Helium Rifther badges display font, bold stroke, fun character with a bit of ligatures. To give you an extra creative work. Helium Rifther badges display font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with script or serif. Make a stunning work with Helium Rifther badges display font. -Uppercase Cheers, Maulana Creative

The font DXAngelusMediaval was developed on the basis of the Angelus Mediaval font, which was issued by Russian type foundry from the beginning of the 20th century (type foundry of G. Bertgold, St. Petersburg and Moscow, before 1904). Probably, the font is a reworking of the DeVinne font (1892 (?), Designer Nicholas J. Werner) of the American Central Type Foundry. For the reconstruction, we used examples of font prints: Cyrillic from the catalog "Art Fonts", 1929, Latin part - Chicago font, from the catalog "La Fonderie Typographique Francaise" (FTF) 1924. In addition, in the font are available Digits of the old style and ligature.

PODIUM Soft is variations of PODIUM Sharp typeface designed in 2019. Family consist of 13 styles from ultra compressed to extra expanded. Main purpose of this project was idea to make hybrid between different modular and geometric woodtypes that I found in old polish specimens: Rex, Blok, Bacarat etc. Thanks to big range of different styles, PODIUM will be perfect choice for visual identities, posters and display usage.

PODIUM Sharp is Extended version of DUDU typeface designed in 2012. After many years I’ve decided to rebuild and develop this typeface by adding new masters and weights. Finally PODIUM Sharp consist of 234 styles: from ultra compressed hairline to extra expanded heavy. Main purpose of this project was idea to make hybrid between different modular and geometric woodtypes that I found in old polish specimens: Rex, Blok, Bacarat etc. Thanks to big range of different styles, PODIUM will be perfect choice for visual identities, posters and display usage. For better comfort of using PODIUM I’ve prepared new idea of styles naming based on Frutigres’s Universe and Climbing evaluation. First digit means width and the second weights of style. (So for example style 1.1 is ultra compressed hairline, 6.5 is something like regular and 9.13 is ultra expanded heavy.

Mediator Serif is a balanced contemporary serif typeface that performs well both in display sizes (like in packaging or branding) and body text (books or periodicals where narrow styles will be extremely useful). Mediator Serif is a complementary serif face for Mediator Sans. The family contains 32 fonts in 2 widths: 8 romans with matching italics, of slightly extended proportions, from Thin to Black; and 8 narrow styles with matching italics too. The character set in all faces was expanded to include small caps and old style figures. The typeface was designed by Manvel Shmavonyan with the participation of Alexander Lubovenko and released by ParaType in 2017.

This is a large group of typefaces inspired by those borders and patterns you see going across documents from the Middle Ages and Medieval times, eventually becoming this collection of fonts where you can scroll various repeating patterns across a page, for example. You can get a repeating pattern that scrolls seamlessly by repeating the same letter. The default text displaying on the web-page is bbbbbbbb, for example. There's over 2 dozen basic styles, and each style has 52 designs within it, using the characters Upper Case A - Z and lower case a - z, with the lower case being the negative/reverse colour of the Upper Case version, it will be the corresponding design just reverse coloured and with an edging strip. There's also a space - but nothing else. The styles in these fonts usually have groups of six characters (A to F, G to L, M to R, S to X), and where the second group is a variation on the first - usually thicker lines - and the third grouping is another variation on that, usually thicker lines again, making the first 24 letters. (Sometimes there's three groups of eight characters). The pattern within a group normally starts off plain then gets busier as it progresses - such as there'd be a more complex pattern of circles and diamonds as you go through the letters. Then the letters Y & Z are somewhat different to the rest. There's four versions starting with Z, and they're a little bit different, and they're grouped in fives - getting bolder as you progress through the letters, but with similar patterns within each group of 5, and that makes the first 25 characters. The letter Z character is extra busy. Again, lower case is the reverse colour of the Upper Case. Mostly you can get patterns and borders that combine seamlessly by using letters within the same group of 6 or 8 (like maybe abdcedcb). There are a few occasions when that doesn't work out, because there may be circles or diamonds at the sides of the letters that don't match up with another letter that has a different pattern at the side. But you can create a pattern with the exact level of complexity you want perfectly easily. You can see examples of this in the poster images. Neighbouring letters without embellishments at the sides of the letters will usually fit together. Have fun with it, that's what it's there for. aah yes fonts

What would happen if one took a rather crude, squared-serifed typeface of the type popular in the 19th century and added medieval and calligraphic ornamentation? Maybe the result would be Medieval Gunslinger. The MedievalGunslingerShadOverlay font is spaced so that it can be layered with MedievalGunslingerShadow to produce bicolored lettering.

