Autobahn is a robust masculine sans of near monoline thickness and angular characteristics. Autobahn Std has a full Latin 1 character set but no CE, Cyrillic or Opentype features. For the extended character set and Opentype features, see Autobahn Pro.

This font set, created for the Philadelphia Museum of Art, celebrates the work of influential French artist Paul Cézanne. P22’s Cezanne font allows you to beautify your documents with a faithful rendition of the artist’s handwriting, while Cezanne Sketches recreates a variety of imagery from the artist’s work. Cezanne Pro includes full western and central European character sets and Cyrillic for typesetting in dozens of languages. It features several types of numerals, ligatures, snap-on swashes, and word glyphs. The Pro version includes over 1,200 glyphs and “smart features” that will automatically substitute letter combination's to create an even more natural handwriting effect than was possible with Cezanne Regular.

P22 Mackinac Pro spans four centuries of type design, bridging the Old World with the New. This family of four weights and corresponding italics is of old style construction, with a diagonal weight stress. Contrast between thick & thin is modest and proportioned the same for all fonts. The tall x-height recommends itself to a wide variety of text and display uses; including advertising, publishing, signage and packaging. P22 Mackinac Pro (pronounced Mackinaw) is a general-purpose, utilitarian design incorporating an abundance of OpenType features: small caps, ligatures, ordinals, numerous figure options plus a few bonus goodies. Mackinac supports 56 languages using extended Latin character sets.

Charlize is a handwritten, fully connected script with ligatures to help with flow and readability. It can be used for invitations, greeting cards, posters, advertising, weddings, books, menus etc. Charlize pro is the most complete style, it contains over 740 glyphs. Every lowercase letter has six variations (uppercase letter has two). To get the alternate glyph just add "+","*","--","__","++" or "==" before the letter in any OpenType savvy application or manually chosen the characters from Glyph Palette. Charlize One and Charlize Two have less glyphs than the Pro one, they contain less alternates and ligatures. Language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages.

The most common Hebrew typeface, based on Sefaradic tradition, used in most newspapers and publications. The main Hebrew typeface of the 20th century, designed in 1908 and was published by Berthold in 1924. OpenType Pro Excellent support for Niqqud (Vowels). All marks are programmed to fit each glyph's shape and width. OpenType Pro includes new advanced features like Dagesh Hazak, ShevaNa, Qamatz Katan, Holam Haser and wide letters. Best used with Adobe InDesign CC that support complex Hebrew text. Please check these advanced features in this link: https://tinyurl.com/ybgdsxme Font files were re-generated to get better online screen display, as well as refined OpenType features as kerning glyph substitution.

Euro Sans Pro ? created by German type designer Ralph M. Unger - is a classical and modern Roman Sans Serif at the same time. The family comprises of 12 styles, each with more than 500 glpyhs covering standard Latin, Central European, and Cyrillic. It is an all purpose typeface, a strong and expressive roman sans serif with a French touch to it. Euro Sans Pro provides excellent readability in all sizes, for small copy as well as for very large letters on posters and signs. The character complement also includes small caps and old style figures, and the corresponding OTF features are built into the fonts as well.

This square serif typeface is a real workhorse. It is a modern tool for text design: extremely legible and well shaped. Bandera Cyrillic has six weights with original italics. It catches attention in headlines of posters and magazines or makes reading comfortable in plain texts. Bandera Cyrillic shares main proportions with sans serif Osnova Pro typefamily so ideally can pair it. It has Bandera Cyrillic Text and Bandera Cyrillic Display sister families as well. Please check also Pro verion 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.

SK Glypher™ is a super experimental accidental typeface. It is designed under the impression of petroglyphs (ancient writing), which ancient people painted the walls of their caves. The angular and very unusual shape of the typeface allows you to create stunning typeface compositions based on it, which are suitable for both poster design and web design. The SK Glypher supports many languages and language groups: Latin Pro, which supports all 104 Latin languages, Cyrillic Pro, which is suitable for most Slavic languages, as well as the typeface supports Greek. As a nice bonus, the SK Glypher typeface has specially drawn icons and arrows that perfectly diversify the text.

