Podles Atubin fat bubble display font. Heavy stroke, fun character with a bit of ligatures. To give you an extra creative work. Podles Atubin fat bubble display font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with script or serif. Make a stunning work with Podles Atubin fat bubble display font. Cheers, Maulana Creative

Another Art Nouveau font revived from the treasure drove of the past.

Fat Arrows, Symbols and Numbers that fit perfectly with Doll from FaceType.

Eight tons of Meat-eating TYRANNOSAURUS REX vs. one Vegetarian BRONTOSAUR? CRUNCHTIME!

Rabid is an inky, messy, super distressed display font. It's part charcoal, part chalk strokes, add a splash a of red and it starts to look like blood. Why SO Serious? It has about 200 glyphs including all those extra pesky foreign features. O Hope you like it.

Chewy Bubble is a fat and handy font, a fun typeface that adds a cheerful and vibrant touch to your designs. This font features bold and rounded letterforms, reminiscent of fat bubbles floating in the air. Carefully crafted curves and generous spacing create a sense of fun and whimsy, giving your text a lively and interesting look. Whether you're designing a logo, poster, or children's book cover, this fat and cheerful font is sure to grab attention and add some fun to your designs

I used to be a tour guide and I traveled to China numerous times. Usually, the itinerary mentioned going to a restaurant in Beijing and eating ‘Beijing Roast Duck’ (北京烤鸭), a famous dish that has been prepared since the Imperial era. Typically, the whole duck is sliced at your table. The skin is crisp, glazed and thin and you should eat it with thin pancakes and thinly sliced spring onion. Of course, if I had to guide several ‘China tours’ in a row, I would often eat something else (there is only so much Beijing Duck you can eat). Peking Duck is a nice, handmade, Chinese Ink font. Use it for your restaurant menu, your book covers or your posters, advertising oriental food!

Three condensed styles which are part of the well-known Kabel font family.

This one is just for fun. I named it after my cat, Gwendolyn.

Gerry Powell’s revival of the condensed and elongated Fat Face, cut for ATF.

TT Hazelnuts useful links: Specimen PDF | Graphic presentation | Customization options About TT Hazelnuts: TT Hazelnuts is a display sans-serif font family containing a set of elegant and delicate decorative elements. Initially the family was designed for highly specialized areas, but we've decided to extend the number of typefaces and to make the family more universal. Despite its geometric essence, TT Hazelnuts reflects a touch of human hand—you can take a calligraphic tool and, by turning it, draw pretty much the whole font. TT Hazelnuts font family is perfect for small text arrays, for instance, for fashion or advertising industries, and will also fit perfectly into layout of longer and more complex typographic systems thanks to a large variety of font weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Black, Heavy) and its true italics. It has already become a good tradition to include broad support of OT features into our new fonts. TT Hazelnuts is not an exception, it uses a large number of useful features: ordn, sinf, sups, numr, dnom, tnum, onum, frac, case. FOLLOW US: Instagram | Facebook | Website TT Hazelnuts language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Jackpot is a font-bat of a slot machine for all your gaming needs.

Danrex is a fat typeface. It is recommended for use as a display typeface.

FA Mobie is a contemporary decorative fat face. For use on posters, leaflets, ads.

A modern geometric display font; includes full pan-European character set (Latin, Greek, Cyrillic)

Ravensara Serif - elegant high contrast classic serif. Style of the typeface originates in a classic Didone but took a step to simplify some letter forms and make Didone feel more contemporary. Ravensara Serif is a part of the Ravensara superfamily, united by the same anatomy, which currently also includes Ravensara Sans and Ravensara Stencil. Ravensara Serif, despite its ancient roots and due to simplified and smoothed forms, can be used in a variety of different styles. It’s a perfect choice for bold headlines, oversize typography, fashion logos, branding, identity, website design, album art, covers, posters, advertising, etc. It is available in 7 weights, including Thin, Light, Regular, Medium, SemiBold, Bold and Black. Ravensara Serif extends multilingual support to Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Pan African Latin and Afrikaans.

The rasterized square (clear, therefore 4 as part of the font name) was the constructive basis. The intention was to put all characters within this grid and produce a highly structured, yet lively, resting in itself, display font. Relaxed but exciting, just. An absolutely noteworthy detail are the classical construction principles (based on a typography book from the 50's for poster designers), the so-called optical weighting, derived and slightly exaggerated character elements: The characters are not purely symmetrical and the curve shapes do not close justified with the surrounding square. Loops and tongues slightly hang over; the upper bows are slightly less protruding than lower ones, etc. The kerning is tuned to fit these design details: the white space between the characters match the same filling space.

Architype Crouwel is a collection of typefaces created in collaboration with Wim Crouwel, following his agreement with The Foundry, to recreate his experimental alphabets as digital fonts. Crouwel's most recognized work was for the Van Abbe and Stedelijk museums (1954 –72) where he established his reputation for radical, grid-based design. Architype Catalogue’s soft ‘padded’ letterforms were originally created by Wim Crouwel for the Stedelijk museum’s 1970 exhibition of sculptor Claes Oldenburg.. Crouwel said, ‘When you look at Oldenburg’s work, with all those soft objects, it gets into your system, so you try to integrate that feeling in the design. Claes was very taken with the catalogue's typeface, and asked me if I would do the whole alphabet for him, so I did. I cut it all out in pink paper and pasted it together’.

Just when you thought every possible fat alphabet has already been done, Kofi shows you that there still are plenty of good ideas left in the genre! Kofi is simply fat, fun letters that scream for attention and promise delight. This package ships with two fonts, the second constituting a busload of alternates.

Carousel is a fat faces display type designed by Gary Gillot in 1966. Fat faces were offshoots of the modern, or Didone, typefaces that were de rigueur during the early 1800s. These fat faces were among the first typefaces to be used solely for advertising purposes. Naturally, they were always used in larger point sizes, in display functions. Carousel could be called an optimization of these old advertising typefaces. With high x-heights, ultra contrast between thick and thin strokes, and perfectly engineered drawing techniques, Carousel is a highly crafted typeface. Give it a spin in your next advertising campaign! Carousel's fine thin strokes are very graceful in their appearance, and lend a strong, yet soft, feminine feeling to anything they touch.If you like Carousel check out wearing Annlie, another fat face from 1966."

ITC Mona Lisa was designed by Pat Hickson, a stark and elegant typeface originally drawn in the 1930s by Albert Auspurg. The original drawings were long gone and the surviving metal type was already severely worn when Hickson studied Auspurg's design for his recreation. The result is a typeface which melds the flavor of the 1930s with current design standards. ITC Mona Lisa displays all the suave sophistication of Fred Astaire and Greta Garbo.