Citadel Script is based on script handwriting and engraving used in formal announcements and invitations. The Citadel Script font lends itself to typesetting in which an elegant mood is desired. Citadel, Flemish Script, Florentine Script, and Old Fashion Script have similar lowercase letters, but unique flourished capitals.

Ignatius is the work of British type designer Freda Sack, a traditional roman typeface featuring an open, engraved effect. The stately capitals can be used alone or combined with the complementing lowercase and both should be set closely. Ignatius will give any work a classic look.

For many type lovers, Broadway is the quintessential Art Deco typeface. Designed as an all-caps typeface in 1927 by Morris Fuller Benton for ATF, it was expanded two years later with a lower case designed by Sol Hess, who also drew the inline version, Broadway Engraved.

Some years ago I designed Chalfont as a sans face. All the characters have a top heavy look when viewed straight on, however, as most type is read at an angle with the top further away than the bottom, this top heavy look is diminished. Chalfont Roman, although re-drawn with some alterations, is still basically the same face but with a top left serif giving more emphasis to the top heavy characteristics. I have also added a set of non ranging numerals.

Drawn is a heavy metal font made with a touch of darkness, featuring a heavy metal feel to compliment your design. Drawn is very easy to use in any variation or writing combination, also perfect for metal band logos, merchandise, clothing, apparel, or anything else that calls for a heavy metal feel. Here is video Tutorial how to use it on Adobe Photoshop, Adobe Illustrator, and CorelDRAW https://youtu.be/rGfSWmztRT0 Recomended Software to use: Corel Draw Adobe Photoshop Adobe Illustrator Clip Studio Paint

Kanakira is a modern sans typeface that is heavy on a geometric take of the neo-grotesque model, with a special ink-trap feature. Available in 9 weights from thin to heavy, Kanakira is ready to be your “go-to” font for any kind of project.

Rub Gum is thick, chunky and heavy as heck! In the progress of making Rub Gum, I got inspiration from the grafitti- and comic universe! Use Rub Gum for something that needs a heavy dose of grafitti and cartoon! Comes with a good handful of ligatures!

This engaging slab serif face made its debut in the 1906 ATF specimen catalog, and wears well over a century later. Its warm lines and a wide stance ensure that your headlines will be noticed. Both versions feature the complete Latin 1252, Central European 1250 and Turskish 1254 character sets, with localization for Lithuanian, Moldovan and Romanian.

Meltifex is a heavy font with melting letters, disappearing at the bottom.

An ultra heavy redesigned Bodoni look, extremely powerful but yet very elegant.

Franklin Ave. is a condensed sans serif in the style of the classics Franklin Gothic and News Gothic. Nostalgic and gives a great vintage feel. It's bold and comes in two styles: Regular and Oblique. Franklin Ave. is best used in headlines and large formats or in logos or branding.

This typeface was inspired by milk sherbet, which is enjoyed cold on a hot summer day. Rounded shapes and soft stroke endings make the typeface look cute. Heavy works great for headlines with its extra-heavy stroke weight and size, while Regular and Light are best for body text.

This typeface was inspired by milk sherbet, which is enjoyed cold on a hot summer day. Rounded shapes and soft stroke endings make the typeface look cute. Heavy works great for headlines with its extra-heavy stroke weight and size, while Regular and Light are best for body text.

Hermit was born like a modern and personal reinterpretation of Gothic-style alphabets, where improvisation and personal taste have led the design towards a new aesthetic mix between gothic and modern typefaces, creating new glyphs with tweaked strokes to achieve a good level of legibility. Hermit is a modern gothic font designed for brave designers and for epic designs, available in three weights and variable fonts. It is good to use for Branding and Editorial projects with texts not too small, Advertising, Packaging, Labeling, and Book or Magazine titles.

Yonkers a classic gothic face a very legible face. Very suitable for various applications.

A mild grunge, a simple distressed gothic with just enough roughness to be cool.

Hukiran is a Victorian font that features carefully engraved characters. There is beautiful crafting in every glyph. You can use it will to your design look vintage awesome. It is an authentic style of Jepara's crafting font. For a Hukiran bonus package with editable SVG files, click here.

