KhaoSans is a Rounded typeface. The latin was inspired from Thai woodtype used as headline in old day Thai newspaper. The refined curve with some sharp end add uniquely beautiful touch to the typeface. In Thai language, ‘Khao’ (ข่าว) means ‘news’ and ‘Sans’ (สาร) means ‘message’. The font comes in 8 weights, ranging from a delicate ExtraLight to Black, with 3 widths (Normal, Wide, and Expanded). Matching italics are provided, resulting in a total of 48 styles family.

The appearance of the 'IA War Bot' speaks for itself. It is a futuristic stenciled robotic font family that would be suitable for lettering comics, computer games, toy packaging, and the like. Many of the glyphs have alternatives. The widest set of font files, from Thin Ultra Condensed to Black Ultra Expanded, and the expanded character set (including Cyrillic) will satisfy all design needs. And the most demanding can turn their attention to the variable font.

FodaSans typeface is a Multi-language font family for a wide range of uses, comes with 126 weights with 463 glyph for each weight, supports Latin and Arabic language and covers OpenType features like Glyph Composition / Decomposition, Kerning, Standard Ligatures, Mark Positioning .. and more. The Typeface Have 6 Styles (Normal, Curved, Rounded, Solid, Solid Curved, Solid Rounded) with their obliques and italics ranging from Extra light to Black. Thank you for choosing FodaSans fonts from Fo Da Foundry.

BR Firma is a geometric sans serif consisting of 8 weights ranging from Thin to Black with matching italics. It supports an ‘Extended Latin’ character set that covers over 200 latin based languages. BR Firma provides advanced typographic support with features such as case sensitive forms, fractions and slashed zeros. It comes with multiple figure sets and is ideal for print, advertising, publishing, branding, software and gaming as well as being optimised for web and screen design.

In 1995, David Berlow cut Moderno FB for Esquire Gentleman and Reforma from a TrueType pole of Giza. In 1996 he cut new styles with Richard Lipton for El Norte. In 1997, Roger Black ordered new weights for Tages Anzeiger. A redesign of the Baltimore Sun, with Ionic FB as text, required further growth. The whole series was then revised for Louise Vincent, at the Montreal Gazette, with further styles added in 2005 for La Stampa. FB 1994-2008

"Under Boom" is an urban graffiti font characterized by sharp edges and a bold look. Ideal for music posters, apparel designs, shirts, and streetwear, this font brings a touch of edginess to your projects. The unique style of "Black Squad" makes it the perfect choice for death metal or urban graffiti themes. Whether you want to create a strong and powerful statement or simply add a touch of attitude to your designs, "Under Boom" is the font for you.

The Eagle series realizes the ideas behind Morris Fuller Benton’s famous titling face, Eagle Bold, which was drawn in 1933 for the National Recovery Administration and became the symbol of American recovery. Font Bureau’s Eagle was started in 1989 for Publish magazine. David Berlow designed a lowercase, finished the character set, and in 1990 added Eagle Book for setting text. In 1994, Jonathan Corum added Eagle Light and Eagle Black to form a full series; FB 1989–94

A neogrotesque with a distinct mid-century feel. Shapiro’s multi-axis Variable Font comprises of 8 text weights, from Light to Black. Three additional sizes, “Headline”, “Display” and “Max” supply another 8 weights that are spaced for larger applications. To top off the package, 8 Wide styles are ready for that extra punch. Choose Shapiro for any job that calls for a restrained but confident voice. Give your design that professional look in the blink of an eye.

The SF Handwriting font family is designed for educational and printing purposes. It is a carefully crafted font that supports Arabic, Latin, Persian, and Urdu. The font is characterized by its clarity, ease of reading, and visual appeal. It is also convenient to use in small sizes. The SF Handwriting font family includes three weights: Regular, Bold, and Black. The Dotted style is designed with a straight background for printing and overwriting by children or other users.

This in-yer-face kinda face is based on a broad brush font from "The New ABC of Showcard & Ticketwriting" by C. Milne, published in Australia in the late 1930s. Brought to my attention by Ms. Kat Black, and named in honor of Ms. Kat's grannie, to whom the book originally belonged. The Postscript and Truetype versions contain a complete Latin language character set (Unicode 1252); in addition, the Opentype version supports Unicode 1250 (Central European) languages as well.

