Impact As its name suggests, Impact, a bold sans serif, is designed to make an impression on the reader. Obviously a display font, Impact makes use of its thick strokes and blocked style, to catch and hold the eye. Because Impact is so striking, it is best placed in plenty of white space so that it does not overwhelm any accompanying text.

Back in the days when we earned our living with a travelling magic show, we took the shaded font Lithotint, filled it in, modified some characters, and here is the result. In those days, to use the font we had to cut and paste stats of individual letters by hand. You have it easier!

Gadevox Black Letter is a vintage-inspired font, everything and more. It’s bold yet elegant, soft yet striking. It has an old-world feel that is still very modern and I know you will love the vintage details on each letter. This font will complement your visual project and make it stand out so make sure to have it today!

Inspired by the early days of video games where the graphics were made of squares (pixels), Wahyu Wibowo comes up with pixel based typeface design, Jogan, but instead of having medium width, he decided to make it narrow which is rarely exist in pixel style font. The style were expanding in the development process, so the family have 4 subfamilies: Jogan (regular, bold and monospace) Jogan Soft (regular, bold and monospace) Jogan Round (regular and monospace) Jogan Slab (regular and bold) Each Jogan font style contains 280+ glyphs which covers Western Europe languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Filipino, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, Vunjo, Zulu. Retro, retro-futuristic, futuristic, modern, techno theme projects fit perfectly with this typeface, any works from logo, poster, video, headlines, titles, and more!

Hand Boys Is a typeface signature font that is inspired from Boys handwriting style. Suitable for making Greeting Cards, invites, quotes, book content, T-shirt, child magazine contents, short story, poster label etc.

The term Old West conjures up memories of vintage movies and TV shows featuring saloons and dancehall girls. Old wanted posters and cowboys. Rowdy prospectors in the Goldrush, mountains and lots of wide open space. Many of the lettering styles of those days are still in use, reflecting the past, present, and probably the future here. Western style fonts appear in the signage of bars, restaurants, casinos and ski areas. It's a style that speaks of the way it once was in a nostalgic way. This family of three fonts pays tribute to the Old West and its colorful history, with a semi-plain style, a decorated style, and a really lively rendition of our gaudy and raucous history from a century or more ago.

Designed by German graphic designer Jochen Schuss. ITC Schuss Hand and ITC Schuss Hand Bold can probably best be described as excellent all around scripts useful for a broad spectrum of advertising purposes as well as for those applications that benefit from a refined handwritten appearance. The characters themselves have a soft, almost “liquid” appearance which is enhanced by the subtle swelling at most of the stroke terminals. The slightly condensed nature of the characters plus a relatively large x-height ensures that both weights are ideal for the advertising arena. An additional feature on ITC Schuss Hand and ITC Schuss Hand Bold are the capital letters which can actually be used on their own in word settings whereas most script capitals are designed just for initialing purposes. The designer has also invested a good deal of careful thought to the way in which a high percentage of the lowercase letter combinations overlap to create an authentic hand-scripted appearance. This, together with the italicized letter forms, will make Schuss Hand and Schuss Hand Bold ideal candidates for those occasions when paper correspondence requires an informal style. So, as is claimed, an excellent all around script style.

Geogrotesque Slab is the ideal companion of the popular Geogrotesque. The challenge was to achieve a fully recognizable font that works as part of the existing family, for that reason the Slab version conveys the same message in a different way. The new font remains clean and tech with a human touch yet provides a new security, confidence and firmness thanks to the serifs. This new addition, combined with Geogrotesque, Geogrotesque Stencil and Geogrotesque Condensed Series provides even more design options and now there’s a Geogrotesque for every need. The type family consist of 14 styles 7 weights (Thin, UltraLight, Light, Regular, Medium, SemiBold and Bold) plus italics. It is available for desktop and WebFont and includes ligatures, tabular figures, fractions, numerators, denominators, superiors and inferiors with support for Central and Eastern European languages. For more details see the PDF.

