A super-bold Victorian period display face.

French Clarendon Bold, a display text type.

A interesting grotesque from light to bold.

a bold and grotesque sans serif typeface

Malabar is a type family for extensive text. Its design was developed with a nod toward newspapers. Malabar's characters are seriffed and of the Old Style genre. A strong diagonal axis is apparent within the curves. Sturdy serifs help strengthen the line of text in small point sizes, as well as define the overall feeling of the face. Malabar's x-height is very high, a deliberate choice that makes the most important parts of lowercase letters visibly larger in tiny settings. The height of the capital letters is also rather diminutive, allowing for better character fit, as well as eliminating a bit of clumsiness in German, which often includes quite a few uppercase letters. Diacritical marks and additional alphabetic forms required by many Western, Central, and Eastern European languages are naturally a part of the character set, including those needed in the Baltic states, for Romanian, and for Turkish. Malabar's accents are bold and direct, sitting well with their base glyphs. The family includes three weights, each with a companion Italic. Malabar Regular is equipped with small caps, and both it and Malabar Italic include oldstyle figures. All members of the family have both proportional and tabular-width lining figures, as well as special variants of certain punctuation marks vertically adjusted for all-caps text setting. Malabar is informed both by contemporary ideas of typeface design (sheared terminals, the wider-drawn s) as well as by 16th-century masters. Malabar Heavy and Heavy Italic are very loud; their blackness almost shouts out from the page. The Regular's wedge serifs become more slab-ish in nature as the letters' weight increases. Malabar Heavy and Heavy Italic are best relegated to headline use only. Malabar Bold and Bold Italic may be used for text emphasis, a job for which the Heavy is to dark. Malabar received a Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2009.

Maclean's is a weekly Canadian newsmagazine with a broad editorial mission. A typical issue covers everything from violence on the other side of the globe to the largest pumpkin grown in a local county. In 2001, Maclean's invited Rod McDonald to become part of the design team to renovate" the 96-year-old publication. The magazine wanted to offer its readers a typographic voice that was professional, clean, and easy to read. Above all, the typeface had to be able to speak about the hundreds of unrelated subjects addressed in each issue while remaining believable and uncontrived. A tall order, perhaps? Now add in that this would be the first text typeface ever commissioned by a Canadian magazine. McDonald, who some have called Canada's unofficial "typographer laureate," took on the challenge. McDonald used two historic models as the basis for Laurentian's design: the work of French type designer Claude Garamond, and that of the English printer and type founder, William Caslon. From Garamond Laurentian acquired its humanist axis, crisp serifs and terminals that mimic pen strokes. Caslon's letters are less humanistic, with a more marked contrast in stroke weight and serifs that appear constructed rather than drawn. These traits also made their mark on Laurentian. Using these two designs as a foundation, McDonald drew Laurentian with the narrow text columns and small type sizes of magazine composition in mind. He gave his letters strong vertical strokes and sturdy serifs, a robust x-height and a slightly compressed character width A tall order, per McDonald's genius is evident in the face's legibility, quiet liveliness and in the openness of the letters. The result is a typeface that not only met Maclean's demanding design brief, but also provides exceptional service in a wide variety of other applications. Laurentian is available in three weights of Regular, Semi Bold and Bold, with complementary italics for the Regular and Semi Bold, and a suite of titling caps."