P22 Saarinen is a typeface based on the architectural lettering of Finnish American architect Eero Saarinen.The Saarinen fonts were created to help commemorate the 75th anniversary of Kleinhans Music Hall in Buffalo, NY, which was designed by Saarinen in collaboration with his father Eliel Saarinen and is recognized as one of the greatest concert halls ever built in the United States. Saarinen’s own lettering styles were combined with various lettering manual suggestion for proper lettering to create a flexible casual lettering style in regular and bold weights. The Pro fonts include multiple variations of each letter for a more natural lettering style as well as stylist in variants to achieve various highs for crossbars and other customizable variants. The Pro fonts also include Central European character set, fractions, small caps and an array of hand drawn directional arrows. Individual non-pro versions feature: Saarinen Regular - characters with low cross bars Saarinen Alt 1 - characters with high cross bars Saarinen Alt 2 - characters with mid cross bars and old style figures Saarinen Arrows - bold and regular arrows combined in one font

Alio™ Text is the workhorse of the Alio family . It works beautifully as display type, body copy and anything in between. We redesigned Alio Text with taller x-height, more pronounced accents, and wider letter spacing than its siblings, Alio Pro. We also cut down from 6 weights/12 styles to 4 weights/8 styles. All of these is to ensure the legibility and readability and to maximize the weight contrast at small sizes. Whether your designs call for all caps, title case, sentence case or all lowercase, Alio Text has got you covered with the case-sensitive punctuations. No more baseline shift all your punctuations. Alio Text supports most Latin-based languages and even the Chinese Pin-Yin. This typeface also packs with Open-Type features similar to Alio Pro. For examples, both recognize fractions vs. dates; Both features several alternate positions for the legal symbols (3 in Alio Text; 5 in Alio Pro). If you’re looking for a go-to, versatile typeface for most occasions, Alio Text is for you. (4 weights/8 font styles, 500+ glyphs each).

When designing a typeface, one has to be conscious of superfluous details. Although I am always tempted to add little personal touches, experience taught me that the phrase -less is more- is totally true. In Model, the letters (like models do) participated of a contest: An event in which models engage in competition against each other, often for a prize or similar incentive. The prize was staying in the font! yay! Tall, delicate, refined, the right amount of elegancy: These were some of the aspects to be chosen. Typographically speaking, these things were achieved thanks to a tall x-height (which leaded the font to be somehow condensed), a subtle contrast between thicks and thins, and just the right amount of decorative swirls. The result is a nice script that can be used in magazines, invitations, posters, book-covers and works very well when used over photographs. Get Model and let it be the star of the catwalk. STYLES Model Pro and Model Small Pro are the most complete styles of the font. Both have all the ligatures and decorative glyphs seen in posters above (OT programmed). Model Std One, Std Two and Std Three are reduced versions of Pro. This means they have less glyphs inside. TIP If you are planning to print the font in small sizes, it’s highly recommended to purchase Model Small Pro. Its thins are thicker so they will be better printed.

A storm has been brewing. It’s Hurricane. A complete redesign of a popular style. New flair and excitement abounds with this fast moving spirited brush script. This updated version of Hurricane was created with high end advertising in mind but can also be used for designs outside of commercial uses— greeting cards and social expression, or even scrap-booking projects. There are three regular styles and a PRO version of the script styles, plus a graphics font to add an extra breeze to your work. Hurricane Regular is straight forward with the more Roman capital forms. The Script version swaps the caps out for the more flourished uppercase. And finally, the Swash version contains many of the alternate letter forms found in the PRO version. Hurricane Pro offers the features of all three of the regular Hurricane versions with added OpenType programming and additional alternate glyphs. The Contextual feature of Hurricane swaps out the regular forms for more flashy characters along with necessary ligatures and alternates that give perfect flow to the words. Access the stylistic sets for even more creative options. In addition, see GLORY— a sans serif spin-off (pun intended) to complement the script styles. The Glory styles contrast to Hurricane’s slanted, brushy speed. In addition, an inline font has added to complete the pro package. I sincerely hope you enjoy this exciting update to a font I have always found to have huge potential.

