AS SAHA is a contemporary geometric Arabic font, drawn and constructed carefully Font design is inspired by the ARABIC calligraphic style. AS SAHA Its structure is equal and visually controlled. Character forms are a combination of vertical straight lines that integrate visually with soft angles in some areas. This makes it a line of nature suitable for today's technological and visual development. The variations and weights of this font are suitable to use companies in their names and appearance, and also suitable with the titles and logos and is also used in all the requirements of advertising and long texts, use in headlines, logotypes, branding, books, magazines, motion graphics, web and Tv. AS HAREF consists of 6-weight versions from Thin to Bold.

Danish type designer Ole Søndergaard created this display FontFont in 2011. The family contains 3 weights: Book, Bold, and Black and is ideally suited for advertising and packaging, film and tv as well as music and nightlife. FF Signa Stencil provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic writing system. This FontFont is a member of the FF Signa super family, which also includes FF Signa, FF Signa Correspondence, FF Signa Serif, and FF Signa Serif Stencil.

French type designer Xavier Dupré created this serif and slab FontFont in 2004. The family has 10 weights, ranging from Thin to Bold (including italics) and is ideally suited for advertising and packaging, editorial and publishing as well as logo, branding and creative industries. FF Absara provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. In 2005, FF Absara received the TDC2 award. This FontFont is a member of the FF Absara super family, which also includes FF Absara Headline, FF Absara Sans, and FF Absara Sans Headline.

Beauville Script is a handmade pen font with a touch of comfortable elegance, inspired by the script headings of the 40s and 50s. Beauville is an upright, condensed and soft vintage script with a modern and contemporary twist. Its main characteristics are the bouncy baseline, round forms and bumpy stems. These qualities give Beauville it’s casual, friendly look and makes reference to traditional fluent handwriting. Beauville font is equipped with contextual and stylistic alternatives, swash alternatives and ligatures to create more authentic and varied connections between the letters. It has a Central European language support to fit your design. Beauville Script works perfectly in greeting cards, invitations, weddings, posters, magazines, fashion world, branding & logos, packaging, etc. It is friendly and lovable, fresh and fun to work with.

Pero is a condensed rounded sans-serif family designed by Ryoichi Tsunekawa and the whole family consists of 7 weights from ExtraLight to ExtraBold.The range of styles provides flexibility for title, headline and body text. And the large x-heights add to legibility. The basic skeleton of the letterform was designed modularly and minimalized by removing unnecessary stems and ends were rounded out. The minimalized modular design gives this family contemporary urbane taste and rounded corners make this family warm and friendly. This rounded feature will also accentuate your design work moderately. Pero supports almost all European languages: Western, Central, South Eastern Europeans and afrikaans. And superior figures, inferior figures, denominators, numerators and fraction can be accessed by using OpenType features.

German type designers Erik Spiekermann and Ole Schäfer created this sans FontFont between 1996 and 2000. The family has 10 weights, ranging from Regular to Bold (including italics) and is ideally suited for book text, editorial and publishing, small text as well as web and screen design. FF Info Text provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. In 1998, FF Info Text received the The Big Crit award. This FontFont is a member of the FF Info super family, which also includes FF Info Correspondence and FF Info Display.

AS HAREF is a contemporary geometric Arabic font, drawn and constructed carefully Font design is inspired by the ARABIC calligraphic style. AS HAREF Its structure is equal and visually controlled. Character forms are a combination of vertical straight lines that integrate visually with soft angles in some areas. This makes it a line of nature suitable for today's technological and visual development. The variations and weights of this font are suitable to use companies in their names and appearance, and also suitable with the titles and logos and is also used in all the requirements of advertising and long texts, use in headlines, logotypes, branding, books, magazines, motion graphics, web and Tv. AS HAREF consists of 7-weight versions from Thin to Heavy.