ATF Franklin Gothic® A new take on an old favorite Franklin Gothic has been the quintessential American sans for more than a century. Designed by Morris Fuller Benton and released in 1905 by American Type Founders, Franklin Gothic quickly stood out in the crowded field of sans-serif types, gaining an enduring popularity. Benton’s original design was a display face in a single weight. It had a bold, direct solidity, yet conveyed plenty of character. A modern typeface in the tradition of 19th-century grotesques, Franklin Gothic was drawn with a distinctive contrast in stroke weight, giving it a unique personality among the more mono-linear appearance of later geometric and neo-grotesque sans-serif types. Franklin Gothic has been interpreted into a series of weights before, most notably with ITC Franklin Gothic. But as the original type was just a bold display face (later accompanied by a few similarly bold widths and italics), how Benton’s design is expanded to multiple weights and styles as a digital type family can vary significantly. Benton designed several gothic faces that harmonize with one another, including Franklin Gothic, News Gothic, and Monotone Gothic, that can serve as models for new interpretations of his work. With ATF Franklin Gothic, Mark van Bronkhorst looked to Benton’s Monotone Gothic—originally a single typeface in a regular weight, and similar to Franklin Gothic in its forms—as the basis for lighter styles. ATF Franklin Gothic may appear familiar given its heritage, but is a new design offering a fresh take on Benton’s work. The text weights are wider and more open than some previous Franklin Gothic interpretations, and as a result are quite legible as text, at very small sizes, and on screen. ATF Franklin Gothic maintains the warmth and the spirit of a Benton classic while offering a suite of fonts tuned precisely for contemporary appeal and utility. The 18-font family offers nine weights with true italics, a Latin-extended character set, and a suite of OpenType features. Download the PDF specimen for ATF Franklin Gothic.

Matthew Carter has been refining his design for Alisal for so long, he says, that when he was asked to complete the design for the Monotype Library, it was almost as if he were doing a historical revival of his own typeface. The illusion even extended to changes in his work process: although he now does all his preliminary and final drawing on screen, the first trial renderings of Alisal were done as pencil renderings. Alisal is best classified as an Italian old style design. Originally created between the late 15th and mid-16th centuries in northern Italy, the true Italian old styles were some of the first roman types. They tend to be the most calligraphic of serifed faces, with the axis of their curved strokes inclined to the left, as if drawn with a flat-tipped pen or brush. These designs offer sturdy, free-flowing and heavily bracketed serifs, short descenders, and a modest contrast in stroke weight. Alisal has nearly all the classic Italian old style character traits, plus a few quirks of its own. It is calligraphic in nature, with more of a pen-drawn quality than faces like Palatino or Goudy Old Style. It is more rough-hewn than either Goudy's Kennerley or Benton's Cloister, and is generally heavier in weight than most of the other Italian old style designs. One place where Alisal makes a clean break with traditional old style designs is in the serifs. While sturdy and clearly reflecting pen-drawn strokes, Alisal's serifs have no bracketing and appear to be straight strokes crossing the main vertical. Like Caslon or Trajanus, Alisal is a handsome design when viewed as a block of copy. Ascenders are tall and elegant, and serve as a counterpoint to the robust strength of the rest of the design. Alisal is available as a small family of roman and bold with a complementary italic for the basic roman weight, providing all that is needed for the majority of text typography. Alisal is not as well-known as some of Carter's other typefaces, but this lovely and long-incubated design was certainly worth the wait.

ฟอนต์ นมัสการ แบบอักษรได้แรงบันดาลใจจากเขียนตัวอักษรวิจิตรด้วยปากกาหัวตัด ที่มีองศาในการเดินเส้นที่ 45 องศา เลยเอาตัวเลข 45 องศามาใข้ในการออกแบบ สังเกตได้จากการจบเส้น เช่น "r" ปลายตัดที่ 45 องศา แบบอักษรมีความเปรียบต่างสูง เหมาะกับการใช้เป็นผาดหัว ข้อความสั่นๆ หรือ Quote มี 9 น้ำหนัก ทั้งตัวตรงและตัวเอียงรวมเป็น 18 สไตล์ -- Namaskarn Font inspired by flat calligraphy pen, with at 45 degrees when holding the pen, so the number 45 degrees was used in the design for example "r" at the terminal cut at 45 degrees. The font has a high contrast. Suitable for use as a headline, sub-headline or quote, comes in 9 weights, upright and italic for a total of 18 styles.

Ever think that supermarkets are becoming less personal and more clinical and cold? What will cost you less than a trip to the supermarket and put a smile on your face? Smiley was inspired by the hand-brush lettered signage at country grocery stores. There's something about the feeling you get when you visit a small town and stroll on over to the corner market. Everyone is pleasant, courteous, and they all have a smile on their face. You can have that local small town grocery store charm for yourself when you buy Smiley today.

