Black Bolder uses a font with a solid and strong impression. These letters are usually tall, bold, and easy to read considering that they are very suitable to be placed as titles, logos, labels, brands, advertisements, magazines or pamphlets. This font is easy to use to complement your work solutions. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7.

Magrit is a bold serif display font, It has many alternates character with nice curve that you can arrange to create a nice logo lettering, or use it as a display face on a poster and add a few alterations to it to make a beautiful eye catching words. Magrit font is best for branding, logo lettering, headlines, product packaging, tshirt design, wedding theme, poster, book cover, wedding invitation, Christmas and many more

Big is beautiful. Barle font has an extremly heavy weight and wide shape. A sans-serif display font that's perfect for large headlines, posters, packaging and any graphic design that requires a font that will stand out to audiences. Barle font has two faces, a standard character and a sliced version which can be accessed through the Stylistic Alternates feature. This font consists of 4 fonts; upright and italic style in the normal version and the outlined version. If you just want to use the sliced version, you just need to purchase Barle Alt.

Oita might be a carefully crafted typeface family, created by a meat-bag human. Or, it might have been made by a supremely clever sentient robot. Found in the dark recesses of a top secret spy agency’s quantum computer, this font came with this somewhat unusual description, which is presented without comment. "To conquer, we cannot simply overcome. Success is found in supremacy--in the dominance of Oita. While looking for the right tool for this success, our research has led us to the finely executed forms found of military domination throughout history. In our labs, we've used our specialized machines to harness these forms' power and refined their impact through elements of contemporary and computer design. The structure proves to be robotic and squared on its edges. However, the chutzpah of this technical face still allows it to pass as if created by human hands. Our resulting payload, Oita, is modern and sturdy. While based on a practical, octagonal structure, make no mistake; this new instrument will drive forward the energy you want to push through your projects. Oita has 42 cuts certain to encompass your designs on world domination. Each font contains the glyphs to support over 52 languages. The font also includes tabular and lining figures, numerous ligatures, and selected advanced Opentype options, including stencil and experimental options to bring out the dynamic characteristics that have already been crafted into Oita. Early tests have found that the new instrument is easily scalable to smaller dimensions without reducing its impact. The font remains highly readable across a variety of applications. We speculate from our findings that it will be successful for sporting and technical applications. So for you who venture to use Oita, use it boldly. Don't just overcome. Dominate. Go and conquer mightily with Oita. We'll be watching." We may never know whether Oita hails from mind or mechanism. What we do know is that, should you choose to take on Oita, you'll be acquiring a dynamic poster and packaging face, a minigun-toting bad robot of a font that exudes pace and power.

Louisa Fröhlich’s Lisbeth is the charming all-italic trailblazer that handles branding and text with internal vividness. With no roman style, it’s an italic-only family whose creation was guided by imagination instead of restrictive writing tools. Some type families aren’t sure what they want. Lisbeth proceeds with the utmost confidence on its own terms — it’s a feisty three-dimensional thespian amidst the cast of strait-laced characters you’re used to. With branding and magazine usage in mind, Lisbeth addresses the distinct challenges of text and display in a characterful way. The curves of the text weights show a soft angularity, emphasising the handwritten quality and the subtle twist inside the letters. The stroke’s carefully balanced contrast is more pronounced in the vibrant heavier weights but almost absent in the graceful structure of the thin weight. The angle of the letters is almost upright and the x-height is relatively large, so longer texts can be read comfortably and without effort. Lisbeth is slightly condensed and so uses a smaller area to efficiently impart much information. So if a type design can be thought of as the clothing letters wear, then Lisbeth is an energetic, freely flowing stroke wrapped around practical and efficient letter proportions. Another highlight of the family is the quirky high-contrast display style, easily catching every eye. The design concept of the twisted stroke shows at the extreme here and makes the letters dance a little on the page. Even though the shapes behave wildly, every letter is carefully balanced in itself so that the rhythmic repetition of the lettershapes results in an even and harmonic total picture. Lisbeth’s five text weights (from thin to bold) perform excellently in text settings, and its funky display style amps up the internal shimmer within each glyph. It supports numerous languages (Latin-A extended) and comes with ligatures and contextual alternates to produce beautiful typography. The character set contains proportional lining and oldstyle figures, tabular figures, subscripts, superscripts, and fractions. The complete Lisbeth family, along with our entire catalogue, has been optimised for today’s varied screen uses.

