In its loose, angular forms, it is reminiscent of thorn bushes dotting the immense Kalahari desert. Spiky and freeform, Doorn calls to mind the irregular hand-drawn lettering found on wooden signs outside small shops in tiny African villages. The font contains all upper and lower case characters, punctuation, numerals and mathematical operators, as well as all accented characters used in European languages.

Inspired by early cool cartoon fonts, early rock and hippie posters, I created the casual 'DT Stoner Toon' font. Then by adding strategic dots to add a little more quirkiness to the mix, I came up with this organic 'DT Sticky Stones' font. Please use with contextual ligatures turned on when possible. These letters like to adapt to their neighbours.

Warning: works with contextual alternate-feature, which is not showing here. Matita Connected is part of a larger type family developed from 2005-2019 with handwriting in mind. A solid script face in two weights and a dotted instructional version. With alternative glyphs based on different writing habits. For teaching, teaching material or just typography. An unchildish handwritten type family for many purposes.

Keybies is a font that produces an octave of a piano keyboard, with several variations. Type K or k repeatedly into the textbox above to see. The complete instructions are provided in the download file. One use is to print it in grey and draw big black dots on the relevant keys for chord diagrams, to help children or beginners.

32 borders and frames, round ones, square ones, rectangles and an oval. Curly Qs, vines, flowers, dots and swirls in outline and reverse. Plz note that this is not a dingbat font and needs to be used in large sizes of 72 point or more. Don't miss Rae's other frame fonts. Frames & Borders Too and the new Frames and Banners.

Arcadian was first produced in wood type around 1870 by William H. Page & Company. It is a semi-ornamented face based on a French Clarendon, with dots added to the median and the tops and bottoms of the letters. It has a distinctly “Old West” feel, and was likely used to add a little pizzazz to advertising and broadsides of the time.

Ainsi que le considérait Geoffroy Tory, typographe et philosophe de la Renaissance, chaque lettre de l'alphabet peut être dessinée à partir d'un cercle et d'un trait. La fonte "cyclo" actualise et radicalise ce principe graphique visionnaire. Le pack contient une version "regular" assez sage et une version "alternate" plus fantaisiste dans les accents et des signes de ponctuation. La fonte cyclo est dont adaptée à tous les usages (titres, sous-titres, chapitres et blocs de text), et peut servir efficacement l'identité visuelle de votre projet.

Bookbag is a font for teaching kids to read and write. It comes in 4 weights, from light to extrabold, and has dotted and lined versions for students to practice. Many glyphs have alternate versions, that can be accessed either through OpenType stylistic alternates, or using the Alt versions of the font. Bookbag has a very wide language support, with most latin languages supported.

There are two versions of Killer Ants, regular and bold. Regular is a very cool cracked up looking font that will be great for all kinds of stuff. Bold is on of the most distressed fonts I've ever seen - there's crap everywhere - adjust your leading (line spacing) so the grunge overlaps and you have one awesome effect. Yes, those dots are actually smashed ants. Killer!

Stems (豎) and crossbars (橫) are direct and simple, dots (點) are short but authoritative, downstrokes (撇、捺) are no longer curvy but straight and sharp, thus, a smart and straightforward typeface. Bold in this family is rough and tough, demonstrating a high extent of muscularity. Meanwhile Light is neatly, naturally and nicely crafted, aiming to achieve high legibility. A popular choice for advertising with diverse usages.

Regatta is a bold, narrow sans serif designed by Alan Meeks in 1987. Its strong, robust figures makes it a particularly good font for headlines in larger point sizes. Regatta is distinguished by its diamond shaped dots on i and j as well as the slanted strokes of several figures. These characteristics relax the closed, static image of Regatta and let the font seem cheerful and friendly.

Monoplan is a versatile monospaced sans serif typeface. Minimal shapes and straight sides are definitive features of the typeface. Tables, headers, code blocks, signages or other small informative texts are the standard places where Monoplan shines. Different alternatives such as square dots, alternate /a /y /6 /9, coverage of 94 Latin languages, various Opentype features, and 5 styles expand the usage area of ​​Monoplan.

It's not fragile, it's delicate! :D A Arabic font (Persian typeface), as a gift for you type lovers! This font does not support any Latin characters. Just Persian and Arabic. You can get this font for free by buying another Si47ash Font: https://www.myfonts.com/foundry/si47ash-fonts/ Let me know when you did it and I will send you a promo-code: shahabsiavash [at] gmail [dot] com

32 illustrations of 15 Frames and 17 Banners. Most are line drawings with a reverse version. Lots of dots and grids, scallops and stripes to mix and match. Quick way to add some punch to your layouts. Great for mailing labels, labeling for jars, borders for this and that. Nice scrapbook additions too. Take a look at Rae's other frame fonts... Frames & Borders and Frames & Borders Too.

