Oro de Maya is a hand drawn ancient sans serif / display typeface. Oro de Maya font was inspired by the Maya civilization culture, their marvelous art, architecture and glyphs. This fantastic ancient font has a bold character.

Zeogari is a classic style font that has a combination of serif and sans-serif forms, this font depicts a sense of love and loneliness, in addition, the Zeogari font has a bold shape with strong characters.

The original OCR B was designed for optical character recognition systems and was therefore monospaced. Designer Alexander Branczyk made a more typographically tuned and fitted version, with both regular and bold weights, and called it OCRBczyk™.

JH Mabel is a modern cursive typeface; it has three weights: light, medium and bold. It is a smart type and consists of extra characters to simulate real handwriting. Typical use: branding, greeting cards, long runing text.

Katigert – is a rather friendly italic with a touch of measured severity, combines very sharp angles and bold shapes. The font works best for display. The font includes extended Cyrillic and Latin alphabets, punctuation marks and currencies.

Galeb is simple geometric sans font family in 4 weights - Light, Regular, Bold and Black, ideal for corporate and editorial projects. With angled stem endings, Galeb gives enough impression to be used as display font as well.

An ad from the 1930s for a Spanish company called Intex Textiles featured some hand lettering in a bold and unique stencil design. This is now available as Textile Stencil JNL, in both regular and oblique versions.

Mahgin is a bold and thick lettered serif font. Fall for its assertive style and use it to create distinct designs. This font is PUA encoded which means you can access all glyphs and swashes with ease!

Here's a trip back to the Disco Age, based on a font called Gemini Biform from Fotostar. Big, bold, brassy and sassy. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Toley Hand is a bold handwritten typeface, created by Måns Grebäck in 2019. The comic-style script is light-hearted while being quick and energetic. It contains all necessary symbols and supports a wide range of languages.

Public Safety JNL was inspired by a 1940s-era health poster issued through the WPA (Works Progress Administration). The font’s bold, blockish sans lettering commands attention and has been made available in both regular and oblique versions.

Abdo Screen is a very simple Naskh font for satellite channels, presentations, videos and advertisements. it comes in sixth weights Thin, Light, Regular, Medium, Bold and Black. This font also contains some of Stylistic Sets and Ligatures.

The original Lawabo was started many years ago by Rainer Scheichelbauer. Its ­minimalistic and rounded shapes are reminiscent of bathroom ceramics, hence the name. Schriftlabor designer Miriam Surányi added bold and italic shapes, and produced the family.

Basdela is a bold and stylish serif font. It is PUA encoded which means you can access all of the glyphs and swashes with ease! Add it confidently to your projects, and you will love the results.

Hello, introducing the new font Thursday Routine. Thursday Routine is a Bold Friendly font. The font is available on Italic too. Good reading, Readability 100%. Perfect for your graphic. What's Included ? Uppercase Lowercase Symbols Numerals Multilingual Support

Bold Future is an extremely heavy font. It has numerous interesting characters, with the counter and aperture giving it a unique personality. Ideal for enormous titles, publicizing, naming, bundling and anything that needs a major, significant typeface.

Introducing Winthorpe, a typeface that’s steeped in history and inspired by the classic letterforms of traditional metal fonts. With its transitional style, Winthorpe bridges the gap between the old and the new, giving your designs a timeless, sophisticated edge. But Winthorpe is more than just a pretty face. It’s available in small caps and italics, in Regular, Semi-Bold, and Bold weights, giving you plenty of options to play with. And with its versatile range of characters, including lining and old-style numerals, fractions, superiors, inferiors, and ordinals, Winthorpe is perfect for any project that requires a touch of elegance and refinement. So if you’re looking to add a touch of classic sophistication to your designs, look no further than Winthorpe. With its carefully crafted letterforms and attention to detail, it’s the perfect choice for any project that demands the highest level of quality and style. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Point of Sale JNL is a specialty font for producing retro-style price cards, tags, stickers, labels and similar items. Within this design are a large set of numerals and two smaller sets of numerals. Both of the smaller sets are centered against the larger ones with one set also having underscores. In addition, there are a number of price card designs provided for those who want a truly nostalgic feel to their price marks. The layout of Point of Sale JNL breaks down as follows: A through J = 1 through zero in large numbers K = a decimal point L = dollar sign M = cents sign N through Z = various price cards a through j = small centered numbers k through t = small numbers with underscores

