The Urfa font family comes in nine weights of Normal and Italic. In addition, all weights contain small caps in both italic and normal. With the Urfa font family, you can create beautiful works for the web, including logos, banners, body copy, and presentations. Urfa typeface also works nicely in print formats such as posters, T-shirts, magazines, and affiches. Because of its eye-pleasing style, this font is both effective and versatile. It supports a wide range of languages, including Extended Latin and Cyrillic.

Originally ZionTrain was built as a Cyrillic typeface for public transport navigation system. We wanted comprehensible, distinctive letterforms, that can help everybody on the way from Babylon to Zion. Here, on MyFonts, we present the ZionTrain STD versions with western latin including smallcaps and oldstyle figures in some faces in TrueType format; also western, central, baltic and turkish latin charsets, smallcaps, oldstyle numerals, few alternates, some arrows and fractions in ZionTrain OT OpenType format. Look how people use it: http://use.type.org.ua/tagged/ziontrain

Introducing our first old english black letter Royal Grande. Quite basic anatomy not the contemporary style. With this not too complicated black letter that make this font good for general display projects. We also make it a black letter family because we rarely see this kind of option in the market. Another good news , we also offer the variable format this time for the new font enthusias community.

Varisse spans over two centuries of type design and draws its inspiration from well-loved classics that are as fresh today as they were when they were created. The range stretches from a quintessential 18th century transitional serif to an uncompromising 20th century sans. Think Baskerville, think Gill. The idea was to create a family that shared similar forms and the same vertical metrics, allowing them to be mixed to provide impact and readability as required. With a generous x-height and a host of options, the Varisse family is ideally suited to branding, packaging, magazines and editorial. It also provides a wealth of opportunity in website presentation. The fonts are divided into five subfamilies by degree of ‘serification’. Varisse Sans Varisse Soft Sans Varisse (normal) Varisse Soft Serif Varisse Serif Each subfamily contains six weights and accompanying italics.

Bronzino’s roots lie in the Arts and Crafts movement, and in the traditions of letterpress printed fine quality books. It’s ideal for legible headings which have just that hint of charm and difference outside of the normal and mundane. It’s formal enough to go anywhere yet it has a spirit of fun, it brings a world of bygone care and quality to the modern age.

The origin story of HANLEY FONT COLLECTION all starts with the Script. We were designing logos and kept feeling like we needed a different kind of script, vintage feeling but not dated, and not too baseball-y or too formal. We couldn’t find exactly what we were looking for, so we decided to create it ourselves. After that we realized what we really wanted was good wood block looking lettering especially with small caps. And the collection just grew from there - a tall slim style, a monoline version of the script and of course a good sans. We topped off the group with a large selection of catchwords and extras with plenty of swirls, swashes and frames. Hanley has just enough irregularity to the edges to impart a human feel, but it’s still clean. Super versatile, all the styles work well together and can look authentically vintage or modern and hand-crafted.

Although designer Michael Gills was influenced by 18th century French type designer Pierre-Simon Fournier, Charlotte is best described as a modern roman typeface. Its clean cut style, accentuated by a strong vertical stress and unbracketed serifs, exudes an authoritative tone, guaranteeing its effectiveness for almost all text setting applications, but especially where a formal unmannered appearance is desired.