Lordcorps is a simple and casual display font with a military feel. With its neat and beautiful arrangement of letters, this typeface will look outstanding in both formal and non-formal designs.

Micholas is a simple and casual serif font with an undeniably clean feel. With its neat and beautiful arrangement of letters, this typeface will look outstanding in both formal and non-formal designs.

Brice refers to cultural products of the 80s such as music, art, literature, fashion, dance, film, that are consumed by the majority of society population. The Characteristic of Brice are in the small bouncy serif with a dynamic contrast, like R, B, S, K, P, etc. Perfect for Logotype, Caption, & Header. Brice are available in 5 Widths (Condensed - SemiCondensed - Normal - SemiExpanded - Expanded) with matches 6 weights (ExtraLight - Light - Normal - SemiBold - Bold - Black) and support for 75+ language.

Yolissa is an elegant and modern sans serif font with an undeniably clean feel. With its neat and beautiful arrangement of letters, this typeface will look outstanding in both formal and non-formal designs.

My intent in designing Young Gallant was to create as simple and elegant a formal script as possible. It was developed to illustrate my new book Learning Curves discussing the essence of formal script.

Funfont is a sans serif fantasy font with funny spirit designed to recreate an style of good humor. FunFont comes in three styles: Normal, Outline and Shade.

Inspired by the elegant, rounded geometry of classic sans-serifs like Harry™ and Cirkulus™, Evcial was designed in 2000 to serve as the logo font for EVCco's website. The composition of each alpha-numeric glyph in Evcial is restricted solely to circular curves and lines of either 90 or 55 degrees, thus lending an air of chic consistency to this sophisticated typeface. Comes packaged in both TrueType and OpenType formats with standard complement of alpha-numeric glyphs, punctuation marks, mathematical symbols, and Western European diacritics.

Cardillac Text is the down to earth version of the subtle and high contrasted Cardillac family. More suitable for longer text and for strong headline applications. The Cardillac Text Family consists of 16 styles, provides many features which allow its application for ambitious typography. It comes in OpenType format with extended language support. All weights contain small caps, ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternate characters.

Orgon, a new linear typeface family, fresh and easy but with a warm touch. It appears uncomplicated, unpretentious, but still distinctive. Its quiet text flow allows smooth reading even for longer texts. The Orgon family comprises 16 styles and is well suited for ambitious typography. It comes in OpenType format with extended language support. All weights contain ligatures, small caps, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and matching arrows.

Sina Nova is the slimmer sister of Sina. It has a slightly vertical tendency, a higher x-height which makes it more open in small text sizes. Its economical proportions allow an even more universal application. Sina comes in 12 styles and in OpenType format. All styles contain standard and discretional ligatures, small caps, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals. Sina supports Western European, Central and Eastern European languages.

Campan, is a new semi-linear face which unites mono-line and classic elements. It is very strong in headlines and its tall x-height lends itself to comfortable reading in text applications. The Campan family comprises 12 styles and is well suited for ambitious typography. It comes in OpenType format with extended language support. All weights contain ligatures, small caps, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and matching arrows.

Tangent provides a fresh new look on serif dominant typefaces. Its strict graphic outline makes it appear crisp, lively and unsentimental; and at the same time humanistic virtues have also been well taken into account. Tangentd consists of 18 styles. It comes in OpenType format and provides an extended language support. All weights contain standard and discretionary ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternative characters.

Ornes is inspired by the runic alphabet with ornamentation based on the woodcarvings of the Urnes Stave Church (Norway), an old wooden church from approximately 1150 CE. The woodcarvings and their symbolism reach back to the pre-Christian era. The Ornes Pro styles each contain the runic alphabet, ornamented caps, small caps, ornamented small caps and other pro OpenType features (as shown on the "Pro" tab). Ornes Ornamented Rustic Pro features a subtle uneven lowercase, but does not include a set of regular uppercase characters.

This decorative font is based on Cyrillic Vyaz of XV-XVI centuries. This type of letters were used as display faces in sacred texts. In Vyaz, the letters are characteristically fitted to each other so the letter sequences look as one solid ornamental frieze. The font is rich in discretionary ligatures which help to accentuate the style of Vyaz. In addition to letters and standard characters there is a number of monograms and Christian symbols. These and other features are available in OTF format.

Picturama Founder is a beautiful script font that elegantly bridges the gap between time-honored formality and contemporary innovation. Every curve and connection in this formal calligraphy type speaks of finesse, flowing with an unmatched grace reminiscent of vintage labels or classic vinyl covers. Yet, there's a modern twist that sets it apart: its bold stance and innovative touches redefine what we expect from formal script.