Menco was inspired by the lettering of engineering, found on blueprints, mechanical drawings, stencils and templates. The family has 5 weights, ranging from Thin to Black (including italics) and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries as well as small text. Menco provides advanced typographical support with features such as case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It also comes with tabular lining and proportional lining figures.

Sánchez, designed by Daniel Hernández, is a serif typeface belonging to the classification slab serif, or Egyptian, that bears a strong resemblance to the iconic Rockwell. Offering contrast and balance to the square structure, Sánchez Slab is a new version, more robust with straight edges, that give greater character and power. Sanchez Slab comprises 12 variants, ranging from extra light to black, each of the same x-height. Regular and Italic variants are available for free.

Stillmore is inspired by a modern lifestyle that expresses character with ease. Then a font with two contrasting styles was created, Stillmore basic and cursive, symbolizing that each person has different character desires. Has 3 weights Regular, Bold, Black with unique details in each glyph that make them stand out. This font is perfect for making a stunning impact on designs of many contemporary types. Has more than 430 glyphs in individual styles. Supports many languages ​​including cryllic.

Macis is a real-and-fake-retro-modern font-family containing five weights from thin to black. It is inspired by shop signs, packaging and typography from around the middle of 20th century. Though it is strictly geometrically constructed, it contains some hand-crafted influences as well as some irregularities. Some say, it dances on the baseline, ’cause the bowls and curves reach far out over the stems. Use it in big sizes, especially the extreme weights!

Kilburn is a no-nonsense, condensed Gothic sans-serif. For over a century the condensed sans-serif has been the 'go to' font for gravitas and authority. Kilburn continues in the fine tradition of fonts such as Franklin Gothic, News Gothic and Trade Gothic offering a contemporary interpretation of the condensed sans-serif — functionality with personality. Equally at home as both a text and display font, Kilburn is available in five weights from Thin through to Black.

URW Geometric is a sans serif typeface inspired by the German geometric typefaces of the 1920s but designed for modern usability. The character shapes have optimized proportions and an improved balance, the x-height is increased, ascenders and descenders are decreased. These design characteristics increase the usability and legibility tremendously. Accordingly to the URW Geometric, Boutros Fonts designed the URW Geometric Arabic. 10 weights, which harmonize perfectly with the Latin ones, were created – from Thin to Black.

Stenka is a sans-serif stencil typeface that stand for display typeface to use in any typographic situation. It has his own unique style in expressed perfect condensed forms. Stenka is an ideal font family for display, print, corporate identity, mobile devices, magazine cover, signage, and web design creation, with a set of ligatures and alternative characters for your design in any layout. The family has 4 weights ranging from Light to Black and their italic.

TA Bankslab Shadow I created the font in 10 styles. 7 weight from Thin to Extra Black, an Outline, Shadow, and Art Nouveau. The Art Nouveau style was inspired by the texture in the background used for the text on the building. The texture I applied to capital letters adds beauty to the font. If you like the font feel free to use it or simply let me know if your current alphabet doesn't support this font.

Argot is inspired by condensed grotesque letterforms and would be a monolinear sans except for an unorthodox disparity between inner and outer shapes. Elegantly curved outlines contrast starkly with austere rectangular counters, suggesting a no-frills functionality, 20th century modernism, or an unsettling discordance. The squared off inner spaces also add clarity and crispness. Argot is available in three widths — Wide, Normal and Narrow. Each width is supplied in three weights — Regular, Bold and Black — with corresponding italics (obliques).

Markisa is a simple, cool, and dynamic Humanist-flavored Sans Serif type family. It consists of eighteen weights from Thin to Black in both Upright and Italic styles. The resilient yet robust typeface. A san-serif with a humanist touch, a steady combination of seriousness and merriment. Works well as texture in small sizes, while at the same time claiming its space on the display. With its distinctive characteristic, can catch anyone’s attention wherever and whenever.