The Bousni family's six faces display links unexpected by most readers of western alphabets. Inspired by both by Arabic calligraphy, and contemporary bitmap design, Bachir Soussi Chiadmi created this playful series of faces. Letters in each of the six typefaces link together, but not in the ways normally expected from script fonts. Suited for a wide array of fun functions, Bousni Carre and Bousni Ronde (each available in Light, Medium, and Bold weights) bring new a style and flavor to your collection. All six fonts in the Bousni family are included in the Take Type 5 collection from Linotype GmbH. The Bousni family espouses similar construction traits with other fonts from Linotype. Specifically, the straight lines and joints in the three Bousni Carre fonts are based off of a grid system similar to Anlinear, another member of the Take Type 5 collection from Linotype GmbH. The letter connections throughout the Bousni family are similar to Arabic kashidas, a typographic feature found recently in many non-Arabic typefaces, such as Linotype Atomatic."

The Bousni family's six faces display links unexpected by most readers of western alphabets. Inspired by both by Arabic calligraphy, and contemporary bitmap design, Bachir Soussi Chiadmi created this playful series of faces. Letters in each of the six typefaces link together, but not in the ways normally expected from script fonts. Suited for a wide array of fun functions, Bousni Carre and Bousni Ronde (each available in Light, Medium, and Bold weights) bring new a style and flavor to your collection. All six fonts in the Bousni family are included in the Take Type 5 collection from Linotype GmbH. The Bousni family espouses similar construction traits with other fonts from Linotype. Specifically, the straight lines and joints in the three Bousni Carre fonts are based off of a grid system similar to Anlinear, another member of the Take Type 5 collection from Linotype GmbH. The letter connections throughout the Bousni family are similar to Arabic kashidas, a typographic feature found recently in many non-Arabic typefaces, such as Linotype Atomatic."

Clark Hairline is a sans serif with calligraphic touch, it is part of a large Type System still in production. The main idea is to create a sans serif for use as a text face.

The ultimate "Eye-conic" dingbat with over 40 pairs of eyeballs (either left-right or up-down facing. Great for web design, some pairs even come with a third eye for that special "in" site.

Woodcraft JNL is another fine example of the charm wood type adds to the printed page. The hand-cut design's eccentricities enhance any project that desires to reflect the advertising of another time and place.

This face has a stiff machine-like quality which derives from it's ambiguous position between semi-serif, slab-serif and display. Barkpipe can't quite make up it's mind what category it wants to reside in.

Blout is the typeface for those who want to shout their message, but to do so with subtlety. It brings together elements of sans serif and late blackletter design, and is ideal for poster work.

Restaurant and Lounge is a casual, brush-style type face based on hand lettering found on a 1940s matchbook for the Park Avenue Restaurant (a popular dining spot during the golden years of Miami Beach).

A freehand OpenType face, including 20 ligatures as well as the most popular discretionary ligatures. (ft, ct and st) Usage recommendations: Posters, titles, book covers, books, greeting cards, packaging, invitations, magazine articles, titling and advertising.

Portculliard is in the finest traditions of 19th century blackletter revival. It's a lively mock medieval face, engraved in the manner of many a 19th century printer's plate ideal for recreating traditional certificates and invitations.

Prof. G. Pott’s Ruling Script first appeared in 1992 with Linotype-Hell. The font is a part of the package Calligraphie for Print, which also contains Sho and Wiesbaden Swing. Calligraphie for Print 2 completes the set. These packages offer modern calligraphy fonts particularly well-suited to use in posters, magazines and advertisements. Ruling Script looks like the zestful handwriting of a calligrapher but its legibility even in longer sentences set it apart from others of its type.

Chank created Zsazsa Galore as a fresh alternative to Mister Frisky, another jerky, hypercaffeinated interpretation of the traditional roman alphabet. The difference this time is that the new font has no descenders. Every letter comes to rest hard on the baseline. It sits there firmly rooted with branches wiggling around in the air. It was released as the Chank Font of the Month in October 1999 and it was named after Zsa Zsa Gabor because she is beautiful.

PiS Wanderlust is inspired by specimens from the book „Die Schriften des Malers“ from 1950 and by vintage hand painted signposts and guides found on hikes in the outskirts of Vienna and rural Austria, hence the name Wanderlust! Although classic, constructed modernist it features some charmingly unfashionable quirks and is available in rounded for a smooth and warm feel. Lace up those hiking boots, don't forget to pack some Landjäger and cool drinks and enjoy the view from above the treeline!