I am First Contact, a super ultra condensed all caps font with support for over 90 languages and over 540 ligatures. I am a cutting-edge font that is both cool and chic, yet still personal. I am perfect for a wide range of design projects, from logos and branding to headlines and posters. I am the future of your typography. I am the font that will take your designs to the next level. I am bold, I am confident, and I am here to make a statement. I am not like other fonts. I am not afraid to be different. I am unapologetically myself. I am First Contact, and I am here to shake things up. I am the perfect font for anyone who wants to stand out from the crowd. I am the font for the bold, the brave, and the innovative. I am First Contact, and I am the font for the cool kids. I am the font for the trendsetters. I am the font for the people who want to be ahead of the curve. I am First Contact, and I am here to help you create something truly unique. I am more than just a font. I am a movement. I am a call to action. I am a challenge to be different. So what are you waiting for? Use me today!

Empire Display is a sans serif italic display face which references the styling of the 30s through to the 50s. It has a large x height and with its condensed proportions makes it ideal for headlines, posters or where large size settings are required. It has the unique feature of having the stems and cross bars slightly angled top and bottom. This also helps to create the art deco/modern feel that sets it apart from standard condensed typefaces.

Up until the advent of vinyl plotters, computers and a myriad of other typesetting and printing changes the world has experienced over the past few decades, the art of hand lettering flourished. An early 1900s book on show card writing displayed a nice example of a Grotesk typeface (a popular style of sans serif of the time). This has been redrawn digitally as Simply Grotesk JNL and is available in four varieties - regular, oblique, condensed and condensed oblique.

Niko is a contemporary, humanist sans with a friendly yet clear and distinct personality. It is designed for excellent legibility, particularly for long continuous reading. The wedge-shaped stem heads add liveliness and variety to the carefully crafted letterforms. Niko, a highly versatile type family consisting of 54 styles that are designed to work equally well on paper and on screen. The family includes condensed, as well as extra-condensed variations, for situations where space-saving typography is required.

We have adapted the version of our Darwin font for use in Microsoft Office. It only has 4 variants: regular, italic, bold and bold italic. Font weights have been named in a way that can be clearly shown up in the font list in Office programs for the sake of a good hierarchy (the bold variant is quite bold and does not look the same as the original font).

Introducing Nur Hidayah Arabic Calligraphic Font this is an Arabic display style font that weaves intellect with imagination in a harmonious flow of letterforms. Nur Hidayah Arabic Calligraphic Font demonstrates a mysterious beauty of Arabic typography which is found to be essential for narrative content titling. The font is also suitable for branding and visual advertising. in the Arabic Language, Nur Hidayah refers to the Holy Enlightment. It also indicates the person who’s allready get a clear bright enlightment in their spiritual journey. The font features a unique writing style with a solid geometric structure which suits titling and creative heading. Nur Hidayah Arabic Calligraphic Font consists of three (3) style; Regular, dotted and Bold.

Inheriting the beauty and style of old type classics from this genre, Jeles is blended with very elegant modern approach featuring soft corners, round slab serifs and tasty ball terminals. Jeles is designed mostly for display use and it is highly recommended to get the whole family if you want to get the best result. It is designed in two styles Condensed and Normal. The Condensed version is developed in two weights each coming with corresponding italics. While the Normal styles are three ranging from Regular, Bold and Black. The total of 7 separate fonts inside the family are quite enough if you look for diversity and flexibility at one place. You could use the uprights for more serious and strong headlines while the Italics work perfectly for more fresh and live subheads. Of course editorial design is only one of the many directions where Jeles family could be used successfully as we all know typefaces with so visible contrast between thin and thick and combined with classic elegance, could be easily used in every design of cosmetic industry, fashion, food, jewelry, etc. Try to design a stylish boutique shop signboard and you will surely discover its beauty and potential. Easy-to-read, it is good for print design, revealing its authentic letterpress-like character as well as perfect for screen use note that the thin strokes and serifs are not that thin to vanish on a low resolution monitor. Professionally designed, they are solid enough yet very elegant and even gentle making Jeles a desired family design of attractive web banners, web sites, apps and e-books.

