Maybe I should have named this font “Communist Block”. But it also works well for Colonial-style tavern signs. It’s square, geometric and rigid, and is the perfect thing for totalitarian themes. The family consists of three fonts: Kolega (“Comrade” in Polish), Kolega Tall, and Kolega Podrobska (Fake Comrade). Kolega and Kolega Tall are fully charactered with U.S., European, Greek and Cyrillic glyphs. The latter font is meant to use in English only; although it contains many accents and character variations, they mean nothing. It’s a joke.

introducing ADVENTUROS - a fresh dry brush font - This font is great for branding, packaging, logos, cards, apparel, quotes, banner, social media, and another project that needs urban style. Adventuros is All Capital fonts, but the uppercase and lowercase characters are totally different. You can combine them as you like. I also created 52 swash to complete this product. They will be a perfect combination. Features: Uppercase Lowercase Number & Punctuations International language Swash PUA Encoded Hope you love it. Grab it fast! regards, Abo Daniel Studio

Hello Girly is the perfect font for all your fun designs. The main font file is equipped with ordinary characters (A-Z, a-z, 0-9, ligature), as well as more than 300+ glyphs to support most Latin-based languages. So you can be sure they will work well together with other fonts! It is suitable for you to use in making t-shirt designs, quotes, labels, packaging, logo type, or long writing. Because we have compiled kerning and matrices that are tailored to your needs.

ASV Codar is a modern Arabic text typeface with two weights: ASV Codar Light and ASV Codar Bold. Both of the fonts include Latin glyphs (Palatino Roman and Palatino Bold), allowing a single font to set text in both most Western European and Arabic languages. The two ASV Codar fonts include the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

The FiveOh fonts are caps-only with extreme contrast.. They are decorative or display fonts with a carefree, wobbly look. FiveOh-One and FiveOh-Shadowed contain the same set of letters on upper and lower-case keys. FiveOh-Two, Three, and Stars contain different interior decorations on upper and lower cases. Thus there are eight different sets of letters in the five typefaces. FiveOh-One can serve as a base layer with the other four fonts layered on top of it to give letters with two colors.

Schoolblock is the typeface German schoolchildren learn to imitate when they are taught the printed letters. I just had to do this one for use in a German schoolbook. Your education-designer, Gert Wiescher

»Guilloche B« is a set of graphics that join with each other to form very sophisticated, op-art-like borders. Try them on lots of different assignments, they form very surprising bands or patterns.

Rail Line JNL is a font for the railroad enthusiast for making their own model train car emblems. The logos contained in this font are or may be the property of the various rail companies, their assigns and/or successors. Outside of non-profit hobby use or for historical/educational purpose under the Fair Use rules, any commercial application of these logos must be obtained by written permission by the respective logo owner or owners. Jeff Levine fonts provided Rail Line JNL strictly as a hobby font. We assume no liability for the use, misuse or misrepresentation of any of the logos contained within the font file.

Designed in 2012 by Olivier Gourvat, this font family is inspired by the euskaran (basque language) font. Redesigned with modernism, this new font respects the traditional euskara language with lowercase addition. These nuances give Kara a traditional appearance for both text and headlines, but can be used for many more applications such as titles, decoration, posters, cartoons... Kara Text & Display support a wide range of languages, with more than 500 glyphs and OpenType features like case-sensitive forms, contextual alternatives, stylistic alternates, fractions, proportional and tabular figures. With its 2 fonts, Kara is an ideal font family for text, brand identity, signage, print and web design.

Benua font family, a sleek and modern sans serif font designed with unique curved details at the letters a, d, l, m, n, p, and r. These details give the font a distinctive look and feel, creating a cohesive and harmonious design. Closed apertures and generous spacing of the font provide excellent legibility, making it an ideal choice for both print and digital media. Benua also features small caps, which add a touch of elegance and sophistication to any design project. The font comes in 9 weights, from "Thin" to "Black," each equipped with its own italic version, allowing for a range of emphasis and flexibility in design.

Eksellena is a blackletter font desiged in a modern style, minimalist and still classic look. this font is designed in 3 Style, each style have italic. That Style is Regular, Textured and Outline. Ekselllena creation idea was inspired by books, blackletter font and various feeds on instagram, This font is perfect for use as a poster design, branding, logos, apparel design, tattooo or other design needs. Eksellena modern blackletter font containing uppercase and lowercase, plus numerals and a full range of punctuation. There are alternate stylystic version and ligature. To access these, simply turn on 'Stylistic Alternates' or access them via a Glyphs panel.