Dirty Claws is an all-caps aggressive dirty brush font. With a bold, aggressive style, it will add a bold and strong touch to your projects, inspiring you to create something bold as well. Besides that, this font is also equipped with Alternative Characters, Standard Ligatures, and multi-language support. Dirty Claws is ideal for headings, flyers, greeting cards, product packaging, book covers, printed quotes, logotype, and album covers.

A NEW STYLISH BOLD FONTS WITH LIGATURE & ALTERNATES, Hillray! Hillray is a stylish bold sans that contains ligatures and alternates each characters! You can make a unique branding with this fonts. This stylish bold fonts also included extrude and outline style that will compliments the regular style! This fonts suitable to use for poster, branding, merchandise, and any street art style! Also support multilingual and already PUA Encoded! Thank You!

Gotico™, meaning Gothic, is a Blackletter script (sometimes referred to as Old English). The original Gotico design was first brought to market by the Fundicion Tipografica Richard Gans type foundry (1888-1975) in Spain. The designer of Gotico is unknown and for many years the font was formerly sold only in Europe.

Originally issued as Apollo by the Central Type Foundry of Saint Louis, this face evokes the glamor of late Victorian era. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

High contrast type for logo's, headlines and signage

This font is very beautiful if we combine it into a design that wants to appear bold, bold and unique, there are several alternatives that you can use to make this font as support for your design project.

Winter Beast is a captivating winter brush font that unleashes the untamed spirit of the season. With its bold, brisk strokes, this font encapsulates the raw beauty and power of winter, making it the perfect choice for projects that demand a rugged, cold, and untamed aesthetic. Whether used in winter-themed designs, holiday graphics, or any project that seeks to embody the frosty allure of the season, Winter Beast adds a chilly and visually striking element to your typography, making your text stand out like fresh snow on a moonlit night.

In the 1960s it was a popular trend to personalize one’s possessions with your initials. From wallets and handbags to eyeglasses; from luggage to even cars, initial personalization was the fad of the time. The British division of Gulf Oil offered for sale a set of gold metallic stick-on initials for 25 pence, complete with two Gulf logos so the company could get some extra advertising mileage out of the promotion. These extra-wide, bold initials served as the idea model for Personalization JNL, which is available in both regular and oblique versions.

Kisik is a handwritten font. I got a request to put my handwriting into a font, so I decided to take the challenge and design a whole typeface with three different weights (light, regular, bold) and 638 glyphs to cover all 104 Latin languages. This is my first time making a font. Hope you'll enjoy it. I sure did making it. Check out the listing of glyphs if you can use this font in your work. Otherwise don’t hold back writing to tanjagawish@gmail.com and I’ll create them.

In comparison to the powerful and commanding original, Sancoale Gothic is a more sober version of Sancoale. The medium contrast between thick and thin strokes makes for a typeface that stands out with striking clarity in longer texts, yet is very readable. This new addition to the Sancoale family is a perfect alternative if you want to use a different style than the original family. Using the utmost care and restraint, the designer strove to avoid overbearing futurism in favor of a typeface with clean lines and clear forms. Show your customers the world with Sancoale Gothic, a versatile sans with a wide range of styles, from delicate thins to bold, hefty weights that dominate the page and screen with confidence and futuristic flair. A fresh, friendly voice for all kinds of uses, from corporate statements to fashion, Sancoale Gothic is a versatile sans with a wide range of styles, from delicate thins to bold, hefty weights that dominate the page and screen with confidence and futuristic flair. Sancoale Gothic has a distinct personality, which allows you to create a wide range of projects, including posters and websites. The Sancoale Gothic fonts come in many varieties, so you can go with a light or thick weight, depending on what fits your project best. With their sweeping curves, the heavy fonts are meant for huge headings on posters and websites. The Sancoale Gothic family is made up of 48 distinct styles, with 660 glyphs and supports 70 languages, allowing you to communicate with your customers all over the world. Small Capitals and other OpenType features abound! The design is sleek with no stems or spurs in the default character set, but OpenType alternates have alternates with stems. OpenType capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. The superfamily offers an array of optical sizes, contrasting weights, and contrasting optical sizes to discover the right balance, contrast, and optical size for your design. Prepare to be blown away by Sancoale Gothic’s smooth curves and captivating allure. Sancoale Gothic is perfect for both a contemporary and forward looking style. Sancoale Gothic is both practical and unique, in a standalone capacity or with the companion Sancoale fonts. Use it to make an impact today.

