The Droid Serif Pro Family (4 fonts) is a contemporary serif typeface family designed for comfortable reading on screen. The font is slightly condensed to maximize the amount of text displayed on small screens. Vertical stress, sturdy serifs and open forms contribute to the readability of Droid Serif while its proportion and overall design complement its companion Droid Sans. The fonts were designed by Steve Matteson, the Type Director at Ascender Corporation. The Droid Serif Pro Family (4 fonts) includes Latin 1 and WGL character sets, along with Old Style Figures (requires an application that support advanced OpenType typographic features).

Friar Pro is a revival of Frederic W. Goudy's "Friar" typeface. Goudy described this typeface design as a 'typographic solecism' as it combines a lowercase of half-uncial forms from the 4th through 7th centuries with an uppercase of square capitals from the 4th century. Steve Matteson developed the font as a tribute to Goudy and his joy of typographic exploration. Steve created a complete character set with OpenType typographic enhancements to give the font an authentic appearance to the original. Friar Pro is a beautiful design which imparts a scribal appearance to any document including greeting cards, certificates and official papers.

The source of inspiration for Haute Monde Monogram is the 1934 "Book of American Types" by American Type Founders. Found in that specimen book was a wonderfully elegant traditional smallcap-Capital-smallcap monogram alphabet known as “Elite Monogram Initials”. This elegant typeface is now digitally remastered and updated for modern use with functionality beyond its original intentions. Download and view the MFC Haute Monde Guidebook if you would like to learn a little more. MFC Haute Monde Monogram comes complete with Pro format fonts. You will require with programs that can take advantage of OpenType features contained within the Pro fonts.

This square serif typeface is a real workhorse. It is a modern tool for text design: extremely legible and well shaped. Bandera has six weights with original italics. It catches attention in headlines of posters and magazines or makes reading comfortable in plain texts. Bandera shares main proportions with sans serif Osnova Pro typefamily so ideally can pair it. It has Bandera Text and Bandera Display sister families as well. Please check also Pro version for pan-european support (full Latin-Greek-Cyrillic). Bandera is Spanish for ‘flag’. And Bandera is a symbol of Ukrainian fighting for freedom for many years.

Art Nouveau typeface ‘Secessionist’ draws inspiration from Wiener Secessionist Joseph Maria Olbrich's handwriting, as seen on his architectural drawings from the 1920’s. You can use these fonts to create posters, greeting cards, scrapbooks, CD labels, T-shirts, coffee mugs, digital videos websites and banners.

Odeon is the kind of font you would have seen on theatre or concert posters around the turn of the twentieth century. It is based on Art Nouveau sign lettering and has a heavy, playful look that's hard to miss.

A heavy block sans in chrome and solid variants. The high lower-case x-height and short ascenders and descenders permit tight line spacing for an impactful, punchy effect. The chrome variant works well at larger sizes and in shorter settings.

Magnivera is a display serif font family. inspired from oldstyle serif with a high contrast letterforms, the characteristic of the typeface is flamboyant and fit for fashion theme. Magnivera consist of 4 styles from regular to heavy with matching italics.

Raftern is a unique and modern family of Sans serif fonts. Simply Conception has 10 families Regular font, starting from the small thin to the largest Heavy. This typeface is versatile and can be used successfully in magazines, posters, branding, websites.

‘Black Orchestra’ is a black letter font inspired by heavy metal. This font consists of uppercase and lowercase and is supported by ‘Latin extended’ which allows wider use of this font. This font will turn any horror project into a standout!

Geoffrey Lee designed Impact font for the Stephenson Blake foundry in 1965. The sans serif display typeface is very heavy and condensed in the grotesque style, similar to Helvetica Inserat. Use Impact font in display situations requiring a strong statement.

Geoffrey Lee designed Impact font for the Stephenson Blake foundry in 1965. The sans serif display typeface is very heavy and condensed in the grotesque style, similar to Helvetica Inserat. Use Impact font in display situations requiring a strong statement.

SomaSlab Tall has all the same characteristics as SomaSlab, transferred into a style which has been condensed along the horizontal axis only. Available in 2 weights, XBold & Heavy, with an extended Latin character set and several glyph alternates for maximum versatility.

Bumper Sticker is a nice, uncomplicated display font. It is quite loud, a little heavy boned and very in-your-face. You could use it to design more bumper stickers, but I am sure you will come up with something better.

An industrial, mechanical font, strongly influenced by the British steel industry and heavy machinery. StealWerks was forged to give a solid impact. We recommend its usage on skateboards, BMXs, mountain bikes, snowboards or any object that is subject to harsh treatment.

Hemmah is an Arabic display font that features a dynamic, heavy and playful letterform design. This font is an excellent choice for a various range of creative projects including publication design, branding and advertising. Hemmah supports web, print and mobile applications.

Oksana Sans Condensed is designed for tight-fitting text. It has six weights from Thin to Heavy. Supports Western, Central, Baltic Latin and European Cyrillic codepages. Old-style digits, some ligatures, alternative characters and Ukrainian hryvnia sign are also included.

