Inspired by old engraving and scrolls, this font is unique by its flow and contrast, enabling traditional typeface gain a new and clear flow and rhythm.
Inspired by old engraving and tombstones. This font is unique by its flow and contrast, enabling traditional typeface gain a new and clear flow and rhythm.
Inspired by old engraving and tombstones in the Synagogue in the Jewish quarter in Krakow. This font contains lots of ligatures (well supported by Adobe Apps).
Friendly by shape, serious by structure. Serious Sans is a font for many occasions and it includes an alternate 'a' and 'g' for primary school use.
Inspired by old scrolls and manuscripts., this font is unique by its flow and contrast, enabling traditional typeface gain a new and clear flow and rhythm.
PT Natali Script™ was designed by Natalia Vasilyeva and licensed by ParaType in 2002. An original calligraphic script. For use in advertising and display typography.
Inspired by old engraving and scribes, this font is unique by its flow and contrast, enabling traditional typeface gain a new and clear flow and rhythm.
Inspired by old engraving and scribes. This font is unique by its flow and contrast, enabling traditional typeface gain a new and clear flow and rhythm.
Inspired by old engraving and scrolls, this font is unique by its flow and contrast, enabling traditional typeface gain a new and clear flow and rhythm.
Ah, the Grave Digger font, a delightful little morsel from the imagination of Dieter Schumacher, falls into a category that could be described as "Halloween chic" meets "Zombie apocalypse signage." I...
As of my last knowledge update in April 2023, the specific details surrounding a font named "Insert" by 2 The Left Typefaces had not been broadly documented or well-circulated in popular typographic ...
As of my last update in April 2023, "Shot" is a font created by The Type Fetish, a foundry known for its collection of unique and eclectic typefaces. The Type Fetish, founded by Michael Wallner, prid...
A bold but nevertheless pleasant black-letter font which was released for the first time about 1840 by the Haenel'sche Printshop and Letterfoundery in Berlin. Haenel Fraktur contains a bunch of useful ligatures, and by typing 'N', 'o' and period you get an old style number sign by activating the Ordinals feature.
A set of signs designed by Andrey Belonogov. It includes representation of gestures used by left- and right-handed people in different countries to enhance the power of speaking. The typeface (under the name Handmade) was awarded a diploma at the ATypI International Type Design Contest “Bukva:raz!”, 2001. Released by ParaType in 2008.
Designed specifically for AT&T to set telephone directories by Chauncey Griffith at Mergenthaler in 1938, Bell Gothic was the standard American directory typeface for forty years. Limited in performance by linecaster matrix requirements, Bell Gothic was replaced by Bell Centennial. Furlong is a version of Bell Gothic adapted for the racing form.
OCR B by Linotype, $40.99 OCR A and OCR B are standardized, monospaced fonts designed for Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display graphics. OCR B was designed in 1968 by Adrian Frutiger to meet the standards of the European Computer Manufacturer's Association. It was intended for use on products that were to be scanned by electronic devices as well as read by humans. OCR B was made a world standard in 1973, and is more legible to human eyes than most other OCR fonts. Though less appealingly geeky than OCR A, the OCR B version also has a distinctive technical appearance that makes it a hit with graphic designers.
OCR A and OCR B are standardized, monospaced fonts designed for Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display graphics. OCR B was designed in 1968 by Adrian Frutiger to meet the standards of the European Computer Manufacturer's Association. It was intended for use on products that were to be scanned by electronic devices as well as read by humans. OCR B was made a world standard in 1973, and is more legible to human eyes than most other OCR fonts. Though less appealingly geeky than OCR A, the OCR B version also has a distinctive technical appearance that makes it a hit with graphic designers.
As of my last update in April 2023, "Houndtime" designed by Bree Gorton may not be widely recognized within the mainstream font databases or among popular typeface discussions. However, let me create...
American Dream, as conceptualized by the designer Chloe, is a font that captures the essence of aspiration, nostalgia, and the enduring spirit of the American ethos. From the first glance, it's clear...
The Final Fantasy font is not a singular typeface but rather encompasses a series of fonts inspired by the beloved video game series Final Fantasy, developed and published by Square Enix (formerly Sq...
The "Army Rangers" font by Iconian Fonts is a captivating typeface that embodies the essence of military precision, strength, and discipline. Like the elite soldiers it is named after, this font stan...
The DJ Autocar font, created by Donna J. Morse, is an intriguing and captivating typeface that stands out for its unique character and aesthetic appeal. This font is part of the larger DJ Fonts colle...
Designed at Polygraphmash type design bureau in 1951-52 by Vera Chiminova, Isay Slutsker, et al. Based on Candida of Ludwig&Mayer, 1936, by Jakob Erbar. This typeface has the characteristics of slab-serif, but serifs are much thinner. The capitals are of generous width, x-height is large. Good legibility in small sizes makes this typeface useful in newspaper and magazine typography, while strong character shapes provide for pleasant display lines. The digital version in 3 weights was designed at Polygraphmash by Alexander Tarbeev in 1988. Small capitals, additional Bold, Extra Bold, and Extra Condensed styles were developed by Manvel Shmavonyan and released by ParaType in 2008.
