Palatino Sans Arabic is a collaboration between Lebanese designer Nadine Chahine and Prof. Hermann Zapf. The design is a low-contrast companion to the award winning Palatino Arabic and comes in both regular and bold weights. It is designed for use in print in both large and small sizes, and brings into Arabic the informal and friendly appearance of Palatino Sans. The counters are wide open to allow for better readability in small sizes as well as to maintain an open and friendly appearance. The font has 1091 glyphs and includes a large number of extra ligatures and stylistic alternates as well as the basic Latin part of Palatino Sans and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages.

A clean and easy-to-read Aurebesh font, inspired by writing in the Star Wars (TM) movies and at Disney's Hollywood Studios (TM). Includes special characters for CH, AE, EO, KH, NG, OO, SH, and TH. If your software supports this feature, then these replacements are automatically made while you type. If you do not want to use them, and you are unable to disable the feature in your software, then please use the GalacticCore_NoSubs file. That file has automatic replacements disabled. It has a different font name, so both files can be installed at the same time. Also includes both styles of numerals, Sabacc dice faces, and card suits. We created this font to be used for typesetting books and stories. But feel free to use it for t-shirts, artwork, or whatever.

Fortezza is a family of fonts inspired by the great masters who have created the Modern Roman style: Firmin Didot (1764 -1836) and Giambattista Bodoni (1740 -1813) Both typefaces can be similar, but a trained and close vision, show clear differences in the final result, like its weight and the degree of transition of the strokes. The type of Didot suggests greater warmth and elegance, they are characterized by extreme contrast in thick strokes and thin strokes, by the use of serifs very thin and by the vertical stress of the letters. while the Bodoni type conveys a greater robustness and hardness. Fortezza brings together the elegance and spirit of both types, but proposes a contemporary vision, establishing a distance with certain features typical of the baroque that was manifested at that time.

Kabusi San Serif is a premium font family with 18 different styles to choose from. Designed to aid you in the creation of visually stunning projects of all types. It is the most widely used typeface on the internet, in printed materials, and in other design projects. This Kabusi San Serif font embodies both modernity and classicism while remaining simple and clean in appearance. Apart from their great looks, this premium font family will assist you in giving your company a more unique look that will pay off! of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

Symbojet is the first professionally designed font equally covering alphabetic and pictographic characters on a large-scale scheme. It’s typographically based on Andreas Stötzner’s recent “Lapidaria” design and uses brandnew standard Unicode-6.0 codepoints for about 340 symbol characters. Use Symbojet for combined text/signage composing to design wayfinding, tourism and leisure, sports and transport matters, for media and communication, for birthday invitations or bistro menu cards … With Symbojet the combined usage of text and signage becomes as easy and elegant as it has never been before. Symbojet is available in a Regular and a Bold version. Both fonts contain about 340 alphabetic (full Latin and Greek) and 400 pictographic characters; in total they count about 1000 glyphs each. The pictographic content is the same in both fonts.

Construction period of Anafor deeply inspired by the pioneer of geometric abstract art and the creator of the avant-garde suprematist movement Kazimir Severinovic, Malevich’s suprematist compositions. Anafor typeface is separated from the basic Latin letters in terms of character and letter structure. Furthermore, The forms and main structure are designed together with alternatives by taking into account the relationships between the defined angles.Anafor contains certain aspects of a display typeface, due to the structure of the letter forms that are open to abstract connotations. Typeface family includes 2 styles; Anafor Basic and Anafor Crash. Each individual style has 235 glyphs and it has OpenType encoding. Due to the diversity of three styles, Anafor is providing a wide range of possibilities for the user.

Inspired by Beauville Script, Trauville is a handmade, modern, joyful and elegant pen font with a vintage touch. Its informal appearance, the bouncy baseline, the round forms and bumpy stems, the good connection between the letters and the large number of ligatures that create more authentic and varied connections between the letters, refer to the fluent handwriting.

With its 830 glyphs, the Trauville font is equipped with contextual and stylistic alternatives, many stylistic alternatives, swashes, initial forms and ligatures. This font contain a Central European language support to adapt to your design.