Font naming is not all that difficult. Take Printout for example. I was busy working on this font, when my niece came over with a poem she needed to have printed. One of her classmates had the same request (they’re writing poems for our national Remembrance Day). As I was printing out these poems, I thought the name Printout would be perfect for the font I was working on. See? It’s not rocket science! Printout is a totally awesome, completely handmade font. I used an almost dried out Japanese brush pen to get the eroded effect. Maybe I should name my next font ‘Dried Out Brush Pen’? I’ll let you know.

Cusp is a display font that was initially inspired by austere Art Deco lettering. After the capitals were refined, then the lowercase was designed with a bit of techno flair. From these basic letterforms a variety of styles were created, ranging from the rigid DeStijl to the whimsical Loose. The result is a versatile display font family that allows the user to mix, match, and overlay the letters for a dynamic effect. In-fact 2 overlay fonts were designed specifically so that one can create graffiti-like multi-layered effects. Cusp is a super-kawaii display family of 16 fonts plus 2 overlay fonts.

Rian Hughes’ 15th collection of fonts, “112 Hours”, is entirely dedicated to numbers. Culled from a myriad of sources – clock faces, tickets, watches house numbers – it is an eclectic and wide-ranging set. Each font contains only numerals and related punctuation – no letters. A new book has been designed by Hughes to show the collection, and includes sample settings, complete character sets, source material and an introduction. This is available print-to-order on Blurb in paperback and hardback: http://www.blurb.com/b/5539073-112-hours-hardback http://www.blurb.com/b/5539045-112-hours-paperback From the introduction: The idea for this, the fifteenth Device Fonts collection, began when I came across an online auction site dedicated to antique clocks. I was mesmerized by the inventive and bizarre numerals on their faces. Shorn of the need to extend the internal logic of a typeface through the entire alphabet, the designers of these treasures were free to explore interesting forms and shapes that would otherwise be denied them. Given this horological starting point, I decided to produce 12 fonts, each featuring just the numbers from 1 to 12 and, where appropriate, a small set of supporting characters — in most cases, the international currency symbols, a colon, full stop, hyphen, slash and the number sign. 10, 11 and 12 I opted to place in the capital A, B and C slots. Each font is shown in its entirety here. I soon passed 12, so the next logical finish line was 24. Like a typographic Jack Bauer, I soon passed that too -— the more I researched, the more I came across interesting and unique examples that insisted on digitization, or that inspired me to explore some new design direction. The sources broadened to include tickets, numbering machines, ecclesiastical brass plates and more. Though not derived from clock faces, I opted to keep the 1-12 conceit for consistency, which allowed me to design what are effectively numerical ligatures. I finally concluded one hundred fonts over my original estimate at 112. Even though it’s not strictly divisible by 12, the number has a certain symmetry, I reasoned, and was as good a place as any to round off the project. An overview reveals a broad range that nonetheless fall into several loose categories. There are fairly faithful revivals, only diverging from their source material to even out inconsistencies and regularize weighting or shape to make them more functional in a modern context; designs taken directly from the source material, preserving all the inky grit and character of the original; designs that are loosely based on a couple of numbers from the source material but diverge dramatically for reasons of improved aesthetics or mere whim; and entirely new designs with no historical precedent. As projects like this evolve (and, to be frank, get out of hand), they can take you in directions and to places you didn’t envisage when you first set out. Along the way, I corresponded with experts in railway livery, and now know about the history of cab side and smokebox plates; I travelled to the Musée de l’imprimerie in Nantes, France, to examine their numbering machines; I photographed house numbers in Paris, Florence, Venice, Amsterdam and here in the UK; I delved into my collection of tickets, passes and printed ephemera; I visited the Science Museum in London, the Royal Signals Museum in Dorset, and the Museum of London to source early adding machines, war-time telegraphs and post-war ration books. I photographed watches at Worthing Museum, weighing scales large enough to stand on in a Brick Lane pub, and digital station clocks at Baker Street tube station. I went to the London Under-ground archive at Acton Depot, where you can see all manner of vintage enamel signs and woodblock type; I photographed grocer’s stalls in East End street markets; I dug out old clocks I recalled from childhood at my parents’ place, examined old manual typewriters and cash tills, and crouched down with a torch to look at my electricity meter. I found out that Jane Fonda kicked a policeman, and unusually for someone with a lifelong aversion to sport, picked up some horse-racing jargon. I share some of that research here. In many cases I have not been slavish about staying close to the source material if I didn’t think it warranted it, so a close comparison will reveal differences. These changes could be made for aesthetic reasons, functional reasons (the originals didn’t need to be set in any combination, for example), or just reasons of personal taste. Where reference for the additional characters were not available — which was always the case with fonts derived from clock faces — I have endeavored to design them in a sympathetic style. I may even extend some of these to the full alphabet in the future. If I do, these number-only fonts could be considered as experimental design exercises: forays into form to probe interesting new graphic possibilities.

