Based on an early wood type design. An original creation, that kept growing...!

Waleed est une police de caractère Arabe, et latin inspirée du Naskh

38 high quality illustrations portraying the first generation of kids growing up immersed in digital technologies.

52 high quality illustrations portraying the first generation of kids growing up immersed in digital technologies.

36 high quality illustrations portraying the first generation of kids growing up immersed in digital technologies.

Need a tattoo? there you go. Crazy and naughty - who could ask for anything more?

Reading & Writing Doodles is just that. 27 low-tech illustrations of books, pens, pencils and paper. Along with some hand lettered phrases, "My Book", "Ex Libris" and "From The Desk Of:" A fresh approach for Save a Date Cards and From The Desk Of notepads. An absolute must for bookplates and your book club graphics.

Recta was one of Aldo Novarese’s earliest contributions to the massive surge of the European sans serif genre that was booming in the middle of the 20th century. Initially published just one year after Neue Haas Grotesk came out of Switzerland and Univers out of France, and at a time when Akzidenz Grotesk and DIN were riding high in Germany and Gill Sans was making waves in Great Britain, it was intended to compete with all of those foundry faces, and later came to be known as the “Italian Helvetica”. It maintains traditional simplicity as its high point of functionality, while showing minimal infusion of humanistic traits. It shows that the construct of the grotesk does not have to be rigid, and can indeed have a touch of Italian flair. While the original Recta family lacked a proper suite of weights and widths, this digital version comes in five weights, corresponding italics, four condensed fonts, and small caps in four weights. It also includes a wide-ranging character set for extended Latin language support.

-OC Format Sans is the third incarnation of this geometric grotesk sans serif which fuses the style of Futura with the rhythm and proportions of Akzidenz. It comes in two styles, standard and a new Print family where crisp sharp edges have been made blunt in reference to the ink spread that occurs when printing on uncoated paper stock. It can give digital media a softer more approachable analog aesthetic. Typical of both grotesk and geometric styles the design has an even weight with minimal stroke contrast and the slanted form is an oblique rather than a true italic. The default double-story �a� and �g� give an academic touch, the single story versions of Set 1 are more friendly and approachable while Set 2 changes the look into something more scientific. Made with tireless attention to detail and kerning it's perfect for logotypes and extensive text, supports multiple languages and comes with a plethora of OpenType features including standard and discretionary ligatures, social icons, symbols, and multiple figure styles including roman numerals.

These ornaments are made from plants which grow on Alphabet Farm, the place where Stone Type Foundry is located.

Paper Stencil JNL is another addition to Jeff Levine's ever-growing collection of stencil fonts based on vintage source material.

In B-movie awesomeness, Air began as Grotesk vs. Grotesque. I was trying to unify the prevailing traits of German and English Grotes(que/k)s in order to make something different but familiar. I am NOT trying to reinvent Helvetica (snore), so get that out of your system. From the onset, I intended this typeface to be a true workhorse that offers infinite options and flexibility for the user. At its core, it is the maturation of the Aaux Next skeleton I developed years ago. I worked out Aaux Next to settle my issues and love for Akzidenz. With Aaux Next, I strove to be mechanical, cold and unforgiving with it. I was single, young, cocky and it fit. Now I'm married, kids, dog and have found that I've turned into a big softy. When I look at Aaux Next (and have for the past few years) I see another typeface trying to eek out. I wanted it to avoid the trappings of robotic sans, quick tricks and compromises. The typeface’s DNA needed to be drawn and not just generated on a screen — so I set aside a year. I love type. I love working with type. I hate when my options for a slanted complement is only oblique or italic. I set out to produce both to balance usage — there are more than enough reasons to prepare both and I want the user to feel free to consciously choose (and have the option to choose) the appropriate typeface for print, web, etc. That flexibility was central to my decision-making process. The Oblique is immediate and aggressive. The Italic was redrawn at a less severe angle with far more movement and, as a result, is far more congenial when paired with the Uprights. Condensed and Compressed. Yep, why not? I know I would use them. There are nine weights currently available. The logical progression of weights and the intended flexibility demanded I explore a number of light weights and their potential uses — this has produced a number of ‘light without being too light’ options that really work based on the size. The result is a robust 81-font superfamily that is functional, professional, and highly legible without compromising its personality. Pair that with over 900 characters per font that includes ligatures, discretionary ligatures, stylistic alternates, fractions, proportional/tabular lining and proportional/tabular oldstyle figures, numerators, denominators, ordinals, superiors, inferiors, small caps, case-sensitive functionality and extensive language support and you have a versatile superfamily well-suited for any project.

