As well as ArTarumianIshkhan font ArTarumianIshkhanuhi (Ishkhanuhi from Arm. “Princess” was created as a modern stylization of Armenian medieval lapidary letters. As his feminine, more delicate form.

Bake Bunny is an exuberant refulgent handwritten mix cased typeface apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs including punctuation and numerical.

Recycled was created by creating letters from bits of recycled materials such as cardboard, newspapers etc. and then taking parts of those letters to create new letters.

KP Duty JNL emulates the lettering found on military equipment. It's a bold and macho design, perfectly suited for any project which has an armed forces theme.

Naïve Deco Sans is a layered sans serif handwritten font designed by Fanny Coulez and Julien Saurin in Paris. Our goal was to draw a font with finely irregular lines that give a human and whimsical feeling. It is available in two versions: double or triple lines. The font is also decomposed in three different parts that you can use to improve your designs with multiple colors, giving to the font a deco touch. To do so, you can simply superimpose the parts with a compatible software like Photoshop and choose a color for each. This font is part of our Naïve superfamily that contains lot of variations: Line, Inline, Serif, Sans Serif... Just click on our foundry name to see them all! We hope you will enjoy our work. Merci beaucoup!

Cave Pilot is an au fait piquant handwritten mix cased typeface apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs including punctuation and numerical.

Aircraft marking alphabets and numerals drawn in accordance with FAR Part 45 ¤ 45.29 (c), (d), and (e) of Federal Aviation Regulations. All characters are also in EPS files.

Window Sign JNL is a solidified re-working of Sign Stencil JNL; originally modeled from some vintage lettering stencils that were part of a store sign making kit.

Xevgo is a syndicate roundel tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf.

You can Download All 36 Demo Fonts The Lexis font family is a sans serif “super” family consisting of two sub-families - Lextis & Lexis Alt. While the first one follows the humanist model, its alternative version Lexis Alt dives way deeper into the geometric aesthetic. It’s simple yet versatile, packing great amount of well balanced weights, extensive character set and numerous Opentype features. The Lexis typefamily comes in 9 weights plus their italics, two distinctive styles and support for over 200 languages.

Gérard Mariscalchi is a self-made designer. Born in Southern France of a Spanish mother and an Italian father, he has worked as a mechanic, salesman, pilot, college teacher – even a poet (with poetry being the worst-paying of these professions, he reports.) “Throughout all this, the backbone of my career has always been design,” Mariscalchi says. “I’ve been drawing since I was five, but it wasn’t until I was twenty-four that I learned that my hobby could also help me earn a living.” It was about this same time that Mariscalchi fell in love with type. He studied the designs of masters like Excoffon, Usherwood and Frutiger, as well as the work of calligraphers and type designers such as Plantin, Cochin and Dürer. With such an eclectic background, it’s no surprise that Mariscalchi’s typeface designs are inspired by many sources. Baylac and Evita reflect the style of the art nouveau and art deco periods, while Marnie was created as an homage to the great Lithuanian calligrapher Villu Toots. However, the touch of French elegance and distinction Mariscalchi brings to his work is all his own. Baylac Who says thirteen is an unlucky number? Three capitals and ten lowercase letters from a poster by L. Baylac, a relatively obscure Art Nouveau designer, served as the foundation for this typeface. The finished design has lush curves that give the face drama without diminishing its versatility. On the practical side, Baylac’s condensed proportions make it perfect for those situations where there’s a lot to say and not much room in which to say it Evita Mariscalchi based the design of Evita on hand lettering he found in a restaurant menu, and considers this typeface one of his most difficult design challenges. “The main problem was to render the big weight difference between the thin and the thick strokes without creating printing problems at small point sizes,” he says. Unlike most scripts, Evita is upright, with the design characteristics of a serif typeface. Mariscalchi named the face for a close friend. The end result is a charming design that is light, airy, and slightly sassy. Marnie Based on Art Nouveau calligraphic lettering, Marnie is elegant, inviting, and absolutely charming. Mariscalchi paid special attention to letter shapes and proportions to guarantee high levels of character legibility. He also kept weight transition in character strokes to modest levels, enabling the face to be used at relatively small sizes – an unusual asset for a formal script. Marnie’s capital letters are expansive designs with flowing swash strokes that wrap affectionately around adjoining lowercase letters. The design easily captures the spontaneous qualities of hand-rendered brush lettering.