Edgar No. 9 is an original design by Alex Kaczun. Edgar No. 9 is a derivative work based on his Big Boy typeface series. It was designed specifically for display headlines, logotype, branding and similar applications. Primarily a display, this extremely versatile font has generous proportions, large counters and loose fitting which also allow the font to work well across a wide range of text sizes. Edgar No. 9 is a heavy baroque slab serif and although it shares the underling skeleton of 'Big Boy', it is a much more compact in overall proportions and spacing. A handsome bold headline font that works well in text as well as display sizes—ideally suited for publications and advertising. Alex plans to expand the font series to include a large range of weights along with corresponding italics numbering 1 thru 9, as well as, true small capitals and old style figures. Distressed version(s) will also be available in upcoming releases. Stay tuned, more to come soon. The large Pro font character set supports most Central European and many Eastern European languages.variations to expand this 'hip' new font series. Groovin' baby.

Bookish A little bit bookish, but quietly elegant and well-proportioned, FS Sally is a graceful font family. It’s a refreshingly uncomplicated design that brings sophistication to text and display type, and a distinctive aplomb to both large and small volumes of text. Hidden talents There’s more to FS Sally than meets the eye. Choose Standard for the Latin alphabet or Pro if you work with Cyrillic and Greek typography. There’s a large range of special features, including elegant small caps and a set of discretionary ligatures to add a traditional flavour to figures and fraction sets. Rhythmic There’s a rhythm and flow to FS Sally – the result of the classic but asymmetric design of its serifed feet and shoulders. The inward curve of the serif at the shoulder and the outward curve at the foot subliminally guide the eye through each letterform, and the flicked feet of the “a”, “d” and “u” add an extra kick of energy to the rhythm. The italic forms have their own flow, too, with a pen-like fluency that retains the formal discipline required for a text type. Regular to heavy FS Sally’s five weights, all with italics, cover every kind of print application. The regular weight is elegant in display and an easy read in longer texts. A subtle step up from the regular is the medium, which was created to deliver a stronger colour and finish in poorer printing conditions. The semibold offers a strong alternative to the regular at smaller sizes, and its intermediate feel suits it to sub-headings, title pages and calmer designs. The bold works excellently in book and title headings, and FS Sally Heavy lends weight and punch to poster headlines and logotypes.

Bookish A little bit bookish, but quietly elegant and well-proportioned, FS Sally is a graceful font family. It’s a refreshingly uncomplicated design that brings sophistication to text and display type, and a distinctive aplomb to both large and small volumes of text. Hidden talents There’s more to FS Sally than meets the eye. Choose Standard for the Latin alphabet or Pro if you work with Cyrillic and Greek typography. There’s a large range of special features, including elegant small caps and a set of discretionary ligatures to add a traditional flavour to figures and fraction sets. Rhythmic There’s a rhythm and flow to FS Sally – the result of the classic but asymmetric design of its serifed feet and shoulders. The inward curve of the serif at the shoulder and the outward curve at the foot subliminally guide the eye through each letterform, and the flicked feet of the “a”, “d” and “u” add an extra kick of energy to the rhythm. The italic forms have their own flow, too, with a pen-like fluency that retains the formal discipline required for a text type. Regular to heavy FS Sally’s five weights, all with italics, cover every kind of print application. The regular weight is elegant in display and an easy read in longer texts. A subtle step up from the regular is the medium, which was created to deliver a stronger colour and finish in poorer printing conditions. The semibold offers a strong alternative to the regular at smaller sizes, and its intermediate feel suits it to sub-headings, title pages and calmer designs. The bold works excellently in book and title headings, and FS Sally Heavy lends weight and punch to poster headlines and logotypes.