Trauville works perfectly on greeting cards, invitations, weddings, posters, magazines, fashion world, brands and logos, packaging, etc. He is friendly and kind, fresh and fun to work with.

Our chef Martin Lorenz likes to mix cool and fresh cocktails - shaken, not stirred! You have to taste his awesome Martini or mix it yourself! To make matters more easy, cocktail master Martin reveals his special recipe: “The TpMartini refers esthetically to typefaces drawn with a pointed nib as the Bodoni or Didot, but with the clear distinction that it is obviously constructed by modules. The visual system for the TpMartin is based on a square 5x9-unit grid and three different basic forms with which the font and other elements are designed. The basic forms consist of a straight line and circles of two different sizes. The line can be extended, but the circles retain their related proportions.” One piece of advice: Don’t drink and type!

Linotype Flamingo, from German designer Michael Leonhard, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. The figures of this font have pieces missing, the curve of an a, the stroke of an n. The eye fills in the gaps, allowing the designer to present a unique font with reductionist forms which can still communicate written ideas to the reader. A small number of forms come together to create the alphabet and the 'missing pieces' make a light and airy overall impression. Linotype Flamingo should be used in point sizes of 18 and larger and because of reduced legibility should be used only for very short texts.

Construction period of Anafor deeply inspired by the pioneer of geometric abstract art and the creator of the avant-garde suprematist movement Kazimir Severinovic, Malevich’s suprematist compositions. Anafor typeface is separated from the basic Latin letters in terms of character and letter structure. Furthermore, The forms and main structure are designed together with alternatives by taking into account the relationships between the defined angles.Anafor contains certain aspects of a display typeface, due to the structure of the letter forms that are open to abstract connotations. Typeface family includes 2 styles; Anafor Basic and Anafor Crash. Each individual style has 235 glyphs and it has OpenType encoding. Due to the diversity of three styles, Anafor is providing a wide range of possibilities for the user.

Allotropes are different structural forms of the same element and can exhibit quite different physical properties and chemical behaviors. The change between allotropic forms is triggered by the same forces that affect other structures – pressure, light, and temperature. From Wikipedia the Free Encyclopedia With ten weights in five widths plus Italics, this family comes to a total of 100 fonts. The large number of styles was made with the intent to cover most cases UI designers have to tackle, with one type family. Stylistic alternates were made to follow the same logic, so there is an optional single-story g, serifed capital I, and dotted zero – all available through the OpenType feature. The character set supports Western and Central European languages, as well as Turkish.

BoiTu is a typeface in the BoiTu project designed by Vei Vei. BoiTu has a strong contrast between bold bars and long sharp hook strokes inspired by pheasant feathers on the hat in Hat Boi costume. "Tuong or Hat Boi is a form of Vietnamese classic opera, combining various elements of arts such as stage, music, fine art, literature, dancing, and martial arts. Older Tuong plays are usually about historical events or tales. Allegories, melodramas, soliloquies, modes of expression, forms of performance, repartee singing and recitative conventions, etc., are constantly updated and elevated, and are quintessential elements in the art of Tuong." Boi Tu is a classic design to bring traditional art and culture closer to everyone. Boi Tu is a Vietnamese font that supports multiple languages.

This typeface was designed as the house style by and for design studio Mysterian. It was drafted and completed during most of 2020. The intention of the design of the forms was to develop a unique signification in the mind, but one that could have potential relevant associations such as with sci-fi. The solution, brought along with a fascination with this rarely seen pattern in type, was to taper round forms. The name 'Multipolar' was inspired by the term used by game theorist Daniel Schmachtenberger, which is a kind of event that seemed relevant to the Covid-period in which the font was made. Alternate characters include: Two Ampersands Upper and Lowercase PI Upper and Lowercase Eszett Latin Characters

AG Bambook- compressed geometric sans serif with the closed forms. Contains 4 fonts. 2 regular and 2 italic. The font is universal and can be used in different directions of graphic design. Internet, printed materials, clothing, logos, posters, labels, navigation and more. Thanks to character compression, you can place a large amount of information in a compressed space. It will read equally well in large and small sizes. A small difference in the width of the glyphs for different styles allows you to change the saturation while maintaining the size of the text block. OpenType: alternate numbers, old-style numbers, arrows, case sensitive forms, superscript and subscript, numerators and denominators. Support: Cyrillic, Cyrillic extended, Latin, Latin Extended (Western European, Central European, South-East), Kazakh.