Delm font family is one of those large and useful families that you really can’t miss if you are looking for typeface combining originality and legibility. Delm is one of these – a sans serif with geometric modern look designed very smart with soft round look and very specific inktraps that complement its uniqueness. It is developed in 9 separate weights ranging from Hairline to Black, each coming with corresponding slanted version (called ‘Oblicua’). The light weights look more elegant, gentle and with more sensible feeling for geometry while the black versions are more soft, friendly even puffy and the geometric skeleton of the family is dominated by the overall roundness. The mid-weights are strong and prominent setting right the middle point in the contrast range of the family. Delm is a font with dedication – with so many options for different character contrast combined with slanted styles, it is perfect for editorial design where it could be easily used either for text or display font. Editorial is not of course the only application – you could successfully rely on this typeface if create brand or corporate identity, typographic posters, signboards, instruction plates, etc. Very diverse and original, this font will not leave you unsatisfied – moreover – it will surely make you try it in more and different designs be it printed or designed for screen. Web sites, banners, applications and e-books are places where Delm will show its best because of its originality, finely tuned contrast and its enhanced legibility. Fully equipped with OpenType features like ligatures and multilingual support, Fontmatters highly recommends to get the whole Delm font family for maximum results and satisfaction.

Eigerdals is a pleasant and visually warm sans-serif type family. Eigerdahl is a soft and amiable face, perfect for when you want to convey a relaxed and pleasant feeling. Eigerdals features a smooth, brushed impression and a tall x-height. The characters are slightly top heavy in the heavier weights to give it a friendly feel. The Eigerdals family contains seven weights and their complementary italics. It contains some unique character traits that give the face a unique look, and the type family is incredibly versatile. The face is highly readable in extended text settings, and the bolder weights are perfect for display work. Eigerdals can be used in a variety of graphic settings. Eigerdals includes many useful OpenType features, including a set of upright italic swash alternates, ligatures and unicase alternates. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages.

Spillsbury was inspired by some examples of 1920s signwriting (principally seen on the side of some vintage vans-good thing they were in a photograph and not on the move!). Spillsbury draws inspiration from these sources to provide a unique combination of legibility and flair, which echoes the charm of advertising and publicity material from the halcyon days of the 1920s. A basic range of four display faces os offered - Regular, Plain (not all that plain really!), Shaded and Shadowed. In a new departure for Greater Albion, three pairs of 'Duo' faces are also offered. These are designed to be used in pairs-and only sold on that basis for little more than the cost of a single face-to provide for two-coloured typographic design, enabling the recreation of those evokative two coloured blocked lettering styles that were used to such good effect in the past. Take a trip back to more colourful times today with Spillsbury!

Marteau is a strong, clean, and modern condensed geometric sans-serif. Its purpose lies in branding, advertising, packaging, and all other design that calls for a big impact. It is the display typeface for all things contemporary, from rustic coffee shops to colorful web design – the versatility of Marteau allows for perfect integration into a wide variety of aesthetics.

Rhapsody is clearly showing Unger's love with Blackletters and Gothics. Other than many of the existing Blackletters, Rhapsody is really easy to read. The calligraphic forms of the upper case in connexion with its lower case appear very special, very unique. Rhapsody, having its origins in the 50ies, was redesigned, completed and expanded by Unger for the URW++ FontForum.

Dans Le Noël is a Christmas dingbat. Perfect for use as ornament greeting cards, patterns, posters, websites and visual compositions that need Christmas show in a language full of personality, inspired by vintage illustrations. Dans Le Noël is part of the serie Dans, with Dans Le Cuisine and Dans Le Jardin. You can combine them as you like. Enjoy!

One of the type examples found within the pages of “Lettering” by Harry B. Wright (1950) is a bold hand lettered serif typeface with a unique twist – the slab serifs had rounded corners, looking very much like show card lettering of the early 1900s. This design is now available digitally as Maybrook JNL, in both regular and oblique versions.

In the days when sheet music was as popular as phonograph records for home entertainment, a song album was a folio of collected works. The hand-lettering on the 1940s-era cover for "The Sigmund Romberg Song Album, Book II" served as the model for Song Album JNL. Romberg was a noted composer of Broadway show tunes.

Meet my new signature script Hamilton! Hamilton includes full set of lovely uppercase and lowercase letters, multilingual symbols, numerals and punctuation. This is so perfect for invitations, monograms etc What's Included: Hamilton Script OTF / TTF Multilingual support Check out my blog: www.instagram.com/dmitriychirkov pinterest.com/dmitriychirkov7 Thanks so much for checking out my shop! All the best, Dmitrii

An image from the Library of Congress showing a New York City Italian Kitchen storefront window and its various neon signs inspired Spaghetti Joint JNL, which is available in both regular and oblique versions. The term “Spaghetti Joint” is old-fashioned slang for any restaurant serving Italian cuisine, especially those featuring spaghetti or other pasta dishes.