Capitolium was designed in 1998 at the request of the Agenzia romana per la preparatione del Giubileo for the Jubilee of the Roman Catholic Church in 2000. This type design was the central part of the project for a wayfinding and information system to guide pilgrims and tourists through Rome. Capitolium also continues Rome’s almost uninterrupted two-thousand-year-old tradition of public lettering . It is a modern typeface for the twenty-first century and strongly related to the traditions of Rome. Soon after the completion of this project Unger began contemplating the possibility of bringing the atmosphere of this design to newspapers. Though Capitolium works well in most modern production processes and also on screens, it is too fragile for newsprint. For newspapers sturdier shapes were required as well as more characters to a line of text, and Capitolium News has a bigger x-height than Capitolium. Capitolium News is a thoroughly modern newsface, with classic letterforms linked to a strong tradition. Capitolium News for running text comes in the variations regular, italic, semibold, semibold italic, bold and bold italic. As is possible with most of Unger’s type designs, Capitolium News can be condensed and expanded without any harm to the letterforms. The update to this beautiful font family, Capitolium News, includes the addition of over 250 glyphs featuring full Latin A language support, new ligatures, 4 sets of numerals, arbitrary fractions and superiors/inferiors. Furthermore, kerning was added and fine tuned for better performance.

The Morgan Project can be considered a big type family with ‘many styles’ or a set of different types that match with each other. For me it’s one typeface with different versions with deliberate and visible differences according to the propose to which each version was created. The design started in 2000 as a display type with the design of the Morgan Tower, to which more two display versions were added; Morgan Poster and Morgan Big — all together the make our: FTF Morgan Display Kit 1. All three versions consist only in uppercase with alternate letters in the lowercase and a set of special ligatures. Morgan Tower has four variants that differ in width/weight, Morgan Poster has six variants (often called styles), three weights in upright and oblique and Morgan Big has twelve, six weights in upright and oblique. Lately, the FTF Morgan Tex Kit 1 was added. Apropriate versions to use in text setting. Both versions, FTF Morgan Sans and FTF Morgan Sans Condensed share the same structure and character mapping. Four variants each; regular, bold, oblique and bold oblique with a large character set including: small caps, lining and old style figures (here called Office figures) — both tabular —, small caps lining figures, mathematical symbols and fraction figures, and, a set of foreign characters expanding the possibilities of use for a wider range of languages. Characters are distributed in six different font layouts: Lining, Office, Expert, Caps, Figures & Pi.

PT Octava™ was designed at ParaType in 2001 by Vladimir Yefimov. The first (Cyrillic only) version named Scriptura Russica (1996) consisting of three styles (book, italic, bold) was commissioned by the Russian Bible Society. Lately the Latin letters and bold italic were added. Inspired by Lectura, 1969, by Dick Dooijes and Stone Print, 1991, by Sumner Stone. In spite of large x-height the typeface is both space saving and quite legible at small sizes. Expert fonts including small caps (book) and old style figures are available.

Claremont is a serif font family designed by Les Usherwood (Typsettra). Usherwood originally created four weights – a light, extra bold, light italic, and extra bold italic. Paul Hickson (P&P Hickson) and Steve Jackaman (ITF) digitized the family and created eight new weights, and it was released exclusively for the Red Rooster Collection in 1993. Claremont shares similarities to Bookman Old Style, but also shares properties with slab serif Egyptian-style typefaces. Like all Usherwood typefaces, the family was engineered with great care for maximum legibility and aesthetics. ©1993. International TypeFounders, Inc.