Xahosch uses a calligraphic pen to form a set of letters in which circular elements are based on a bottom-heavy egg shape. A pen-drawn san-serif face, it is available in three weights, each with an italic style.

“Aeternus”, a new geometric Sans Serif typeface, with matching italics. The combination of several weights, provides versatility in any text usage. Developed in a range of nine weights from thin to heavy, with a matching set of italics, Aeternus has been designed to optimize the space and preserve the legibility in any text size. Use effortlessly this typeface for titling, contemporary branding, web design, UI/ UX design, clothing, large print formats. Specifications. - Files included: Aeternus Thin, Aeternus ExtraLight, Aeternus Light, Aeternus Regular, Aeternus Medium, Aeternus SemiBold, Aeternus Bold, Aeternus ExtraBold, Aeternus Heavy with corresponding italics - Formats:.otf - Multi language support (Central, Eastern, Western European Languages)

Introducing Fire Hell – a fiery font inspired by the intensity of death metal. With flames dancing within each letter, this font is tailor-made for death metal, black metal, gothic, horror, and other heavy music genres. The sharp, angular design adds a touch of darkness, making it the perfect visual companion for bands seeking a fierce and impactful typographic identity. Unleash the power of Fire Hell to set your artwork ablaze and embody the relentless spirit of heavy music. Ignite the darkness with this visually striking font! Fire Hell features: Allcaps Beginning Uppercase alternate Ending Uppercase alternate Numbers and punctuation PUA Encoded Characters OpenType Features

TOPPLER is a top-heavy comic font, K-Type’s salute to nineties freebies such as Ben Balvanz’s Baby Kruffy, Comix Heavy from WSI, and Dave Bastian’s Startling. Unlike those glorious fonts-of-old, Toppler contains a complete repertoire of symbols, dingbats and Latin Extended-A accented characters, as well as a proper lowercase, careful spacing and tasty kerning. Toppler also boasts cleaner outlines and more refined shapes. The Toppler family comprises four fonts that share spacing and kerning, so can be overlapped to produce bicolor and multicolor effects. In addition to the regular, solid style of Toppler, there is a shaded ‘Popdots’ style, plus thick and thin outline fonts.

Veltro was originally designed in 1931 for Nebiolo in Torino. The typeface has been redesigned, digitized, completed and expanded as OpenType Pro in the profonts studio. Both styles cover the complete character set for Western and Eastern Europe.

Based upon Riedingerschrift, cut by Franz Riedinger for Benj. Krebs Succ. in Frankfurt am Main in 1906, here come Ridinger Std and its extended version, Ridinger Pro. An elegant cursive font which also includes various adorning swash strokes.

Based on the 1922 Klingspor model by German designer Rudolf Koch, this hand-drawn quill roman has an informal and curiously delicate appearance. The typeface was known in Germany as Koch Antiqua and in the rest of Europe as Locarno. Eve, as it was called in the United States, continues to enjoy great popularity in advertising and book publishing circles. This deluxe version includes display light, display heavy, and display black as well as the hard-to-find display light and heavy (Koch Kursiv) italics. Eva-Paramount, which is based on Morris Benton's 1928 ATF Paramount, has also been included. It contains a set of alternates characters that are in keeping with the light and heavy display letter styles. Eva-Antiqua is also available in the OpenType Std format. Alternates are now merged together into each style as stylistic alternates or as swashes. These advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org TT Rationalist useful links: Specimen | Graphic presentation | Customization options We thought, "What if we provide the user with a collection of matching fonts, each of which would still be unique?"—and so we started developing TT Rationalist. For those familiar with the bestsellers TT Norms® Pro and TT Commons Pro, the new font will be intuitive to use. It has similar proportions, characteristics and functionality, but yet it is an independent and original font family. Unlike the geometric sans serifs TT Norms® Pro and TT Commons Pro, TT Rationalist is a slab serif typeface. It is functional and original. Slabs are characterized by massive rectangular serifs, but in TT Rationalist they are trapezoidal and refined, which makes them look modern. Speaking of modernity, when creating the typeface, we wanted to avoid the excessive historicism that can be seen in many slab serif fonts. We have been particularly careful working on the Black style, which in the first sketches had something in common with the Wild West posters. When we balanced out the excessive contrast caused by visual compensation, the font stopped evoking retro associations. Now TT Rationalist Black is perfect for headlines, especially on posters and posters, and works great with Light styles in TT Norms® Pro and TT Commons Pro. The new typeface works well for both headings and text arrays. It looks especially aesthetically pleasing in printed production (books, magazines, brochures). The TT Rationalist typeface consists of 22 two styles: 10 upright, 10 real Italics and two variable fonts, each with over 950 glyphs. It supports over 200 languages and contains 27 OpenType features. In addition to the standard ones, there are Small Capitals for Latin and Cyrillic languages, alternative versions of the ampersand and the letter g. The italics have two stylistic sets allowing to switch the design of style-forming characters (k, v, w, y, z) between italic and classical forms. TT Rationalist font field guide including best practices, font pairings and alternatives. FOLLOW US: Instagram | Facebook | Website