The 1910 sheet music for “In All My Dreams I Dream of You” had the title hand lettered in an eclectic sans serif that typified the free form Art Nouveau movement of the time. The lettering was recreated digitally as Nouveau Dreams JNL, and is available in both regular and oblique versions.

Superstar Grotesk is a free interpretation of the first Cyrillic versions of Royal Grotesk and Akzidenz Grotesk, later the "Roublennaya" typeface is the same irremovable pop artist who lingered in the top of the typographic charts until the digital era, and formed the image of the Cyrillic alphabet in the 20th century.

Browsing through an online edition of the Feb 29, 1960 issue of Billboard magazine, an ad was spotted for the Jamie record label of Philadelphia. The text was hand lettered in a free-form show card style, and this inspired Popular Records JNL, which is available in both regular and oblique versions.

Winter is coming and Winttra Wonsy is here to celebrate it. Winttra Wonsy is a perfect addition to make your holiday and winter more exciting. Feel free to use it for any craft work, book cover, name card, poster, logo, magazine, cover, banner, t-shirt, or even artwork in a large scale.

Sabeth - Elegant Typeface perfectly captures its essence, combining opulence, elegance, and timeless allure. It creates a captivating statement of refined luxury. This typeface is ideal for greeting card, packaging, brand identity, poster, or any purpose to make your design project look eye catching and trendy. Feel free to play with this typeface!

Introducing Solasta - organic script Solasta is organic and modern script loaded with ligature glyphs and multilingual support. It's a very versatile font that works great in large and small sizes. This font is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. FEATURES Uppercase, lowercase, numeral, punctuation & Symbol ligature glyphs Multilingual support No special software is required to type out the standard characters of the Typeface. Canva friendly Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Maglisan is a beautiful script perfect for branding, wedding invitations, and other romantic projects. This love centered look makes it perfect for use in all your design projects be it logos, labels, packaging designs, blog titles, posters, wedding designs, social media posts, Instagram designs, etc. Font Features: Lowercase letters start and end swash swipe up and down 2 Style Connect hearts You will get : Contains full set: -Uppercase -Lowercase -Alternative -Ligatures -Punctuation -Number -Multilingual support. I hope you enjoy this font. If you have any questions, feel free to message me :) Thank you for your purchase!

Introducing Stolid - modern script Stolid is organic and casual script loaded with ligature glyphs and multilingual support. It's a very versatile font that works great in large and small sizes. This font is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. FEATURES Uppercase, lowercase, numeral, punctuation & Symbol ligature glyphs Multilingual support No special software is required to type out the standard characters of the Typeface. Canva friendly Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Introducing Perfectly Splendid serif typeface - 5 weights Perfectly Splendid is magical, sophisticated typeface with 5 fonts to enchant your next project. Very versatile fonts that works great in large and small sizes. Basic latin and advanced latin character sets are supported! Perfectly Splendid is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase numeral, punctuation & Symbol Hairline, Light, Regular, Bold, Black Ligatures Multilingual support Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Hey guys! Once I got a book "Letters From Father Christmas" by J.R.R. Tolkien. He wrote them for the children every December from 1920 to 1943. I totally fell in love with the calligraphy in those letters. Now I created a font and you can use it to write your own letter from the North Pole. I've also redrawn stamps and patterns from that book, so you can decorate your blank. It's Icons font style. You'll get: Regular and Icons styles Numbers and symbols Multilingual support and alternative symbols Thanks! Feel free to request to add characters you need: kaer.pro@gmail.com

Introducing Kith - handmade script Kith is handmade and organic script loaded with ligature glyphs and multilingual support. It's a very versatile font that works great in large and small sizes. This font is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. FEATURES Uppercase, lowercase, numeral, punctuation & Symbol ligature glyphs Multilingual support No special software is required to type out the standard characters of the Typeface. Canva friendly Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Looking for a script font with a casual flair? Look no further than Billates! With its natural and free-flowing style, this font exudes a relaxed and informal look that is perfect for capturing a laid-back atmosphere. From handwritten notes to product packaging, Billates brings a touch of casual elegance to your design projects. Features : Uppercase & lowercase Numbers and punctuation Alternates & Ligatures Multilingual PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.