Evocative of paint on weathered wood, Nelson’s engraved capital letters are as rustic and confident as the Old West. Combine the engraved face with bold and rough versions to create handsome wordmarks, or use Nelson to captivate customers of food packaging, restaurant menus, and roadside attractions. See what’s included! Engraved • Ornaments • Rugged • Bold *NOTE* Basic versions DO NOT include swashes, alternates or ornaments These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

Inspired by the beauty and elegance of Old Style typefaces, Regatto was created in high-contrast and bold style. It comes with a lot of alternates and ligatures with their own variants for any purposes from headline to poster. This font also has some letters with diacritics accent to support some other non-English languages.

Schelter & Giesecke's highly esteemed font family, cut by Herbert Thannhaeuser, freshly redesigned for present-day use.

Figaro is a very condensed slab serif design of the kind associated with nineteenth century advertising. The Figaro font has considerable weight contrast in the strokes, with a marked weight emphasis on the horizontal elements, including the serifs. Use the Figaro font for display and advertising and for 'Wild West' style posters.

Basic Stencil JNL was inspired by a lettering stencil sold by Dymo around 1968 that featured a sans serif design with rounded corners and an overall square look to the characters. This bold stencil design is available in both regular and oblique versions.

Showra Modern Display Typeface, Bold and powerfull and I want to Presenting Modern and Classy tastes. The Typeface comes with Ligature Sets (more than 240) and alternates Exellent typeface to use for covering your Project, like Branding, Movie Title, Headline Letter, Bookcover or Book Content, Magazine cover, Poster, Quotes Lettering, Logos, and more your project design. - Unique glyphs - Multilingual Characters Support - UPPERCASE - Lowercase - Numeric - Symbol - Punctuation Character - More Than 240 Ligature Set - Stylistic Set

This is our Valentine's Day-themed font that weaves the romantic melodies of love songs into your designs. This unique typeface infuses the spirit of Valentine's Day with the heartfelt emotions of music. Valentine's Day Cards: Create heartfelt and visually stunning Valentine's Day cards that sing with romance, making your loved ones feel cherished and special. Love Letters: Craft beautiful love letters that showcase the beauty of Valentines Notes, making your declarations of love even more touching and memorable. Event Invitations: Design enchanting invitations for romantic dinners, engagement parties, or weddings, setting the tone for a truly memorable celebration of love. Digital Expressions: Elevate your digital expressions of love with Valentine's Day-themed social media posts, e-cards, and website elements that capture the essence of love in a unique and musical way. Functional As far as we know, this font includes everything you would need to write a music sheet.

Helvetica Now Variable Helvetica Now 2.0 builds on the groundbreaking work of 2019’s Helvetica Now release—all of the clarity, simplicity, and neutrality of classic Helvetica with everything 21st-century designers need. In this 2021 release, we introduce Helvetica Now Variable and add condensed weights to the Helvetica Now static fonts. Helvetica Now 2.0 includes 96 fonts in three distinct optical sizes (Micro, Text, and Display), now with 48 new condensed weights. The Helvetica Now Variable fonts include even more: 144 instances—48 normal, 48 condensed, and 48 compressed. Helvetica Now Variable gives you over a million new Helvetica styles in one state-of-the-art font file (over two-and-a-half million with italics!). Use it as an extension of the Helvetica Now family or make custom-blends from its weights (Hairline to ExtraBlack), optical sizes (four point to infinity), and new Compressed and Condensed widths. Create infinite shades of expression, incredible typographic animations, and ultra-refined typography. Its single font file makes it easier to use and wickedly fast. Load one file and access a million fonts—in a fraction of the size of a traditional font family. More freedom. More expression. More power. More. Helvetica. Now. Each one of the Helvetica Now static fonts has been carefully tailored to the demands of its size. The larger Display versions are drawn to show off the subtlety of Helvetica and spaced with headlines in mind, while the Text sizes focus on legibility, using robust strokes and comfortably loose spaces. Helvetica Now's Micro designs are simplified and exaggerated to maintain the impression of Helvetica in tiny type. There's also an extensive set of alternates, which allow designers the opportunity to experiment with and adapt Helvetica's tone of voice. The new Condensed weights put more type into smaller spaces—for intense emphasis, sophisticated contrast, or just everyday space-fitting. Helvetica Now 2.0 is, quite simply, more: more versatility; more power; and more creative possibilities. “For more than six decades, Helvetica has been the essential typeface,” says Monotype Type Director Charles Nix. “The release of Helvetica Now insures that it will be a typographic force for decades to come.”

