Introducing Kogama, our newest Japanese-style inspired font, which was created specifically to carry the Asian font concept and will make your project look beautiful and appealing. Start utilizing this typeface to make your project stand out and be well received. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out. Caps only fonts.

The Tibet Museum fonts are designed for harmonic layouts of multilingual texts, especially for the combination with asian fonts such as Tibetan or Devangari. Tibet Museum is a family of four fonts – Regular, Bold, Regular Italic and Bold Italic – that combines the shapes of Tibetan letters with a contemporary western font. The result is a unique set of characters that allows the design of multilingual applications and adds to an outstanding identity. It is perfect for branding projects as well as editorial and exhibition designs. The fonts contain a set of more than 400 glyphs to support 207 languages.

HWT Bernice is an ornament font system designed by Marian Bantjes. The basic shapes were designed by Bantjes for the Hamilton Wood Type Museum's border stamping machine as a contemporary application for this 150 year old machine, which punches shapes into end grain wood to form continuous border patterns. The digital version expands a bit beyond the punch machine and allows designers to assemble a multitude of options using flipped and rotated variations of these 6 basic shape sets using simple keystrokes.

This typeface came about when playing with felt tip marker settings in Corel Painter and is derivative of my own handwriting. Up until Workstation Clutter, all of my fonts were designed on paper, then scanned or reproduced into a digital format. With the use of Painter, the non-digital steps were removed, making this the first fully-digital Zang-O-Fonts typeface. Brian J Bonislawsky of the Astigmatic One Eye Typographic Institute helped round out the character set and additional needed characters. The name was inspired by an ex-girlfriend's disorganized desk.

Old Town No. 536 is a homage to the old woodtypes. These became especially popular through their use on wanted posters in Wild West films. Adrian Frutiger also designed his typeface Westside in this style. Due to its robust figures, Old Town No. 536 is particularly effective when used in headlines. It belongs stylistically to the Italienne typefaces, whose serifs are thicker than the strokes.

It had to happen: we reached into the future and returned with the ultimate hyper-wide hyper-condensed hyper-thin hyper-bold font: HYPERSPACE RACE! It boldly goes where no sci-fi font has gone before, with WARP SPEED MODE (149 custom connecting letter pairs), alternate letters without connections, Variable Font for unlimited adjustment of Weight, Width & Slant, and character support for 211 European and Asian languages, including Russian, Serbian/Macedonian, Ukranian & Vietnamese. See the Variable and Opentype features in action as I re-create 15 familiar sci-fi logos in under two minutes with the Variable Font!

Revoka is a display typeface with the notion of an Asian font with unique and modern traits. Fonts with unusual shapes will brighten up your project and give it a unique pattern, giving it an attractive, appealing, and natural feel. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out.

Lively, friendly and fun. Blackcurrant is derived from a poster campaign Rian Hughes designed for the youthful Japanese woman's outfitters, Yellow Boots. The original logo formed the basis of the Black version; the narrower Squash version was added fro the commercial release. The lower case was added two years later due to popular demand. In 2010 the font was further accessorised with extensive ligatures, made possible with the then-new Opentype technology.

Ascender Sans was designed by Steve Matteson as an inventive, exhilarating sans serif design that is metrically compatible with Arial. Ascender Sans offers enhanced on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across different platforms. The Ascender Sans Narrow offers enriched on-screen readability characteristics and the pan-European WGL character set and resolve the needs of developers looking for width-compatible fonts to address document portability across platforms. Ascender Sans Narrow contains regular, italic, bold and bold italic fonts.

Ascender Sans was designed by Steve Matteson as an inventive, exhilarating sans serif design that is metrically compatible with Arial. Ascender Sans offers enhanced on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across different platforms. The Ascender Sans Narrow offers enriched on-screen readability characteristics and the pan-European WGL character set and resolve the needs of developers looking for width-compatible fonts to address document portability across platforms. Ascender Sans Narrow contains regular, italic, bold and bold italic fonts.

