Black Goose is a display typeface with regular, cut, styled, rounded, and reversed font styles. It adds elegance, modernity, playfulness, approachability, and intrigue to your designs. Supporting 87 languages, it ensures effective communication across diverse audiences. If you're looking for a more edgy and contemporary vibe, the cut style of Black Goose will be perfect for you. With its sharp angles and distinct cuts, it adds a bold and modern twist to your designs, making them stand out from the crowd. For those seeking a touch of playfulness and uniqueness, the styled variant of Black Goose offers decorative elements that enhance the overall design. It brings a sense of whimsy and creativity to your projects, making them visually captivating and memorable. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu Mock ups and backgrounds used are not included. Thank you! Enjoy!

Huai and Huai Thai marks the first professional typeface release by Potch Auacherdkul and represents the culmination of research into the duality of influences between handwritten, vernacular Thai lettering and Latin typefaces. The result is a warm, expressive typeface that doesn’t abandon the human hands and the language that produced them. With Thai script, there are two different terminal styles—the Loop terminal style, associated with the original forms of Thai glyphs; and the Loopless, which has evolved to best coordinate with Latin sans serif typefaces. In recent years, this Thai Loopless style has continued to influence and even change to become ‘more Latin.’ One would go so far as to define these heavily Latin-influenced typefaces as Thai Latinized. This curiosity with shifting influences, turns the idea around and explores what would happen if the vernacular Thai scripts actually influenced their Latin counterparts instead. An Inversion of Thai Latinized is the result. The street signs of Bangkok, local vernacular writing, quick, fluid strokes… these influences form the DNA behind the Huai Thai typeface. Refining and systematizing those natural, handwritten strokes into a Thai typeface and then using those solutions to serve as the pioneer proportions behind the development of its Latin script companion was the product. Huai adopted the essence of these Thai glyphs into the Latin and uniquely embraced the contemporary writing system (and soul) of the Thai people in its letterforms.

Introducing 'Afolkalips' a tribal display font. Inspired by hinterland culture in the world, especially Papua Tribe, Indonesia. The Papuan Culture has many native tribes based on their location, culture and different ancestors. The equation is, they have a culture of decorating the body with paint from plants. The motives are also diverse, but with the characteristics of firm lines. In addition to various line motifs, Papuan hinterland people also explore colors that distinguish one tribe from another. You can see it on face decoration, as well as their body parts. The tools they used to paint their faces were usually with wood or leaves. Clear lines are etched, producing a natural, rough and authoritative form. It is this form that inspires us in designing the 'Afolkalips' typeface. All-capitals font with strong strokes that very recommended for headline or display on a traditional theme. Complete with 50+ custom ligatures that give you more variations. Also featured with 28 accents. This font also has ornament swashes to give your design more tribal looks, you can use the swashes as a frame or decoration. Suitable for your design such as poster, flyer, t-shirt design, logo, magazine, signage, or billboard. Afolkalips is a minimalist-joyful font which is flexible to apply in bright theme or elegant style. What you'll get : - Uppercase - Lowercase - Numbers - Punctuations - Symbols - Stylistic alternates - Ligatures - Accents Hope you like it! Thank you for your support and happy designing!

Introducing Mobalys - Where Elegance Meets Nature Embrace the beauty of nature with Mobalys, a captivating font that seamlessly blends the grace of elegant script with the modern simplicity of sans serif. Immerse your designs in the lush greenery of a go-green theme, accompanied by stunning leaf illustrations that breathe life into your creations. Elegance in Every Curve: Mobalys boasts an exquisite script style that adds a touch of sophistication to your projects. Each curve and swirl is carefully crafted to exude elegance. Modern Simplicity: The sans serif elements bring a contemporary flair, ensuring versatility in usage. Whether it's a sleek logo or a clean headline, Mobalys adapts effortlessly. Nature's Embrace: Dive into a world of greenery with Mobalys. The font is adorned with enchanting leaf illustrations, adding a touch of organic charm to your designs. Let the beauty of nature seamlessly integrate into your projects. Extensive Character Set: With 730 characters at your fingertips, Mobalys provides a diverse range of options to express your creativity. Explore a plethora of possibilities with ligatures, alternates, swashes, and more. PUA Unicode: Unleash your design freedom with Mobalys' Private Use Area (PUA) Unicode support. Access additional characters and symbols for a truly customized touch to your work. Elevate your designs with Mobalys, where the synergy of elegance and nature creates a visual masterpiece. Immerse your audience in the refreshing green world and let your creativity flourish. Mobalys is not just a font; it's an experience.

