Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though, in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from UltraLight to Heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Complete your designs with these perfect pairings: Dante™, Joanna® Nova, Kairos™, Menhart™, Soho® and ITC New Veljovic®. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic. Featured in: Best Fonts for PowerPoints

Hold the line, True Believer! Stand together. Stick up for the vulnerable. Challenge bullies. Don't let the forces of evil reign supreme. Expelliarmus! A worthy companion to our Balloon Lettering family FACE FRONT, TRUE BELIEVER is a scripty serif handwriting font for wizards everywhere. Features Four fonts (Regular, Italic, Bold & Bold Italic) with upper and lowercase characters.

Nice wave font - a fluffy fun display typeface with a wavy form. This decorative font works perfectly for bold titles, festival posters, as a graphic element for bright T-shirts or hoodies, or even backgrounds! This weird and ugly typeface likes an experiment with spacing and additional graphic elements. Please, don't hold back on your bold modern ideas!

Dynatron is a bold condensed retro-style font inspired by the old sci-fi comic covers, an example of which I have mocked up here.

An old extended Grotesque for use in advertising and display typography. Cyrillic version with adding Bold style created for ParaType in 2003 by Isabella Chaeva.

Cloverdale JNL is another addition to Jeff Levine's revivals of classic wood type fonts from the 1800s. Bold, broad and in the "cowboy" style, this typeface goes well with projects featuring the Old West, Victorian times or old-fashioned nostalgia.

The cover of vintage sheet music for "With Plenty of Money and You (The Gold Diggers' Lullaby)" from the Warner Brothers musical "Gold Diggers of 1937" had the movie title hand-lettered in a classic Art Deco style. Bold, brash and totally fun, this became the model for Golden Opportunity JNL.

Hagenbeck is an old style font face with the intention to get really bold. It's a design from 2019, drawn during a rainy stay in the eponymous district in Hamburg, the designers ‘hood for a long time. There is the bold weight and a decorative stamped version of this font face.

Mandorlato is a font family fruit of an exploration of the timeless almond shape. It supports 114 languages, features a total of 505 glyphs and includes an italicized version for each of the 5 weights.

The Scrivano family was designed by Ricardo Esteves Gomes, inspired by some handwritings from the Middle Ages and Renaissance period. There are four elegant organic font styles (Regular, Italic, Bold & Bold Italic) that can be very useful to compose long or short texts in graphic standards that need some 'old style' feeling.

Kwaliteit is the result of a love story. The love story between a font designer and an old embossing label machine. The big bold letters produced by such machines are wonderful to convey a big bold message (big bold messages are fun!), but sometimes you just can't walk around with one of those antique label machines… That's why this font can come in handy! Its uses are numerous… be the boss of emboss!

I bought a pineapple the other day, because my kids really like pineapples. Ok, ok, it may not sound like something special to you - but keep in mind that pineapples in Holland are an expensive fruit. We mostly get the canned ones (which I don’t like too much). Anyway, when I was slicing up the pineapple, I thought I should name a font after this bizarre, but tasty, fruit. And so I did. Pineapple Daydream is a handmade serif. I am not sure how to classify it, but I am sure you’ll figure that out. Comes with a plantation of diacritics.

Adrian Frutiger came up with this unusually purposeful and strong design in 1981 for Linotype. Early humanistic typefaces of the sixteenth century, especially Jenson, served as models for Breughel. The right sides of the stems are vertical and at right angles to the baseline while the left sides of the stem curve into the serifs, making the typeface look as though it slants to the right, and giving it a sense of movement and liveliness. The ductus of the broad-edged pen is reflected in the flow, rhythm, and texture of text set in Breughel, but at the same time this design has a regularity of form that is typographically solid. Breughel is an ideal typeface for the designer with skill and vision. Use it to create innovative publications, posters, and advertisements.

Pompeijana is a part of the 1990 collection Type before Gutenberg 2’, which includes twelve contemporary typefaces each representative of a particular era. Pompeijana is Adrian Frutiger’s contribution to the project Type before Gutenberg’. He based the forms of this capital typeface on the writing of the Romans in Pompei. The decorative look of the alphabet is achieved by purely graphic means, placing the emphasis of the top and foot of the letters with heavy horizontals and diamond-shaped serifs. Frutiger completed his typeface with the weight Borders, a font consisting of numerous ornaments true to the style of the alphabet. The ornaments can be combined to form different borders and offer an optimal addition to the elegant Pompeijana. Pompeijana is best combined with modern sans serif typefaces.

About this font family Musnad Serif Is Old South Arabian typeface for desktop applications ,for websites, and for digital ads. Musnad font family contains two types: Rigular and bold. The font includes a design that supports Latin, Arabic, and Old South Arabian language systems.

Canbera is an old style serif font, its funky, round, hight-contrast and bold shape with a retro touch is perfect for displayed, head text, logotype and many more.

Whether you call them slab serif, square serif, or Egyptian, you know them when you see them – sturdy, nearly monoweight designs with blunt, straight-edged serifs and a no-nonsense attitude. The Rockwell® Nova family is a fine example of this appealing and eminently usable type style. This is a design that is both robust and adaptable. Marked by the flat top-serifs on the cap A, unusual Q tail and high-legibility two-storied lowercase a, Rockwell has a bit of handmade charm that distinguishes it from the cool, more modern interpretations of the slab serif style. The family is excellent for branding, headlines and other display uses. The simple shapes and hearty serifs also make it a good choice for short blocks of textual content in both print and on-screen environments. The light and bold weights are perfect for setting blocks of text copy, while the extra bold and condensed designs bring authority to display copy. Throw in a little color, and you amp up Rockwell’s messaging power. The regular and italic designs perform handsomely, in the most modest of screen resolutions. With four weights of normal proportions, each with a complementary italic, and three condensed designs, two with italics, the family is a commanding and versatile graphic communicator. Rockwell’s large x-height, simple character shapes and open counters, make for an exceptionally legible design. It should not, however, be set so tight that its serifs touch, as this will erode legibility and impair readability. A benefit to Rockwell’s slab serifs, however, is that the design combines beautifully with both sans serif typefaces and a variety of serif designs. Rockwell OpenType® Pro fonts have an extended character set supporting Greek, Cyrillic, most Central European and many Eastern European languages, in addition to providing for the automatic insertion of ligatures and fractions. Looking for its perfect pairing? Look no further than ITC Berkeley Old Style, Between™, ITC Franklin Gothic®, Harmonia Sans™, Metro® Nova or Frutiger® Serif.

Cervo Neue is the new perfected and extended version of Cervo, containing 18 variants. It differs from the previous version with the higher accents over glyphs, enlarged punctuation, old-style numerals and the newly added varieties Semi Bold, Bold, Extra Bold and Black. Additionally, there is the variety of grotesque. Font Cervo is inspired by a “You And Me Monthly” published by National Magazines Publisher RSW „Prasa” that appeared from Mai 1960 till December 1973 in Poland.