In Adrian Frutiger, the discipline of a mathematically exact mind is joined with an unmistakable artistic sense. His independent work possesses the controllable language of letterforms. Personal and intensive, this work is the manifestation of his expressive will. Frutiger's precise sense of outline reveals itself two- or three-dimensionally in wood, stone, or bronze, on printing plates and in the form of reliefs. However, even his independent work can be understood as objectivized signs; in their symbolism, they are embedded in the fundamental questions of human existance. They might have developed in the spirit of playfulness, but their nature is always conceptual, directed towards a complex, yet harmonic, whole. Following function, form also necessarily follows the content of the language. The entire spiritual world becomes readable through letters. Essentially, Adrian Frutiger attempts to fathom the basic, central truth which defines our lives: change, growth, division - beginning and end. In a virtual synthesis, he seems to close the circle in which the world reflects itself in symbolic forms. Frutiger Stones is for Adrian Frutiger the example of his formal artistic sensibility par excellence. Searching for the fundamental elements in nature, he has discovered the pebble, rounded and polished over innumerable years by gently flowing water. And out of this, he has created his complete system, a ruralistic typeface of letters and symbols. It depicts animals and plants, as well as astrological and mythical signs. Because of its unique aura, Frutiger Stones is particularly well-suited to different purposes - in headlines and prominent pictograms, as symbol faces, illustrations, and more.

Baskerville Display PT is a type family intended for large and extra large point sizes. It was inspired by the faces of John Baskerville and designed for expressive display typography. Two weights of Baskerville Display with matching italics are much lighter than the existing text versions of Baskerville. Each of them is an ideal partner for ITC New Baskerville. A good addition to the family is Baskerville Poster which will look great in very large sizes. The font was designed by Arina Alaferdova under the supervision of Dmitry Kirsanov and released by ParaType in 2016.

Bomadha is a one-of-a-kind display font with Asian elements. The typeface, which has been built with remarkable harmony in every phrase structure that arises, makes your complete project look luxury and gorgeous, causing your entire audience to fall in love with it. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out.Caps only fonts.

Shard was originally commissioned for Nickelodeon’s 3D reboot of the Teenage Mutant Ninja Turtles franchise. It complemented the show’s new angular logo, which Rian Hughes also designed. There are alternative versions of many letters available in the upper and lower case keys, and a selection of around 90 ligatures that automatically substitute themselves in running text to give a tight, interlocked fit.

Brian Miller is a graphic designer who loves hillbilly culture, which is what inspired his popular phrase, 'country fangs!'--used to describe anyone with teeth that - well - just don't quite line up right. Git Cletus an' Jimmy Ray an' we'll hold down a piggy an' make 'er SQUEAL!!!!!--be sure t' put yer teeths in, too! Country Fang includes multiple grit patterns and appropriate "teeth" icons to spiff up any layout on the fly.

Modula was the first high resolution headline face that Zuzana Licko designed with the Macintosh computer. In 1985, the computer was very crude as far as being able to produce subtle curves, but it was outstanding at producing perfect geometric elements. As a guide, she used the proportions of her earlier Emperor Fifteen bitmap design and applied the precision of the computer's geometric elements. See also Modula Round and Ribbed. Greek version by Dimitris Arvanitis.

Raleigh was produced in 1977 by Robert Norton based on Carl Dair’s Cartier typeface which was designed for the 1967 Montreal World's Fair. It was renamed after Dair’s death. Adrian Williams added three weights for a display series, and Robert Norton developed the text versions. A contemporary old style serif with calligraphic features. For use both in text and display typography. Cyrillic version was developed at ParaType in 2001 by Vladimir Yefimov.

Herculanum is a part of the 1990 program “Type before Gutenberg”, which included the work of twelve contemporary font designers and represented styles from across the ages. Herculanum is a work of Swiss typeface designer Adrian Frutiger. It takes its name from the city of Herculaneum, an ancient Roman resort town destroyed by volcanic pyroclastic flows from Mt Vesuvius in 79 AD (the same eruption that destroyed the nearby city of Pompeii). Herculaneum's ruins are located today in the commune of Ercolano, Campania, Italy. Ancient Roman writings of the 1st century influenced the font's design. Herculanum is distinguished by its broad characters with narrow strokes and its willful character.

Sheldon family draws inspiration from the beautiful and eloquent posters of Polish graphic artist Marian Stachurski. Generously sprinkled with stylistic oddities, this is the perfect typeface for having some cool typographic unevenness without losing the ever-handy sans-serifness. Sheldon is an all caps font but holds different characters on upper- and lower-case slots for a more consistent handcrafted feel. Its OpenType Contextual Alternates feature manages to instantly alternate these glyphs. The family includes 3 handy weights, so it can accommodate numerous typographic tasks. It also brings a very cool picture font, which charmingly completes this useful and visually striking font family. Have fun!

