Expline typeface finds its roots in modernist design but subtly pays homage to early Modern Industrial Grotesks. This fusion creates a font that encapsulates the essence of tradition while embracing the contemporary. The font incorporates sharp details in select characters and curves, imparting a delicate sweetness while preserving the robust character associated with grotesk fonts. This unique blend allows Expline to strike a perfect balance between display and text usage, making it a versatile choice for a variety of design projects. Expline's flexibility shines through its extensive weight options. The font family offers eight distinct weights, each thoughtfully crafted to establish a clear typographic hierarchy. Designers can easily choose the right weight to suit the specific needs of their projects, whether it's a bold headline or a refined body text. This variety ensures that your typography will always make the right visual impact. Expline typeface doesn't stop at weights. It provides expansive character sets across each weight, encompassing all Western European diacritics, Punctuation, Mathematics, and Numerics. This ensures that your typography will seamlessly support various languages and punctuation marks, making it a global choice. In addition, the font boasts OpenType features, granting the flexibility to explore multiple subsets. This includes alternate capital letterforms, tabular and lining numerals (both proportional and old-style), enabling endless typographic possibilities. Whether you're designing for print or web, these features allow you to fine-tune your typography for a perfect fit. Expline is a font that bridges the gap between modernist design principles and early industrial influences, resulting in a Neo-Grotesk font with a contemporary twist. Its comprehensive weight options, expansive character sets, and OpenType features make it a versatile choice for any medium between print and screen.

Evans was named after Walker Evans, an american photojournalist whose photographs often featured unassuming subjects – ordinary people, roadside scenes, and the subtle details of the American landscape. His ability to find beauty in simplicity and appreciate the mundane inspired Cosimo Lorenzo Pancini and Andrea Tartarelli to create this typographic family that aims to convey the ideals of journalistic storytelling: simplicity, clarity, and unpretentious honesty. Looking for a soothing, relaxed visual flow in body text, Evans was designed by gently narrowing classical proportions to answer the designers' need of maximizing the arrangement of lengthy text within confined spaces. Combining the vintage appeal of a semi-condensed old-style structure with a very slight transitional slanted axis resulted in text-oriented typeface with visual charm on both printed and digital pages. Subtly reducing the size of majuscules allowed the effect of an increased x-height, balancing space saving with increased readability at same point size. Using soft, semi-calligraphic shapes and keeping a generous letter spacing, the designers embraced a minimalist approach, aiming at a smooth reading experience. For maximum versatility, Evans provides two distinct variations tailored to different purposes: the Regular and the Narrow subfamilies. While both are fine-tuned for body text applications , the second is suited also for display-oriented contexts, where attention-grabbing headlines take center stage. Each subfamily is developed in a range of 8 weights from Extralight to Heavy, and includes over 700 glyphs with full coverage of language using extened latin glyphs. True italics are designed for all weights, providing additional typographic control through the design of Swash Alternates, available through Open Type features that also include Standard and Discretionary Ligatures, Positional Numerals, Case Sensitive Forms and Stylistic Alternates. The family is complemented also by a rich set of Ornaments, available both as special glyphs or in a separate font. With its retro-inspired design and unwavering commitment to form and function, Evans effortlessly extends its versatility from editorial design to digital interfaces and logo creation, inviting users to appreciate the beauty in simplicity, find joy in the ordinary, and embrace a relaxed and unhurried mindset.

