MD-Type Rounded is a modern, stylish font family. The family consists of five fonts (Regular, Bold, Light, Block, Black) which are formed by all capital letters. The strong and accented letters were rounded on the corners and therefore softened. The font family supports Turkish language as well.

Public Utility JNL digitally duplicates the look of those small white-on-black self-adhesive stickers used by cities, power companies and telecommunication firms in order to identify utility poles and other service locations. A blank rectangle is available on both the solid and broken vertical bar positions.

The rustic lettering which also served as the model for Grist Mill JNL is the basis for Gristwood JNL. Another set of vintage wood type has the letters reversed out of blocks, making for a specialty titling font. Decorative end caps are located on the greater and less than keys and also on the plus and equal keys. A blank block for regular word spacing is on the underscore key, along with a wider blank box on the backslash key. This typeface has a somewhat limited character set.

Comalle is an organic typeface that rescues some elements of handwritten script, but its stroke does not necessarily answer to a literal calligraphy structure. So Comalle could produce a powerful impact on the page, it was designed with thicker strokes than its counter forms. The objective is that the black of the letter fills the page and causes a fastest visual impact than typographies that balance blacks and whites. One of the most important tasks of the Comalle design was to think of how to handle the unequal percentages of blacks and whites in the typeface. The peculiar thing, is that the precision work of the letter does not make the blacks, but the whites; this is the reason why in one first instance it was very valid to start off designing in a very gross way, nevertheless, the majority energies are put in the details of the design of counter space. From the drained filling concept of forms Comalle was born, a typeface that pretends to enchant with its delicate counter space design and to impact with the heavy outlines which compose its form.

Chipping is a brand new face inspired by Edwardian and 1920s letterforms. It's good for clear and legible headings which need a gentle and unobtrusive period touch, and is the latest is Greater Albion's line of faces to explore the 'small capitals' idea. You will see a broad similarity with our Chipperly family, and the two work well together in combined projects. Four faces are offered: regular and bold, as well as Black with a heavy drop shadow and white which explores the idea of 'whitespace' design.

Eklipse is a ultra-black typeface from Neder Type. Designed to defy the limits of legibility it is also a journey into a universe of strange possibilities. With multi-lingual support, contains more than 60 ligatures and contextual alternates! Eklipse fits perfect in headlines, logos and small blocks of text.

Ultra heavy

Heavy contemporary font

Here’s a novelty font emulating the plastic pennant streamers that were popular in the 1950s and 1960s used to decorate a store parking lot or used car lot for a sales event. The typeface inside the individual pennants is Manufacturer JNL, which can be used for body copy associated with titles made by this font. Parking Lot Sale JNL is available in regular (black letters on white pennants) and black (with white letters). A blank pennant for word spacing or end caps is available on the backslash key.

With its solid slab form, mixed with subtle curved terminals, Arbour is a unique font with the versatility to work in many different scenarios, from branding to digital applications. It comes in 7 weights, from a delicate extra-light to a solid, strong black, with matching italics for each upright. Arbour may have a serious look to it but it also has a playful side. The light weights are great for calling out text and the heavy weights are perfect for that new brand you are working on.

Frederik is a traditional humanist sans with a modern twist. Fresh and neutral in appearance but equally organic and friendly. Frederik features 10 styles ranging from Thin to Black, plus matching italics. Regular and Medium weights work exceptionally well for small body copy, while Light and Heavy styles work best for display purposes — making Frederik a highly versatile type family, suitable for a wide range of uses. Opentype features include inferiors, superiors, fractions, numero sign, circled numbers, stylistic ordinals, ligatures, numerous arrows including extended length, and support for all Latin and Cyrillic languages.

Aniuk is an original display type family from Typejockeys designed and optimized for the use in large sizes. With five robust weights—Regular, Medium, Bold, Heavy and Black—it is perfectly suited for editorial, posters or logo design. Aniuk is lively, young, and probably a little crazy. However, there certainly is one thing that it is not: boring. A perfect balance of characteristic curves and edgy details make this a strong but playful typeface. Be passionate, get emotional and express yourself with a variety of five different weights. A solid partner for your creative adventures.

This condensed block is a true knockout. VT Showcard is a heavy-hitting headliner with presence. Inspired by the boxing showcards of the 60’s and 70’s, VT Showcard towers over body copy and demands attention. This tall and mighty athletic display typeface features chiseled corners and subtle embellishments that reinforce a steady rhythm across its dramatic letterforms. With 7 weights, VT Showcard provides a versatility for sports headlines and similar projects.

PiS Lietz Parilon invites you to the austrian countryside for an amazing ski-tour on snowy mountains back then when skilifts were sparse and mustaches were far from ironic. Use this heavy fraktur for retro tourism posters, your classic beer or schnaps brand or anything that needs a good swig of tradition! Heat up the Jagatee and enjoy the earthy taste of PiS Lietz Parilon, it will warm your heart!

Skulebuk is a decorative typeface ideally created for use on edgy/street/urban or sports related design projects. Reminiscent of the early 90s scribblings in the back of my old school books (we all remember right!) instead of doing real work! The two weights available Regular and Heavy will help balance designs that want to over use the typeface i.e Heading and body text. 80s-90s is very now!

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

Checker is an all-cap ‘three-D’ font which automatically alternates white letters on black tiles with black letters on white tiles, by means of the Contextual Alternates feature. Checker is an attention grabber suitable for logos, titles and short headings. With its tiled construction, it's a natural for colorful interpretation. The letters are properly italicized and back-slanted, and adjusted for maximum readability within the constraints of the font’s concept. The letter style is bold grotesque, so Checker will mix smoothly with any other fonts in a layout.