The Richie™ typeface grew out of a lettering experiment inspired by the work of Czech type designer Oldrich Menhart (1897-1962). Menhart’s typefaces were primarily text designs with a strong personal calligraphic influence. Monotype Studio designer, Jim Ford, wondered what a display typeface from Menhart might look like, and began drawing bold script characters with a broad-tipped chisel marker. “It was a familiar but laborious exercise,” explains Ford, “I tried to achieve an authentic – yet controlled – randomness that would serve as the foundation of a typeface.” Ford first drew a large suite of characters using the marker. All the drawings were then carefully adjusted, and scanned. Ford then pieced together a typeface from the best versions of letters, and refined those further. The result is a rugged, somewhat eccentric and playful script built on an obvious hand-drawn foundation. In a world of smooth scripts, the Richie design is heavy, chunky and rough. Its hand-made feel and vigorous rhythm put the power of raw brush lettering into the typographer’s hands. OpenType® fonts of Richie include standard, contextual and discretionary ligatures, in addition to contextual and stylistic alternates, old style, lining and superior figures, plus a large complement of swash characters. The name “Richie”? It grew out of Ford’s original premise for the design. “I wondered what it might it look like if ‘Old Richie’ had designed a heavy display face or script.”

Kettering 205 is a geometric slab-serif with Art Deco influences, such as lowered crossbars on many characters, and a crossed W. It includes old style non-aligning (lower case) numbers, both proportional and tabular as well as accented characters for Central European languages. It’s a highly individual looking font, but retains good legibility coupled with striking looks as a display font. The Kettering 205 family comprises of six weights and is closely related to Kettering 105, its less Deco flavoured cousin.

Golemi Display is a reverse-contrast fat face font inspired by the Caslon Italian specimen from 1821. It is intentionally designed to keep its wood type feel—the overall chunky body with rounded junctures to imitate the old look. However, compared to its prototype, Golemi is redrawn to have smoother shapes with a modern look. Golemi Display is suitable for large applications, such as headlines for editorial design, branding, webpages, and environmental design. It is currently a single styled typeface disposed for extension.

One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Jefferson Pilot’s unusual letter treatment isn't for every project, but for projects that need a great "old-timey" look, it’s perfect. Named for a city in East Texas that was a port city on the late 1800s, but today is landlocked. Both versions of this font contain the Unicode 1252 Latin and Unicode 1250 Central European character sets, with localization for Romanian and Moldovan.

Malenda is my new elegant serif font that will give your projects a touch of luxury and style. It’s perfect for logotypes, branding, monograms and wedding invitations, blog headlines, and more. Browse through all the previews and get as inspired as I was when creating this font. Supported Languages: Armenian, Baltic, Central/Eastern Europe, Cyrillic, Elymaic, English, Ethiopic, Georgian, Old Hungarian, Romanian, Southeast Asia, Western Europe Please contact us if you have any questions, we are happy to help you!

lathen Fantastic is my new elegant serif font that will give your projects a touch of luxury and style. It’s perfect for logotypes, branding, monograms and wedding invitations, blog headlines, and more. Browse through all the previews and get as inspired as I was when creating this font. Supported Languages: Armenian, Baltic, Central/Eastern Europe, Cyrillic, Elymaic, English, Ethiopic, Georgian, Old Hungarian, Romanian, Southeast Asia, Western Europe Please contact us if you have any questions, we are happy to help you!