Introducing Bandaland – Stylized Serif Font When it comes to fonts, Bandaland – Stylized Serif Font stands out as a bold and unforgettable choice, designed to captivate and demand attention. Let’s explore what makes this font a standout option for those aiming to make a lasting impression. Bold and Unforgettable At the core of Bandaland is its bold, strong serifs, shaping a distinctive and highly memorable look. With this font, your message remains vivid and unforgettable, avoiding easy oversight. Versatile Across Design Projects Bandaland showcases remarkable versatility, effortlessly fitting into various design projects. Whether you’re working on branding, crafting eye-catching headlines, or designing impactful posters, Bandaland injects a dose of strength and character that sets your work apart from the rest. The Fusion of Strength and Captivation What sets Bandaland apart is its remarkable fusion of strength with captivation. Its powerful and memorable design ensures your message takes center stage, making it a perfect choice for designers seeking to create a bold statement. Regardless of your level of design experience, Bandaland – Stylized Serif Font equips you with the perfect tool to draw attention and make a lasting impact.

NorB Architect Line architectural fonts will add a beautiful architectural hand-lettering style to all your CAD project drawings. Architects have always wanted their CAD drawings to look more like they were drawn by hand, rather than by a CAD program. These AutoCAD fonts are the first step in bringing back that “artistic hand-drawn” feel to your CAD drawings or any graphic design project that can use true type fonts. They even can be used with any word processing program for text and display use, print and web projects, apps and ePub, comic books, graphic identities, branding, editorial, advertising, scrapbooking, cards and invitations and any casual lettering purpose… or even just for fun! NorB Architect Line is a retracing from scratch of my "NorB Architect" font coming in a sharp and round look, featuring small caps with some long stems of the following letters: b, d, f, h, k, l so resulting in more dynamic lettering font. It comes with 8 weights: Regular Italic Bold Bold Italic Round Round Italic Bold Round Bold Italic Round Note: The Italic versions are intentionally set to 20° rather to 12° for more dynamic lettering look.

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. "

Tambau is a display typeface crafted by Matheus “Fio” Gonçalves, a Brazilian design student, still in college, inspired by Brazilian concert urban posters and wood type that I saw at the Oficina Tipográfica São Paulo. The font was first made for a magazine project in design school, making it beautiful on giant pages headlines, billboards, signs, etc. There’s no lowercase, the character set is dramatic and objective. The uppercase is actually expanded letterforms causing some eyes and breathing paths to the very condensed and very modular glyphs, which creates a quite interesting striped texture between form, counterform and spacing. The lots of ligatures come to give it more closure between the letters, when they try to form blank spaces. So do the diacritics, fitting in the space given to them by the dynamic letterforms, making dense rectangular blocks. You may use Tambau as big as you can or do a high tracking to it and still it will be pretty. The titles can be dynamic, just condensed or just large. It’s on your own. Don’t be afraid to play with Tambau, it’s an alive typography. Curiosity: For the magazine in design school, the pilot project of Tambau was cut in a MDF board, to print it with texture and paint. Later was added more characters, languages and special glyphs to it. Set: Tambau is a singular font typeface, with extended and condensed characters, numbers, ligatures, punctuation and symbols for Basic, Western, Central and South Eastern Latin languages.

Jim Rimmer’s first typeface was originally published in 1970 as a basic film type alphabet through a small, independent type house in central California. Its sources of influence (now calligraphic type standards by Dair, Goudy and Zapf) are ones that remained with Jim for the rest of his career. If you squint at Totemic in just the right way, you can see some recognizable themes Jim would later flesh out and make his own in later works throughout his career as a type designer and printer. Totemic is now available for the first time as a digital font, of the refined and expanded kind now expected from Canada Type. It comes with quite a few standard advanced typography features: Small caps, caps-to-small-caps, automatic fractions and standard ligatures, stylistic alternate sets, six kinds of figures, case-sensitive forms, and extended Latin language support. It also comes with a very unique and unprecedented feature: Variably stackable totem poles. Simply enable the discretionary ligatures feature, type any unique three-digit combination using numbers between 1 and 4, and watch the magic happens. With a name like Totemic, we just couldn't help ourselves. Many thanks to Andrew Steeves of Gaspereau Press for finding Jim’s lost gem in a most unexpected place, and for helping us bring it back to life 45 years after its analog birth. 20% of Totemic’s revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

Retro Vintage , Inspired by 70s Design Era. Retro Vintage offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs. Includes a shadow/extrude version.