Introducing Reinfolk - Decorative Sans, created by ikiiko. Reinfolk is a sans serif typeface with a unique decorative shape. The form is a combination of the sans typeface with the tail character on the slab letter, so that it forms a unique formation and has a distinctive character. Reinfolk is a simple font, with a elegant and calm impression. This typeface is perfect for an elegant logo, branding, layout magazine, home & decor layout, beauty product, packaging product, quotes, or simply as a stylish text overlay to any background image. What's included? Uppercase & Lowercase Number & Punctuation Alternates & Stylistic Multilingual Support Get also a good offer & FREEBIE at our site : www.ikiiko.com Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

The German typeface artist Lucian Bernhard designed Bernhard Antiqua as the first of his many text typefaces. The first weights were produced in 1912 by the foundry Flinsch in Frankfurt am Main. Further weights followed in the 1920s, produced by the Bauersche foundry, which had acquired Flinsch in the meantime. Bernhard font is an alphabet with a marked historical influence. It brings the viewer back to the early 20th century, when the bold forms of this typeface graced advertising displays and posters. Distinguishing characteristics of this typeface are the cross of the capital W and the rounding of the capital R. Linotype's Bernhard condensed bold, with its narrow, robust forms, is best for headlines in medium and larger point sizes.

Occam is an informal calligraphic script face. The letter forms were drawn and constructed rather than penned or brushed but reflect a definite flat pen influence. The ascenders and descenders incorporate an abstract implied loop form. Some curves that would normally be round are pointed and some transitions that would normally be sharp and pointed have been made round. A few exit strokes curve back instead of moving up and out for a little different look. This font could be put to good use as a contrasting style combined with sans and serif faces in applications such as newsletters, brochures, invitations and annual reports. It could be used for heads, subheads, pull quotes, drop caps and as a title font for covers.

Trico Script is an attempt to create a script using a cut-out technique. Every basic glyph is made of three forms which gives the script a unique personality and a very distinctive appearance. In order to maintain an even script texture and to keep its character numerous advanced typographic features were created: contextual lowercase alternates, finial lowercase forms, two sets of uppercases, standard and discretionary ligatures etc. Trico Script can either be used as a regular script or as a typeface in three layers. Although the regular version is surprisingly legible in small sizes it’s distinctive character is suitable for the projects where a powerful wordmark is needed. This typically includes cases such as packaging, editorial design, digital use, social media and branding.

Bourne is a comprehensive text and display sans-serif family consisting of 21 typefaces, all with a range of features including stylistic alternates, discretionary ligatures, as well as old-style and tabular numeral forms and fractions. The 21 typefaces include two widths and three weights of type as well as square and round terminal forms and oblique faces. Three specialised display faces are also included. The face is ideal for establishing a consistent 'look' across a range of projects and could readily become the basis of an organisation's house publication style. Bourne works well in poster and large scale design work, as well as for the setting of large amounts of text. Individual faces are priced economically and substantial discounts are offered for packs of multiple typefaces.

A mix of Renaissance & tropical atmosphere Basco is an exploration of the Renaissance style, a period in which letterforms were informed primarily by hand writing. It is clearly a contemporary interpretation of calligraphic shapes forms. The serifs are subtly asymmetrical. Slightly curved arches on the n, m and u are noticeable, creating an interesting tension in the text. Bruno Mello’s distinctive style is most obvious in his mastery of super fluid curves. It is a result of his extensive exploration of calligraphic forms, their tensions and dynamics, mixing angularities with curves. The roman weights include alternate swashes, as well as initial and terminal glyphs. The italics, based on chancellery script, feature simple stroke endings, most visible on the s and c. ➼ Basco minisite