LTC Italian Old Style is not to be confused with the English Monotype font also called Italian Old Style, which is an earlier design from 1911 based on William Morris’s Golden Type that is based on Nicholas Jenson’s Roman face. Goudy went back to Jenson’s original Roman and other Renaissance Roman faces for his inspiration and the result is what many consider to be the best Renaissance face adapted for modern use. Bruce Rogers was one of the biggest admirers of Italian Old Style and designed the original specimen book for Italian Old Style in 1924 using his trademark ornament arrangement. These ornaments are now contained in the pro versions of the Roman styles—Regular Pro and Light Pro. With most digitizations of old metal typefaces, one source size is often used as reference (as was Goudy’s method for his own cuttings of his Village foundry types) so that all sizes refer to one set of original artwork. The original hot metal fonts made by Lanston Monotype (from Goudy’s drawings) and other manufacturers used two or three masters for different size ranges to have optimal relative weights—smaller type sizes would need proportionally thicker lines to not appear thin and larger sizes would require thinner lines to not appear to bulky. The variations in size ranges can also be affected by the size of the cutter head in making the master patterns. The light weights of LTC Italian Old Style were digitized from larger display sizes (14, 18, 24, 30, 36 pt) and the regular weights were digitized from smaller composition sizes (8,10,12 pt). The fitting for the regular weights is noticeably looser to allow for better setting at small sizes. Very few font revivals take this approach. Italian Old Style, originally designed by Frederic Goudy in 1924, was digitized by Paul Hunt in 2007. In 2013, it has been updated by James Grieshaber and is now offered as a Pro font. The newly expanded Pro font includes all of the original ligatures, plus small caps and expanded language coverage in all 4 Pro styles.

Cubition font family was designed by Nikolay Savchuk. Cubition was created on base Everest Pro sans-serif typeface. It is brilliantly suited for graphic design and display use and perfect for brand identity, magazines, newspapers, books, websites, and advertising.

Baumfuss and BaumfussTwo are unpolished, crude typefaces with small flared serifs and very few straight lines. They are a bit heavy to be easily readable at smaller point sizes. Baumfuss has a high x-height, while BaumfussTwo has a more conventional x-height.

Velvet is a heavy rounded block retro face inspired by the typeset album cover of the protopunk rock band The Velvet Underground’s debut. Stylistically, Velvet’s extreme angled terminals exude a sense of tension and irreverance, contrasting the smooth rounded block letter forms.

A set of vintage wood type printing blocks yielded the alphabet which was to become Chamfer Serif JNL. With its heavy vertical serifs and interesting character shapes, the design is unique when compared to the more familiar wood type offerings of the past.

Nakara Serif is All-Caps Modern Serif Typeface with solid heavy impressions. Available in 3 styles: Regular Outline Rough Nakara Serif ideally suited for headline title, badges lockup, logo, branding, posters etc. Supports Multi-language, Stylistic Ligatures & PUA encoded for alternates styles.

Eagle Bold was designed by M.F. Benton in 1933. It is a heavy geometric Sans Serif font with unusual spurs on Capital G and Q. An all-Capitals design, the Eagle Bold font is perfect for magazine and book covers, posters and packaging.

Cabragio is a free-flowing informal font, very curvy and quite heavy. The free-flowing effect is especially apparent in the lower case letters, and this font is definitely something a bit different -- yet is highly readable and attractive. Original and distinctive!

This font is a modern urban script. Very impressive because of its heavy and rounded shape. Upright stems and wide width of their shape gives easy and slow impression. There is one more script designed by in the same concept. -Nothing -Banana

Say hello to Leyton Hills! It's a heavy, smooth script, with double letter ligatures and some fun alternates to play with. Perfect for making a very bold statement. The lowercase letters are compact and cuddle close together, making this a very cute font.

Oksana Sans Wide is designed for short and big texts. It has six weights from Thin to Heavy. Supports Western, Central, Baltic Latin and European Cyrillic code pages. Old-style digits, some ligatures, alternative characters and Ukrainian hryvnia sign are also included.

Prymityv is inspired by brutalist architecture from the Eastern Bloc. It's heavy and massive, perfect for display purposes. Prymityv contains Latin and Cyrillic alphabet, Latin with Western, Central and South Eastern European diacritics, Cyrillic with Russian, Bulgarian, Serbian and Macedonian and Ukrainian diacritics.

Whitbury is a modern calligraphy script font with thin upstrokes and super heavy downstrokes. It has lots of fun ligatures! It's fun to use for quotes and headlines, and logos and branding projects. It's casual, playful, and full of eye grabbing attitude.

ATC Duel is a strong, extra heavy multi-width sans-serif display font with sharp edges and an extended horizontal span, inspired by the automotive industry. Font contains 500+ glyphs, full alphabet, ligatures, numberals, accents and punctuation. ATC Duel was released in 2016.

Tramuntana Dingbats is a selection of different graphic elements (Box Terminals, Box Extensions and Arrows) designed to work as a complement of the main typeface Tramuntana Pro. Tramuntana Dingbats can also be used with other typefaces as a decorative graphic resource.