Grunt Grotesk is a modern Ukrainian sans-serif typeface with a number of distinct characteristics, which make it unboring but still great in the massive text blocks.

Invader is a display font designed specifically for display, headline, logotype and similar applications. It is not intended for text use or for use at small sizes.

Borghese - a 1904 Schelter & Giesecke font in Art Nouveau style was completely redesigned and is an ideal body text companion of display fonts like Ridinger or Reznicek .

Xet-hand Script is an elegant script font. It features a unique style that will look amazing in wedding invitations, branding, social media posts and much more!

An open, lightweight font of classical Roman proportions, designed for text or display setting. The serifs are slightly hooked, giving the face a liveliness on the baseline.

Inspired by printed texts from 18th century France, Millesime has a gritty grainy texture that adds a natural and sentimental feel to this stylish rusty style font.

This attractive handwriting typeface from Typadelic exudes casualness and informality. Very readable at small and large text sizes...perfect for scrapbooking, greeting cards and casual letter-writing.

Inspired by Thannhaeuser's Liberta, completely fresh drawn and designed, Trybuna is a pronounced, freestyle serif font family, intended for body texts in print and for the web.

Rack 'em up or take a swing at 'em! It's Ardball JNL. Letters inside spheres can add a novelty touch to your next project... Wanna play Ardball?

A revival of one of the popular wooden type fonts of the 19th century. Suitable for text or display, Teutonic features short descenders, and rounded, curved serifs.

Bantublesh is handwriting style. This font create and nice to application for wedding invitation, tees design, cover, writing text, wedding moment, logo photography , signature and many more.

A practical font family with 3 weights for all your needs: headlines, body text, signage etc. Great revival of legendary calligraphic script. High legibility at small sizes

This is the one and only Floe designed by Jolicia Type in 2021 every single letters have been carefully crafted to make your text looks value typhography

FG Emmy works great for both small and large text pieces and headings. I like the way the font bends in different directions. That makes it interesting!

Malberg is condensed sans serif family. Consist of 9 styles from thin to heavy with matching obliques. Fit for display and short text for various design purposes.

The Core Sans N Family is a part of the Core Sans Series (Core Sans N SC, Core Sans N Rounded, Core Sans M, and Core Sans G). Letters in the Core Sans N Family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans N Family consists of 3 widths (Condensed, Normal, Extended), 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black), and Italics for each format. It also supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans N Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

Gotta tell ya: think out of the box and this font is addictingly fun to use! Introducing Historic Warehouse, a substantial, yet elegant family, invoking advertising fonts of the early 20th century. Why the name? When asked to design a banner for Tucson’s Historic Warehouse District, I couldn’t find the look I wanted from any known fonts. After drawing what I wanted in Illustrator, there were three (and in the process, four) fonts just waiting to be realized. Happy to oblige. Here’s Historic Warehouse Regular, setting the stage. It’s sturdy, bold, and plays curves against rounded angular shapes. To its left is Historic Warehouse Condensed, trim, elegant and at its best at very large sizes; to the right is Historic Warehouse Wide, with charming style and presence. Finally, there’s Historic Warehouse Extended, extravagant in its proportions, with a beautifully-crafted form like a fine carriage. As the song says, “Everything Old Is New Again,” and this family looks as fresh and clean at the beginning of this century as it might have at the beginning of the last.

ULGA Grid Solid is the sharp, blockier sibling of ULGA Grid and ULGA Grid Rounded. The typeface consists of three weights, regular, medium and bold, with corresponding oblique styles. Every character in the extended ULGA Grid family shares the same width. Forged from a box full of ninja throwing stars – props from the now-forgotten 1976 Japanese film, Gridzilla, Revenge of King Gridorah – the solid shapes and sharp, chamfered corners give the characters a hard, cut-from-metal feel. A versatile display typeface that can be used for a wide range of purposes including CD covers, posters, packaging, advertising, nameplates for tractors, brochures and film titles. Mix and match with ULGA Grid and ULGA Grid Rounded, use the alternatives, sneak in an oblique style to spice things up, but most of all this is a fun typeface family. But, please, don’t use the characters as throwing stars. That’s just dangerous, someone will get hurt and you’ll regret it. The character set supports Western Europe, Vietnamese, Central/Eastern Europe, Baltic, Turkish and Romanian.

Among the countless typefaces available today, the Modern Face style is relatively underrepresented. During the 19th century and then later with the competition from the mechanized hot metal types and film setting, a number of attractive headline types appeared in this style. For text, however, the available types were limited to those based on tried and true classics like Walbaum, Didot and Bodoni, which were created between 1780 and 1830, as well as a few variations from the end of the 19th and beginning of the 20th centuries. The demand for new Modern text types remained nonexistant until the 1960s. Such was the situation when the Haas'sche Schriftgiesserei (Haas Type Foundry) commissioned me to come up with a concept and sketches of a new hot metal type. I was able to convince the director of the foundry that there was a niche to be filled with contemporary Modern typography. Another reason for the production of a new type was of a technical nature: the introduction of a new setting technique should not be limited to existing typefaces, but instead should lead to innovative text types suited to the demands of the new applications. André Gürtler, Basilia's designer: I began to work on the concept and initial designs of the new text type in 1968. I wanted to give the type a classical look, expressed above all in the strong stroke contrast between the robust verticals and fine horizontal strokes and serifs. This is one of the main characteristics of Modern typography.""This new typeface, Basilia, is distinguished by its soft, open appearance as well as a number of details which together mark a departure from historical models. For example, it has nothing of Bodoni's round letters and their angular, narrow spacing, and displays instead round forms with a much softer stroke in the curves. It was very important to me to avoid the Modern characteristic of stiff, vertical, grid-like strokes and to create instead a lighter, more transparent type. I retained the Modern style by using straight horizontal serifs at right angles to the strokes to still give the type its sense of rigidity." Three sketches for Basilia (normal, italic, and bold) were finished in 1973. Only the 9-point size was produced at first. In the following years, basic weights were made and adapted to filmsetting."