Gérard Mariscalchi is a self-made designer. Born in Southern France of a Spanish mother and an Italian father, he has worked as a mechanic, salesman, pilot, college teacher – even a poet (with poetry being the worst-paying of these professions, he reports.) “Throughout all this, the backbone of my career has always been design,” Mariscalchi says. “I’ve been drawing since I was five, but it wasn’t until I was twenty-four that I learned that my hobby could also help me earn a living.” It was about this same time that Mariscalchi fell in love with type. He studied the designs of masters like Excoffon, Usherwood and Frutiger, as well as the work of calligraphers and type designers such as Plantin, Cochin and Dürer. With such an eclectic background, it’s no surprise that Mariscalchi’s typeface designs are inspired by many sources. Baylac and Evita reflect the style of the art nouveau and art deco periods, while Marnie was created as an homage to the great Lithuanian calligrapher Villu Toots. However, the touch of French elegance and distinction Mariscalchi brings to his work is all his own. Baylac Who says thirteen is an unlucky number? Three capitals and ten lowercase letters from a poster by L. Baylac, a relatively obscure Art Nouveau designer, served as the foundation for this typeface. The finished design has lush curves that give the face drama without diminishing its versatility. On the practical side, Baylac’s condensed proportions make it perfect for those situations where there’s a lot to say and not much room in which to say it Evita Mariscalchi based the design of Evita on hand lettering he found in a restaurant menu, and considers this typeface one of his most difficult design challenges. “The main problem was to render the big weight difference between the thin and the thick strokes without creating printing problems at small point sizes,” he says. Unlike most scripts, Evita is upright, with the design characteristics of a serif typeface. Mariscalchi named the face for a close friend. The end result is a charming design that is light, airy, and slightly sassy. Marnie Based on Art Nouveau calligraphic lettering, Marnie is elegant, inviting, and absolutely charming. Mariscalchi paid special attention to letter shapes and proportions to guarantee high levels of character legibility. He also kept weight transition in character strokes to modest levels, enabling the face to be used at relatively small sizes – an unusual asset for a formal script. Marnie’s capital letters are expansive designs with flowing swash strokes that wrap affectionately around adjoining lowercase letters. The design easily captures the spontaneous qualities of hand-rendered brush lettering.

Gérard Mariscalchi is a self-made designer. Born in Southern France of a Spanish mother and an Italian father, he has worked as a mechanic, salesman, pilot, college teacher – even a poet (with poetry being the worst-paying of these professions, he reports.) “Throughout all this, the backbone of my career has always been design,” Mariscalchi says. “I’ve been drawing since I was five, but it wasn’t until I was twenty-four that I learned that my hobby could also help me earn a living.” It was about this same time that Mariscalchi fell in love with type. He studied the designs of masters like Excoffon, Usherwood and Frutiger, as well as the work of calligraphers and type designers such as Plantin, Cochin and Dürer. With such an eclectic background, it’s no surprise that Mariscalchi’s typeface designs are inspired by many sources. Baylac and Evita reflect the style of the art nouveau and art deco periods, while Marnie was created as an homage to the great Lithuanian calligrapher Villu Toots. However, the touch of French elegance and distinction Mariscalchi brings to his work is all his own. Baylac Who says thirteen is an unlucky number? Three capitals and ten lowercase letters from a poster by L. Baylac, a relatively obscure Art Nouveau designer, served as the foundation for this typeface. The finished design has lush curves that give the face drama without diminishing its versatility. On the practical side, Baylac’s condensed proportions make it perfect for those situations where there’s a lot to say and not much room in which to say it Evita Mariscalchi based the design of Evita on hand lettering he found in a restaurant menu, and considers this typeface one of his most difficult design challenges. “The main problem was to render the big weight difference between the thin and the thick strokes without creating printing problems at small point sizes,” he says. Unlike most scripts, Evita is upright, with the design characteristics of a serif typeface. Mariscalchi named the face for a close friend. The end result is a charming design that is light, airy, and slightly sassy. Marnie Based on Art Nouveau calligraphic lettering, Marnie is elegant, inviting, and absolutely charming. Mariscalchi paid special attention to letter shapes and proportions to guarantee high levels of character legibility. He also kept weight transition in character strokes to modest levels, enabling the face to be used at relatively small sizes – an unusual asset for a formal script. Marnie’s capital letters are expansive designs with flowing swash strokes that wrap affectionately around adjoining lowercase letters. The design easily captures the spontaneous qualities of hand-rendered brush lettering.