AlgerBlanchePixel est une variante de AlgerBlanche, inspirée du Kufi et naskh, supporte l'Arabe, Tifinagh, Farsi, Ourdou et Latin

Looking for a font that will make your branding stand out? Do you sometimes have an appetite for a bit more wholesome typography? Looking for a fabulous, stylish, and adventure font? We've got what you want. Allonges -A Script Font Alllonges script is suitable for today's growing market design, this font has a model trendy, natural and soft, with this font you can take advantage of an occasion in every moment. Allonges is a new modern script font with an irregular base line. Style trendy and feminine. Allonges looks beautiful for branding, logos, wedding goods, greeting cards, fashion, lookbook, marketing promotions. Our font always includes Multilingual Support to make your branding reach a global audience. Features: Ligatures Stylistic Set Swahes PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Natha Studio

A condensed American blackletter designed for ATF in 1932 by Morris Fuller Benton; the face grows out of nineteenth century roots.

Nomina is a family of sans serif fonts for use from large to small sizes. The weights of the family itself contain 16 styles plus italic, ranging from ExtraLight to Black. The font family takes was inspired by classic Grotesk typefaces such as Venus and Akziden Grotesk. Unlike any other modern Grotesk typefaces, the details of the contrast in this font family are quite subtle and yet still harmonize while standing in between another character, the open apertures help them to increase the quirkiness accompanied by the sharp terminals on each rounded glyphs. The Nomina family is well equipped with lots of selective alternates and OpenType features, and the main usage of this font is universal, this means this can use it any design style as long as the look and feel keep match with its characteristics.

In 2006 the art director of Emotion, a women’s psychology magazine, asked me to design a copy typeface for them. Before I actually got the job I started to work on a serif. I wanted it to be feminine but still clear and modern. On one hand there are the floral round elements and on the other hand the angular serifs. In the composition I wanted the two extremes to work together. All the other elements had to be harmonized. The proportions needed to match the magazine’s requirements. The ascenders and descenders are short enough to work in narrow columns but long enough to work in small sizes. As you can imagine, the emotion-job never happened. In copy you should not get heavier than Heavy. Extrabold and Ultrabold work best in display.

“Growing up in Iceland, I was exposed to Scandinavian modernism from an early age. My parents had Arne Jacobsen furniture around the house and I was always enticed by the fun shapes and colors...."—SK Armchair Modern is derived from the logo created for Armchair Media Group by Stefan Kjartansson. The design is unabashedly ultra-modern, reminiscent of work by Mark Newson and the aforementioned Jacobsen. Armchair Media is a consulting company, working with clients from the Web and interactive TV, so the super-elliptical letterforms are also intended to evoke a traditional TV screen or CRT display. The complete family of five weights was co-produced by PSY/OPS in 2001.

La famille Millenium est composée de modèles dont le poids varie progressivement. Elle est très étendue. Elle va de "Super Thin" à "Extra Black". Unique au monde, sa finesse permet de concevoir un style très léger même pour l'impression d'affiches et d'autres grands formats. Conçu dès l'origine comme un caractère variable, le Millenium offre une gamme de 900 variations possibles et une infinité de créations...

With its contours roughened by ink spread on porous cardboard, Shenzhen Industrial evokes packing crates, stamped documents and urban grit with high-impact urgency.

Lodgepole is a hand illustrated font family created by Zach Minard of Tall Trees Design Co. Inspired by timeless legibility and worn National Park signage. Lodgepole Regular and Book are designed to pair perfectly together, while both of these styles are available as Solid (With no internal texture) or Grit. Lodgepole Grit uses the strokes from the original pen-to-paper illustration for all texture, creating an authentic one-of-a-kind texture.

Quickly scribbled grafitti font that has got that bad-boy-feeling!

Mineola got tired of being like all the other serifed fonts, got some hip body art, and moved to the cool part of town. But every so often, when no one's watching, Mineola puts on a light blue oxford shirt and listens to top 40 radio.

Hansplatz Grotesk is a sans serif type family of nine weight. Influenced by Akzidens Grotesk, Hansplatz typeface bring a new approach to this utilitarian style of grotesk. With more square proportions rather than geometric style, Hansplatz grotesk aimed to ease typesetting job when arranging a words or paragraph easily. A wide range of weight gives flexibility to every design project, hansplatz fit nicely to grid-system because of proportions. Furthermore Hansplatz Grotesk supplied with smart Opentype scripting to assist typesetter and designer very easily to Hansplatz feature. Hansplatz Grotesk truly a utilitarian, workhorse, neutral, and of course faceless. But, it makes the work done quickly. For display use, Hansplatz Grotesk Black to Semi-Bold is recommended, for paragraph heavy design, use regular and light weight. To spice up, adding Hairline or extra-light weight will make a design execution looks great and catchy but not intimidating.

Letterpress Sorts JNL adds to the growing library at Jeff Levine Fonts of classic dingbats, embellishments, cartoons, ornaments, etc. all re-drawn from vintage source material.

DB Trees includes several familiar and not so familiar tree designs with plenty of room for creativity to grow. Makes fun additions to your creative projects.

Sign Engraver JNL and Sign Engraver Oblique JNL reproduce the classic rounded letters and numbers engraved into plastic signs, desk nameplates and employee name tags.