Linotype Sinah is part of the Take Type Library, selected from the contestants of Linotype’s International Type Design Contests of 1994 and 1997. Designed by the German artist Peter Huschka, Linotype Sinah is a rounded, ornamental font with many strokes ending in teardrop forms. The letters of this wide-running font do not share a common base line. The capital S and the lower case l both drop under it although neither have descenders. Overall, Linotype Sinah has an almost Asian or Indian feel. The font must be used with generous line spacing and is intended exclusively for headlines or shorter texts in point sizes of 12 or larger.

Linotype Sinah is part of the Take Type Library, selected from the contestants of Linotype’s International Type Design Contests of 1994 and 1997. Designed by the German artist Peter Huschka, Linotype Sinah is a rounded, ornamental font with many strokes ending in teardrop forms. The letters of this wide-running font do not share a common base line. The capital S and the lower case l both drop under it although neither have descenders. Overall, Linotype Sinah has an almost Asian or Indian feel. The font must be used with generous line spacing and is intended exclusively for headlines or shorter texts in point sizes of 12 or larger.

HAMIBA is a display font with a dramatic letterform and a Japanese flair. Imagine having a project with a charismatic, original, and exquisite appearance that many people remember. You may use this Asian font anyplace for any type of project. If you utilize this font in your project, you can easily achieve all of this. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out.

A loose, casual felt-pen script, Chantal comes in three weights plus italics, and a Cyrillic version too. Alternate versions are available in the upper and lower case keys, so settings can be customised according to taste. Chantal communicates a hand-drawn light touch with character. Originally designed to letter the RoboHunter series that Peter Hogan and Rian Hughes produced for the comic 2000AD.

British type designer Rian Hughes created this display FontFont in 1994. The family has 6 weights, ranging from Light to Medium (including italics) and is ideally suited for festive occasions, logo, branding and creative industries, music and nightlife as well as software and gaming. FF CrashBangWallop provides advanced typographical support with features such as ligatures and case-sensitive forms. It comes with proportional lining figures.

The original Frutiger typeface was designed in the early 1970s by Adrian Frutiger and his studio for the way finding system of the Roissy Charles de Gaulle airport in Paris. Soon after the airport was opened, a huge demand for the typeface arose from companies wanting to employ it in other signage systems, as well as in printed matter. The Frutiger typeface came out as part of the Linotype library in 1977. Epitomizing functionality and clarity both in signage and as a bread-and-butter typeface in print, Frutiger became a modern classic. Neue Frutiger® is the 2009 version of the Frutiger typeface family. It was revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. While Frutiger Next, the 1999 revision, introduced a new concept (including a larger x-height, a more pronounced ascender height, narrower letter-spacing and, most notably, an italic with calligraphic traits), Neue Frutiger returns to the original 1977 design. The result is a well-balanced range of 10 finely-graded weights. Despite the various changes, the ‘New Frutiger’ still fits perfectly with Frutiger and serves to harmoniously enhance the styles already in existence. Neue Frutiger Variable are font files which are featuring two axis and have a preset instance from UltraLight to ExtraBlack and Condensed to Extended. Featured in: Best Fonts for Resumes, Best Fonts for Websites, Best Fonts for PowerPoints, Best Fonts for Tattoos

Fusaka was created by graphic designer Michael Want, a highly original and specialized display typeface which bridges Kanji and Roman letterform styles. As in Kanji, each character fits into a square. The shape and the placement of letter and decorative strokes can make Fusaka look like Asian writing at first glance and allow it to be set either horizontally or vertically. Use Fusaka for a unique look on CD covers, magazine headlines, book titles and Web sites.

Figgins and Caslon may be names familiar to many as Type Founders. Indeed they are, but they are perhaps less well known for the emergence of Sans Serif type styles which have become part of our lives since 1889. The first hundred years of this style is celebrated with this design by Adrian Williams, completed in 1989. It echoes many features of the Gothic, Grotesque and Sans Serif models of the period, based particularly on the 1870 Figgins.

Figgins and Caslon may be names familiar to many as Type Founders. Indeed they are, but they are perhaps less well known for the emergence of Sans Serif type styles which have become part of our lives since 1889. The first hundred years of this style is celebrated with this design by Adrian Williams, completed in 1989. It echoes many features of the Gothic, Grotesque and Sans Serif models of the period, based particularly on the 1870 Figgins.