Punch Tape JNL emulates the old-style pin-punched paper tapes that were used in everything from ticker tapes to moving electronic signage to early digital typesetting equipment. Pin punch characters were also used in the early days of banking as a secure way of canceling a check so that it was rendered useless if re-submitted. In this version, the "dots" are square rather than round.

Ever since I first designed Ellida in 2005, that elaborate script in the tradition of the 18th-century English calligrapher George Bickham and the 19th-century American calligrapher Platt Rogers Spencer, I wanted to add a very high contrast cut to the family. I finally did so. But the result looks so much different to Ellida that I had to give it another name, hence "Eloise". Eloise should actually be written with a 'i' that has double dots, but that would be difficult for international use. Eloise is a beautiful first name not only for French girls. Pronounce: Ay-low-eese. If I would have had a daughter, I would have called her "Eloise" (with double dots!). But instead I have two phantastic sons, so I never got the chance to use it. Actually one of my sons discovered it on his little boys sand shovel, it was called Eloise. Your decorative designer with a heart for sand shovels Gert Wiescher

ST Remona Neue is a confident serif. Designed to reflect nature, it creates a sense of softness and natural expression. We pushed the concept in a usability-focused direction, to work as a bold tool and a beautiful communicator. ST Remona Neue allows for fluid designs in 3 styles. Regular, Italic, Outline and Latin based main language. The right slant advances aesthetics, brings energy and makes it suitable for modern design. The type family blends organic curves and soft repetition into strong and harmonious types. At large dot sizes you can appreciate the shape of the letters, while the same control and focus creates an even texture for small dot sizes and long reads. Fonts extend their use by providing a variety of unique language and style supports. The ST Remona Neue character set combines additional symbols, style alternatives, unique binding, and case sensitive punctuation - resulting in a stable, hardworking family ready to tackle projects of any size. Happy Designing

Marlin Soft is a rounded corner version of our Marlin Geo font family and like its parent font also includes two sets of italics. The standard italic is set at twelve degrees and the slant version set at six degrees, the slant version is perfect for signage and headlines where you may want the look of an italic but are limited on horizontal space. Marlin Soft includes many alternates which may be accessed using opentype aware applications, with over three hundred alternates to choose from your creative possibilities are great. Whether you're looking for a round dot or a square dot Marlin Soft is one font family that delivers both set up as two separate fonts so you may change a whole page of text at one time. Your projects are sure to look nice and cozy with the warm feeling Marlin Soft will bring to your product label or page design. Three free sample basic fonts are available which are fully functional minus the alternates.

M Lady is a design inspired by Agfa Waddy’s rather elegant design comes with narrow proportion. M Lady is a rare condensed design in world of Chinese typefaces. Entry and finial points of strokes are squarish, with a sharp but small symmetric serif. It has a medium contrast to improve character recognition. Its thin stems (豎) make it suitable for fine print with minimal conglutination. Dots (點) are straight, reversely curved or round. Downstrokes (撇、捺), ticks (剔) and hooks (勾) are highly regular and consistent. Dots (點), downstrokes (撇、捺) and ticks (剔) are long, smooth, monolinear and curved with small symmetric serif and sometimes angled entry and finial points of strokes to create subtle sharpness in the midst of its softness and elegance, which is better for larger text print. Its features and construction create subtle sharpness in the midst of softness and slim elegance. It is best suited for casual subheading or display, set upright (non-slanted), non-condensed (naturally condensed).

M Lady is a design inspired by Agfa Waddy’s rather elegant design comes with narrow proportion. M Lady is a rare condensed design in world of Chinese typefaces. Entry and finial points of strokes are squarish, with a sharp but small symmetric serif. It has a medium contrast to improve character recognition. Its thin stems (豎) make it suitable for fine print with minimal conglutination. Dots (點) are straight, reversely curved or round. Downstrokes (撇、捺), ticks (剔) and hooks (勾) are highly regular and consistent. Dots (點), downstrokes (撇、捺) and ticks (剔) are long, smooth, monolinear and curved with small symmetric serif and sometimes angled entry and finial points of strokes to create subtle sharpness in the midst of its softness and elegance, which is better for larger text print. Its features and construction create subtle sharpness in the midst of softness and slim elegance. It is best suited for casual subheading or display, set upright (non-slanted), non-condensed (naturally condensed).