Once I found a pretty H letter initial on an ancient book. The letter was illuminated by beautiful engraved leaves. Based on it, I designed A-Z and 0-9 sets and assembled Medieval Leaves font. Medieval Leaves font family has Regular and Colored styles. It's all you need to precisely imitate medieval style text. Use this font as a decorative element at the beginning of a paragraph or section, other part of the paragraph should be in regular black letter font. You’ll get Drop Caps & Numbers set. --- *You can use color fonts in PS CC 2017+, AI CC 2018+, ID CC 2019+, macOS 10.14 Mojave+ * *Please note that the Canva & Corel doesn't support color fonts!* *Please download this test file with only A letter ( https://www.dropbox.com/s/03e7i78j4bz4mnm/MedievalLeaves-Test.otf?dl=0 ) to check your app & system.* --- Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman.

Ransite Medieval is a bold blackletter typeface. Put together and refined by Mans Greback in 2022, this Old-English style lettering is drawn based on studies of multiple historical documents and typographic resources. With black calligraphy strokes, this heavy middle ages typeface is decorative but clean and clear. Ransite Medieval is provided in four styles: Regular, Bold, Italic and Bold Italic Use it for a logotype or in a medieval context where you want a genuine, yet legible, typography. The font is built with OpenType functionality and has a guaranteed top-notch quality. It has extensive lingual support, covering all Latin-based languages, from North Europa to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Medieval Knots font family has Regular and Colored styles. It inspired by Celtic knots initials and lines. It's all you need to precisely imitate medieval style text. Use this font as a decorative element at the beginning of a paragraph or section, other part of the paragraph should be in regular black letter font. You’ll get Drop Caps & Numbers set. --- *You can use color fonts in PS CC 2017+, AI CC 2018+, ID CC 2019+, macOS 10.14 Mojave+ * *Please note that the Canva & Corel doesn't support color fonts!* *Please download this test file with only A letter ( https://www.dropbox.com/s/w6n0zmga231xng1/MedievalKnots-Test.otf?dl=0 ) to check your app & system.* --- Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman. Thank you!

Media Blackout is a handmade font with rugged good looks. The Media Blackout Family consists of three fonts: Normal, Italic & Marker. Media Blackout Marker takes the handcrafted look one step further by adding heavy hand etched lines for a truly unique look. For an even more handmade look, switch between uppercase and lowercase for a change of etching.

MenimElim, meaning "my hand" in Azeri, is a handwriting-based font available in two weights: regular and bold.

Local Media Cyrillic will be perfect for wedding lettering, beautiful frame for your home, book covers, greeting cards, logos, marketing, magazines or anything that requires cute handwritten lettering :) What's inside: Loval Media Script Multilingual support Cyrillic support Cricut support If you have any questions, please contact me directly or in instagram @superdizigner

The Englishman William Caslon (1672-1766) first cut his typeface Caslon in 1725. His major influences were the Dutch designers Christoffel van Dijcks and Dirck Voskens. The Caslon font was long known as the script of kings, although on the other side of the political spectrum, the Americans used it as well for their Declaration of Independence. The characteristics of the earlier Renaissance typefaces are only barely detectable. The serifs are finer and the axis of the curvature is almost or completely vertical. The overall impression which Caslon makes is serious, elegant and linear. Next to Baskerville, Caslon font is known as the embodiment of the English Baroque-Antiqua and has gone through numerous new interpretations, meaning that every Caslon is slightly different. ITC Caslon 224 was designed by Edward Benguiat and appeared with ITC in 1982. It is the text font which expanded upon the title font ITC Caslon 223. The alterations in the proportions of the letters make this Caslon 224 a noticeable departure from the original, but make the font overall more legible.