Malabar is a type family for extensive text. Its design was developed with a nod toward newspapers. Malabar's characters are seriffed and of the Old Style genre. A strong diagonal axis is apparent within the curves. Sturdy serifs help strengthen the line of text in small point sizes, as well as define the overall feeling of the face. Malabar's x-height is very high, a deliberate choice that makes the most important parts of lowercase letters visibly larger in tiny settings. The height of the capital letters is also rather diminutive, allowing for better character fit, as well as eliminating a bit of clumsiness in German, which often includes quite a few uppercase letters. Diacritical marks and additional alphabetic forms required by many Western, Central, and Eastern European languages are naturally a part of the character set, including those needed in the Baltic states, for Romanian, and for Turkish. Malabar's accents are bold and direct, sitting well with their base glyphs. The family includes three weights, each with a companion Italic. Malabar Regular is equipped with small caps, and both it and Malabar Italic include oldstyle figures. All members of the family have both proportional and tabular-width lining figures, as well as special variants of certain punctuation marks vertically adjusted for all-caps text setting. Malabar is informed both by contemporary ideas of typeface design (sheared terminals, the wider-drawn s) as well as by 16th-century masters. Malabar Heavy and Heavy Italic are very loud; their blackness almost shouts out from the page. The Regular's wedge serifs become more slab-ish in nature as the letters' weight increases. Malabar Heavy and Heavy Italic are best relegated to headline use only. Malabar Bold and Bold Italic may be used for text emphasis, a job for which the Heavy is to dark. Malabar received a Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2009.

Otsuki-Sama is a sophisticated mix between a serif and sans serif font design. Its elegant balance between heavy contours and subtle lines gives it a modern yet very rich look. Applicable for any type of graphic design, especially for headlines, posters and magazines.

Tubby came about when I made a book with Cooper Black as a headline font. I started playing with heavy forms, and as a result was Tubby. It has a fat and friendly feel, and with swash italics it is fairly versatile in use.

A very heavy headline only typeface which should be typeset at rather large type sizes due to its fine counters. It’s the ideal typeface for building a brick-wall out of letters. Surprise is in the details, so play it loud and big! It’s fun.

Hubba is a modular geometric typeface. Its heavy weight is excellent for headlines and display. There is a plain, oblique, and opposite oblique styles. The variable version will give you the opportunity to be more free in design and not limited to standard styles.

A heavy serif font with a handmade feel, Walden gives a hearty impression. Despite its rustic appearance, Walden is perfectly adaptable to contemporary use, wherever a bit more character is needed. Decidedly kept simple, these three weights with matching italics is all you need.

Spleach is a splendid mix of comic text, grafitti and unicase letters - as always, the pizzadude way! The letters are heavy and black, but still light enough to funk up your text! You will need to use OpenType supporting applications to use the autoligatures

Plak is a typeface originally created by famous German designer Paul Renner in 1930. Paul Renner is also the designer of the Futura typefaces. Like Futura, Plak is a sans serif design. But its unique qualities include its heaviness, and its un-geometric lowercase a.""

Say hello to Boyish & Weird! (I actually don't know what boyish is, but I do like how that word looks with these letters.) I had a lot of fun making this weird little font. It has oval cutouts, heavy lines, and plenty of whimsical details.

Developed by Comicraft's Dutch Masters to give DC's BATMAN & ROBIN ADVENTURES a crisp, clean, Art Deco look, all four pints of DUTCH COURAGE are available as one font family. Please refrain from operating heavy machinery within one hour of partaking of these intoxicating fonts.

Donut Derby is a playful, hand lettered caps font. It's got smooth lines, a heavy weight, and cute curves. Mix lower and upper cases for a more authentically hand-lettered look. Includes 5 ampersand alternates, because I like to have lots of options for ampersands. :)

Originally designed in 1985 and released by Letraset for dry transfer Lettering, Kestrel has, until now, never been digitized. The face now has been completely re-drawn and digitized for all formats. It is a heavy formal script similar in form to Commercial Script.

Graúna is Typeóca’s first ‘serious typeface’. The idea was to produce a revival of Block Heavy, removing the ‘rough’ texture from its outline. Though other revivals existed, most of them approached the Block family as a whole, leaving aside the idiosyncrasies that make the Heavy weight so unique. In the early stages of its development, however, we realized that a lot of its quirkiness is only possible precisely because of the ‘rough’ texture we were trying to remove. That way, we started going further and further away from the original model, and thinking about the typeface in its own terms, resulting in an impactful yet friendly sans serif, ideal for logos and short titles.