There are thousands of pieces of vintage sheet music available for collectors and curiosity seekers. Prior to the 1930s, a large percentage of them had wonderfully hand-lettered titles on the covers, but gradually there was a shift by music publishers to utilizing metal type for the bulk of their output. Normally set in an all-caps format, certain type faces reappeared in growing frequency and familiarity. Composer JNL is one such example of a “workhorse” font, and has been re-drawn and reinterpreted by Jeff Levine Fonts in both regular and oblique versions. It is based on the design "Glamour", released by Lanston Monotype in 1948; which in turn was based on "Corvinus", designed by Imre Reiner.

Poeta Color is an ornamental font for making patterns and decorating text. It contains floral and nature motifs. The symbols are versatile enough for simple decoration or thematic seasonal and holiday moods. Designers can use Poeta to make unique lines, fields, borders, or ornamentation within or around text. Try replacing a basic straight line with repeated symbols. Make a background to add visual interest to a design. Use the forms to decorate a chapter title or to mark the end of a magazine article. Replace a letter in a word with a symbol to create a memorable statement. This font began with sketches of patterns seen in ceramic tiles around Sicily. It is named Poeta because Sicily is an island rich in poetry traditions. Below is some helpful technical information. Using this font is simple. Install it and type. Symbols will appear instead of letters. Choose the precise symbols through a software’s glyph palette. Use the type/character menu controls to vary the spacing and density of patterns. All fonts are vector-based, OpenType, and fully scalable. Six of the fonts have different color or grey combinations. One of the fonts (solid) is a standard font. The font previews on this website will only display the font in black. See the slides to get an idea of the colors. Be assured that the colors are present in the files and will appear when loaded on the computer. The colors that are in each font: Primary: red, yellow, blue Secondary: orange, green, purple Tertiary: red-orange, yellow-orange, yellow-green, blue-green, blue-violet, red-violet Diverse: many different warm and cool colors Grey: three different greys from light to dark Gradient: a greyscale gradient Solid: standard font and can be colored normally Software that supports color SVG fonts: Photoshop, since 2017 llustrator, since 2018 InDesign, since 2019 QuarkXPress, since 2018 Pixelmator Sketch

Introducing Abesif sans serif font. This font is stretched from the normal theme, it is boring, while different, it seems strange. from there we design the appearance of this font that is not normal so that it is not boring and we display it differently but not look strange. so if you use this font it will look different from the others but it doesn't look strange because it has a normal design. so that it creates an impression that is easy for each of your audience to remember when they first see your project. This font is very suitable as text with displays for various kinds of branding, advertisements, posters, banners, packaging, news headlines, magazines, websites, logo design, banners, social media design and of course you can use a lot more.

Font family Titla Brus was developed as an extension of Titla, released earlier in 2009. New slab serif family consists of 20 members the normal and condensed proportions that present 6 weights from Light to Ultra. The fonts can be used in combination with Titla or by itself in different display matters. Typefaces demonstrate original and catchy way of using serifs -- in some places there are traditional slab serifs, in other places -- one-sided and often there are no serifs in the places where they normally should be. This approach brings to the letter shapes an unusual appearance and peculiarity. Design was developed by Oleg Karpinsky. Released by ParaType in 2011--2013 at first as a set of ten condensed styles and later in extended version enhanced by ten normal styles.

Albion’s Engraved Black is a tribute to the Banknote Engraver’s art - it is a heavily constructed black letter face assembled of diagonal shading. Another splendid Black letter display face, ideal for formal or less formal use.

The Helinda Rook font is a popular choice in advertising, invitations, greeting cards, and wherever a formal hand-lettered or engraved look is desired. Helinda Rook is an elegant connecting alphabet font based on formal handwriting.

German type designers Johannes Erler and Henning Skibbe created this pi and symbols FontFont in 2009. The family has 12 weights and was one of the first symbol typeface for a new generation.It has one of the largest collections of contemporary symbols and icons for office communication.

Bombay is serif type family by ManVsType. It is ideal to use at larger sizes as a display font. The family comes in 5 weights in 2 styles (normal stem height and low stem height). This font is variable in its weight and "connection" heights in the letters a, b, d, h, m, n, p, q, r and u. The typeface has a number of ligature including an R+s ligature that automatically turns into the ₹ (rupee symbol) to solve a major problem in the Indian subcontinent where people don't know how to type it. Bombay is inspired by the colonial version of the city. The city being a melting pot of all kinds of people. Poets, writers, filmmakers enjoyed the city and it quickly became the cultural hub of the entire country.