Miss Donna - contemporary, powerful, versatile and casual. Curvy, sassy, fast-talking, and utterly useable, she takes you into the world of movie posters, decor ads, fashion posters and tags, greeting cards and invitations. Her lines are bold, clean and legible. The Miss Donna family comes in four styles: - REGULAR - clean good lines and generous curves - for decor ads, greeting cards, copy - NARROW - slim (more compact), and elegant with contained curves - for greeting cards, invitations, copy - BLACK - bold statement, round, generous curves - for movie posters, fashion posters - BLACK CAPS - especially designed for "all-caps" printed text. Use for headings & subheads. Miss Donna Black Caps contains capitals in two sizes and this gives you the ability to generate text of two types: - a correctly spaced and kerned upper case, OR - a TRUE Small Caps -- as opposed to the false Small Caps produced by a well-known word processing application. In a correctly proportioned Small Caps the stroke width should not be reduced in the same proportion as the letter height is reduced. The stroke width of the small capitals should rather be equal or close to the stroke width of the corresponding upper case characters. Note: When using script fonts it is NOT usually advisable to use text in ALL caps. The best effects for headings and subheads are obtained with an initial upper case letter followed by lower case characters. BUT, Miss Donna will still produce excellent results with all caps if you are using an application that supports kerning. If you are using upper and lower case then it is not necessary to use kerning, although it may make a slight difference on occasion. Miss Donna contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It has all the accented characters used in the major European languages.

Are you ready to bring some dark and edgy vibes to your designs? Look no further than the Hellfire Flames | death metal font! With its black fire-inspired design and brutal form, this font is perfect for adding a touch of darkness to your work. Hellfire Flames is a death metal font that embodies the essence of infernal power and brutal energy. The font's letters take the shape of black flames, with a raw and aggressive design that will leave a lasting impression. The font includes both uppercase and lowercase letters, as well as a range of symbols, numerals, and foreign language support, making it a versatile tool for any project. Hellfire Flames also offers an array of extraordinary and unique death metal ornaments. These intricate designs are perfect for adding a touch of dark ambiance to your project, and are sure to impress any fans of the genre. Hellfire Flames is perfect for anyone looking to add a touch of darkness and aggression to their design projects. It's especially well-suited for projects related to death metal, black metal, gothic, horror, and other genres of heavy music. This font is also great for creating logos, album covers, merchandise, and other graphics that need a raw and intense look. Its unique death metal ornaments make it a great choice for adding an extra level of detail and flair to your designs. So why settle for boring fonts when you can unleash the power of darkness with the Hellfire Flames? Get ready to create designs that are truly unforgettable and take your work to the next level! ——— Hellfire Flames features: A full set of uppercase and lowercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features +238 Total Glyphs +50 Death Metal Ornaments and Splatter included! ———

Born in the 70s Personal influences are unavoidable in type design and usually find their way through into finished fonts. At Fontsmith, one period in particular provides inspiration, according to FS Pimlico designer, Fernando Mello. “Jason and Phil have always known that I’m very into the visual language of the 70s. I know that Jason shares my love of the 70s and Phil will sometimes admit to being a fan, too. I think that’s the reason they were both so supportive in the development of this font. “And, of course, we all share an interest in good-humoured and intelligent design. We like to think it’s a Fontsmith characteristic.” Back from black FS Pimlico started in an unusual place: with a tubby, penguin-like lowercase “a” that Fernando Mello had been sketching. From “a” grew the rest of the alphabet – a bubbly, fat, friendly family with a brush-written quality that became FS Pimlico Black. The black weight certainly isn’t the normal starting point for creating a regular and bold weight, but Fernando pressed on, driven by a glut of influences: brush-writing; Letraset and early digital systems catalogues; the type of Herb Lubalin and Tony di Spigna; 70s clothes and vinyl; and 70s revival disco nights in London’s Pimlico and Vauxhall. Natural or flourished Not often do fonts come along that seem to span the ages. FS Pimlico is at home in an office environment providing a fresh clear identity in communications or providing text that’s clear and easy to read. But it likes to party, too, 70s style. With the OpenType features switched on, a designer can totally change the look of their work, and create point-of-sale, headlines and titles that stand out and get noticed.

Born in the 70s Personal influences are unavoidable in type design and usually find their way through into finished fonts. At Fontsmith, one period in particular provides inspiration, according to FS Pimlico designer, Fernando Mello. “Jason and Phil have always known that I’m very into the visual language of the 70s. I know that Jason shares my love of the 70s and Phil will sometimes admit to being a fan, too. I think that’s the reason they were both so supportive in the development of this font. “And, of course, we all share an interest in good-humoured and intelligent design. We like to think it’s a Fontsmith characteristic.” Back from black FS Pimlico started in an unusual place: with a tubby, penguin-like lowercase “a” that Fernando Mello had been sketching. From “a” grew the rest of the alphabet – a bubbly, fat, friendly family with a brush-written quality that became FS Pimlico Black. The black weight certainly isn’t the normal starting point for creating a regular and bold weight, but Fernando pressed on, driven by a glut of influences: brush-writing; Letraset and early digital systems catalogues; the type of Herb Lubalin and Tony di Spigna; 70s clothes and vinyl; and 70s revival disco nights in London’s Pimlico and Vauxhall. Natural or flourished Not often do fonts come along that seem to span the ages. FS Pimlico is at home in an office environment providing a fresh clear identity in communications or providing text that’s clear and easy to read. But it likes to party, too, 70s style. With the OpenType features switched on, a designer can totally change the look of their work, and create point-of-sale, headlines and titles that stand out and get noticed.

