Mystere is a new, hand-drawn font. This is currently a limited set designed for display usage. The font has a crude, yet stylish feel.

Marlyn Angolie is a distinctive display typeface with a psychedelic and retro style: perfect for logos, brand identity and modern typographic designs for your project.

Thought to have developed from a display face first listed in 1890, the Derek Italic font is a heavy face ideal for short titling purposes.

Phoenix Squad is a modern and bold display font. Add this font to your favorite creative ideas and notice how it makes them come alive!

A revival of one of the popular wooden type fonts of the 19th century, condensed, bold, flat thick serifs, a very useful design for display.

Lucifer is Modern Display Font. This typeface is perfect for branding, logos, headlines, Captions. or simply as a stylish text overlay to any background image.

Geffry is a retro inspired display typeface. It's fun and groovy with a bold personality. Perfect for masthead, logo, or anything your creativity takes you.

Megot is a modern fancy display font with playful feel. Comes with opentype features, Megot also supports multilingual covering Latin based language (Latin Extended Additional)

Horror Hustle is a casual display font. It is perfectly suitable for any Halloween-related project or crafty idea! The only limit is your imagination.

A revival of one of the popular wooden type fonts of the 19th century, suitable for display, geometric slab serifs unbracketed, short descenders, very condensed.

Macaron is a lovely, playful handcrafted typeface with inconsistency. It's designed to suit your homemade products and crafts and is also best for display purposes.

Saferick is a quirky and great display font. It’s perfect for logos, stationery, branding, packaging and it will add a cheerful touch to your designs.

Magic Holiday is a fun and whimsical paint brushed display font. This font is perfect for children themed designs, especially when combined with bright colors.

PT Adventure™ was designed by Natalia Vasilyeva and licensed by ParaType in 2001. An original calligraphic script. For use in advertising and display typography.

Subway Ticker is based on a 5x7 grid, electronic display observed on a New York subway train in February 2005 en route to Coney Island.

Phi is a simple geometric sans, inspired by the Golden Ratio. It is rock solid, versatile, legible and excellent for both text and display usage.

Pixelar font family has been designed for Graviton Font Foundry by Pablo Balcells in 2012. It is pixel display typeface. Pixelar consists of 4 styles.

Chitchy is a rough-hewn heavyweight display face perfect for headlines and emphasis body copy. Extended character set includes foreign language support for many countries.

Minnie is a clean monoline upright script. This fun-loving font is great for headline display and text use. It comes with numerous alternate characters.

Led font family has been designed for Graviton Font Foundry by Pablo Balcells in 2012. It is dotted display typeface. Led consists of 2 styles.

Introducing Modesfa – Modern Display Serif inspired by the famous minimalist logo perfect for the purposes of designing templates, brochures, videos, advertising branding, logos and more.

Introducing Quinger - Unique Sans Display inspired by the famous minimalist logo perfect for the purposes of designing templates, brochures, videos, advertising branding, logos and more.

Kimaus is reverse contrast display font. It's letterforms are inspired by the classic cartoon style. Fit for titling and unique looking designs and creative projects.

Introducing Galisteo, a subtle retro-aesthetic serif typeface. This font will be suitable for display design projects and creative ideas that need to stand out.

Introducing Luxoorea – Stylish Display Serif inspired by the famous minimalist logo perfect for the purposes of designing templates, brochures, videos, advertising branding, logos and more.

Agenor is an all caps display typeface family. It comes in five weights and is suitable for headlines, headings, branding, posters, packaging, titles and logos.

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.

Tasmik literally means thickening, this font is thick like extrabold in wight, impressed firm but flexible, suitable for display text and the center of interest.

A revival of one of the popular wooden type fonts of the 19th century, suitable for text or display, short ascenders and descenders, serifs triangular.

A revival of one of the popular wooden type fonts of the 19th century, suitable for display, geometric slab serifs unbracketed, short descenders, very condensed.

Boa bold is a basic display font made for print. It was created for an Artbook about reptiles. It needed to be round and clear.

Sakurata is a unique and chunky lettered display font. Add this font to your creative ideas and notice how it will make them stand out!

Introducing Glamorez - Luxury Display Serif inspired by the famous minimalist logo perfect for the purposes of designing templates, brochures, videos, advertising branding, logos and more.

Hello Angel is a fun and whimsical paint brushed display font. This font is perfect for children themed designs, especially when combined with bright colors.

Designed by Francesco Canovaro with help from Andrea Tartarelli and Maria Chiara Fantini, Kitsch is a typeface happily living at the crossroads between classical latin and medieval gothic letterforms. But, rather than referencing historical models like the italian Rotunda or the french Bastarda scripts, Kitsch tries to renew both its inspirations, finding a contemporary vibe in the dynamic texture of the calligraphic broad-nib pen applied to the proportions of the classical roman skeleton. The resulting high contrast and spiky details make Kitsch excel in display uses, while a fine-tuned text version manages to keep at small sizes the dynamic expressivity of the design without sacrificing legibility. Both variants are designed in a wide range of weights (from the almost monolinear thin to the dense black), and are fully equipped with a extended character sets covering over two hundred languages that use latin, cyrillic and greek alphabets. Special care has been put in designing Kitsch italic letterforms, with the broad-nib movements referencing classical italian letterforms to add even more shades to your typographic palette. The resulting alternate letter shapes have also been included in the roman weights as Stylistic Alternates - part to the wide range of Open Type features (Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms) provided with all the 32 weights of Kitsch. Born for editorial and branding use, Kitsch is fashionable but solid, self-confident enough to look classic while ironic enough to be contemporary.

