form. -- HT Pavla Prospekt is inspired by ancient wooden typefaces and eastern-style letterform. This reference gives the letters unusual but characteristic proportions. The visual effect of the diffusion of the ink imprinted on the paper, which gives softness to the forms, is also very influential. The proportions of the bold and thin faces are visually balanced to ensure a more modern feeling. --

Million Dreams is an elegant and bold display font. Unique, playful and versatile serif Fot that you can combine to get curves and beautiful shapes just in seconds. Play with the ornaments to create a more stunning display. This font is suitable for use in many design forms, for example magazines, postcards, logos, vintage look, old classic ,60s, 70s, 80s era, wedding projects and many more. We recommend using Adobe Illustrator or Photoshop. Fall in love with its incredibly versatile style and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, and much more! Cheers! Sansakerta

Introducing a vintage look label font named "Original Absinthe". This family includes seven styles - Regular, Inline, Shadow, Inline FX, Shadow FX, Full and Aged. The posters show the result of combining them. This font will be great for any retro design like poster, t-shirt, label, logo etc.

Prop-a-ganda offers retro-flavored fonts inspired by lettering on retro propaganda posters, retro advertising posters, retro packages all the world over. This is perfect font for your retrospective project. PAG Smoke is very heavy geometric font. Its unique shape is like a monster for your design project.

Hello my name is Zalena font, our new and fun font collection. Combining hand drawn style with a modern twist. Zalena comes with a ligature alternative that you can use to give your projects more options. Perfect for logos, notes, posters, t-shirts, stickers, posters, mugs, labels, etc.

Punk Rockstar is a cool rock band display font. Punk Rockstar is awesome for creating cool design that scream for attention: it’s ideal for movie posters, single covers, poster, sticker, clothing, merchandises, and more. Fall in love with its incredibly cool style, and use it to create lovely designs!

Our new product the name is Street Urban Graffiti Font inspired by graffiti style with a fun theme very good for graffity poster, Hip Hop music, kids poster, flyer, children book, cartoon, comic etc MULTILINGUAL ACCENT : ØÆøæ¢ÐŒœÁĂÂÀÄĄÅÃǼĆČÇĈĊĎÉĔĚÊËĖÈĘĞĜĢĠĤÍĬÎÏİÌĮĨĴĶĹĽĻĿŃŇŅÑÓŎÔÖÒŐǾÕŔŘŖŚŠŞŜȘ ŤŢÚŬÛÜÙŰŲŮŨẂŴẄẀÝŶŸỲŹŽŻáăâäàąåãǽćčçĉċďéĕěêëėèęğĝģġĥíîïìįĩĵķĺľļŀńʼnňņñóŏôöòőǿõŕřŗśšşŝșťţ ŭûüűùųůũẃŵẅẁýŷÿỳźžż FEATURES : Uppercase Lowercase Number Punctuation Multilingual PUA Encode Opentype