Magola is a creamy flavor font family whose purpose is to season with emotions the reading of words and phrases formed by puffy glyphs coated with a caramel of empty spaces external and internal. Independently or in groups, members of the family serve to decorate and organize packaging or advertising material in letters apparently crafted for food or entertainment contexts. Its starting point was to draw letters like a ballon fish evolved into a black version with empty areas and microscopic contrasted with colorful inflated and filled areas. Then the challenge was based on the sum transferred between full and empty into a lighter caliber. In that vein, its overall design adapted skeletons of italics and Roman calligraphy. Therefore, its regular, bold and black files have great height "x" with upwards and downwards extremely short and large internal counterblocks to facilitate reading. In this regard, to strengthen its objective and capture the reader's attention, its kind of contrast and simulated auctions flat tip brush strokes, and amount of contrast between thick and thin in the black version is slightly inverted. Its sizes, smooth strokes and irregular lines reinforce its traditional spirit, so it is favorable to shine the information on posters or large-format media. In short, its optical conformation based on a non-literal way, in metrics similar in all family members to be easily exchanged without changing the ìxî height. It is therefore a striking and versatile tool, that besides being useful in large sizes, can be used in small sizes as well. And more importantly, its general concept is more profitable when its members are mixed to nest headings, subheadings and short paragraphs, designed according to size, position, color and location in logos, covers, posters, ads and flyers.

Casta is strong Modern contrasts make this typeface both impressive at display sizes and easily readable in text size, while the sharp shapes of the triangular serifs and the distinctive letter shapes show their strength in logo design and impressive editorial use. Casta come with elegant style, strength and contrasts, with features an extended latin character set of 429 glyphs covering over 28 languages, and includes advanced open type features like standard and discretionary ligatures, positional numerals, stylistic alternates and case sensitive brackets. Mixing versatility and personality, Casta is ready to be like a top model on the design catwalk, making your projects looking classic but contemporary, finely tuned but assertive, and elegant as the best luxury fashion.

This sticky blackletter font owes its street credibility to the texture of torn adhesive tape. Designed to support rehabilitation of the historically tainted Fraktur, its pragmatically shaped majuscules guarantee legibility to a 21st-century readership. They even forgive all-caps usage - a thing you better not try with most blackletter types around. It contains a range of diacritics and ligatures, as well as open type features that substitute alternate glyphs for often repeating characters. With its fine tape strip details you may best use it at poster and headline sizes; at small sizes you interestingly get a nice woodcut appearance. Connoisseurs use it with style, while true blackmetal grimlords curse it for its fashionability!

This is the display version of Librum. Librum means “book” in Latin, which I thought was appropriate. Bream is Latin for proclaim—appropriate for display work. The fonts are very close to Librum-Book and Librum-Italic, with the same OpenType features. The glyphs are modified a bit to make them a little more elegant, but that’s not very noticeable. Mainly, the letterspacing and kerning is tighter and more carefully fit to large point sizes. As for classification, I like oldstyle, Venetian, geralde, English oldstyle. There’s discrete modulation, slanted crossbars, full brackets serifs of medium thickness and sharp cut ends. For a great deal, see Librum Book Design Group, for a package containing all fifteen fonts!

Waters Titling is the work of lettering artist Julian Waters, a multiple master typeface of classical calligraphic roman capitals. This broad-tipped pen design is related to other historically-based titling alphabets but offers a wider range of weights and widths, making it extremely versatile for movie titles, book jackets, posters, banners, calendars, etc. Waters Titling is based on the timeless Roman monumental inscription forms of almost 2000 years ago, but also has a touch of contemporary vigor and flair. The design displays a strong calligraphic thick/thin stroke weight contrast and flowing, subtly bracketed serifs. In lighter weights, Waters Titling is elegant and delicate, while the bolder weights offer a more substantial sparkle.