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

In Adrian Frutiger, the discipline of a mathematically exact mind is joined with an unmistakable artistic sense. His independent work possesses the controllable language of letterforms. Personal and intensive, this work is the manifestation of his expressive will. Frutiger's precise sense of outline reveals itself two- or three-dimensionally in wood, stone, or bronze, on printing plates and in the form of reliefs. However, even his independent work can be understood as objectivized signs; in their symbolism, they are embedded in the fundamental questions of human existance. They might have developed in the spirit of playfulness, but their nature is always conceptual, directed towards a complex, yet harmonic, whole. Following function, form also necessarily follows the content of the language. The entire spiritual world becomes readable through letters. Essentially, Adrian Frutiger attempts to fathom the basic, central truth which defines our lives: change, growth, division - beginning and end. In a virtual synthesis, he seems to close the circle in which the world reflects itself in symbolic forms. Frutiger Stones is for Adrian Frutiger the example of his formal artistic sensibility par excellence. Searching for the fundamental elements in nature, he has discovered the pebble, rounded and polished over innumerable years by gently flowing water. And out of this, he has created his complete system, a ruralistic typeface of letters and symbols. It depicts animals and plants, as well as astrological and mythical signs. Because of its unique aura, Frutiger Stones is particularly well-suited to different purposes - in headlines and prominent pictograms, as symbol faces, illustrations, and more.

OCR-A AI Text is the version for normal use when the text will be read by humans. OCR-A AI is the version to use for machine reading.

Sound Bubble is a nice, uncomplicated cartoon-ish font. It will liven up your designs, especially book covers, posters and packaging. Comes in a normal and a dotty version.

Drummer is a large futuristic font family inspired by the Expansion TV series, old science fiction book covers and Honda Prelude and Porsche logos. The family contains a large number of styles and a lot of language support. 54 styles, 6 in width (Ultra Condensed, Condensed, Normal, Expanded, Extra Expanded, Ultra Expanded) and 9 in weight (Thin, Extra Light, Light, Regular, Medium, Semi Bold, Bold, ExtraBold, Black). The font also has a variable version. 573 glyphs, including 40 alternate characters. A lot of work has been done on the font. The fillets on the symbols have been well worked out and tested for a better visual and practical experience. The font combines the monospacing of many characters combined with kerning, which makes it very convenient for many purposes, such as vertical typography. The font is good in all sizes, both small and large, which makes it possible to use it anywhere. Branding, logos, titles, posters, texts, covers, merch, prints, web, titles, banners, games and design in games and much more. In the near future, it is planned to add another axis of variability - the slant. Consequently, the family itself will increase. It is also planned to add a small case (capital). If you want to say something about the font or get a font in other formats, then write to the mail: bunineugene@gmail.com .

Carnas, a new monoline sans with a light, slender and informal appearance. It is however forceful and strong enough for headlines and signage. Despite the reduction in its shapes, it is pleasantly readable for both shorter and longer text applications. The Carnas family consists of 16 styles and is well suited for ambitious typography. It comes in OpenType format with extended language support. All weights contain ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and matching arrows.

Inspired by retro movies and theatre display design. A very condensed font made by Minor Praxis. Perfect for headlines, tall-format prints, posters, and displays which can utilize space of a medium. Neugen is a condensed type of font with a very dense kern. Give a strong impression which can be matched with basic sans serif fonts as a body copy that can make it more casual and modern looks. Available in medium and medium-rounded style with multi languages support. Ligatures, alternates, and stuff like icons and symbols.

Inspired by a dark techno typography design style which tends to utilize space of a module. Designed for headlines, titling, large-format prints and posters. Huben is a wide extended width based, dense kern, a strong of a structures and heavy looks, make it more loud and on-point type of impression. Matched with basic sans serif typefaces as a body copy. Available regular and italic in standard and outlined version of styles with multi languages support. Ligatures, stylistic alternates, and some stuff like icons and symbols are added.

Handwriting is a unique and personal expression of language created by individuals using a pen, pencil, or other writing instrument. It encompasses various styles, characteristics, and nuances that make each person's writing distinctive. Pointed shapes and characters refer to the specific forms and angles of the letters and symbols in a written script. Pointed shapes in handwriting typically involve the presence of sharp angles or well-defined points in the formation of letters. This can contribute to a more angular and edgy appearance in the overall writing style.

Taxon is a straightlined Sans with a clean, fresh and unsentimental look. Related to classical faces like Optima and Imago, it appears more contemporary and merges the austere linearity of the Grotesk with the elegance of the Antiqua. The Taxon family consists of 12 styles and is well suited for ambitious typography. It comes in OpenType format with extended language support. All weights contain ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternate characters.