Inspired by the type elements of 17th century Dutch mapmaking, Boncaire Titling provides you with a historic yet adventurous look for your library. This addition from insigne found its muse in a map of Curacao by Dutch cartographer Gerard Van Keulen, a member of the prosperous Van Keulen family from Amsterdam, who were engaged in the manufacture of maps for seafaring. Much thanks on this project goes to The Norman B. Leventhal Map Center, housed at the Boston Public Library. Through the centers kindness, I was able to view a number of period maps in person and to meet with curators, who explained more about the Van Keulen family and the way maps of the period were created. While I studied the maps, I narrowed in on some of the original types unique idiosyncrasies. For instance, the long, exaggerated serifs, which give the forms a sense of stability, aid in the faces legibility--largely a byproduct of the engraving method that was used to create the metal plates for manufacturing these maps. In creating Boncaire Titling, I decided to capture these unique idiosyncrasies, embracing the character of the engravings rather than removing them entirely through over-refining the forms. The result is an elegant family with far more than seafaring potential. This font has a full range of six weights, from thin to black. It also includes a wide variety of OpenType alternates. All insigne fonts are fully loaded with OpenType features. Boncaire Titling is also equipped for complex professional typography, including alternates, smaller titling caps and plenty of alts, including normalized capitals and lowercase letters. There are over 30 autoreplacing ligatures, and the face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Boncaire Titling also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Boncaire Titling supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Maps are fascinating; they come with the promise of treasure to be uncovered. Examining the map itself, too, you can find great wealth in the details so artfully condensed to that single piece of paper--details carried over into this new insigne font. For your next project, explore the imagination potential in Boncaire Titling.

Low stroke contrast, generous spacing, and fine-grained weights from Light to Extra Bold make FF Hertz a workhorse text typeface which holds up well under today’s widely varying output conditions from print to screen. The quite dark Book style works well on e-ink displays which usually tend to thin out letters, as well as in print when you want to evoke the solid letter image of the hot-metal type era. Two sizes of Small Caps are included: A larger size for abbreviations and acronyms, and a smaller size matching the height of the lowercase letters. FF Hertz is a uniwidth design, that means each letter occupies the same space in all weights. This feature allows the user to switch between weights (but not between Roman and Italic styles) without text reflow. Jens Kutilek began work on FF Hertz in 2012. From a drawing exercise on a low-resolution grid (a technique proposed by Tim Ahrens to avoid fiddling with details too early), it soon evolved into a bigger project combining a multitude of influences which up until that point had only been floating around in his head, including his mother’s 1970s typewriter with its wonderful numbers, Hermann Zapf’s Melior as well as his forgotten Mergenthaler Antiqua (an interpretation of the Modern genre), and old German cartographic lettering styles. Jens likes to imagine FF Hertz used in scientific books or for an edition of Lovecraftian horror stories.

Last year I went to visit a friend in Tuscany. One day he took me to meet his neighbor, a nice old man; Mr. Giulio. After giving us a tour of his small vineyard, he insisted us to try his production: a delicious Vernaccia! When his wife left the bottle containing the gold liquid on the table, I fell in love with the label: it was handwritten by herself, as if to highlight the "homemade" feature. As a tribute to this beautiful and hardworking couple, I asked permission to be inspired to make a typeface ... and here goes! The family Font Vernaccia... Vernaccia is a type family of four fonts: Regular, Bold, Condensed and Condensed Italic. Is a modern and casual calligraphy family font.
As an exclusively Open Type release, with 759 glyphs and 45 ornaments, it has several special alternatives for all letters with lots of possibility and an infinity of combinations. Most of the ornaments can be used alone, but really were especially designed to combine with the different glyphs. There are plenty of options to allow you to create something unique and special: standard and discretionary ligatures, several swashes and stylistics alternates for each letter, catchwords, tails that can be added to the beginning or end of each letter, ornaments, and much more. These lovely fonts have already an extended character set to support Western European languages. Vernaccia was made to make your project more beautiful and attractive! Have fun with it!