Introducing our newest font Yegufet its name made in original handwriting that has a young, powerful and energetic character, of course it is very suitable for use for modern and vintage projects, the beautiful and beautiful letterforms make this font look charming for you to use in any of your design projects. This magical font also offers the beauty of abstract typography harmony for a wide variety of design projects, including natural handwriting in digital form for designs, quote designs, for social media business designs, advertisements, trademarks, food and beverage promotion banners, text, posters, a signature, and all designs require handwriting or whatever design you want. This font is equipped with uppercase, lowercase, numbers, punctuation marks, swhases and several variations on each character including multi-language. ================================================== This font is best suited for open type friendly applications. How to get alternative glyphs from open type fonts: http://adobe.ly/1m1fn4Y PUA Character Code - Fully accessible without additional design software. do not hesitate anymore start using this font. and Feel free to send any message you want to convey.

Proudly present Chunky Beard - Retro Type, created by ikiiko. Chunky Beard is a vintage font with bold, rounded letterforms with vintage vibes from the 60's era. These fonts often have heavy, wide strokes and lack clear borders, giving them a warm and inviting appeal. Rounded edges, exaggerated curves, and exaggerated serifs are some of the characteristics of 60s vintage-type typography. Additionally, they often have very constant stroke weight across letters, further accentuating their distinctive appearance. From posters and flyers to logos and branding materials, bold typography with a vintage '60s feel is a great way to add a dash of retro charm to any design project. The font it self is grab people's attention with their vibrant, fun, vintage appeal and undeniable aesthetic. This kind is ideal for projects that seek to convey a sense of nostalgia and the retro vibes as well as retro-themed designs. As a movie title, corporate logo, quote, poster design, magazine layout, or just as a chic text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Multilingual Support Works on PC & Mac

Chalky Letters is a multilayered font collection, created for the chalk-lettering lovers. Letters and ornaments are carefully hand-drawn to resemble the authentic chalk effect. 4 different vintage typographic styles along with a variety of decorations and shadow effects make endless combinations. The collection gives the designer the freedom to use it in any typographic project he can imagine: greeting cards, labels, large scale prints, branding, packaging, signage, editorial design. Typographic styles: Chalky Letters Heading: All caps, old fashioned, serif, with 2 styles of decoration and shadow effects Chalky Letters Label: All caps, heavy, serif, vintage, solid and outline, with 4 styles of decoration and a shadow effect Chalky Letters Script: Simple modern calligraphic with terminal forms and 2 alternate styles of descenders. Combined with a shadow effect. Chalky Letters Note: All caps, simple, thin, old fashioned, with a shadow effect Chalky Letters Extras: 2 styles of ribbons, frames and ornaments. The font collection supports Central, Eastern, Western European, Baltic, Turkish and Greek languages.

This is Alter Littera’s first original design. The font has been created by attempting not to reproduce any historical typeface in particular, but only to re-create the overall forms and style of classic black-letters from different time periods and places. Two specific sources must be acknowledeged nonetheless: (1) the “Black” type from William Caslon’s A Specimen of Printing Types (1785), and (2) the “Caslon Gotisch” type by D. Stempel A.G. (1926). In addition to the usual standard characters for typesetting in modern Western languages, the font includes a comprehensive set of special characters, alternates and ligatures, plus Opentype features, that can be used for typesetting as in antique writings and printings. The glyphs are clean, smooth and definitely readable, so the font will be suitable not only for large titles and headings, but also for full text pages. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Alter Gotisch” Font Page.

No frills. No fluff. Still friendly. Keep your look clean and simple with the utilitarian but gentle Ultine. This font with a slightly extended geometric architecture gets straight to the point without pushing your reader away with too firm an approach. Ultine covers a large set of multi-Latin languages. It includes a wide range of other OpenType features, too, including ligatures and contextual alternates. Moreover, small caps of Utline and titling alternates are available for deepening your design capabilities with this basic face. The Ultine family consists of 42 fonts with three different widths and italics counterparts for every style. The design is well suited for graphic design and any use of the screen. It can easily operate as a webfont, as text for banner ads and for branding as well as editorial design. And just to show you how simple and friendly the font can be, the regular weight is free, so you can use it to your heart's content.