PL Modern Heavy Condensed is based on a design by R.H. Middleton (1936). It has Bodoni-style letterforms, typical of Modern Serif faces. Use the PL Modern Heavy Condensed font for headlines in narrow settings.

A plush and heavy unicase font.

Voussoir, the perfect heavy display font.

Baraka - in Swahili - a blessing. It is a simple, block-like typeface closed in cuboids. It was created and designed in Tanzania, Africa. It contains 183 gliphs, which due to their simplicity, which consisted in cutting out letters from rectangles using as little light as possible, makes an impression and is in fact a very heavy display typeface. It was created primarily for posters and labels, where thanks to its modularity and form enclosed in a limited geometric figure

Carte Blanche literally means 'Blank Ticket'. Yeah, yeah, it is also a very 007-ish catchphrase, but I wanted to give this elegant font a 'stylish' name and Carte Blanche popped up. All glyphs were hand drawn on a rather expensive piece of heavy-weight paper and were put into the font in between changing nappies, bouts of the flu and the subsequent wiping of snotty noses. Carte Blanche speaks most Roman-based languages - albeit nasally…

A heavy slab face for many applications.

Designed to be fat, loud and heavy.

During the turbulent era of the 1960s, the youth of America found various ways to protest against "The Establishment". Whether it was campus unrest, protest songs, sit-ins or other methods, the message was the counter-culture movement. Arising from this disenchantment with traditional social standards, a small but effective means of protest arose that made no sound, yet spoke volumes - the pin button. Statements against the war in Vietnam, free love, drug use and other messages popped up on little metal discs pinned to tee shirts, suspenders, head band and hats. Sixties Pin Buttons JNL recreates twenty-six of these messages in both white on black (upper case keys) and black on white (lower case keys). Blank buttons in both white and black are found on the parenthesis keys.

Core Gothic E is a simple and modern sans-serif Korean font consists of 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy & Black). Character set is consist of Korean 11,172 characters, Hirakana & Katakana, Latin and Korean symbols. It is well balenced between Korean and Latin characters. Latin typeface (Core Sans E) was adjusted to be matched with korean typeface. Spaces between individual letter forms are adjusted in detail so that it makes perfect typesetting. Supported codepages are MS Windows 1252 Latin1 and MS Windows 949 Korean. We recommend to use for books, web, screen displays and so on.

Core Gothic M is a simple and modern sans-serif Korean font consists of 7 weights (Light, Regular, Medium, Bold, ExtraBold, Heavy & Black). Character set is consist of Korean 11,172 characters, Hirakana & Katakana, Latin and Korean symbols. It is well balenced between Korean and Latin characters. Latin typeface (Core Sans M) was adjusted to be matched with korean typeface. Spaces between individual letter forms are adjusted in detail so that it makes perfect typesetting. Supported codepages are MS Windows 1252 Latin1 and MS Windows 949 Korean. We recommend to use for books, web, screen displays and so on.

Core Gothic D is a simple and modern sans-serif Korean font consists of 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy & Black). Character set is consist of Korean 11,172 characters, Hirakana & Katakana, Latin and Korean symbols. It is well balenced between Korean and Latin characters. Latin typeface (Core Sans D) was adjusted to be matched with korean typeface. Spaces between individual letter forms are adjusted in detail so that it makes perfect typesetting. Supported codepages are MS Windows 1252 Latin1 and MS Windows 949 Korean. We recommend to use for books, web, screen displays and so on.

Core Gothic N is a simple and modern sans-serif Korean font consists of 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy & Black). Character set is consist of Korean 11,172 characters, Hirakana & Katakana, Latin and Korean symbols. It is well balenced between Korean and Latin characters. Latin typeface (Core Sans N) was adjusted to be matched with korean typeface. Spaces between individual letter forms are adjusted in detail so that it makes perfect typesetting. Supported codepages are MS Windows 1252 Latin1 and MS Windows 949 Korean. We recommend to use for books, web, screen displays and so on.

Rappica is a degraded and distorted heavy font.

Kubrick is an experiment in extremes. The Light font is very tall and slender, the Black font is very massive, and Kubrick's slender counters push some of its glyphs to the edge of recognition. The thin counters and negative spaces also give text set in Kubrick a definite visual sparkle, especially in all-uppercase settings. Because of its extreme letterforms, Kubrick is recommended only for large display use. The default letterspacing is set fairly wide to keep text legible. Kubrick was a double-experiment. One part of it was to see how heavy and massive a typeface I could make while still keeping it legible. The other part was to develop a Multiple Master font. Multiple Master fonts were a format developed by Adobe that allowed the user to change things like the weight and width of a typeface. Monollith started as just such a Multiple Master typeface, but when Adobe discontinued the Multiple Master format, I stopped work on the typeface. Later I decided to continue work on it, but as five separate font weights: Light, Medium, Bold, ExtraBold and Black. Very rectilinear letterforms with extremely narrow counters and negative spaces. The five fonts go from very thin and condensed to very heavy and extended. Use in large display settings where unornamented high visual impact is desired.

A companion to Springsteel (sans), this serif typeface is intended for longer text blocks and smaller sizes. Like the sans-serif, it has unusual construction using curves on the outside and straight lines inside characters, giving it quite an expressive and warm feel. It contains small caps and old-style figures, as well as superior/inferior figures and common fractions and mathematical symbols. It supports Western plus Nordic, Eastern European and Turkish languages. Excellent spacing and extensive kerning (over 2800 pairs) provided by Igino Marini/iKern. The free fonts in the Springsteel Serif Extreme family (thin and heavy weights) should only be used as display typefaces, at large size and short text blocks.