Neufile Grotesk has its roots in some of the earliest commercially available sans-serif typefaces. This highly legible sans-serif design is well-suited for many display and text-based typographic uses. Users can apply the fonts effortlessly to a large number of messages and media, from advertising to book design. The typeface family ships in two different formats. Depending on your preference, you can install the typeface as a single Variable Font or use the family’s eight static OpenType font files instead. Those weights run from Extralight through Black. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The Neufile Grotesk Variable Font’s weight axis allows users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. But even the eight static fonts satisfy the need for flexibility, creating harmonious variations of texture and emphasis. Whichever format you choose, the Neufile Grotesk fonts include several sophisticated OpenType features. In addition to standard ligatures, there are a few discretionary ligatures and a stylistic set replacing “a”, “g”, and “R” with geometric-sans-style forms. Other features include numeral variants – there are proportional and tabular versions of lining figures and oldstyle figures – as well as fractions and numbers in circles. The fonts have arrows and a feature for setting case-sensitive forms, too.

Originally drawn in 1985, Jovica Veljović had intended to add a few kerning pairs and make some minor refinements to the letterforms. However, his work lead him to take a fresh look at the family. Veljović recalls, … I soon realized that some characters could benefit by more refined shapes and proportions. By the time I was done, I had worked on just about every character in the original design." In fact the end result is two systems: one optimized for extended texts; the other for display settings. The original elegance of the design is not lost, but the new design brings with it letterforms that are altogether more harmonious and balanced. The roman is dynamic and spirited, just oozing character. The italic by contrast is a little more restrained, but nonetheless an elegant and fitting accompaniment. The text-optimized fonts come with a generous x-height, and slightly less contrast; though its marginally wider proportions let in the light, making it very legible even at small sizes. ITC New Esprit ® is a versatile family, brought to you in four weights from regular to black. OpenType features like small caps, alternates, and a broad character set make this a welcome addition to everyone's font library. Whether you want elegant and legible text, or dynamic and personable headlines, then you'll want to click through to see more of ITC New Esprit. "

Megaverse VF Design 2023, Volker Schnebel JP-Fonts GmbH, Hamburg, Germany Megaverse VF opens up a universe that is beyond others. Not only its style is mega and the scope of the supported languages is beyond others, but the variety of variants opens up a design space that is unique. The complete family includes at least 90 fonts in 5 width levels from UltraCondensed to ExtraExpanded, each in 9 weights from Thin to Black, both upright and italic. It is a universal font that can be used for almost anything. From the official announcement or the informal letter to the letterpress and to the screen display as a corporate font: Megaverse is always convincing. Her character is quite graceful, but also neutral. She seems likeable, but also serious. She impresses with sharpness and precision and yet remains down-to-earth. Her wide range of variants is unique, both in terms of boldness and width. The very different forms of appearance fit together harmoniously as a whole, which gives the user an enormous freedom of design. Megaverse VF is a must-have for anyone who wants to keep adapting a typeface to different circumstances and who enjoys using variants that make the layout more colorful and perfect. All the advantages of the new variable font technology can be optimally applied with Megaverse VF, including optical scaling. Kerning, hinting and other technical requirements are carefully implemented so that the fonts work perfectly under any condition.

Designed by Malou Verlomme of the Monotype Studio, Macklin is a superfamily, which brings together several attention-grabbing styles. Macklin is an elegant, high contrast typeface that demands its own attention and has been designed purposely to enable brands to appeal more emotionally to modern consumers. Macklin comprises four sub-families —Sans, Slab, Text and Display— as well as a variable. The full superfamily includes 54 fonts with 9 weights ranging from hairline to black. The concept for Macklin began with research on historical material from Britain and Europe in the beginning of the 19th century, specifically the work of Vincent Figgins. This was a period of intense social change--the beginning of the industrial revolution. A time when manufacturers and advertisers were suddenly replacing traditional handwriting or calligraphy models and demanding bold, attention-grabbing typography. Typographers experimented with innovative new styles, like fat faces and Italians, and developed many styles that brands and designers continue to use today, such as slabs, serifs, and sans serifs. Verlomme pays respect to Figgins’s work with Macklin, but pushes the family to a more contemporary place. Each sub family has been designed from the same skeleton, giving designers a broad palette for visual representation and the ability to create with contrast without worrying about awkward pairings. With Macklin, Verlomme shows us it’s possible to create a superfamily that allows for complete visual expression without compromising fluidity.

TipTop Pro’s origin goes back to around 1900 when the font was released by the German foundry Julius Klinkhardt in Leipzig. Ralph M. Unger redesigned this beautiful art nouveau typeface, extended its character set and digitally remastered it. TipTop Pro fits perfectly into the series of recently released URW++ art nouveau designs (Edda, Gradl, Impression, Joga, Ornella).