Syoog is a robust proportional linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 240+ glyphs with ligatures and fractions available in opentype .otf format

Boktto is a multi reformatted linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 240+ glyphs with ligatures and fractions available in opentype .otf format

Borough Park JNL is named for a neighborhood in the southwestern part of the borough of Brooklyn, NY and was modeled from hand lettering found on vintage sheet music.

FP Fragile is a worn & scratched stencil typeface, inspired by packages, package-design and shipments. A font, that hopefully inspires you to travel to distant parts of the globe ...

Hegsro is a apropos modernist linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 240+ glyphs with ligatures and fractions available in opentype .otf format

Borve is a compositional expanded tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 240+ glyphs with ligatures and fractions available in opentype .otf format

Insects is a collection of insects, arachnids and other little creatures. You can find spiders, scorpions, flies, ants, bugs, butterflies, mosquitos and other little beings all designed with accuracy.

A creative context 2003. Fontsmith was sharing a small, cold, whitewashed studio space in Northburgh Street, Clerkenwell. But things were on the up following prestigious custom type commissions for The Post Office and E4. “Slab serifs were on the brink of another revival, we could feel it,” says Jason Smith. “All we wanted to do was have a play with these slabs, go as far as we could within what was acceptable and readable.” “It wasn’t initially clear what was happening,” recalls Phil Garnham. “We were becoming very influenced by our surroundings, outside the studio space. We absorbed the essence and the designer grime of where we were.” Process Jason began by drawing stems on-screen. “The key aspect of the font is the upward bend of the leading shoulder serif, the way it kind of ramps up and then plummets back down the stem. “The regular and light characters are quite narrow – great for text but the bold is quite wide and chunky – better for headlines. I think ‘y’ is quite different for a slab design. We call it the Fontsmith ‘y’.” Promotion Fontsmith were determined to get FS Clerkenwell noticed. To launch the font, Ian Whalley, a designer friend of Fontsmith, captured words heard on the streets of Clerkenwell, set them in the new font and crafted a small book of typographic conversations. It was a first for Fontsmith. “I think that’s part of why this font has been so successful,” says Phil. “It really does embody the spirit of the area, as a special place for design, arts and crafts. And designers love that.” Contemporary twist FS Clerkenwell, based on influences in and around this part of London with a rich tradition of printing and design, mixes tradition with creation. Old-fashioned values meet new-school trends. Its quirky, contemporary character lends an edge to headlines, logotypes and any large-size text.

Glamona Script is one of the Elegant script fonts that comes with a very beautiful character change, a kind of classic copper decorative script with a modern touch, designed with high detail to present an elegant style. You will get: Glamona Font Files Glamona Script is interesting because the typeface is pleasing to the eye, clean, feminine, sensual, glamorous, simple and very easy to read, because of the many luxurious letter connections. I also offer a number of decent stylistic alternatives for some of the letters. Classic style is very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting/wedding cards, packaging, labels or all kinds of advertisements. destination. . .. Glamona has 428+ glyphs and 401 alternate characters, including multiple language support. With OpenType features with alternative styles and elegant ligatures. The OpenType features don't work automatically, but you can access them manually and for best results your creativity will be required in combining variations of these Glyphs. I highly recommend using a program that supports OpenType features and the Glyphs panel such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so that you can view and access all variations of Glyphs. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or have any questions, let me know. I'm happy to help. Thanks & Happy Designing

Sagebrush JNL was modeled from examples of a vintage French Clarendon wood type in which many of the characters had rounded parts rather than the traditional all-slab serif approach.

GansBlasones images were selected from the vignettes catalog from Fundicion Gans published in 1920. Represents heraldry devices, Spanish city seals, world nations seals, coats of arms, helms, crowns, crests etc.

Maître d' Stencil JNL is based on an alphabet example found in the 1949 French lettering book “Album de Lettres Arti”, and is available in both regular and oblique versions.

Borsga is a mono fraction linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures, fractions provided in opentype .otf and .woff format.

Agobb is a frolicsome piquant sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Don’t let the name fool you! My Left Foot was made by hand. Alts, ligatures and Vietnamese all included in this whimsical typeface. Go ahead and dip your toes in!

HS Almajd is an Arabic display typeface, under “titles” category. It is useful for book titles, creative designs and modern logos. Also, it is used when a contemporary and simple look is desired that can fit with the characteristics of Kufi fatmic where horizontal parts are equal than vertical ones. The font is based on Kufi Fatmic calligraphy along with some derived ideas of decorative fonts, maintaining the beauty of the Arabic font and its fixed rates. Undoubtedly, the insertion of curved ornament in some parts adds more beauty and fascinating diversity in the flow line between sharp, soft and curved parts. This font supports Arabic, Persian, Pashtu, Kurdish Sorani, Kurdish Kirmanji and Urdu, consisting only one weight which can add to the library of Arabic Kufic fonts contemporary models that meet with the purposes of various designs for all-purpose all tastes.