Amarone is a spiky calligraphic display typeface with some old fashioned flavour. It was designed by Carl Crossgrove, and includes an extensive set of swash caps which allow for extra drama where needed. Crossgrove wrote each of Amarone's letters by hand using pen and rough paper, and has retained some of this visual texture in the final digital design. The typeface works well at small sizes, but when used at larger sizes this texture comes to the fore. Amarone's elegant, formal character can be modified with its swash caps, which allow the typeface to move from prim and ordered to wildly expressive. Amarone lends itself well to packaging, posters and editorial usage – or in any environment where designers need to evoke times gone by. The Amarone font features an extensive character set with support for over 130 languages, and a range of OpenType typographic features including ligatures, initial and terminal forms, figures, fractions and swashes.

Adecion is designed for maximum visual and emotional impact. Its four weights excel in posters, social media, headlines, large format print - and anywhere else you want to get noticed. Hidden between straight lines and firm confidence is a hint of charm and mischievous character; Adecion gives your words a powerful sound as well as fun to use. Perfect for graphic design and any screen use of your projects such as branding, magazines, editorials, wedding invitations, logo design, posters, social media, and more! FEATURES: • 4 Font weight • Uppercase & Lowercase • Alternative Uppercase • Numbers & Punctuation • Characters with accents • Supports Multiple Languages WHAT'S INCLUDED: • Adecion - Light. • Adecion - Regular. • Adecion - Bold. • Adecion - Extra Bold. This type of family has been the work of real love, making it as easy and enjoyable as possible. I really hope you enjoy it! I can't wait to see what you do with Adecion! Feel free to use the #Dora Typefoundry tag and the # Adecion Display font to show what you've been up to!

Aure Westra embodies the liquid look of a broad-nibbed ink pen. These bold forms engage the reader with a subtext of exotic wisdom. Westra’s entrancing flow brings a dramatic intrigue to text and titles and an esoteric savor to astrological expressions and chartwheels. Westra 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. The CJ glyphset is a full text font with an extended set of lowercase and uppercase glyphs supporting a variety of European languages. Additional 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 and oldstyle 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. The unique look of Aure Westra stands on its own as a text font. Where needed, use the clean lines of Aure Jane to provide contrasting text that will showcase Westra’s exotic nature. Give Aure Westra a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

In the world of typography, Golften – Art Nouveau Serif Font stands as an epitome of elegance. It gracefully channels the beautiful and harmonious flow, drawing inspiration from the Art Nouveau style. Let’s delve into why Golften is an exceptional choice for those seeking refined and graceful design. Elegance at Its Core First and foremost, Golften exudes elegance through its graceful serifs and harmonious lines. It encapsulates the very essence of Art Nouveau. Moreover, its flowing curves and intricate details create a captivating visual experience, making it the ideal choice for designers aiming to create visually stunning projects. Versatile Beauty What sets Golften apart is its versatility, which knows no bounds. It seamlessly adapts to various design projects. Whether you’re crafting wedding invitations, establishing elegant branding, or designing artistic posters, Golften adds an exquisite touch that elevates your work. Furthermore, this font’s adaptability makes it suitable for a wide range of creative endeavors. Inspired by Art Nouveau Golften draws inspiration from the Art Nouveau movement, celebrated for its organic forms and ornate aesthetics. This font mirrors those principles, making it a perfect choice for projects aiming to capture the timeless allure of this influential style. With Golften, you can effortlessly infuse your designs with the spirit of Art Nouveau.

Inspired by food labels, signs and coats of arms, PR-Scrolls is a collection of images which can be used for framing text in contexts where antiquity, craftsmanship, or traditional quality are conveyed. There are several sets of glyphs which work together to make a variety of shapes, or banners of custom length. Most of the glyphs are presented in a range of four or more widths.