Introducing Auteur, a graceful, full-featured script font with tons of alternate characters and OpenType features. Hand-lettered with a heavy right slant and realistic disconnected letters (connected versions also included), Auteur’s casual elegance is particularly well-suited to invitations, branding, and editorial design. Auteur comes with more than 1200 glyphs! Specific OpenType features include contextual alternates, stylistic alternates, optional initial and final forms, multiple alternate glyphs for many letters (accessed through the glyphs panel), multilingual support (including multiple currency symbols), ligatures, multiple numeral forms (standard, tabular, proportional oldstyle), and ten ampersand styles. Perhaps the most fun thing about Auteur is that it includes multiple versions of all ascending and descending letters, making it lots of fun to play with layouts and compositions.

Emperatriz—with deep roots in the Roman tradition—is an elegant font and, above all, firmly situated in the present, featuring monumental forms and a classical design yet with a contemporary twist. It is a refreshing, clean, modern display font, perfect for the editorial design of magazines and catalogs, for the creation of titles and short texts, on book covers and large format publications, or as part of a corporate identity, logos, packaging and labels. Every variant in the family has generous counter forms, with ligatures and alternative capitals (Q, R, P, O), as well as oldstyle and Roman numerals, manicules, and monetary and mathematical symbols, providing a complete set with language support for more than 200 Latin script languages.

Rufo — condensed geometric sans serif with the closed forms. Contains 12 fonts. 6 regular and 6 italic. From thin to black. A rich palette gives full freedom for creativity and bright decisions. Extensive area of use. The versatility of the sans serif typeface covers various aspects of graphic design. Web, printed materials, clothing, logos, posters, labels and much more. Rufo is pragmatic typeface. Can save space and will accommodate a large amount of information in a limited space. The font was designed so that condensed letters remains readable even in small sizes. Opentype: alternate numbers, oldstyle numbers, arrows, fractions and automatic fractions, case sensitive forms, superscript and subscript, numerators and denominators. Support: cyrillic, cyrillic extended, latin, latin extended (Western European, Central European, South-East).

ITC Vino Bianco was created by German designer Jochen Schuss. He drew his inspiration from the handwriting of the waiter in his favorite local pub, especially the form of the capital Q. Based on this one character Schuss developed the entire alphabet. The figures are sketchy and generous and look as though they were written on paper with a ball point pen. Vino Bianco is an alphabet of capital letters, each of which also has an alternative form, making it very flexible and true to the tendency of true handwriting. In spite of its fine strokes, the overall look is open and light due to the large amount of space each character occupies. The cheerful, carefree ITC Vino Bianco is best used for headlines and short texts.

Grenale Slab adds to the new standard of elegance within the Grenale family. Not your typical slab, Grenale has some unique forms that give it a look all its own. This glamourous slab still draws much inspiration from Grenale’s Didone sans and its haute couture influence. Independently attractive, it’s balanced and poised, with well formed strokes. Grenale Slab’s thin weights are simple but vibrant--elegant forms that naturally lend themselves to designer journals and high-end branding along with upscale applications. With added energy and power, the thicker weights give your work a firmer, statlier look. Grenale Slab’s upright versions are also matched by optically adjusted italics. The fashionable typeface includes a multitude of alternates that may be accessed in any OpenType-enabled application. The stylish features include a large group of alternates, swashes, and meticulously refined details with ball terminals and alternate titling caps to accessorize the font. Also included are capital swash alternates, old style figures, and small caps. Peruse the PDF brochure to see these features in action. OpenType enabled applications such as the Adobe suite or Quark can take full advantage of the automatic replacing ligatures and alternates. This family also offers the glyphs to support a wide range of languages. Any of Slab’s weights also provide a well-matched companion to its original counterparts, Grenale #2 and the original Grenale. It’s time to think high-class. Graceful and assured, the carefully crafted forms of Grenale Slab step pleasantly onto each page with elegant charm. Include its range of alternate glyphs, and this chic font is a superb choice for bringing a far more refined look to your copy.