Entropic Brush is a striking fat brush font that boasts a wild and rustic charm. Its decorative display style makes it perfect for logotypes, headlines, and other eye-catching design elements. The font's heavy, oak-like strokes and thick brush texture give it a bold and distinctive character. Ideal for projects that require a strong, natural presence, Entropic Brush is a versatile font that adds a sense of raw energy and untamed beauty to your designs. Its unique aesthetic makes it a great choice for branding materials that need to convey a sense of rugged, organic elegance. With hundreds of swashy and decorative alternates, Entropic brush is sure to give you a customized appearance – like a truly hand-drawn paintbrush design. Use characters _ ¤ # after any word to make a swash. Example: Spline_ Sonic¤ Brush# Use multiple _ ¤ # to make swashes of different lengths. Example: Superhuman______ (Download required.) The Entropic Brush font family includes four high-quality styles to suit various design needs: Regular: A bold statement with a natural, rustic appearance Bold: An even heavier presence for more impactful designs Italic: Adds an expressive, dynamic touch to your text Bold Italic: Combines the assertiveness of bold with the energy of italic Built with advanced OpenType functionality, Entropic Brush ensures top-notch quality and provides you with full control and customizability. It includes stylistic alternates, ligatures, and other features to make your designs truly unique. 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.

Hero Fire is a dynamic and bold typeface that embodies the essence of a powerful superhero. The characters are meticulously crafted with strong serifs, exuding strength and resilience. The design seamlessly blends classic typography with iconic superhero elements, making it a distinctive and impactful choice for display purposes. Illustrations: The typeface is adorned with illustrations inspired by the superhero universe. Each character is meticulously detailed, featuring elements such as: Fire: Flame motifs gracefully intertwine with certain characters, adding a touch of intensity and energy. Swords: Sharp and sleek sword illustrations are incorporated into select characters, symbolizing heroism and the strength to overcome challenges. Skulls: Subtle skull designs enhance the edginess of the typeface, capturing the essence of a fearless and bold superhero. Shields: Protective shields are cleverly integrated into specific characters, emphasizing the font's ability to safeguard and endure. Wings: Majestic wing illustrations accompany certain characters, representing the freedom and soaring spirit of a superhero. Characteristics: Bold and Strong: Hero Fire commands attention with its bold and robust characters, making it perfect for headlines and attention-grabbing text. Serif Display: The typeface features classic serifs that add a touch of sophistication, making it suitable for both modern and traditional designs. Versatile Usage: Hero Fire is designed for versatility, lending itself well to various design applications such as posters, comic books, branding, and more. Usage Recommendations: Hero Fire is particularly well-suited for projects that require a strong and impactful display font. Its superhero-themed illustrations make it a perfect choice for comic book titles, movie posters, gaming graphics, and any design where a bold and dynamic aesthetic is desired. Embrace the power of Hero Fire to infuse your designs with a heroic and captivating spirit!

A space-age headline font, Telstar explores a computer-readable sci-fi aesthetic based on an obround lozenge pierced with off-centre holes; the left-right weight switch derives from early optical recognition typefaces.

