Informative is a typeface consisting of a whole family of sans fonts and a collection of thematic pictograms. This combination of two different types of communication reflects the current need for using text and images as means of conveying information in a complementary way. The family comes with a text version of 7 weights (with matching italics)—Thin, Light, Regular, Medium, SemiBold, Bold and Black, and includes 7 thematic icons sets which allude to elements related to alimentation, city, energy, people, politics, sports and work. Each set contains 88 glyphs and includes both outline and black versions. The text font contains a set of 423 glyphs that support 207 different languages. Informative is a clean, simple and versatile typeface well-suited for a wide range of graphic design and visual communication projects. This font has especially been designed for infographics, maps and digital applications.

Roisty – A Black Display Sans Serif Typeface Roisty, a sleek and contemporary black display sans-serif typeface, exudes sophistication and modernity in its design. With clean lines and a bold, assertive presence, Roisty commands attention while maintaining readability. The sharp contrast between its thick strokes and thin lines creates a visually striking appearance, making it an ideal choice for headlines, logos, and other display purposes. The typeface’s timeless elegance, combined with its versatile nature, ensures that Roisty stands out in both digital and print mediums, embodying a perfect blend of classic refinement and cutting-edge aesthetics. Roisty is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

ITC Chivalry is a calligraphic hybrid that honors the tradition of combining Roman capitals with italic lowercase letters. Drawn by Missouri lettering artist Rob Leuschke, who used a flat-nib pen on textured watercolor stock and then converted the drawings into a digital font, the design combines an old world" feel with "new world" legibility. A companion set of black letter caps completes the suite of characters. "I've loved drawing letters for as long as I can remember," says Leuschke. "Even in kindergarten, I tried to draw letters like my teacher." After graduating from college, Leuschke worked for a short time at a sign company in St. Louis, and in the early 1980s began working at Hallmark Cards in Kansas City. His talent as a calligrapher and lettering artist eventually brought him back to St. Louis to begin a freelance career. Since then Leuschke has created over 250 fonts, primarily for the greeting card industry, that are now being used on work for his clients all over the world. Leuschke first conceived of the face as just the black letter caps; he later added the Roman letters to give the design more versatility. The Roman caps of ITC Chivalry combined with the lowercase are well suited to blocks of copy, while the more decorative black letter caps are ideal for showcasing short text of just a few words. Both sets of capitals also make great initial letters."

PT Serif Pro is an universal type family designed for use together with PT Sans Pro family released earlier. PT Serif Pro coordinates with PT Sans Pro on metrics, proportions, weights and design. It consists of 38 styles: 6 weights (from light to black) with corresponding italics of normal proportions; 6 weights (from light to black) with corresponding italics of narrow proportions; 6 weights (from light to black) with corresponding italics of extended proportions; and 2 caption styles (regular and italic) are for texts of small point sizes. The letterforms are distinguished by large x-height, modest stroke contrast, robust wedge-like serifs, and triangular terminals. Due to these features the face can be qualified as matched to modern trends of type design and of enhanced legibility. Mentioned characteristics beside conventional use in business applications and printed stuff made the fonts quite useable for advertising and display typography. Each font next to standard Latin and Cyrillic character sets contain alphabet glyphs of title languages of the national republics of Russian Federation and support the most of the languages of neighboring countries. The fonts were developed and released by ParaType in 2011 with financial support from Federal Agency of Print and Mass Communications of Russian Federation. PT Serif family together with PT Sans won the bronze in Original Typeface category of ED-Awards 2011. Design – Alexandra Korolkova with assistance of Olga Umpeleva and supervision of Vladimir Yefimov

One good pun is worth a simple description… Nondescript JNL… 'Non' - not. 'de' - of, in Spanish. script - a cursive (handwritten) letter form. So… while nondescript generally means lacking any defining description, in this case it also means "not of a script"… which is precisely what a typeface such as this one is!

Two word examples (“nice” and “bud”) from the J.G. Cooley & Co.’s Specimens of Wood Type catalog for the typeface ‘Roman Triple Extra Condensed Fifty Line’ offered only seven letters to work with. Despite this lack of characters, it inspired Compressed Wood JNL, which is available in both regular and oblique versions.