ITC Japanese Garden Ornaments is a symbol font designed by Akira Kobayashi (before Kobayashi became Linotype's Type Director in 2001, he worked as an independent typeface designer in Tokyo). The images in Japanese Garden are, as the name suggests, mostly floral or herbaceous, derived from designs used in Japanese indigo stencil dyeing. In Japanese Garden," Kobayashi says, "I tried to create a set of type fleurons that are very familiar to a Japanese eye, but not too exotic to people in other countries." Several of the designs fit together seamlessly in repeating patterns; others work either together or as isolated ornaments, a flexibility that also characterizes traditional Western type fleurons. "The original illustrations," notes Kobayashi, "were mostly cut from white paper squares, about two by two inches in size, and were simply scanned and traced. That is why there are few smooth curves and perfectly straight lines in the illustrations. I simply liked the ragged textures of them.""

ITC Berkeley Old Style is based on a typeface designed by Frederic W. Goudy in 1938 called University of California Old Style. It was a private press type for the publishing house of that school. In 1958, about ten years after Goudy's death, Monotype re-issued the type under the name Californian, and it became a very successful face for book typography. Goudy himself said he designed this face to have the greatest legibility possible, and it is indeed free from the exuberances in some of his other faces. Tony Stan redrew the family for ITC for 1983, and it was named ITC Berkeley Old Style, Berkeley being the city where the University of California Press is located. Stan did a careful drawing of eight styles including italics. ITC Berkeley Old Style is a crisply beautiful tribute to a distinguished typeface, and it works well for books, magazines, and advertising display. Featured in: Best Fonts for Tattoos

ITC Avant Garde Gothic is a font family based on the logo font used in the Avant Garde magazine. Herb Lubalin devised the logo concept and its companion headline typeface, then he and Tom Carnase, a partner in Lubalin’s design firm, worked together to transform the idea into a full-fledged typeface. The condensed fonts were drawn by Ed Benguiat in 1974, and the obliques were designed by André Gürtler, Erich Gschwind and Christian Mengelt in 1977. The original designs include one version for setting headlines and one for text copy. However, in the initial digitization, only the text design was chosen, and the ligatures and alternate characters were not included. The font family consists of 5 weights (4 for condensed), with complementary obliques for widest width fonts. When ITC released the OpenType version of the font, the original 33 alternate characters and ligatures, plus extra characters were included. ITC Avant Garde Gothic® font field guide including best practices, font pairings and alternatives. Featured in: Best Fonts for Logos, Best Fonts for Websites, Best Fonts for PowerPoints

ITC Handel Gothic Arabic is a modern Kufi design by Nadine Chahine, created especially for headlines and display purposes. It comes in 5 different weights ranging from Light to Heavy which extends its usage capabilities considerably. The design is mono-linear and with the typical geometric construction associated with the Kufi style. Its usage can vary from headlines to logos to packaging. Given its large counters, it can function quite well in very small sizes too. Its pattern is quite homogenous, so it is not recommended to use this for whole paragraphs. The character set supports Arabic, Persian, and Urdu and also includes Basic Latin.

Looking to add a little Arts & Crafts flavor to your next project? Perhaps you just need a distinctive, new sans serif design? And one with a large international character set. In either case, ITC New Rennie Mackintosh™ may be the typeface for you. Its narrow proportions saves space, and the design shines at large sizes. While it can be an excellent typeface for Art Nouveau flavored labels, name tags and chapter call-outs, this is a suite of fonts that you can also turn to for a bevy of print and on screen uses. Games and apps, as well as print headlines and menus all benefit from ITC New Rennie Mackintosh’s vintage vibe. Based on Phill Grimshaw’s original 1996 design, Monotype Studio designers reimagined the iconic family, added lowercase characters, a new weight structure of light, regular and a more robust bold design; each with an italic counterpart. In addition, a large international character set that include support for many Western and Eastern European languages – including Cyrillic and Greek – give the family a deep typographic bench. An added benefit: the new designs can also be combined with Grimshaw’s original ornament and initial character fonts.