Inspired by food labels, signs and coats of arms, PR-Scrolls is a collection of images which can be used for framing text in contexts where antiquity, craftsmanship, or traditional quality are conveyed. There are several sets of glyphs which work together to make a variety of shapes, or banners of custom length. Most of the glyphs are presented in a range of three or more widths.

Prêt-à-porter is a project developed as part of a series of type experiments appearing on the blog ‘Letritas’. Prêt-à-porter is a very expressive friendly font with a handwritten look, smooth curves and strong identity. Its counterforms make it a carefree, wild, cheerful, light and highly readable typeface. This type system consists of two Script families—Contrast and Linear—and a Slab family. The Contrast set works as a complement, providing more elegance and formal refinement. Both Linear and Contrast come in 5 weights plus Ornaments, which can be used as initial and terminal forms since they have been designed for connecting with each letter. Linear and Contrast families include ligatures and the whole font family supports 208 different languages.

Xyngia is a professional modern sans serif typeface. Thanks to its excellent legibility it is a great choice both for on-screen use as well as print purposes. Xyngia is designed for use in long and short paragraphs of text, headlines and user interfaces. Its design nuances gives it distinctive character making it an interesting option for brand identification and logo design. Xyngia consists of 22 fonts - 11 weights and their corresponding italics. It has extended language support (over 1000 glyphs) and true italics, as well as broad number of OpenType features, such as small caps, case sensitive forms, standard and discretionary ligatures, stylistic sets, contextual alternates, lining, oldstyle, tabular and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Joane mixes the elegancy of French didones, calligraphic endings and glyphic serifs, thus its features convey a warm unique style. Moreover, its curves have been beautifully designed, and it also comes with both and engraved and deco versions, which add more versatility to the way it can be used. Joanes is perfectly suited for magazines, branding, advertising, labels, web and packaging. Joane is my first typeface to be published worldwide. To achieve this goal, I received essential help from W team and friends. I personally want to say thanks to Diego Aravena for the patience, good will and learning; for the friendship and support to Franco Jonas and Raúl Meza. Because of their help I could find the treasures at the end of the process. Ale Navarro

Danish type designer Ole Søndergaard created this sans FontFont in 2002. The family contains 4 weights: Regular, Italic, Bold, and Bold Italic and is ideally suited for logo, branding and creative industries and small text. FF Signa Correspondence provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic writing system. This FontFont is a member of the FF Signa super family, which also includes FF Signa, FF Signa Serif, FF Signa Serif Stencil, and FF Signa Stencil.

American type designer Michael Abbink created this serif FontFont between 2009 and 2010. The family has 12 weights, ranging from Regular to Black (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries as well as small text. FF Milo Serif provides advanced typographical support with features such as swashes, ligatures, small capitals, alternate characters, case-sensitive forms, and fractions. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. FF Milo Serif received several awards: the ISTD award in 2011 and the Letter.2 award in 2011. This FontFont is a member of the FF Milo super family, which also includes FF Milo.

British type designer Chris Burke created this serif FontFont in 1994. The family has 10 weights, ranging from Regular to Black (including italics) and is ideally suited for book text, editorial and publishing as well as logo, branding and creative industries. FF Celeste provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic and Greek writing systems. This FontFont is a member of the FF Celeste super family, which also includes FF Celeste Sans and FF Celeste Small Text.

This font family is display sans-serif with different stylistic layers available as open type font. The main characters are geometric and neutral but when we change the contextual alternates open type feature the letterforms activate the cursive stylish set. The word composition is divided by initial, medial and final forms, available for all uppercase and lowercase, the diacritics for Latin encodings (Western and central Europe and Baltic countries) are available. However the contextual alternate features (cursive mode) can only work on Adobe CS Indesign and Illustrator softwares. This typeface also has uppercase swash and stylish alternates. A large group of discretionary ligatures are also available to improve better legibility and readability on specific characters combinations, giving a natural and simple solution.