A tessellation is a shape that can be used to completely fill the plane—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. TessieMoreStuff contains mostly Escher-like tessellations with no clear organizing principle. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, colorings books, and a book about tessellations. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

A tessellation is a shape that can be used to completely fill the plane—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. TessieMoreStuff contains mostly Escher-like tessellations with no clear organizing principle. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, colorings books, and a book about tessellations. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

A tessellation is a shape that can be used to completely fill the plane—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. Most of the shapes contained in TessieMiscellaneous are Escher-like tessellations. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, colorings books, and a book about tessellations. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

This is Range Sans, the sans-serif counterpart to Range Serif . It can be categorized as a grotesque, with the idiosyncratic angular details from the serif family making themselves known in the arches and bowls of the lower case. The range of weights is larger than Range Serif, with two more weights at the lighter end of the spectrum. The weights from light to black correspond to their seriffed sisters, so can be interchanged with them freely while maintaining a similar text color and vertical metrics. This is useful for adding emphasis; Range Sans is deliberately lacking an italic, but the italics from Range Serif work better than you might expect in running text, particularly for the light and regular weights. Range Sans has a contemporary, somewhat geometric look that lends itself to uses such as corporate identities, minimalist graphic design, and logos. The middle weights do work well in running text, however, with the angled details being less noticeable at small sizes. Designed for demanding typography, supporting most Latin-based languages, Range Sans is equipped with true small caps for all weights, an array of numeral styles (proportional- and tabular- lining and oldstyle figures, small cap figures, numerators, denominators, superscripts and subscripts/scientific inferiors), automatic fractions, a set of useful arrows, case-sensitive forms, and a range of currency symbols including recent additions: Turkish Lira, Indian Rupee and Russian Ruble.

A tessellation is a shape that can be used to completely fill the plane. Simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. This typeface contains many Escher-like tessellations that resemble animals including horses, goats, rabbits, fish, frogs, and other vertebrates. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, coloring books, and a book about tessellations. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

A tessellation is a shape that can be used to completely fill the plane—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. This typeface contains many Escher-like tessellations that resemble flying birds. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, colorings books, and a book about tessellations. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

The inspiration behind Amarga comes from the bitter taste of coffee. Amarga is a serif typeface with high contrast and pointed terminals, composed of 9 weights that range from a very heavy black version to a thin version plus italics, with a total of 18 fonts. Amarga has a great visual impact and is perfect for display uses in editorial design, web, branding, posters and many others.

Gosent is a Modern Sans serif typeface that has larger x-height size, it will give great performance in small text sizes. Features moderate contrast and lots of special details like the unusual ink trap, giving a modern feel. Gosent is great your various design, both serious and fun projects. Consists of 9 Weight variants from Thin to Black and comes with Oblique version

Argone LC is a handmade organic typeface family. It is a variant of Argone typeface, but has lower case letters. It comes in four weights– light, regular, bold and black, which is a feature not seen much in handmade typefaces. This makes Argone LC a versatile and flexible type family. There is also a version of Argone LC which only has upper case letters – Argone

Jaella is a modern retro serif family. It has unique characters, such as capital A, R and B, making your design unique and stand out. Designed for editorial use, display or fashion-related branding concepts, She can be elegant or play with alternatives for a cheerful retro look. This versatile family has seven weights, from thin to black, and a variable format that can generate more weights.

Popten is a modern minimalist design typeface with semi condensed conture and include alternative character also some ligature. It is inspired by hype and urban design, freestyle and brutalism. Popten typeface suited for anything lifestyle project with trend design. It was designed to be versatile, to blend in your design with light or dark through thin to black weights can add a lot of touch of personality.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Halloween is a time when perfectly reasonable people choose to reenact some lost pagan rituals. No one seems to know why exactly, but Halloween has been celebrated in its present form for a little over one hundred years. This set of ornaments dates back to the early 20th century and depicts a “classic” Halloween collection of black cats, pumpkins, witches, and other indispensable Halloween ornaments.

Lovato is a family of five fonts, perfect for branding applications, books, or poster designs that require a clear, sharp, stylish tone. The styles range from an elegant, delicate light weight up to a brazen, commanding black weight. This original Latin-serif family, designed by Kosal Sen, has primarily a geometric construction, with hints of details inspired by inscriptional lettering, all coalescing to fit a contemporary palette.

VANILA is a cute outline and very cheerful display font. Filled with ALL CAPS with cute and funny shapes, Inspired by freestyle graffiti writing, Add this lovely and dynamic font to any of your creative ideas related to school or kids, snacks and events. You will love the results. VANILA is perfect for birthday cards, kids invitations, quotes, branding, or just for fun for your art.