Inspired by a find a coarse but decorative font was created. "Fundstueck" ist the German term for it. Fonts can be so simple. That is what I was thinking as my attention was turned to this rusty piece of metal. Only a few centimeters in size, I couldn’t imagine which purpose it might truly serve. But my eyes also saw an E, even a well-proportioned E: a width to height ratio of approximately 2/3, black and fine strokes with a 1/2 proportion — could I create more characters on this basis? Thought it, did it. The form is based on a 5mm unit. The strikingly thick middle stroke of E suggests that the emphasis is not necessarily placed on the typical stroke, and likewise with the other characters. But if the font is going to be somewhat legible, then you cannot leave out slanted strokes completely. Eventually I found enough varying solutions for all letters of the alphabet and figures. A font designed in this way doesn’t really have to be extremely legible, which is why I forwent creating lower case letters. Nevertheless, Fundstueck still contains some diverse forms in the layout of upper and lower case letters. Thus, the typeface is a bit richer in variety. By the way — the “lower” letters with accents and umlauts stay between the baseline and cap height. And with that, you get wonderful ribbon-type lines.

Secession is a very readable typeface, suitable for short blocks of text. If you have grown weary of the standard sans-serif faces one sees all the time, you may want to use Secession as a fresh and distinctive substitute. Like Kunstler Grotesk, Secession is one of a number of typeface designs that attempts to reconcile Germany’s blackletter tradition with the international familiarity of roman letterforms in a simple, robust design suitable for meeting the demands of a modern industrial economy, while rejecting the extraneous ornamentation of the departing Victorian era. Unlike Kunstler Grotesk, Secession was designed with a lower case. Secession Bold was originally jointly released as Halbfette Secession by Bauer & Company of Stuttgart and H. Berthold AG of Berlin around 1898. The rest of the family was designed by HiH. The basic family of four: Text, Oblique, Bold and BoldOblique are available in two versions: one set with the standard contemporary lining or ranging numerals for spreadsheets and tables and one set of old-style figures (with OSF in font name) for use with text. The two versions of the basic family, Secession and Secession OSF were released in July 2006. Cousins include ExtraBold, SCOSF Text, and two multi-lingual versions of the text weight. Secession ML includes the Latin Extended-A character set in unicode format plus 17 ligatures and a few strays. Secession GreekML has all the characters of the ML version plus the unicode Greek set and 17 Greek ligatures. Release of the cousins took place in August and October of 2006. Click on BUYING CHOICES. Click on GLYPHS and use drop-down menus and slider to see the all the glyphs for the various fonts. Similar: Birmingham (Ref 100 Ornamental Alphabets, Solo); Spartana (Art Nouveau Display Alphabets, Solo)

Stickley Optical Family is an expansion of P22 Stickley Text, a humanist, Oldstyle-rooted design with a contemporary execution and full OpenType abilities. The font contains ten distinct cuts across four optical masters—in addition to Text for page content, the optical family includes Display for titling; Headline for emphasis; and Caption for footnotes and small sizes. Typefaces were originally designed for the physical size at which they were to be printed, with subtle variations in proportion, detail, contrast, and visual weight to ensure they were as clear at 6 pt. as they were elegant at 68 pt. This created a unified design as the various sizes were set together on a page.

Text is the foundation of this typeface family and is built for use in extended reading. Its proportions are carefully balanced for visual clarity while retaining its character; designed for use at 9 to 13 pt. Caption is a sturdy, simplified interpretation of the Text letterforms, with ink traps, generous letters and spacing, and hefty proportions to give balance to the smallest content on a page; designed for use at 5 to 8pt. Headline is a complement to the Text master size. It is a gently modified version with larger small caps to add visual strength and has a greater delicacy; designed for use at 14 to 26 pt. Display is an elegant refinement with stylized details. It harmonizes with the smaller optical masters as a more intricate manifestation of the typeface. Designed for use at 34 pt. and above. 
 Opentype features include ligatures, oldstyle and lining figures, alternates, Central European characters and diacritics, and Swash Caps for the Italics. Stickley Optical Family is a feature-rich workhorse with international functionality.

Fazeta is a type family that uses the optical sections. It is a modern static antiqua (it has not obliqued axis, serifs without slopes) but distant from ceremonious and rigid look of this type category. Inspiration was typeproduction from Czechoslovakia 60’s - J. Týfa, V. Preissig, J. Linzboth or A. Krátky. Common factor of this typefaces is vivid and sharp design with stable serifs, tend to rational construction rather than calligraphy and some sophisticated small details vitalized general impression. In this case are facetted asymmetrical arches (some abbreviation). Specific of this typeface is a short arch of glyph “f” that allows comfortable typesetting without ligatures obligation. In character set are besides classical ligatures discretionary ligatures for special occasions. Another surprising element is that all vertical strokes are slightly expanded upwards. These details become invisible in small text but in larger sizes impressed the eye and fix attention to headline. For traditional text feeling are here alternative glyphs “a, c, f, j, k, r, y, K, R” terminated with typical serif. Typeface is graded by optical size into 3 variants - caption (robust structure with low contrast, suitable for size 6 - 9 pt), text (medium contrast, suitable for ordinary text about 10 pt) and display (high contrast and subtle details for 20 pt and higher). Every variant has 5 weights (light, regular, medium, bold and black) with italics. Typeface is with their naked cold expression suitable for neutral text without emotional feelings. In contrast with most antique typefaces this is intended for modern glossy white paper where crisp details can excelled. Every font contains 1140 glyphs, between them original small capitals, various digits, fractions, indexes, matematical symbols, arrows, borders and many alternative glyphs. To see more please check the PDF specimen.