The pages of vintage type foundry catalogs yield so much wonderful type design and artwork. Found within their pages are hundreds of classic text and display faces alongside delicately engraved cuts as well as print shop borders, ornaments and embellishments. These books are treasure troves of their respective times, and Typesetter Ornaments JNL preserves some of that art in digital form. Redrawn from this source material are twenty-six basic design elements that include corner pieces, end pieces, pointing hands, spot illustrations and other designs. Also included are old style parentheses, brackets, an Rx (prescription symbol), two cent signs and a few extra elements located on the number keys and their caps shift counterparts.

Printers Lot JNL is another eclectic mix of cartoons, ornaments, catch words, decorations and embellishments re-drawn from vintage source material used in the days of letterpress printing. For those who like to assemble their own larger borders, a set of elements is on the 2-9 keystrokes, but it must be noted that some manual adjustment is necessary to line up all of the parts in a complete border pattern. From a Happy New Year greeting to whimsical cartoon characters; from singular ornamental design elements to beautiful brackets, this mix of subjects is a great overview of the kinds of cuts found in printers' job case drawers in years gone by.

Sebino Soft family is a rounded version of Sebino. It is a neutral sans-serif type family with 9 weights, from thin to black, with corresponding italics. Sebino Soft has a large x-height with open apertures which make texts more legible at small sizes. Each font includes OpenType Features such as Proportional Figures, Tabular Figures, Numerator, Superscript, Subscript, Case-Sensitive, Denominators, Scientific Inferiors, Ordinals, Ligatures and Fractions. Sebino Soft will make your artworks better with its clean & clear shapes.

Ace Sans is a modern and minimalist sans serif font family. The combination of minimal and geometric elements renders a modern design. Ace Sans family includes 8 fonts, clean and modern caps, thereby creating more variability. This is irreproachable sans serif to diversify your headlines, branding visual identity, poster, logo, magazines and etc. 8 Weights (Thin, Extralight, Light, Regular, Medium, Bold, Extrabold, Black) Oblique font is available Numbers & Punctuation Extensive Language Support Thanks for looking, and I hope you enjoy it.

Satigof by Holyline is a playful sans serif font family, This font very playful and unique comes in nine weight, thin to black . It's very unique, fancy, playful very easy to combine with multiple design style. Satigof perfect for headline, sub headline ,custom logo,packaging, quote, invitations, watermark,social media posts, label, anything for your creativity and Satigof is perfect font if you want something new with your project, and you can pairing this font with the weight, its very satisfy. Happy creating!

Gorodets is a symbol font based on traditional wood-painting style from the town Gorodets on Volga river, Russia. The main motifs of it are decorative flowers, birds, horses and even people, drawn in special way and painted in black, red, blue and green. The Gorodets typeface consists of 60 manually traced images divided into two parts: filled and empty ones. The typeface can be suitable in greeting cards and other printed materials to make them look decorative in a traditional Russian way.

Quan Pro is new redesigned version of Quan(2013) – one of the most popular font families of Typesketchbook foundry. This new family has refreshed structure, corners, and a new shape of glyphs. It is developed in 8 separate weights ranging from Thin to Black, each coming with Rounded and Slim version, which is well suited for a variety of typographic applications such as headlines and small texts. Quan Pro font family supports multiple languages and is available as both webfont and desktop font.

Peter Kin-Fan Lo designed the award winning Linotype Ancient Chinese™ in 1997. It is a symbol font that contains 92 “portraits” of figures who look as if they could have populated ancient China. These portraits are black and white symbols, gathered together into a font. This symbol font may be used for any design piece dealing with history, China, Chinese restaurants, or Asian art. To clearly see all the details, these symbols should be used at larger point sizes.

Amongst some pages scanned and posted online of old wood type alphabets comes this lovely, ornamental design in a reversed style of white lettering on black rectangular boxes. This classic set of wood type is now available digitally as Wood Fancy Reverse JNL. There is a narrow blank box on the “less than” key for use as an end cap, and a wider blank box on the “greater than” key to use between words as a blank space if so desired.

Hexi is a modern style serif font. It has 9 thicknesses (Thin to Black) to provide more support when designing and also Oblique version to give your texts more different or contrast. Have bold serifs to reduce the pixel effect on digital devices. Minimized the nodes in each design to keep the glyphs bodies clean. Give the extrema point on each curve, it will make Hexi look smooth and neat. There are several subpackage options for you to save even more.