Display Carlos is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. There are numbers and punctuation located under their respective keys.

Display Plump is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. There are numbers and punctuation located under their respective keys.

Display Gothic is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Display Gothic has upper and lowercase alphabets, numbers, and punctuation.

Circe Rounded is an extension for a popular Circe typeface, with rounded terminals. Bold and ExtraBold faces have two variants with different radius of the roundings. Circe Rounded is even more friendly than the original Circe. The typeface is designed by Alexandra Korolkova and Alexander Lubovenko and released by ParaType in 2015. It is known that the Circe typeface is distinguished by mild and humanist nature being formally a geometric sans-serif. However, as an experiment we decided to make it even softer: Circe now has a version with rounded terminals — Circe Rounded. Rounding is generally regarded as a mechanical operation, but in this case a lot of manual adjustment was needed because of the humanist nature and peculiarities of type design. Moreover, the two bold styles now have two options: a basic one is slightly rounded and an alternate one is fully rounded. In Circe Rounded we decided to dismiss characters with swashes that are rather inappropriate in such a rounded font, but the stylistic sets and alternate characters are remaining. Rounded terminals make an open and friendly typeface even more childish. For example, in quite large point sizes (because the x-height is still not big) it can be used as a body type in infant books. Circe Rounded, similar to Circe, has alternative forms of lowercase characters, which are called “infant” and are used in publications for children’s reading. However, a humanist basis is preserved alongside with its softness and it does not allow it to be as “plasticine” as many other rounded fonts. Two of the most obvious areas of possible application of Circe Rounded are everything for children and everything edible, especially all that is sweet and puff. However, we believe that there are other options.

Introducing TT Lakes Neue in version 2.0! Please note that the TT Lakes font has been removed from platforms, but you can still order it by sending a request to the studio's commercial department: commercial@typetype.org We have released a continuation of the geometric sans serif inspired by Finnish functionalism. The new version provides more opportunities, because we not only increased the character set and improved the font technically, but also reworked its visual character. What changed? Font character. TT Lakes Neue 2.0 has become calmer, as we have removed the display details in the characters of the main set, making the font more versatile. New stylistic sets were created, thanks to which the nature of the font can be controlled, making it more expressive. Changed the forms of the characters "Кк", "ЖЖ", "Дд", "Лл", lowercase "b" and alternative "g". Added alternative forms for all types of the number "1", for the characters "Mm", "DD", "Ll". Added technological character sets, with which the font looks stylish and expressive. You may notice that in these sets, the forms of lowercase characters with arches (r, m, n) are changed, and there are gaps in the places of infusions and connections of all characters. Scope of application. The scope of TT Lakes Neue 2.0 have become even more diverse, because the sans serif has become more neutral in character and more functional. TT Lakes Neue 2.0 is the perfect font for the gaming industry. Suitable for game interfaces of different genres. Technological sets can be used in architectural projects, in the headlines of posters and magazines, on outdoor signs. The font is suitable for logo design, looks great in branding. Character set and technical characteristics. We have significantly improved the set of the font, increasing the number of characters from 736 to 921. The font has become more functional due to the updated technical stuffing and new features, of which there are now 36 instead of 24. Added characters of extended Latin, fractions, arrows. Created new kerning and hinting. Updated variable font. Added new OpenType features. The TT Lakes Neue font has 5 subfamilies: Compressed, Condensed, Regular, Extended, Expanded. In total, there are 91 styles in the font: 9 upright and 9 slanted in each subfamily and 1 variable font. Each style has 921 characters and 36 OpenType features.