Aceituna means ‘olive’ in Spanish. It comes from the Arabic Al-Zeitoun. I am multi-tasking today: finishing this font and thinking about what to cook for my family tonight (yes, I am the one who cooks!). We normally eat Asian food, but I was toying with the idea of serving something Mediterranean and realised we had run out of olives. So there you have it: the super simple trick of naming a new font! But enough of cooking: Aceituna font was made with a Japanese brush pen. It is a very versatile font: tall and thin, elegant and a little messy. A hint of texture and, like olives, it goes with almost anything.

BEJO is a display font in the Japanese style, with each letter having its own individual personality. This font is appropriate for a wide range of project demands, particularly those involving Asian features. By utilizing this typeface, you will create a project with a gorgeous, original, and elegant appearance that will be remembered by many people. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out.

Introducing Takasimura Typeface Takasimura was inspired by unique and cool Japanese calligraphy. We created the Takasimura font for a design solution with a Japanese concept but internationally readable. Of course, this font is very suitable for designs with Japanese, Asian and Eastern concepts. Apart from that this font is very easy to use in both design and non-design programs because all alternates and glyphs are supported by Unicode (PUA). In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

June was first published in 2019 but it got a redesign and upgrade in the character set. It now supports Latin Extended and Vietnamese. It also has OpenType features such as stylistic alternates, case sensitive punctuation, small figures, arrows, superscript, subscript, fractions, and many more. June Pro was inspired by the work of Adrian Frutiger and his exploration into font design and legibility. June Pro is a modern sans-serif family in 10 weights ranging from Thin to Heavy with true italics. It was designed with legibility in mind. It is a versatile and distinctive font that makes it useful for various applications like editorial, web design, or branding.

Neue Frutiger Arabic was created by Nadine Chahine and a team of designers and font engineers from the Monotype Studio, under the direction of Monotype type director Akira Kobayashi. The family is available in 10 weights from Ultra Light to Extra Black. Neue Frutiger Arabic embodies the same warmth and clarity as Adrian Frutiger's original design, but allows brands to maintain their visual identity, and communicate with a consistent tone of voice, regardless of the language. It is part of the Neue Frutiger World collection, offering linguistic versatility across environments – suited to branding and corporate identity, advertising, signage, wayfinding, print, and digital environments.

Neue Frutiger Vietnamese''' was developed by a team of designers and font engineers from the Monotype Studio under the direction of Monotype type director Akira Kobayashi. The family is available in 10 weights from Ultra Light to Extra Black, with matching italics. Neue Frutiger Vietnamese embodies the same warmth and clarity as Adrian Frutiger's original design, but allows brands to maintain their visual identity, and communicate with a consistent tone of voice, regardless of the language. It is part of the Neue Frutiger World collection, offering linguistic versatility across environments – suited to branding and corporate identity, advertising, signage, wayfinding, print, and digital environments.

Neue Frutiger Arabic was created by Nadine Chahine and a team of designers and font engineers from the Monotype Studio, under the direction of Monotype type director Akira Kobayashi. The family is available in 10 weights from Ultra Light to Extra Black. Neue Frutiger Arabic embodies the same warmth and clarity as Adrian Frutiger's original design, but allows brands to maintain their visual identity, and communicate with a consistent tone of voice, regardless of the language. It is part of the Neue Frutiger World collection, offering linguistic versatility across environments – suited to branding and corporate identity, advertising, signage, wayfinding, print, and digital environments.

The type family in four basic styles was designed in ParaType (ParaGraph) in 1992 by Tagir Safayev. Based on Frutiger, of Mergenthaler Linotype, 1976 by Adrian Frutiger. Frutiger font was originally designed for use on signs at the new Charles de Gaulle Airport at Roissy. The straightforward sans serif shapes are suited well for both text and display setting. Six additional styles were added in 1998-2000. Multilingual versions of 6 styles (Light, Demi and Extrabold) include Armenian alphabet designed by Manvel Shmavonyan in 1997. Two condensed Cyrillic styles (Demi Condensed and Bold Condensed) designed by Manvel Shmavonyan in 2005.

Kyra Vaglo is a Unique font with floral ornament, inspired from Asian Skunk Cabbage, this beautiful font also perfect for your project, It can be used for various purposes such as logos, wedding invitations, headings, t-shirts, letterhead, signage, labels, news, posters, badges and so much more. can be easily accessed in full through any program by using your Operating System’s utilities (Character Map for Windows and Font Book for Mac.), as well as Illustrator, Photoshop CC, Cricut Design Space and Silhouette Studio and several other applications. Multilingual Support To access all OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator, Adobe Photoshop, CorelDraw and Microsoft word.