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Up to 65% OFF! We are excited to highlight Packaging and Stationary best use cases today! | With this fantastic collection of fonts, you will be able to imagine and create your next BIG design. | | | | All week, we’ve been putting these fonts into action by showing their potential use cases. We are excited to highlight Packaging and Stationary use cases today! Watch out for tomorrow's newsletter! We will be highlighting our final categories of the sale. Get your hands on these deals, up to 65% OFF, while they last and explore the wonderful world of Fonts in Action.
Don’t forget to keep an eye out for our branding teams top picks for some of our categories. These fonts are identified with a special category banner.
Closing in on the final days for our Fonts in Action deals. Sale ends May 24th at 11:59 p.m. EDT. | | | | |  |  | | | The best packaging stands out and fits in. Whether you’re designing packaging for a boutique line of soap, floor polish or landscape staples, you’ll want to pick typefaces that get noticed. Packaging is, after all, a form of advertising and branding. You’ll want distinctive and, in some cases, even flamboyant fonts for the product name, while required product labeling information should be set in a clean, unassuming, space efficient and legible design.
“Less is more” is also a good guideline to follow. It may be tempting to include a lot of fonts in packaging design, but this “circus poster” form of typography will almost assuredly create a cluttered and confusing design – especially on the relatively small canvases that packaging provides. Don’t blend in. Stand out!
Scroll through the curated selection below and, see how our foundry partners have used their fonts for packaging! | | | | | |  | | | Just like Grandma’s recipe, Recoleta combines a variety of ingredients—from various popular 1970s typefaces—such as the soft and gentle shapes found in Cooper or the fluid, angled strokes in Windsor— mixed into one single design that features familiar, yet fresh, modern flavors.
Its variety of weights provide a range of choices that will help you find the best typographic color for your project. Lighter weights are well-suited for body text while heavier ones are ideal for high impact headlines. The available stylistic alternates offer a number of different characters that give your logo or business card a unique look.
15 styles - 65% OFF | | | | |  | | Deckhouse | Deckhouse was designed by Daniel Feldt and published by Great Scott.
2 styles - 65% OFF | | | |  | | FM Bolyar Sans Pro | FM Bolyar Sans Pro was designed by Jordan Jelev, Vassil Kateliev and published by The Fontmaker.
63 styles - 65% OFF | | | |  | | Gold™ | Gold was designed by Michael Hagemann and published by FontMesa.
14 styles - 60% OFF | | | |  | | Pesto Fresco | Pesto Fresco was designed by Giuseppe Salerno and published by Resistenza.
28 styles - 65% OFF | | | |  | | Shaking | Shaking was designed by Ewen Prigent and published by La Boîte Graphique.
4 styles - 50% OFF | | | |  | | Town | Town was designed by Jason Vandenberg and published by J Foundry.
124 styles - 50% OFF | | | | | | Tellumo, a new humanist geometric sans serif typeface, has all the attributes you need for a workhorse sans with a few surprising details.
It has moderate proportions, a low stroke contrast, open apertures, and an x-height that makes it drive with ease in running text. A modest range of six weights, from Thin to ExtraBold, make it versatile without being overwhelming. The lightest and heaviest weights are best saved for headlines and subheads. It features a set of swash caps that can add magnitude and sparkle to short headlines, making it excel in packaging designs.
12 styles - 65% OFF | | | | | |  | | | Items like stationery, business cards, invitations, greeting cards, and business cards have been around for years. Before there was social media, there was social printing! These items were, in a sense, personal branding for the designers.
Many of the modern-day stationery items have evolved into digital versions while the old hardcopy versions are almost extinct. Still, stationery plays a huge role in everyday life from birthdays, to events, to business cards.
Whether it's hardcopy or digital version, the two most important parts of social communication are the brand and the informational copy. The brand can be the person, event, company or product’s name. The informational copy is what you want to tell the reader about the brand. The brand can be set in scripts, fanciful display faces or fonts that evoke a time or place. The informational copy should be set in typefaces that are legible and easy to read.
Check out our curated list of stationary fonts below that are great for all of the aforementioned uses. | | | | | |  | | | Abrade is a geometric sans serif with rational design choices for contemporary functionality. The family is designed with a medium x-height to provided great legibility in both display and text sizes. The forms are refined to work well in print and on screen. The italics maintain the rational forms, with only the essential structural changes. With 12 weights, the family is ideal for publications, digital media, corporate systems, branding, as well as your band’s gig poster. Abrade is equipped with extended language support, including Extended Latin, Greek, and Cyrillic. Features include: stylistic alternates, small caps, figure sets, and lots of OpenType features to keep designers happy.
24 styles - 50% OFF | | | | |  | | Bloena | Bloena was designed by Fype and published by Fype Co.
1 style - 65% OFF | | | |  | | Bookeyed Nelson™ | Bookeyed Nelson was designed by Stuart Sandler, Crystal Kluge and published by Tart Workshop.
1 style - 65% OFF | | | |  | | Botanical Garden | Botanical Garden was designed by Bec Ralec and published by Pixel Colours.
2 styles - 40% OFF | | | |  | | Card-O-Mat | Card-O-Mat was designed by Erica Jung, Ricardo Marcin and published by PintassilgoPrints.
2 styles - 60% OFF | | | | | | Skriva is the handwriting we'd all like to have: neat and legible, still natural looking. It as a super complete character set with support for over 200 latin languages. It includes advanced OpenType features, such as random alternate characters, to make it look even more natural.
Skriva has 4 variants: light, regular, bold & inky.
4 styles - 50% OFF | | | | |  | | Garden Grown | Garden Grown was designed by Cindy Kinash and published by Cultivated Mind.
2 styles - 65% OFF | | | |  | | Glamorez | Glamorez was designed by Abdul Malik Wisnu and published by Almarkha Type.
1 style - 60% OFF | | | |  | | Wink | Wink was designed by Alejandro Paul, - Joluvian and published by Sudtipos.
3 styles - 50% OFF | | | |  | | Wishteria | Wishteria was designed by Ahmad Ramzi Fahruddin and published by Arterfak Project.
1 style - 60% OFF | | | | | | Marvaloha is based on the handwriting of an Advertising creative director. The casual but powerful strokes he uses for sketching are also visible in his writing. The Marvaloha font family consists of the original Marvaloha Regular and a Bold version. Both have matching Italics. All four styles have double letter ligatures and a set of symbols and catchwords to give your design some extra power.
4 styles - 50% OFF | | | | | | | | These fonts are not all our own. We also feature work by other brands, agencies, and foundries that we admire and whose work really stood out over the last twelve and some odd months. Each font shown here represents one of the 10 categories that were a part of the Monotype Type Trends Reports by Charles Nix and Phil Garnham. We are proud to present these trends and see the amazing designs that come from them being used. Be a type trendsetter and purchase one of the fonts below! | | | | | |  | | | by In-House International | | Ragtag is an adventurous display font that’s fun, graphic and loud. The font features three irreverent, geometric variations for each letterform, plus a few extra goodies like eñes and diacritics so it’s ready to use En Español. Ragtag creates harmonies from the fully interchangeable collection of letters. Each letter is unique and designed so it composes beautifully with all others — but can also stand on its own as an accent piece or as part of a design.
Ragtag is inspired by the scattered crew of makers and designers from design studio In-House International--a fully remote creative home based in Austin, TX. The design of Ragtag was led by Alexander Wright and digitized by Rodrigo Fuenzalida.
1 style - 30% OFF | | | | | |