Linotype Franosch™ is a three weight display typeface designed by artist/graphic designer Max Franosch. Around the time of making the initial sketches, Franosch was looking a lot at Arabic newspaper and magazine headlines. He was drawn to their bold and very graphic" type. A common feature was the "floating" dots which added a rhythmic quality to the text. This came to influence the use of dots in Linotype Franosch™. Apart from this influence, Linotype Franosch also has a very clean and futuristic feel to it, due mainly to the highly geometric nature of the characters and the uniform stroke weight. More about the usability of this typeface can be seen at the Font of the Week of Linotype Franosch. Linotype Franosch is perfect for party flyers, headlines, and internet banner ads. All three faces in the Linotype Franosch family are part of the Take Type 4 collection from Linotype."

ITC Verkehr was designed by Mott Jordan, who based its forms on those of narrow sans serif typefaces but also chose a departure from the tradition to set the font apart from the rest. The upper half of each character is heavier than the lower half, although this is usually the other way around. Diagonal strokes, like the horizontal of the lower case e, relax the otherwise regular, bar-like look of the font. ITC Verkehr is suited exclusively for use in headlines and display in larger point sizes.

Based on Element by Max Bittrof, Stamm takes the next step in adaptation to modern environment. Using it's own construction logic it makes the design far more consistent and considerably expands the character set, supporting hundreds of languages, including Vietnamese and extended Cyrillic. Generous amount of OpenType features allows various localization options, automatic fractions, super- and subscripts, oldstyle and tabular figures, small caps and ligatures to suit almost every need. There are 15 Stylistic Sets available to customize the font (some of them duplicate locl-features in case they're not supported by applications): ss01 (Traditional glyphs): changes modern shapes used by default to old-style forms; ss02 (Alternate historical glyphs): changes the shape of several characters to a more obscure historical form; ss03 (Catalan middle dot): replaces middle dot between two l's by Catalan variant for better spacing; ss04 (German ligatures): activates historical ch, ck and tz ligatures used in German blackletter typesetting; ss05 (Dutch IJ-acute): replaces j after i-acute with j-acute; ss06 (Marshallese cedilla): replaces commas under certain letters with cedillas; ss07 (Romanian/Moldovan comma): changes cedilla-glyphs to comma-glyphs; ss08 (Turkish i): replaces regular i with dotted Turkish variant; ss09 (Cyrillic alternates): changes several Cyrillic glyphs to alternate variants; ss10 (Bulgarian Cyrillic): activates Bulgarian shapes; ss11 (Serbo-Macedonian Cyrillic): activates Serbo-Macedonian shapes; ss12 (Double-story a): replaces default glyph with it's double-story variant; ss13 (Alternate asterisk): replaces default asterisk with 5-pointed shape; ss14 (Enclosed figures): replaces standard figures with enclosed variants; ss15 (Slashed zero): replaces default zero with slashed variant.

The quest for an identity in the 1980s world of personal computers is the best way to describe Technerd JNL, a retro-style monoline font with clinically mechanical letter structure and a personality only a dot matrix could love. Picture if you will columned reports, interoffice memos and other paper ephemera of the day with this perfect form-and-function typeface, simply reeking of early 80s know-how!

An elegant sans with a low lower-case x-height, diamond-shaped dots and a reweighed complimentary italic with subtle calligraphic touches. With its generous spacing and leading, Argent is very readable in extended text settings, appearing warm and open. The wide range of weights, from thin to heavy, provide all the necessary options for headline and text, the basis of any comprehensive design system. Perfect for brochures and magazines.

The Hand is a handwritten font designed by Fanny Coulez and Julien Saurin in Paris. We wanted to create the most generic, readable and finely balanced handwritten font, to work well in every kind of design. We also designed two playful dotted weights to add a fancy touch in your graphic design. We hope you will enjoy our work :) You could follow us on our Instagram: instagram.com/sc.type Merci beaucoup!

Although English characters do appear on screen, in Star Wars canon this "language" is known as High Galactic. The main written language in Star Wars is called Aurebesh. This font is designed for an interface or signage with a pseudo dot-matrix style. Aurebesh has more than 26 letters, the additional characters are available as glyphs in the set. Numbers and symbols in the Aurebesh fashion are also included.

Huraira - Arabic Font, a captivating digital typeface that beautifully captures the essence of Arabic calligraphy. With a design that closely resembles traditional Arabic letters, this font features the intricate inclusion of dots on select characters, mirroring the visual elegance of classic Arabic writing. Huraira brings an air of authenticity and cultural richness to your designs, making it a versatile and impactful choice across a spectrum of design applications.

Temper Wide is an extended neogrotesque slab with unbracketed serifs and square dots. Its hard-working letterforms and industrial heritage make for a no-nonsense look, well suited to editorial design and advertising. It provides an energetic backdrop for fashion and accessories, whether on-product, in campaigns, or branding. Horizon’s the limit! This sturdy font family will be by your side. A neutral, unembellished typeface, ready to make an impact.