Frutiger Capitalis Regular and Outline belong to the group of typefaces for the Linotype’s Type Before Gutenberg project. However, they are not based on direct historical sources. At first glance, they may seem related to the roman type Capitalis Monumentalis, but upon closer examination, the fonts reveal a vitality unknown to the characters the Romans etched in stone. Frutiger confesses that creating Capitalis was “a liberation”. After working on so many sophisticated and meticulously designed typefaces, Frutiger Capitalis was a breath of fresh air. Stylistically, Frutiger Capitalis Outline forms a bridge to Frutiger Capitalis Signs, a whole universe of its own. Frutiger Capitalis Signs is a personal cosmos of symbols, many are immediately “legible”, others leave room for interpretation. Some of the symbols are the product of Frutiger’s imagination, such as his “Life Signs” — soft, hand drawn figures whose lines have no apparent beginning or end, creating both interior and exterior spaces, new forms emerging at each glance. These contoured drawings have accompanied Frutiger throughout his professional life, a fantasy garden which has provided an important balance to his many years of disciplined typeface design. Yet he does not consider himself an artist. Frutiger says he simply “wants to tell stories, to draw thin lines, create contours of signs; that is my style”.

Rossaline Handwritten is a lovely script font of which characteristics are the connections between letters to look like a naturally connected handwriting that leaves the impression of this font being organically, spontaneously written in order to add a firm personal touch. This font has various line thicknesses to show high letter contrasts to strengthen the font’s firm, clear impressions. Besides, the letters’ height variety, meaning that some of the letters are higher than the others, makes Rossaline Handwritten more interesting and dynamic. However, the connected letters can cause difficulty to read in small text sizes, so that you need to be more careful to use this font by adjusting it to your needs. In addition, you may enjoy the available features here as well. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Rossaline Handwritten fits best for various design projects, such as brandings, quotes, invitations, name cards, greeting cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

very traditional forms strongly slanted italic consistant proportions extraordinary ligatures swashes alternate letters alternate figures lower case l with a hooked “foot” Believe it or not, there are hardly any sans serif fonts in which the lower case letter l also has the hooked form of an l. Instead, we readers have to constantly distinguish whether we are seeing an uppercase I or a lower case l — just take a look at the word “Illinois”... The ingoFont Analogue was developed for exactly this reason. The intent: To create a pretty much »ordinary«, even classical font with its most striking characteristic being the inclusion of the “crooked l.” As a model, I used the »mother of all sans serifs«, Akzidenz Grotesk from Berthold, with its beginnings going back to the 19th century. Analogue is so to say a new interpretation of Akzidenz Grotesk from ingoFonts. All characters — following the model — have been newly designed. And if you want to emphasize the shape of the hooked foot even more, you can also activate the alternate styles for d, h, m, n (Style Set 1). Conversely, the alternate a somewhat softens the “hooked” impression (Style Set 2). The slanted versions — it isn’t truly a real cursive font — are noticeably stronger with 13° than the italics in comparable fonts, and were given a round e with a mind of its own which distinguishes itself considerably compared to the upright characters in the overall appearance of the font. More modern and formal solutions in detail were chosen for some of the characters, for example the M was given lightly slanted sides; the a reflects the curves of the s; the “feet” of a, l and t match; the flared legs of K and R became a “foot”, too. General proportions were carried over almost completely with no changes from Akzidenz Grotesk as well as the slanted trimming on the open forms of a, c, e, s; in comparison, C, G and S were given straight endings. Analogue contains many ligatures, even discretional ligatures, plus proportional, old style as well as tabular figures. All in all, at first sight Analogue brings back memories of the charm of its well-known predecessor; and yet, many small differences give Analogue an unmistakable certain something...

Arabetics Harfi is a Latin Serif typeface with a comprehensive support for the Arabetic scripts, including Quranic texts. Careful spacing and kerning was used to enhance resulting text legibility both scripts. Arabetics Harfi fully supports MS 1252 Western and 1256 Arabic code pages, in addition to all transliteration characters required by the ALA-LC Romanization tables. Users can either select an accented character directly or form it by keying the desired combining diacritic mark following an unaccented character. For Arabic, it fully supports Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks. The Arabic design of this font family follows the Mutamathil Taqlidi type style with connected glyphs, but it emphasizes a horizontal look and feel rather than verticalone, utilizing slightly varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Arabetics Harfi includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph. Arabetics Harfi includes both Arabic and Arabic-Indic numerals, in addition to generous number of punctuation and mathematical symbols. It includes two weights, regular and bold, each of which has normal, right slanted Italic, and left-slanted styles.

