Inspired by the clarity of signage fonts, Objet Sans is a modern geometric typeface with a friendly rounded touch. It containts many OpenType features and an extensive character set that make it suitable for a variety of uses.

The Antiquary font collection was designed and illustrated, to reanimate the art of vintage advertising design. The fonts are inspired by the old ad posters and product labels, as well as the art of sign-making. The 4 typographic styles are combined with shapes and ornaments to create a variety of designs. They are ideal for logos, packaging, branding and all kinds of advertisements. Typographic styles: Antiquary: Old fashioned, serif, with 2 styles (Regular and Outline), stylistic alternates and ligatures. Antiquary Wide: All caps, bold, serif, vintage, with 3 styles: Regular, Inline and Outline. Antiquary Script: Modern brush calligraphy with terminal forms, contextual alternates, stylistic alternates and ligatures. Antiquary Thin: All caps, minimal, old fashioned. Antiquary Elements: 52 symbols, ribbons, frames and ornaments. The font collection supports Western, Central, Eastern, European, Baltic, Turkish and Greek languages.

a vintage serif bold font, with tendrils

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

Sheet music for the 1930s song "Josephine" had its title hand lettered in a simple, bold sans design that is recreated in Song Sheet JNL. This bold sans is perfect for titling wherever strong emphasis is necessary.

Ken Aroque Font is Engraved Bold Decorative Font that ornamental. This Font is Best as tittle of the novel, Poster, Theater, Logo and also tatoo. This font is bold , strong , classic and luxurious in the same time.

Lisa's Hand is a well-formed handwritten Font. The letters are not connected which combines the style of both handwritten and computer fonts. Lisa's Hand is offered in Regular, Bold, Italic, Bold Italic, Condensed and Condensed Italic.

Pinx Niera is a bold psychedelic typeface. Inspired by psychedelic music and visual. The typeface looks bold, clean, and unique form. Suitable for any graphic designs such as branding materials, t-shirt, print, logo, poster, packaging .etc

A wooden face, rather prosaically named Gothic Bold, from Hamilton's 1889 specimen book provided the pattern for this bold and brassy face. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Breather is a bold modern display font with serif style. It's retro, bold, and playful. Perfect if you need a dose of fun in your project. This is a unique display typeface perfect for gorgeous logos & titles.

Maxos is a modern hyper-stylized font that is simultaneously sleek & futuristic, yet retro & whimsical. This font package contains two variations: Extra Bold and Extra Bold Oblique. Excellent for posters, album graphics, motorsports, sports, high-tech, etc.

Varygraphie is a modern Art Deco sans-serif family. This expressive typeface is provided as a variable font, and was designed by Mans Greback between 2019 and 2023. It gives any project a modernist appearance, as a reinvention of the hundred-year-old style of design, adapted and adjusted to fit in present-time purposes and technology. The Varygraphie family contains 12 high-quality styles: Thin, Light, Regular, Medium, Bold and Black, and each weight as Italic. Mix the weights to see how they balance perfectly against each other. Or use the variable font and set any weight between Thin and Black: Only one font file, but the file contains multiple styles. Use the sliders in Illustrator, Photoshop or InDesign to manually set any weight and width. This gives you not only the predefined styles, but instead more than a thousand ways to customize the type to the exact look your project requires. More info about variable fonts: https://mansgreback.com/variable-fonts 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 language 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.

The Garamond family tree has many branches. There are probably more different typefaces bearing the name Garamond than the name of any other type designer. Not only did the punchcutter Claude Garamond set a standard for elegance and excellence in type founding in 16th-century Paris, but a successor, Jean Jannon, some eighty years later, cut typefaces inspired by Garamond that later came to bear Garamond’s name. Revivals of both designs have been popular and various over the course of the last 100 years. When ATF Garamond was designed in 1917, it was one of the first revivals of a truly classic typeface. Based on Jannon’s types, which had been preserved in the French Imprimerie Nationale as the “caractères de l’Université,” ATF Garamond brought distinctive elegance and liveliness to text type for books and display type for advertising. It was both the inspiration and the model for many of the later “Garamond” revivals, notably Linotype’s very popular Garamond No. 3. ATF Garamond was released ca. 1918, first in Roman and Italic, drawn by Morris Fuller Benton, the head of the American Type Founders design department. In 1922, Thomas M. Cleland designed a set of swash italics and ornaments for the typeface. The Bold and Bold Italic were released in 1920 and 1923, respectively. The new digital ATF Garamond expands upon this legacy, while bringing back some of the robustness of metal type and letterpress printing that is sometimes lost in digital adaptations. The graceful, almost lacy form of some of the letters is complemented by a solid, sturdy outline that holds up in text even at small sizes. The 18 fonts comprise three optical sizes (Subhead, Text, Micro) and three weights, including a new Medium weight that did not exist in metal. ATF Garamond also includes unusual alternates and swash characters from the original metal typeface. The character of ATF Garamond is lively, reflecting the spirit of the French Renaissance as interpreted in the 1920s. Its Roman has more verve than later old-style faces like Caslon, and its Italic is outright sprightly, yet remarkably readable.