Scruff was designed by Timothy Donaldson in 1995. This cheerful, laid-back font is made out of a variety of different fragments - stripes, dots, zigzags and more, giving each character its own identity. When brought together into words and sentences, the figures create a playful chaos like that of a patchwork quilt. To bring out its individual details, Scruff is best used in headlines in larger point sizes or as initials.

A vintage photograph of the Man at the Wheel Saloon in San Pedro, CA [circa 1895] provided an excellent type design source with the unusual lettering on the bar’s sign. Basically a spurred serif design, the unusual characteristic of the type style is the ‘bumps’ or ‘dots’ on the tops of each letter. This has been redrawn digitally as Beer Joint JNL, and is available in both regular and oblique versions.

Bebedot originated from doodles and scrabbles in notebooks; irregular forms very well might contain a style for an alphabet. Once used for an intro spread in Wired magazine (#6.04, April 1998): "To keep up you need the right answers. To get ahead you need the right questions". The name was inspired by a women clothing poster at the San Francisco bus stands. The dot is for the com that never came.

HT Tabaccaio?is a casual and versatile script. Its very unique kern, loop, and dot makes it unforgettable look. HT Tabaccaio is well-suited for product design, books covers, film posters, branding, magazines, signage and other creative projects. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

The "Line" style of "I am online with u" font family was inspired by the idea of the digital connection of two people living in different parts of the world. Later on this idea was expanded, including different styles such as "Dashed" or "Dotted", which built the font family taking the initial idea to another level and keeping the connectivity concept alive. This typeface works best when used in big sizes.

Furqan - Arabic Font beautifully encapsulates the essence of Arabic calligraphy, with its distinctive style that closely resembles traditional Arabic letters. Each character is adorned with intricate dots, paying homage to the intricate detailing found in classical Arabic writing. This font carries an air of authenticity and cultural richness, making it an excellent choice for a wide array of design purposes. From logos and branding materials to posters, product packaging.

With the publication of the “Today Sans Now” Elsner+Flake extends its offering of the “Today Sans Serif” type family, developed in 1988 by Volker Küster for Scangraphic, by another cut so that the gradation of the stroke width can now be more finely calibrated. The type complement is available for 72 Latin-based languages as well as Cyrillic. Where available, small caps were integrated, and mathematical symbols as well as fractions were included. In order to make the symbols for text applications in regard to headlines more flexible, the insertions which were formerly added, for technical reasons in order to sharpen the corners, were eliminated, and the optical size adjustments of the vertical and diagonal stem endings (I, v, H, V) to the horizontal bars (z, Z) were scaled back. Already since the end of 1984, Volker Küster experimented with broad sticks of chalk and a broad felt pen in order to develop a new sans serif typeface which, in the interest of easy legibility, would be built on the basic structures and proportions of the Renaissance-Antiqua. Using a normal angle of writing, his experiments lead to the form structure of the characters: a small contrast between bold and light weights, serif-like beginning and end strokes in some of the lower-case characters, and the typical, left-leaning slant of all round lower-case letters and the typical left-leaning axis of all round letter forms. In this way, a rhythmization of a line of type was achieved which created a lively image without being “noisy”. With this concept, Volker Küster has enlarged the Sans Serif by a distinctive, trend-setting form variation.

Introducing Angelina Script - Beautiful Handwritten. It's made with a naturally handwritten and modern style. Angelina font best use for wedding, branding, logotype and quotes. This includes both a Regular version and a Dots version. How to access alternate glyphs? you can see it on this link ( http://goo.gl/1vy2fv) I hope this font can meet your design needs. Fell free to contact me in message or direct email donis4design@gmail.com. Happy Design :) Thank You, Donis

Diamond Jim JNL was inspired [in part] by an image of a 1970s Letraset® dry transfer typeface made entirely of small stars. By creating his own layout using tiny diamond shapes, Jeff Levine has produced a font that takes on multiple appearances. At 24 point it resembles dot matrix printing; at 48 point the diamonds are clearly visible; and overall, the design has a distinctive 70s retro feel. Limited character set.

Versatile pixel fonts inspired by underground LEDs in Vienna. 4 styles (Pro, Poster, Caption, Mosaique) with different shapes and proportions are bound to one pixel grid to be combined perfectly in 5 pixel shapes: Square, Rounded, Dots, Hatch, Polaris. Pro: strong emphasis, wide proportions, best for legible text. 400+ symbols, greek alphabet. Poster: strong + compressed for large text use. Caption: legibilty for small text use. Mosaique: monospaced tiles with letters and pattern.