Abdo Line is a simple Naskh font for books and magazines. Accurate design and clarity of reading and writing space-saving, it comes in sixth weights: Thin, Light, Regular, Bold, Heavy and Black. This is an OpenType Font supporting Arabic, Persian, Urdu Languages and compatible with the various operation systems and modern software. This font also contains many of Stylistic Sets, Ligatures and Justification Alternatives.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

DF Maraschino Black - A sleek, sophisticated swash capital font with elegant thick and thin weight distribution. Bold yet poised, direct yet refined. The swash capitals are intended for use at the beginnings of words only - best not to set this in ALL CAPS. Use at larger sizes. Also includes stylistic decorative alternates for certain characters that can be toggled on and off in the Opentype panel.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Art Museum JNL is yet another take on the classic Art Deco "solid letter" fonts that emulate the style of Futura Black. This version comes to you through the courtesy of a vintage WPA (Works Progress Administration) poster promoting national parks and Winter sports. Take note of the unusual inverted middle crossbar on the 'E' and 'F' as inspired by the poster's hand lettering.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Cabarno is a sans-serif organic typeface that can be use in any typographic situation. It has his own unique style in expressed perfect condensed forms with a warm and humane feeling. This font can function as headings, subheadings and body text with a set of alternative characters for your design in any layout. The family has 4 weights ranging from Light to Black and their italic.

No mystery here: this typeface is based on the not-often-seen Cooper Black Swash Italic, designed by Oswald Bruce Cooper. Swash variants are the norm with this font, but enabling Contextual Alternates will prevent collisions between the swash “tails” and letters with descenders. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Skyline was commissioned from Font Bureau by Condé Nast specifically as a headline typeface for Traveler magazine. This strongly personal work by Imre Reiner from 1929 and 1934 was known in Europe as Corvinus. Skyline Black and Bold Condensed offer immediate headline recognition through Reiner’s variations on the themes found in the classical Modern structure. Both styles were adapted by Jane Patterson; FB 1992

La famille Millenium est composée de modèles dont le poids varie progressivement. Elle est très étendue. Elle va de "Super Thin" à "Extra Black". Unique au monde, sa finesse permet de concevoir un style très léger même pour l'impression d'affiches et d'autres grands formats. Conçu dès l'origine comme un caractère variable, le Millenium offre une gamme de 900 variations possibles et une infinité de créations...

Can you dig it, man? Comicraft's Jazzy "JG" Roshell, just swung by after playing bongos down at the coffee bar in his black turtleneck sweater, stove-pipe trousers, dark glasses and beret. Check out the rad Tiki corners on our freshest font, COOL BEANS and you'll want to snap your fingers, put on some Miles Davis and take the next train out of Squaresville, um, Daddio.

Rude was designed as a dichotomy between the Grotesque and Humanistic typographic shapes: a no-nonsense Sans and a very muscular Slab Serif companion. Showing the historically demanded consistency for such kind of typefaces, this is one of DSType's most wide-ranging and flexible type systems, introducing seven weights across seven widths, from Thin to Black and ExtraCondensed to ExtraWide, along with a wonderful set of Icons.

Masifa has compact, simple, functional and neutral body structure. It has 5 widths from Normal to Ultra Condensed. Each width includes 9 weights from Hairline to Black and their matching italics. Also, every weight includes rich OpenType Features like Small Caps and custom number styles. Due to its large family, it is ideal for a wide range of usage from large-scale designs to small product labels.

Oculi Magni is a new sans serif type family of 8 weights with italics. This font was specially designed for the composition of texts in small size as captions or footnotes but the thin and black weights can also be used in display sizes. The x-height, as tall as possible, allows the composition of very tight, very dense texts while maintaining a perfect readability.

After Nightfall is a handmade fairytale font. It was called Bunting Nook first (after a spooky story of a black dog that haunts a town in Britain), but I figured it was a bit of a weird name, so I settled for After Nightfall. This font comes with some lovely swashes, which should be used sparingly. But that, of course, is entirely up to you.

Slabton is a font family in the slab serif style. There are six defined weights, from thin to black, and six italic weights as well as a variable font. All latin small caps are integrated and the font contains a lot of useful open type features and options. Also, there is an additional shaded decor style for decorative matters and elements like headlines and initials.