Introducing our latest font creation, a harmonious blend of elegance and boldness – Gladysh Elegant Condensed Serif Typeface. This unique font is meticulously crafted to cater to a diverse range of design needs, providing a versatile solution for both modern and classic projects. Key Features: Thin and Bold Styles: Strike the perfect balance between subtlety and prominence with our meticulously designed thin and bold variations. Whether you're crafting a sleek corporate logo or designing a minimalist poster, these styles offer the flexibility to express your creativity. Italic Grace: Elevate your design with the added touch of sophistication. The italic variations of ThinBold introduce a graceful slant, ideal for conveying a sense of movement, emphasis, and a touch of editorial flair. Perfect for fashion, editorial, or any project where a dynamic aesthetic is desired. Versatility in Application: From branding and advertising to web design and print materials, ThinBold Italic Typeface adapts seamlessly to various design contexts. Experiment with different weights and italics to achieve the visual impact you desire. Clean and Readable: Despite its stylish intricacies, ThinBold remains highly legible. Each character is meticulously crafted to ensure clarity and readability, making it an excellent choice for body text as well as headlines. Extensive Character Set: The font includes a comprehensive character set, encompassing a variety of accents and special characters to support multiple languages. This ensures that your design projects can maintain a consistent and professional look across diverse linguistic requirements. Elevate your design projects with the Gladysh Elegant Condensed Serif Typeface – where sophistication meets versatility. Download and incorporate this font into your toolkit for a sleek, contemporary, and dynamic visual identity.

Based on Element by Max Bittrof, Stamm takes the next step in adaptation to modern environment. Using it's own construction logic it makes the design far more consistent and considerably expands the character set, supporting hundreds of languages, including Vietnamese and extended Cyrillic. Generous amount of OpenType features allows various localization options, automatic fractions, super- and subscripts, oldstyle and tabular figures, small caps and ligatures to suit almost every need. There are 15 Stylistic Sets available to customize the font (some of them duplicate locl-features in case they're not supported by applications): ss01 (Traditional glyphs): changes modern shapes used by default to old-style forms; ss02 (Alternate historical glyphs): changes the shape of several characters to a more obscure historical form; ss03 (Catalan middle dot): replaces middle dot between two l's by Catalan variant for better spacing; ss04 (German ligatures): activates historical ch, ck and tz ligatures used in German blackletter typesetting; ss05 (Dutch IJ-acute): replaces j after i-acute with j-acute; ss06 (Marshallese cedilla): replaces commas under certain letters with cedillas; ss07 (Romanian/Moldovan comma): changes cedilla-glyphs to comma-glyphs; ss08 (Turkish i): replaces regular i with dotted Turkish variant; ss09 (Cyrillic alternates): changes several Cyrillic glyphs to alternate variants; ss10 (Bulgarian Cyrillic): activates Bulgarian shapes; ss11 (Serbo-Macedonian Cyrillic): activates Serbo-Macedonian shapes; ss12 (Double-story a): replaces default glyph with it's double-story variant; ss13 (Alternate asterisk): replaces default asterisk with 5-pointed shape; ss14 (Enclosed figures): replaces standard figures with enclosed variants; ss15 (Slashed zero): replaces default zero with slashed variant.

Since the beginning, Palsam was intended to be a super multilingual family, with a real cursive Arabic companion, and a display cut. The typeface was designed to be used for setting text and titles of contemporary Arabic content, specially magazines, and websites. The Arabic and Latin scripts were designed at the same time, to make a true authentic bilingual typeface. Both scripts have affected each other in several ways through the entire design process, which happened within ten years. Palsam has an inviting, approachable, fashionable and humanist look. Thanks to its low contrast, open apertures, detailed calligraphic strokes, and smooth counters, which also make it easy to read at smaller sizes. The main highlight for Palsam was the Cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. Since the Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh. Moreover this script was used in margins, and to highlight specific content inside a paragraph in older manuscripts. With true cursive companions in five weights, and many opentype features, Palsam grants all the tools needed to set complex information and editorial designs applications. More than 1000 characters are included per weight, including small caps, fractions, old style and lining numbers, ligatures, contextual ligatures, and discretionary ligatures. It supports over 40 languages that use the Latin extended, as well as Arabic, Farsi, and Urdu Languages. The latin script was designed in collaboration with the Slovenian type designer Alja Herlah.