Core Sans A Family from S-Core is a modern sans-serif typeface that is clean, simple and highly readable. It is a part of the Core Sans Series (Core Sans N SC, Core Sans N, Core Sans NR, Core Sans M and Core Sans G). Letters in this type family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Core Sans A family consists of 8 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy) with their corresponding italics. Core Sans A contains complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.

Proudly present Smokey Brown - Funky Type, created by ikiiko. Smokey Brown is inspired by the 70's funk & soul vibes. Is a distinctive and vibrant style of typography that emerged during the 1970s, primarily in the context of soul, funk, and disco. One feature that makes this font style distinctive is the use of bold letters with thin lines to form letters. Typography itself is fun and enjoyable. The letters can be played with by being stretched, bent, or distorted in various ways, giving the font a sense of movement and energy. This type is very suitable while used in retro-themed designs or for projects that want to evoke a sense of nostalgia and retro vibes. Like a poster design, magazine layout, movie title, brand logo, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Multilingual Support Works on PC & Mac

EXCLUSIVE! Read all about it! The latest scoop from Comicraft is sure to be in all the newspapers today! The Times are a changin' -- comic book letterers everywhere can say a font farewell to typesetting the front pages of Planets and Bugles in Helvetica, Verdana or Gill Sans! Superhero's Pal, Johnny "Roshell" Olsen, was up all night writing copy for the late-night edition, making sure that your newspaper headlines and copy have a warm, pen lettered look... some might say a Rosen-glow! Put a little Extra Extra in your bylines and maybe there's a Pulitzer and an Eisner in your future! Not ready to purchase? Get ExtraExtra Engraved free with any purchase, or by subscribing to our newsletter at the bottom of this page. Features Seven fonts (Regular, Italic, Bold, Bold Italic, Heavy, Heavy Italic & Engraved) with upper and lower case alphabets.

Font designed from that used in Bamberg by Albrecht Pfister, in early years of printing, exactly for a book titled "Ackermann Von Böhmen" writen in old German by Johannes Von Tepl, and decorated by a lot of splendid colored carved woods. This font include "long s", naturelly, as typically medieval, but any abbreviated characters, and, curiously no german "ß", no more than "W". (The only one I did found where a hand drawn one.) In addition, the "k" have not a German gothic form. Added, the accented characters, no longer existing on this time, and capitals when was a lack. A render sheet, in the font file, makes all easy to identify on a keyboard. This font is used as variously as web-site titles, posters and fliers design, editing ancient texts... This font supports as easily enlargement as small size, remaining readable, original and beautiful, especially in capitals.

IT’S MAILBAG TIME! Dear Jolly JG Roshell and Rascally Richard Starkings, Comicraft Fonts are a thing of Beauty and a Joy Forever! You guys must be a Wild Bunch, and I roar with delight whenever a new comicbookfonts release appears in my emailbox. But I have to level with you daredevils...what about us Letterhacks? We need representation too! We haven’t spent years hammering away on our typewriters to be ignored! BRING BACK THE LETTER HACK! In fearless font form. You know it makes sense! Truly Yours, Forbush, Irving, senior. We give up! We can’t resist your appeals, threats and commands ANY LONGER!!! We may crack under the strain, but this month’s release IS two (count 'em) Letterhacks! That’s right, a pair of fantastic fonts that recreate the look and feel of your Marvelous Letters of the Sixties! It’s a Bullpen Bulletin! It’s an Iconoclastic Item!