Vladimir Script is a brush-style font, similar to the kind of lettering found on old hand-painted department store signs during the 1950s. The letters have a steep slant, and the uppercase letters and the numbers are rather informal. Many of the letters' strokes end in looped terminals, some with dynamic amounts of contrast. Vladimir Script is best used in larger point sizes, where its subtle details can dance across the page. The typeface looks fabulous on signs and cards.

Paralex is a complete typeface family of 12 fonts with geometric-slab style. The edges of shapes are rounded to give a smoother appearance. It contains several OpenType functionality, such as initial and final decorative forms, old style numerals and an extensive set of geometric style ornaments. The character set supports Central and Eastern European as well as Western European languages. Despite the robustness of its forms has a warm appearance, and good readability that make it useful for a variety of situations.

Anko is a mix of Old Style Roman Serif styles. The glyphs are formed in extend width, smooth strokes, moderate stem contrast and soft edges to pursue clarity, quick recognizable text and warm personality. The italics style is 8 degree low slanted with redrawned lowercase which shown in more organic and flowy forms. Anko contains 8 weights with more than 450 glyphs that support extended latin language and opentype features such as standard and discretionary ligature and a variation of numeral figures.

Grafton Titling was designed for dramatic impact. It contemporizes old style proportions, bracketed serifs and a left-leaning stress angle with striking contrast and modern angular joins. The solid style has a timeless feel, while a flared through-line variation provides textural interest. Small caps, a complement of OpenType features, and support for diacritics and accented characters make it a robust and distinctive choice for headlines that demand attention. Through-line characters are accessible using the Stylistic Set or Stylistic Alternate OpenType feature.

Talbot Type Keymer Radius is related to Talbot Type Keymer ; where Keymer is square-edged, Keymer Radius is subtly rounded for a softer look. Keymer Radius mixes geometric and humanist traits to achieve a modern, clean, elegant appearance. It is a legible and versatile text and display face available in six weights. Keymer Radius features an extended character set to include old style numerals, accented characters for Central European languages and bespoke characters in the italic for a more flowing look.

Valentia is an elegant font, casual and readable, this new script typeface is based on Copperplate style. Valentia has been drawn with spontaneous strokes and slightly contrasting thicknesses.The capital letters are full of expressiveness, with very dynamic "ductus" and linked ends, which allow to decorating with subtle and finishing touch. Contains small caps and titling. Decoration variables with its own terminal forms and initial forms. You can use Standard and discretionary ligatures, swashes, stylistic and contextual alternate, old style figures, CE languages andornaments.

Sincerity Stencil is the new extension of the typeface Sincerity. It's a fierce and elegant typeface identified by its high contrast, sharp shapes and triangular. The stencil component of this new version will add originality to your designs. Its large variety of glyphs, including accents, old-style numbers and ligatures will give uniqueness to your designs. It's a great fit for branding, magazines, newspapers, and so on. Sincerity Stencil is available in 16 styles, from thin to black in roman and italic.

Attention all design enthusiasts! Are you tired of the same dull typefaces dominating the design world? Look no further than Ohitashi, the daring and unconventional creation by Typodermic principal Raymond Larabie. In a world where twentieth-century sans-serif typefaces reign supreme, Ohitashi breaks the mold and blazes its own trail. Larabie has masterfully infused this typeface with a unique blend of humanistic stroke contrast, spontaneous licks and curls, and incised detail, resulting in a one-of-a-kind design that defies convention. But don’t let the unconventional nature of Ohitashi fool you. This typeface offers a practical range of three weights—standard, semi-bold, and bold—making it an incredibly versatile option for any design project. Whether you’re looking to add a touch of personality to a marketing campaign, or looking to revamp your brand identity with something fresh and new, Ohitashi has got you covered. So why settle for the same boring old typefaces when you can break free from the rut favored by reductive competitors? Embrace the unconventional with Ohitashi and see your designs come to life like never before. Trust us, your audience will thank you. 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.