Thomson is is an Condensed font with a modern look, It's Perfect for branding, logo design, shirts, name card, magazin layout,headers, or oven large scale artwork Thomson offers you: - Upper and Lowercase characters (All Caps) - Stylistic alternates - Numbers and Punctuation - Multilingual Support (Latin Western Europe)

Hedonist is a modern sans serif. The font is represented by condensed lowercase and extended uppercase. To get an elegant and contemporary design, combine them together. Hedonist is suitable for retro and modern posters, typographic prints, event design and city identity, design of books and magazines.

Context Regular is a condensed inline font with a stencil inline glyph - this makes for a smoother visual join of the stems. Context is also mono-case with the most interesting case selected for a pleasing end result. Applications are numerous: Display, Branding, Advertising, Logos, Publications, etc.

Art Deco and Western styles fuse into one design in Bootspur JNL. A rounded A,M,N and W along with the Art Deco curvature found in the K,R,X and Y set Bootspur JNL apart from many of the other condensed Western fonts currently available.

Bloeien is a super condensed variable typeface, consisting of 5 weights. With its subtle curves, consistently narrow counters and horizontal axis, this font is perfect to make a statement in editorial pieces, posters & headlines. Also, the variable feature allows complete flexibility and control when producing your designs.

Hand Gothic is a condensed typeface with a hand-lettering feeling, available in two weights. The fonts, provided in OpenType format, include support for most European languages and some OpenType extras : ligatures, alternate “A” and “g”, case-sensitive forms and a handful of arrows and icons.

Party Invite JNL is a thin, condensed Art Deco sans based on lettering from a letterpress holiday stock cut (the predecessor to clip art) from the 1940s.

Savings and Loan JNL is a condensed slab serif with a square look to the letterforms. It's perfect for titling applications, and exudes strength, dignity and legibility.

Generic Sans JNL was modeled after “Condensed Blair” from the 1907 specimen book of the Inland Type Foundry, and is available in both regular and oblique versions.

Malberg is condensed sans serif family. Consist of 9 styles from thin to heavy with matching obliques. Fit for display and short text for various design purposes.

Elpy is a friendly rounded sans serif workhorse family inspired by all things music! Spanning 22 Condensed and Regular weights with true italics, Elpy will fit right in with your record collection and your font collection! The Elpy family includes language support for Western and Eastern European languages, Greek and Cyrillic. Ian Lynam dreamt up Elpy one day when he visited a record pressing plant outside Tokyo, watching vinyl pellets being melted down and a fresh batch of 7-inch records get pressed. Despite the smell, a seed was planted that would be extruded into Elpy's rounded forms half a year later... Elpy Light and Regular function as highly readable text typefaces, while the bolder and lighter weights are perfect for display work. Elpy's rounded terminals make the family perfect for screen-based work, as well as for print conditions of any resolution—from offset to Risograph.

Bitstream Cooper was designed at Bitstream in 1986 by means of adding light, medium, and bold styles, with the corresponding italics, to the existing black ones. Based on Cooper Black, 1919, by Oswald Bruce Cooper, which was firstly released as a hand composition font in 1922 by Barnhart Brothers & Spindler of Chicago and later spread by ATF. Cooper Black is an extra bold face based on Cooper Old Style. Bitstream Cooper is an old style face with rounded serifs and tilted back ovals. For use both in text (normal weights) and in advertising and display typography (heavy weights). Cyrillic version was developed for ParaType in 2000 by Manvel Shmavonyan and based on TM Oswald face of TypeMarket, 1996, by Victoria Grigorenko.