astie - Elegant Serif Font Unique, playful and versatile serif with 35+ ligatures and 50+ alternates can combine to get curves and beautiful shapes just in seconds. Type the words and Add the unique shapes from Bastie ornament to get a more stunning display. This font is suitable for many design forms, such as magazines, postcards, logos, DIY Projects, invitation cards, quotes, vintage look design, an old classic, the 60s, 70s, 80s, wedding projects and much more. We recommend using Adobe Illustrator or Photoshop. how to access alternate? Adobe Photoshop go to Window - glyphs Adobe Illustrator go to Type - glyphs Supported Languages What's you get? - Unique Alternates - Multilingual Support - Works on PC & Mac - Simple Installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Microsoft Word even work on Canva! - PUA Encoded Characters - Fully accessible without additional design software. Let me know if you any question:) Have a wonderful Day Say Studio

Kashi is the Persian word for tile. This font is inspired from building decorations of 16th and 17th centuries in Iran. It is extremely legible even in very small size. Kasha design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Kasha was developed for multiple languages and writing conventions. Kashi supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Introducing our newest Font, the name Gerdingan fonts are made with a script model that is intended to write beautiful names, and beautiful words and sentences of course with typography harmony. This font also offers beautiful abstract typography harmony for a wide variety of design projects, including natural handwriting in digital form for designs, quote designs, for social media business designs, advertisements, trademarks, promotional banners, posts, posters, signatures, and all designs require handwriting or whatever design you want. This font is equipped with uppercase, lowercase, numbers, punctuation marks, swhases and several variations on each character including multi-language. ================================================== This font is best suited for open type friendly applications. How to get alternative glyphs from open type fonts: http://adobe.ly/1m1fn4Y PUA Character Code - Fully accessible without additional design software. do not hesitate anymore start using this font. and Feel free to send any message you want to convey.

Franz Kafka’s manuscripts have always been a source of inspiration for designer Julia Sysmäläinen. At first she was just interested in literary aspects but later she noticed that content and visual form can not be separated in the work of this ingenious writer. Analyzing Kafka’s handwriting at the Berlin National Library, Julia was inspired to design the typeface FF Mister – by now a well known classic. Over the years, FF Mister K became a handsome typeface family and even produced offspring: the Josef K Patterns. Some of Kafka’s most expressive letterforms were the starting point for these decorative ornaments. How do the Patterns work? Outlines and fillings correspond to the uppercase and the lowercase letters on your keyboard. You can use them separately or layer them on top of each other. If you write a line of “pattern-text” in lowercase and repeat it underneath in uppercase you get a row of fillings followed by a row of outlines. Now you can color them and then set line space = 0 to get a single line of layered colored ornaments. Alternatively, activating OpenType / stylistic set / stylistic alternates will also unite the two lines to a single layered line. Further magic can be done with OpenType / contextual alternates turned on. On the gallery page of this font family is a downloadable Josef K Patterns.pdf with an alphabetical overview of forms. Hundreds of patterns are possible … we’d love to see some of yours and present them here on the website!

The name suggests it: the Chiq is based on a well-known system font from Apple's classic Mac OS operating system. By revamping and expanding good old “Chicago“, I want to make that 90s tech charm available for the future. The model consisted of just a single style and inspired me to create “Chiq Bold,” which later became the starting point for the entire font family. The shapes of the Chiq are constructed according to a very simple principle. The contrast of stems and hairlines becomes more pronounced towards the bolder cuts. A few basic shapes form the framework for all characters. The shapes are very regular and sometimes form somewhat unusual figures, which has a negative effect on readability and makes the font rather unsuitable for long passages of text, but results in a very even typeface. This is particularly true for the extra-wide “UltraExpanded,” which is so wide that you can no longer recognize word images but literally have to spell them out. In this way, words are turned into letter bands with a great decorative effect. With variants from “Light” to “Black”, from “Normal” to “Ultra Expanded” and the italics, Chiq reaches beyond its archetype. This opens up a wide range of uses. It is even clearer, even more sober, and to a certain extent speaks an even more modern formal language. Chiq is also a variable font!