Hold on to your hats, there’s a new orchestra in town - the Banda Nova! Banda Nova is a crowd pleaser, feeling equally at home on the retail shelf as well as on the cover of your favorite magazine. The 7 weights included in the package offer a wide variety of styles, with delicate and elegantly thin weights morphing into cute, bulbous giants sure to bring a smile to anyone’s face. This versatility makes Banda suitable for virtually any design project, including logos, headlines, covers, packaging and more. We took the time to reimagine Banda, removing traces of our youthful naivety and expanding on everything that made it so good in the first place. Our team is proud to welcome back one of our earliest typefaces in a refreshed and much-improved rendition/adaptation, now featuring full Cyrillic support and almost twice the number of original characters. Are you ready to take center stage again? Download: PDF Specimen | Trial Fonts

In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design of a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for books. A number of parameters needed to be considered, including the pressure of the printing presses and the quality of the thin newspaper ink that would have smothered any delicate strokes. Rough drafts of type designs for the competition were submitted by Vratislav Hejzl, Stanislav Marso, Frantisek Novak, Frantisek Panek, Jiri Petr, Jindrich Posekany, and the team of Stanislav Duda, Karel Misek and Josef Tyfa. The committee published its comments and corrections of the designs, and asked the designers to draw the final drafts. The winner was unambiguous — the members of the committee unanimously agreed to award Stanislav Marso’s design the first prize. His typeface was cast by Grafotechna (a state-owned enterprise) for setting with line-composing machines and also in larger sizes for hand-setting. Regular, bold, and bold condensed cuts were produced, and the face was named Public. In 2003 we decided to digitise the typeface. Drawings of the regular and italic cuts at the size of approximatively 3,5 cicero (43 pt) were used as templates for scanning. Those originals covered the complete set of caps except for the U, the lowercase, numerals, and sloped ampersand. The bold and condensed bold cuts were found in an original specimen book of the Rude Pravo newspaper printing press. These specimens included a dot, acute, colon, semicolon, hyphens, exclamation and question marks, asterisk, parentheses, square brackets, cross, section sign, and ampersand. After the regular cut was drafted, we began to modify it. All the uppercase letters were fine-tuned, the crossbar of the A was raised, E, F, and H were narrowed, L and R were significantly broadened, and the angle of the leg and arm of the K were adjusted. The vertex of the M now rests on the baseline, making the glyph broader. The apex of the N is narrower, resulting in a more regular glyph. The tail of Q was made more decorative; the uppercase S lost its implied serifs. The lowercase ascenders and descenders were slightly extended. Corrections on the lower case a were more significant, its waist being lowered in order to improve its colour and light. The top of the f was redrawn, the loop of lowercase g now has a squarer character. The diagonals of the lowercase k were harmonised with the uppercase K. The t has a more open and longer terminal, and the tail of the y matches its overall construction. Numerals are generally better proportioned. Italics have been thoroughly redrawn, and in general their slope is lessened by approximatively 2–3 degrees. The italic upper case is more consistent with the regular cut. Unlike the original, the tail of the K is not curved, and the Z is not calligraphic. The italic lower case is even further removed from the original. This concerns specifically the bottom finials of the c and e, the top of the f, the descender of the j, the serif of the k, a heavier ear on the r, a more open t, a broader v and w, a different x, and, again, a non-calligraphic z. Originally the bold cut conformed even more to the superellipse shape than the regular one, since all the glyphs had to be fitted to the same width. We have redrawn the bold cut to provide a better match with the regular. This means its shapes have become generally broader, also noticeably darker. Medium and Semibold weights were also interpolated, with a colour similar to the original bold cut. The condensed variants’ width is 85 percent of the original. The design of the Bold Condensed weights was optimised for the setting of headlines, while the lighter ones are suited for normal condensed settings. All the OpenType fonts include small caps, numerals, fractions, ligatures, and expert glyphs, conforming to the Suitcase Standard set. Over half a century of consistent quality ensures perfect legibility even in adverse printing conditions and on poor quality paper. RePublic is an exquisite newspaper and magazine type, which is equally well suited as a contemporary book face.

Introducing The Hepcat - 2 Style Display Font, a font that effortlessly embodies boldness, retro vibes, vintage charm, and a touch of playfulness. Its rounded letterforms and unique alternative characters add an extra layer of distinction to your designs.

Bold, punchy and attention-grabbing, Maximum is an extended sans serif with obround curves that fills the space on the page due to its tight spacing and short ascenders and descenders. Recommended for posters, packaging, headlines and branding.