Pascal is a typeface designed in 1953 by José Mendoza y Almeida, inspired by an alphabet created by his father for engraving. It is an elegant and classic typeface. Its use is optimal for use in short texts, headlines and covers. Pascal is a Trademark of BauerTypes SL

Azuree is a typeface designed by Bauersche Giessere in 1908, simulating copperplate engraving, frequently used in cards. Today it is still an excellent choice for publishing projects, both for typographic compositions and for headlines, adding a romantic and rough touch at once. Azuree is a Trademark of BauerTypes SL

A light chancery script font influenced by both the hand-held pen and the typefounder’s machinery. The curves are reminiscent of the beak of the avocet, a wading bird. This font was originally engraved in metal and copper matrices made for casting into hot metal type for letterpress printing.

This family of two character monograms and initial letters was inspired from a French portfolio containing about two hundred examples of "Chiffres - deux lettres", destinated to engravers and jewelers, published in Paris in 1864, drawn by French engraver, C. Demengeot. Unfortunately, a large part of the pages were lost, so we have had to redraw about two thirds of the complete monogram family. Each package contains numerals and two complete sets of two-letter monograms, for example the A-B set, containing AA AB AC... corresponding to caps keys alphabet and BA, BB, BC... corresponding to lower case keys alphabet. We have added an Initial set, with two choices of single characters. Warning: I and J have strictly identical monograms.

Introducing Thrope the irregular retro display font family heavy influence by motter ombra typeface, geometric basic shape, and 60s to 70s pop culture. Thrope typeface includes 3 font family (regular, bold,& heavy) it comes with stylistic alternates 01-04 & ligatures. Thrope font family best used for logotype, headline, header, signage.

I've heard it described as "Copperplate Gothic" on LSD. It's broad, funky and dangerously pointy.

Quill-formed roman/gothic with an olde-worlde flavor. Some background in the designer's own words: "A series of fonts came to mind which would be rooted in the medieval era -for me, a period of intense interest. Prior to Gutenberg's development of commercial printing with type on paper in the mid-1400s, books were still being written out by hand, on vellum. At that time, a Bible cost more than a common workman could hope to earn in his entire lifetime. Men like William Tyndale devoted their energies to translating the Scriptures for the benefit of ordinary people in their own language, and were burned to death at the stake for doing so. Those in authority correctly recognized a terminal threat to the fabric of feudal society, which revolved around the church. "This religious metamorphosis was reflected in letterforms: which, like buildings, reflect the mood of the period in which they take shape. The medieval era produced the Gothic cathedrals; their strong vertical emphasis was expressive of the vertical relationship then existing between man and God. The rich tracery to be seen in the interstices and vaulted ceilings typified the complex social dynamics of feudalism. Parallels could be clearly seen in Gothic type, with its vertical strokes and decorated capitals. Taken as a whole, Gothicism represented a mystical approach to life, filled with symbolism and imagery. To the common man, letters and words were like other sacred icons: too high for his own understanding, but belonging to God, and worthy of respect. "Roman type, soon adopted in preference to Gothic by contemporary printer-publishers (whose primary market was the scholarly class) represented a more democratic, urbane approach to life, where the words were merely the vehicle for the idea, and letters merely a necessary convenience for making words. The common man could read, consider and debate what was printed, without having the least reverence for the image. In fact, the less the medium interfered with the message, the better. The most successful typefaces were like the Roman legions of old; machine-like in their ordered functionality and anonymity. Meanwhile, Gutenberg's Gothic letterform, in which the greatest technological revolution of history had first been clothed, soon became relegated to a Germanic anachronism, limited to a declining sphere of influence. "An interesting Bible in my possession dating from 1610 perfectly illustrates this duality of function and form. The text is set in Gothic black-letter type, while the side-notes appear in Roman. Thus the complex pattern of the text retains the mystical, sacred quality of the hand-scripted manuscript (often rendered in Latin, which a cleric would read aloud to others), while the clear, open side-notes are designed to supplement a personal Bible study. "Tyndale is one of a series of fonts in process which explore the transition between Gothic and Roman forms. The hybrid letters have more of the idiosyncrasies of the pen (and thus, the human hand) about them, rather than the anonymity imbued by the engraving machine. They are an attempt to achieve the mystery and wonder of the Gothic era while retaining the legibility and clarity best revealed in the Roman form. "Reformers such as Tyndale were consumed with a passion to make the gospel available and understood to the masses of pilgrims who, in search of a religious experience, thronged into the soaring, gilded cathedrals. Centuries later, our need for communion with God remains the same, in spite of all our technology and sophistication. How can our finite minds, our human logic, comprehend the transcendent mystery of God's great sacrifice, his love beyond understanding? Tyndale suffered martyrdom that the Bible, through the medium of printing, might be brought to our hands, our hearts and our minds. It is a privilege for me to dedicate my typeface in his memory."