Hs Alkitab is an Arabic display typeface, under “titles” category. It is useful for book titles, creative designs and modern logos. Also, it is used when a contemporary and simple look is desired that can fit with the characteristics of Latin fonts where horizontal parts are thinner than vertical ones. The font is based on some modern lines of Kufi calligraphy along with some derived ideas of Latin fonts, maintaining the beauty of the Arabic font and its fixed rates. Undoubtedly, the insertion of curved ornament in the vertical parts adds more beauty and fascinating diversity in the flow line between sharp, soft and curved parts. This font supports Arabic, Persian, Urdu and Kurdish, consisting of two weights (regular and bold) which can add to the library of Arabic fonts contemporary models that meet with the purposes of various designs for all tastes.

Many sport publications missed typefaces designed especially for sport communication conditions. We usually see only mechanically slanted or other synthetically destroyed standard typefaces. I want to fill in this space and create a system of fonts, that will be used primarily in sport. It is usable for many prints - logotypes, magazines, catalogues, posters etc. Elasticity of glyphs reflected an adrenalinous shapes of latest bikeframes, skies or sportcars. Maximum open arches guaranteed good readability in very small sizes and prevented interchanges of glyphs „o, c, e“ per poor reading conditions. Softness of lowercase is at uppercase balanced in bottom arches, that are subtly kicked-up. Numerals are an important component of sport communication, so this font offers expressive design, different from numerals of book typefaces. Every font has 9 kinds of numerals. Character case contains over 1000 glyphs, sport icons and othes signs creating the sport feeling. The font name, Akceler, represents acceleration, which is characteristic attribute of this typeface. It’s suitable for display and text usage, too. To see more please visit the PDF specimen. ■24 styles (2 alternatives, 3 grades of dynamics, 4 weights) ■over 1 000 glyphs per font ■9 kinds of numerals ■icons of sport equipment ■8 stylistic sets ■8 kinds of arrows ■23 OT features ■support of latin languages

The Lanston Christmas Ornaments collection has a definite nostalgic feel for classic Christmas and Winter iconography. An indispensable set for the Christmas season, they are perfect for custom card creation or any other winter holiday graphics. LTC Christmas Ornaments One features over 80 images. LTC Christmas Ornaments Two-Part features over 30 of the same icons found in LTC Christmas One, but they are set up for two-color combinations. LTC Holly Leaves are available in one and two part for endless holly leaf combinations.

Inspired by the basic letter concept of Walter Huxley's 1935 gem Huxley Vertical, Dining Room JNL is a completely re-drawn typeface, adding even more of an Art Deco feel to an already classic Deco-era letter form consisting of condensed, rounded letters. Thick vertical lines balance against lighter weight ones, giving a dramatic contrast so typical of the Streamline Era of design concepts. This font marks another milestone in the Jeff Levine library of retro-inspired type faces. Beginning in 2006 with only ten designs, the collection has grown steadily with Dining Room JNL being the 750th font in the library.

Collette was named in honor of an art deco font called "Independent" designed in the 1930s by Collette and Dufour. Collette is influenced by the design of the original font, however, there are substantial differences: instead of small caps, a true lower case was created, the upper case character proportions and shapes have been greatly modified, and all missing characters have been created to make a truly modern font which nevertheless has all of the panache of the original. It is best used to create a retro feel and in headings, subheads and in short passages of text.

Saint Pauline is a modern minimalist serif font. Elegant Vintage aesthetic design inspired by the Art deco era. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with sans or serif. Featured: Standard Uppercase & Lowercase Numeral & Punctuation Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ Alternate & Ligature PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

Introducing Mister Dangerous, inspired by the graffiti tags found in urban street art. Designed with dynamic freestyle flair, it brings the spirit of graffiti to your creative ideas. This font is the perfect choice to add an urban touch to your designs, including films, posters, stickers, labels, flyers, apparel, packaging, and more. Mister Dangerous features All-Capitals with numerous special characters for endless combinations, along with additional swashes to make your work stand out. Embrace the artistic power of Mister Dangerous for unforgettable and edgy designs. What you'll get : All-capitals characters Numbers & punctuation Stylistic alternates