Gojali is a sleek and modern geometric sans serif font family. It offers a range of 5 weights, from Thin to Thick, combining contemporary style with its distinct softness. The design of Gojali is characterized by its minimalistic, elegant, and versatile nature, providing a unique feel and ensuring ease of reading. Gojali was specifically created to deliver an easy-to-read text display. It is suitable for both text and display purposes, making it a perfect choice for headers, titles, posters, websites, branding, apps, and a wide range of other creative designs or projects. Gojali features various OpenType functionalities, including standard ligatures and number variations such as old-style numerals, fractions, numerators, and denominators. It also offers extensive support for the Latin language. With Gojali, you can effortlessly create captivating text displays with a special touch. Its soft yet strong design makes it an ideal option for crafting extraordinary and charming designs.

Technical Stencil VP is the stenciled version of Technical Standard VP and the two typefaces can be used either on their own or together seamlessly. The initial inspiration for their design came from examining the various types of precisely machined labels on tools from cameras to cars, which need to be perfectly legible at all sizes. The unique streamlined look such processes achieve was carefully reinterpreted and the resulting fonts are at the same time robust and stylish, both universal and unique. Technical Stencil VP includes ten distinct styles, offering great versatility. All styles in this family include an extensive Latin character set, the Greek alphabet, multiple sets of numerals, a large set of punctuation marks, and other symbols. With 1120 glyphs in each style, it guarantees full support for all Latin languages. To make the family even more powerful, twenty OpenType features are included, such as multiple vertical positions, diagonal fractional forms, optional slashed zeros, separate old-style and lining figures, small capitals, and contextual alternates.

Mayes is a soft, geometric sans serif font family. It consists of 6 weights ranging from Thin to Black, combining elements of Bauhaus and modern styles with its distinctive softness. Its design is minimalist, elegant, and warm, offering a unique yet versatile and easily readable impression. Mayes was created with the purpose of providing text displays that are easy to read, strong, and make a standout impression. It is compatible with both text and display purposes, making it perfect for headers, titles, posters, websites, branding, apps, and various other creative designs or projects. Mayes features several OpenType functionalities, including standard ligatures and number variations such as old-style figures, fractions, numerators, and denominators. It also offers extensive support for the Latin language. With Mayes, you can effortlessly create text displays that stand out with a touch of specialty. Its soft yet strong design makes it an ideal choice for creating remarkable and captivating designs.

Lydia (Lydian: ‎𐤮𐤱𐤠𐤭𐤣𐤠, Śfarda; Aramaic: Lydia; Greek: Λυδία, Lȳdíā; Turkish: Lidya) was an Iron Age kingdom of western Asia Minor located generally east of ancient Ionia in the modern western Turkish provinces of Uşak, Manisa and inland Izmir. The ethnic group inhabiting this kingdom are known as the Lydians, and their language, known as Lydian, was a member of the Anatolian branch of the Indo-European language family. The capital of Lydia was Sardis. The Kingdom of Lydia existed from about 1200 BC to 546 BC. At its greatest extent, during the 7th century BC, it covered all of western Anatolia. In 546 BC, it became a province of the Achaemenid Persian Empire, known as the satrapy of Lydia or Sparda in Old Persian. In 133 BC, it became part of the Roman province of Asia. Lydian coins, made of silver, are among the oldest coins in existence, dated to around the 7th century BC.

CT Ausetan is a typeface designed for perfect reading in continuous text. With humanist proportions and calligraphic details but actual, both in appearance and in function. Its asymmetric serifs and slightly curved stems recall the warmth, dynamism and character of the first humanist typefaces built according to the logic of the flat pen. It has a high x-height and its moderate contrast make reading in small bodies comfortable. The many OpenType features make it a versatile typeface that fits into any publishing project. To cover present-day needs, CT Ausetan consists of six weights and their corresponding italics. Each font includes small caps, ligatures, old-style, lining, proportional and tabular figures, superscript, subscript, numerators, denominators, and fractions as well as various geometric figures and stylistic sets. With an extensive Latin character set, CT Ausetan covers a large number of Latin-based languages. Initially designed for small texts, below 14 pt, its calligraphic details accentuate its personality when used in larger bodies such as headlines.