Aure Zeritha emotes the unassuming charm of fairytale romance. The modestly adorned forms of this decorative serif font engage the reader with a subtext of innocence. Zeritha brings an ingenuous romance to text and titles and a guileless promise of adventure to astrological expressions and chartwheels. The breadth of typographic textures revealed in its bold and italic forms is given depth by the charm of its small-caps and the delight of its curly alternates. Zeritha is an original design developed by Aurora Isaac, first released in the LP glyphset in 2011. After more than a decade in development, 2018 marks the release of the CJ and KB glyphsets, available in regular, italic, bold, and bold-italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Aure Zeritha stands its own as a text font, but for extended text, try pairing Zeritha with its distant cousin, Aure Declare. Use Zeritha where the fairytale romance is needed; use Declare for tight text and practical contrast. Give Aure Zeritha a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect logarithm. We swooned again over its subtleties (“Ah, that mermaid of an R!”). We rehashed decades-old debates about “Hakzidenz,” “improvement in mind” and “less is more.” We dutifully cursed every single one of Helvetica’s knockoffs. We breathed deeply and closed our eyes on perfect Shakti Gawain-style visualizations of David Carson hack'n'slashing Arial — using a Swiss Army knife, no less — with all the infernal post-brutality of his creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed à la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.” The great hype of Swisspalooza '07 prompted a look at Max Miedinger, the designer of Neue Haas Grotesk (later renamed to Helvetica). Surprisingly, what little biographical information available about Miedinger indicates that he was a typography consultant and type sales rep for the Haas foundry until 1956, after which time he was a freelance graphic designer — rather than the full-time type designer most Helvetica enthusiasts presume him to have been. It was under that freelance capacity that he was commissioned to design the regular and bold weights of Neue Haas Grotesk typeface. His role in designing Helvetica was never really trumpeted until long after the typeface attained global popularity. And, again surprisingly, Miedinger designed two more typefaces that seem to have been lost to the dust of film type history. One is called Pro Arte (1954), a very condensed Playbill-like slab serif that is similar to many of its genre. The other, made in 1964, is much more interesting. Its original name was Horizontal. Here it is, lest it becomes a Haas-been, presented to you in digital form by Canada Type under the name of its original designer, Miedinger, the Helvetica King. The original film face was a simple set of bold, panoramically wide caps and figures that give off a first impression of being an ultra wide Gothic incarnation of Microgramma. Upon a second look, they are clearly more than that. This face is a quirky, very non-Akzidental take on the vernacular, mostly an exercise in geometric modularity, but also includes some unconventional solutions to typical problems (like thinning the midline strokes across the board to minimize clogging in three-storey forms). This digital version introduces four new weights, ranging from Thin to Medium, alongside the bold original. The Miedinger package comes in all popular font formats, and supports Western, Central and Eastern European languages, as well as Esperanto, Maltese, Turkish and Celtic/Welsh. A few counter-less alternates are included in the fonts.

Qiltray is a good example of how handwritten fonts can be made for use in long texts. With clear and readable letters, Qiltray may be used in any kind of publications. Includes Cyrilic and CE character set support.

Chateline is a new Handwritten Script Font. This another collection of handwritten is perfect for your next branding project, excellent for your business. Chateline Brush have a natural edges, so this font gives an authentic handcrafted feel style.

"Classy eccentricity" — Farthing evokes elegant traditional serif styles, playful but poised. Farthing is a serif face in five weights, with alternate characters and both lining and old style numerals. Suitable for both headline and short paragraphs of text.

Here is a Guideline for you: Use this font if you want fun, unpredictable, legible and handmade text with influences from both comics and graffiti. Each letter has 5 different versions, and they automatically cycles as you type!

Tesca is a condensed modern grotesque typeface. Tesca is great for uses such as headlines or text body. Features Latin and non-latin glyphs. Three styles: Flaca, Normal & Gorda. (Uppercase & Lowercase). OpenType features include ligatures and basic fractions.