Mermer font family is a contemporary take on Roman capitals in six weights. The font name is the Serbian word for marble, and the inspiration for its creation comes from chiseled street signs in Istria. With lowercase and Cyrillic added, it gets a broader range of usages. Mermer is bold and versatile, can be both sporty and high fashion, looking sharp in more than 40 languages. Thin is thorny and Heavy feels like a block of concrete. Make it LOUD by setting it in large sizes and choosing Mermer Heavy for posters, magazine headings or logos, or you can make it cosy and friendly setting it smaller in Mermer Regular for menus, book covers, invitations or business cards.

Reverie is a cheerful band of letters that bounce across the page and get together to create words in four weights. Generous spacing and a modest x-height project an airy typeface that's open but not frail. Quirky without being too whimsical. Use the regular weight for surprisingly readable text or put the light and heavy weights to use for decorative headlines and titles. Reverie OT is the follow-up to the popular Reverie. This version comes loaded with new features: ligatures, small caps, swash caps, a larger numeral set, more language glyphs, and a fourth, heavy weight. This all adds up to a vastly more functional and flexible family of fonts.

Churchward 69 is a ten weight typeface family originally designed during the late 1960’s by the late type designer Joseph Churchward. From the extremely condensed Regular weight to the outlandishly heavy Ultra Black, this square sans serif makes an audacious statement. Even the Italics are extreme at their 17 degree angle! Churchward 69 includes 5 weights, Regular, Bold, Extra Bold, Black, and the gorgeous Ultra Black, and their italics. Joseph sure knew how to draw heavy weights! All members of the Churchward 69 family have OpenType features, including proportional and tabular figures, unlimited fractions, superior and inferior figures, and ordinals. Each font also has an extensive character set to support many western European languages.

Monaly is a display serif font. Designed with large, heavy letters, Monaly is a display font that makes a bold statement. Each letter is meticulously crafted with strong, confident serifs that lend a sense of grandeur and sophistication to your design projects. The artistic flair of Monaly is evident in its carefully balanced letterforms, which blend tradition with a contemporary edge. The font's heavy weight adds a sense of weightiness and substance, making it a reliable choice for conveying authority in your designs. Monaly fits in headlines, logos, posters, flyers, invitations, branding materials, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview.

Canterbury is a late Medieval Gothic font with a rough edge. This blackletter face is available with four different types of Capital initial letters or combined into one Opentype Pro font with all variations plus historic ligatures, alternates and even a few ornaments.

An adaptation of the font Neuland, designed by Rudolph Koch in 1923. The freeware (TrueType) version has a limited character set. The Pro Set (Postscript) version has a complete character set (Adobe Standard for PC; Macintosh Standard for Mac), and extensive kerning.

Estonia Regular is based on the calligraphic style found in the east European country of Estonia. The swash versions are designed to be used in conjunction with the regular version. For the full character set all in one font, try Estonia Nouveau Pro.

A beautifully flowing script with casual uppercase forms combined with more formal lowercase letters. Good Vibrations Pro is an extension of this popular font. Over 400 glyphs, with character sets for European languages. OpenType features include smooth connecting ligatures and alternate characters.

Dogjaw uses the OpenType ligature feature to automatically substitute a unique pair of distressed characters when any upper or lower case letter is keyed twice in a row. Dogjaw Pro extends the character set to support Eastern European Latin, Baltic, Greek and Turkish.

This formal calligraphic face is light, and delicate with beautiful lines and curves. The Pro version adds extra elegance with alternate caps and beginning and ending swashes. Explora has over 600 glyphs and features international languages including the entire Cherokee Nation character set.

Coldsmith uses the OpenType ligature feature to substitute a unique pair of distressed characters when any upper or lower case letter is keyed twice in a row. Coldsmith Pro extends the character set to support Eastern European Latin, Baltic, Greek and Turkish.

A tasty jambalaya of two different weights of wood type, Thunderhouse has alternates for every capital and lowercase letter, consecutive characters are controlled with the OpenType Ligature feature. Thunderhouse Pro extends the character set to support Eastern European Latin, Baltic, Greek and Turkish.