Franklin Gothic was designed between 1903 and 1912 by Morris Fuller Benton for the American Type Founders Company. The font serves as the American Grotesk prototype. It was named after Benjamin Franklin. Even today, Franklin Gothic remains one of the most widely used sans serif typefaces. The robust character of the font gives text a modern feel. It is widely used in newspapers and advertising and is frequently seen in posters, placards and other material where space is restricted. Featured in: Best Fonts for Tattoos

Akira Kobayashi's ITC Seven Treasures is a symbol font for use in patterns and textures. The interlocking patterns, usually circular or oval, are taken primarily from motifs used in Japanese textiles. Most of these designs are known as komon, or tiny patterns," and they are often applied to kimono and other textiles, although their use is not limited to fabrics. They also appear carved in wood in traditional architecture, and painted in pictures as background patterns. Each of the individual designs in ITC Seven Treasures Ornaments is carefully sized and spaced so that it will fit together into a continuous pattern. Most overlap slightly but precisely, so that when you type a row of them you can't tell where one leaves off and the next begins. They may be combined or alternated to vary the texture of a background pattern."

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The ITC Stone Sans II typeface family is new from the drawing board up. Sumner Stone, who designed the original faces in 1988, recently collaborated with Delve Withrington and Jim Wasco of Monotype Imaging to update the family of faces that bears his name. Sumner was the lead designer and project director for the full-blown reworking – and his own greatest critic. The collaborative design effort began as a relatively simple upgrade to the ITC Stone Sans family. As so often happens, however, the upgrade proved to be not so simple, and grew into a major design undertaking. “My initial intent,” recalls Sumner, “was to provide ITC Stone Sans with even greater versatility. I planned to add an additional weight, maybe two, and to give the family some condensed designs.” As Sumner began to look more closely at his twenty-year-old typeface, he decided that it would benefit from more extensive design improvements. “I found myself making numerous refinements to character shapes and proportions,” says Sumner. “The project scope expanded dramatically, and I’m pleased with the final result. The redesign has improved both the legibility and the overall appearance of the face.” The original ITC Stone Sans is part of the ITC Stone super family, along with ITC Stone Serif and ITC Stone Informal. In 2005 ITC Stone Humanist joined the family. All of these designs have always offered the same three weights: Medium, Semibold, and Bold – each with an italic counterpart. Over time, Stone Sans has emerged as the godfather of the family, a powerful design used for everything from fine books, annual reports and corporate identity programs, to restaurant menus, movie credits and advertising campaigns. ITC Stone Sans, however, lacked one attribute of many sans serif families: a large range of widths and weights. “These fonts had enjoyed great popularity for many years – during which graphic designers repeatedly asked for more weights and condensed designs in the family,” says Sumner. “Their comments were the impetus.” ITC Stone Sans II includes six weights ranging from an elegant Light to a commanding Extra Bold. An italic counterpart and suite of condensed designs complements every weight. In all, the new family encompasses 24 typefaces. The ITC Stone Sans II family is also available as a suite of OpenType Pro fonts, allowing graphic communicators to pair its versatile design with the capabilities of OpenType. These fonts offer automatic insertion of ligatures, small caps and use-sensitive figure designs; their extended character set also supports most Central European and many Eastern European languages. ITC Stone® Sans II font field guide including best practices, font pairings and alternatives.

Modern typefaces refer to designs that bear similarities to Bodoni and other Didone faces, which were first created during the late 1700s. Ed Benguiat developed ITC Modern No. 216 in 1982 for the International Typeface Corporation (ITC). Showing a high degree of contrast between thick and thin strokes, as well as a large x-height, this revival is more suited to advertising display purposes than the setting of long running text, or books. Many traits in Benguiat's design are worth further notice. The thick stems of the roman weights have a very stately, solid presence. Their thin serifs have been finely grafted on, a masterful solution to the challenge of bracketing presented by Modernist designs. The italic weights have a very flowing, script-like feel to them, and the letters take the form of true italics, not obliques. The ITC Modern No. 216 family contains the following font styles: Light, Light Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, and Heavy Italic.

Inspired by the decayed lettering on the signs at Siesta Key beach painted on weather-worn old wood in Florida, these letters are made to look like peeling paint.