We used to have a composite worktop in our 'old' kitchen. It was cheap and the kitchen-guy warned us not to put any hot pans on the worktop, as it could crack due to Thermal Shock. Duh... When we installed our new kitchen, we opted for a ceramic worktop, which can handle hot pans being placed on it! Thermal Shock font is a very nice, handmade brush font. If you ever bought any brush fonts of mine, you will know that I almost always use Chinese ink and cheap brushes to create 'the look'. It is always a bit of a surprise how a Chinese ink brush font turns out: I created one the other day and it looked horrible, so it was banned.. Thermal Shock turned out to be a looker. Thermal Shock comes with one set of alternate glyphs, extensive language support (including Greek and Vietnamese) and a guarantee it won't crack in super hot designs.

A condensed and bold obround sans inspired by 60s condensed inserat faces, with a more pronounced thick/thin stress as seen on the titles of the Avengers TV show.

Wolvins is a funny, bold and cute display font with a unique twist. Get inspired by its unique feel, and turn add a lovely charm to any crafts project!

ovalive is a versatile, bold and unique serif font. Combination between high contrast and Brutalism style, ovalive has a unique style with stylistic, alternates, ligatures and supports multilingual languages.

Runik Futhark is a modern font incorporating the earliest Germanic-Norse runes, known as the Elder Futhark. It's a bold rendition ready for all your Viking raiding party needs!

Pepino is loosely based on the classic font Hobo but Pepino is a completely new and original drawing. The font is bold, fun, casual, easy to set and read.

An inline version of the Latin bold condensed, and designed on the suggestion of Robert Harling. There is a double white line, which was originally engraved in Latin type.

Bonita is a bold handlettering style based on movie poster lettering from the early 20th century. It's similar to the typeface Broadway, but much bolder and far less formal.

Introducing Umami, a playful bold font. It's quirky construction is inspired by the flavour of all things tasty and good. Perfect for headlines, title, display, logo and many more.

A strong powerful face that really works well for any application requiring a distinguished, clean look. Headlines, subheads, and text; anything goes. Vinchenso also has a matching Bold weight.

Haruka is a unique and bold handwritten font that is inspired by Japanese artistry. It will add an authentic and dynamic touch to a big variety of design projects.

Nearly Brush is bold, stylish and elegant handwritten font with distinctive strokes. Its round letters will add a luxury spark to any design project that you wish to create!

Crow Bait is an incredibly elegant, bold and vintage display font. This font reads as strong, confident, and dynamic and can add tons of nostalgic character to your designs.

This rough and bold style uses detail and motion to create text with gritty character. These fat letters mimic a paintbrush or palette knife in a simple graff style.

Delivery is a bold, geometrical font in square shapes with modern spurs, uppercase and lowercase, accented, additional characters ligatures and stylistic alternates, numbers and punctuations, currency and other symbols.

Handwritten with care, and made bold and consistent with an art deco flair. If I owned a classy diner, this is how I'd like my chalkboard menus to look.

Kris Kringle is a bold and chunky lettered display font. Add this font to your creative ideas and notice how it will make them stand out! All caps fonts.

Bubbles is a fun alphabet with lots of nice bold areas, so it'll work great in colors or as a simple headline. Bubbles is extra nice in larger sizes.

A design on classical lines with subtle but effective calligraphic touches, by Arthur Baker for VGC. The Bold version is used for the Coke logo all over the world.

Made with a cute shape, making this font suitable for use in graphic designs related to unique things. This font is available in 2 styles namely bold and black.

Hardy Mind is a simple, organic and bold display font. Simple but with a strong visual effect, this font will instantly make your creation more appealing than any others.

Lemans is a versatile, bold and unique serif font. Combination between high contrast and Brutalism style, Lemans has a unique style with stylistic, alternates, ligatures and supports multilingual languages.