Markup is a fresh, clean, handwriting font suitable for use in many applications. At large sizes, the letters showcase their smooth, natural curves. At text sizes, its sharp rhythm makes for a casual personality while still remaining legible.

NK_Fracht Square (meaning Cargo or Freight) is a stylized version of Neue Konstrukteur Square. It is more suited for headline and display purposes, but can also be used quite successfully for short blocks for running text and captions.

A practical font family with 4 weights for all your day by day design needs: headlines, body text, signage etc. High legibility at small sizes. An extended sans serif typeface that provides unique softness appearance without losing legibility.

Claire News is a clear choice for text, especially for newspapers and books. The Claire News font family has a resemblance to New Clarendon but there is a greater contrast in strokes and serifs have more defined brackets.

An elegant new design with just a slight bit of flare. A face which will work for both headlines and text. Its delicate serif gives a bit of class while its swash 's' adds a touch of fun.

Nighiri, a classy and elegant handbrush signature typeface that will shine for multiple projects. Nighiri is recommended for poster, logo, headline, quote, wedding, branding, fashion, or anything else you want. It's good for display or just a text.

Introducing a new hand drawn font carefully crafted with a personal charm. It is a hot font, perfect for a design that stands out even if it’s a logo or simply a stylish text over a background image.

Construct is a technically based headline font that can also be used as body text. The font has some new ligatures that are automatically applied. Construct particularly suitable for headlines which should have a urban and technical character.

Gloriesta Playful is a new playful typeface. This another collection of display is perfect for your next branding project, excellent for your business. Gloriesta Playful have a natural edges, so this font gives an authentic handcrafted feel style.

Stature is an original, clean and crisp, sans serif compressed font, which can be used for text or as an effective display font. The font includes upper and lowercase alphabets, numbers, punctuation, accented characters, symbols, and miscellaneous characters.

Just in case you need something crispy for your next project - this could be it! Handmade, multilingual and with contextual alternates - 4 different versions of each letter, and these cycle automatically as you write, for a random look.

Somewhat retro, somewhat amusing, somewhat handsome, totally handy! This hand-drawn family counts 4 fonts plus a whimsical set of ornaments. Suitable for both display and text sizes, it will bring an extra charming feel to your creations.

TOTEM is simple and geometric, strong and modern. Previously it was designed for our logo and next we made the rest of the alphabet, including multi-language coverage and numbers. Totem has a nice set of ornaments too.

Albion Sharp Italic is an elegant sharply cut italic display face. Its classical elegance is ideal for setting headings alongside conventional body text faces, and an ideal way to imbue such settings with a little life and energy.

Introducing Hugins – Handwritten brush font with a Strong charm with quick dry strokes and a signature style. Hugins is perfect for branding projects, homeware designs, product packaging – or simply as a stylish text overlay to any background image.

Casualties Pro is an OpenType font that contains four variations of every character in its extended character set. OpenType-savvy applications will be able to rotate through the variations to give a more random look to the text.

Cheesegum is super legible even at very small sizes. If you use Cheesegum at larger sizes, you can see the delightful crucnhy edges! Kinda like roasted cheese! The crunchier, the lovelier! :) Just go ahead and eat some Cheesegum!!!

Loose Goose was designed specifically for comic book lettering, but its uses are only limited by your imagination. Its loose yet legible letterforms make this font fun for classroom applications and your next crafting project on the Cricut.

NK_Fracht Round (meaning Cargo or Freight) is a stylized version of Neue Konstrukteur Round. It is more suited for headline and display purposes, but can also be used quite successfully for short blocks for running text and captions.

Metalform Gothic JNL is based on examples of stamped metal numbers used for house identification and similar purposes. The lettering is square in shape with rounded corners, perfect for text that needs to emit authoritarian messages or instructions.

This is a modern Sans Serif font. There are 12 letters This font is for logos, covers and small texts and children books This font has the modern Hebrew punctuation: Shevana, Kamatz Katan, Dagesh Hazak, and Cholam Chaser.

BlueCreek Rounded is a extra condensed geometric typeface, and works best in text and display applications, such as headline, posters, signage, magazine, print, product branding, corporate branding, logos and titles. Several alternate characters are included in this typeface.

Print Marks JNL assembles more old print shop cuts into a varied assortment of embellishments, border elements, designs and printer's marks. Newly re-drawn from vintage source material, they will brighten text with their nostalgic and charming look.

Alipe Script is a new script typefaces family. Alipe Script family has light, medium and bold fonts, all with ligatures, alternates and a set of ornaments. It can be used for text as well as for titling applications.

Spargo is inspired by 20s and 30s American typefaces, often seen on share certificates and other securities. Spargo is offered in six all capitals display typefaces. Bring a touch of inter-war America to your next design project!