ITC Eras font is the work of French designers Albert Boton and Albert Hollenstein. It is a typical sans serif typeface distinguished by its unusual slight forward slant and subtle variations in stroke weight. ITC Eras is an open and airy typeface inspired by both Greek stone-cut lapidary letters as well as Roman capitals.

Westmount is a geometric grotesque sans font that is both versatile and contemporary. The wide spacing between letters gives your text room to breathe and have the perfect amount of presence and balance. The strong capital letters are perfect for clean layouts and timeless branding. Try using Westmount Outline for a clean classic look.

Two fonts entirely of decorative initials of which the uppercase basic letters of RMU Initials One are occupied by Walthari initials, the lowercase ones by Eckmann initials, both released first by Rudhard, '92sche Gie, 'dferei, Offenbach, Germany, about 1900. RMU Initials Two consists of Jubilaeumsinitialen in the uppercases and Augsburger Initialen in the lowercases.

Inlines that go over, under sideways, down! Deck out your headlines in grand style with this unusual inline face, based on Dektiv, a seventies-style classic from "Homage to the Alphabet." Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Moldovan and Romanian.

In the 1943 Three Stooges comedy short “Higher than a Kite”, Curly reaches into a box with the label “hand grenades” painted on its side and pulls out one of the devices. The bold, squared stencil hand lettering on that prop inspired Stencil Label JNL, which is available in both regular and oblique versions.

Quaderno is a light and monolinear upright script, accompanied by the heavier weights. This connected script combining elements of the traditional Italian script Bella Scrittura and French script. Quaderno is suited for middle length texts and headlines and evokes both vernacular and commercial lettering of the 20th century and a typeface for school book purposes.

In the 1889 Franklin Type Foundry specimen book is a type face called “Armenian”. With lighter weight horizontal slab serifs than more traditional Western fonts, it could be pictured as being used as copy on wanted posters or town notices. This is now available as TV Western JNL in both regular and oblique versions.

The name says it all: here's a faithful revival of a Schelter und Geiseck release from 1911, designed by Moritz Greishaber and originally called Monos. Although it predates the Art Deco era, it has a Deco vibe. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

WizarMagi Script is a font design with a variety of fantasy and magic styles. The font features a unique customization for each uppercase letter, and a magical glitter style for the lowercase letters. It has accentuation in both uppercase and lowercase. Can be used for a variety of designs, limited only by your creativity.

The Nov. 26, 1921 issue of “The Moving Picture World” carried an ad for the dramatic film “For Your Daughter’s Sake” (originally tilted “The Common Sin” and produced in 1920). Hand lettered in an Art Nouveau sans serif style, the ad copy inspired Movie Drama JNL, which is available in both regular and oblique versions.

Samuel Welo’s “Studio Handbook for Artists and Advertisers” was a popular book of inspiration for sign painters, graphic artists and designers from the 1920s through the 1960s. Many digital revivals of Welo’s hand lettered typography have been made available. Formal Notice JNL is one such revival, and is available in both regular and oblique versions.

The pattern for this elegant, if slightly quirky, Art Deco typeface was drawn by Gustav Jensen for the 1931 classic, American Alphabets. Perfect for suggesting the exotic, the font also includes several graphic elements in Jensen’s inimitable style. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

A condensed, light face spurred serif alphabet was shown on an antique catalog page from Spon & Chamberlain Publishers as “French”. The catalog likely sold tools and dies to stonecutters for making inscriptions in marble, granite and so forth. This elegant design is available digitally as Nouveau Thin JNL in both regular and oblique versions.

French Stencil Moderne JNL is modeled from an alphabet found in the 1930s publication "100 Alphabets Publicitaires" by M. Moullet, and is available in both regular and oblique versions. Strongly resembling the stencil motif of Futura Black, this French stencil alphabet has enough variations to give it a unique design flavor all its own.

Lettering in a 1923 ad for Piera Nova, designed by Hernando G. Villa, inspired this delightful Deco offering. Like its namesake, this font is a talented teller of tales, both elegant and entertaining. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.