Junior Clerk JNL is the plain sans serif version of the lettering found on the cover of the sheet music for 1919's "The World is Waiting for the Sunrise". The song title was originally set in a decorative sans serif with an engraved line adorning each character. This version of the more fanciful design is available as the companion font Legal Eagle JNL. Junior Clerk JNL is available in both regular and oblique versions.

Hoeflers is a Hand-lettered font inspired by the vintage 70's sign board, music, shop and movies, it has a rough stroke outline and then we fill it. Hoeflers includes opentype features Ligatures. It support multilingual more than 100+ language. This font is good for logo design, Movie Titles, Books Titles and any awesome project you create. Make a stunning work with Hoeflers Rough sans font. Its a caps only fonts. Cheers, MaulanaCreative

Suffragette, an all-caps typeface introduced for the branding of the Hermitage Hotel in Nashville, is inspired by the Hotel’s Beaux-Arts architecture injected with a healthy 2020’s aesthetic. This unique roman capital design, with its sans serif-medium contrast shapes and slightly pronounced serifs, is the perfect match for luxury packaging and high-end couture. If your brand wants to project elegance with a playful edge, Suffragette is the font for you!

Phraxtured is a fairly accurate rendition of the letter forms used in an old German-language publication that I found in a trash heap. However, several characters in fraktur, such as the k, y, x, and S, look bizarre to English-language readers, and I have created more comfortable alternatives. The Phraxtured-Deutsch version has the more traditional characters. The ShadowedInside style is designed to be used in layers with the Shadowed style.

A blackletter font by William Caslon (1692-1766), with Dutch influences, which appeared for the first time in a font sample book of William Caslon & Son, London, 1763. To access all ligatures in this font, it is recommended to activate both OT features Standard and Discretionary Ligatures. The round s occupies the number sign key, and typing N - o - period and activating this combination with the OT feature Ordinals gives you the numero sign.

I've always admired the work of Rudolph Koch. Culpepper is what I think Neuland would have looked like if it had been developed with lowercase, small caps and a range of weights. I started work on this series in the late 80’s and, like so many of my ideas, it was shelved when life drew me in another direction. Culpepper is the name of one of the islands in the Galapagos chain.

Bengawan is a modern, elegant, beautiful script. It has beautiful characters and it's perfect for project such as logos, wedding invitation, posters, social media headlines, birthday cards and also match with other design project. Bengawan comes with natural ligatures and extra alternates that can make your project more beautiful and elegant. Features: - Natural Ligatures - More Extra Alternates - PUA Encoded - Multilanguage Support Thank You For Download. Have question(s)? drop here: fajry.al.fatih13@gmail.com Thank You

"At last, something beautiful you can truly own!" This is the first Persian Arabic & Latin COLOR font ever designed! Chromatic or Color fonts are fairly new. And Persian Arabic color fonts are extremely rare. Here, you get a font that supports both Arabic and Latin! Rangarang [means colorful] font comes in with a wonderful color set and variety in forms. Every single glyph has a unique palette of colors. If you look closely at the glyphs, you'll see complex paths and connections in every single one of them. Each glyph could be seen as a typographic artwork! Rangarang font is great for entertainment design, posters, business cards, website titles, magazine illustrations, logotypes, book covers, banners, billboards,... There are countless options! Notes: - SVG fonts contain vector letters with gradients and transparency. - These fonts will show up in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts and their support in third-party apps on: www.colorfonts.wtf - Don't worry about what you see here in the preview section in your browser. You may see the glyphs in black here, but this font is working EXACTLY how you can see it in the font pictures I put here. So if you use it in apps that support colored fonts, you can be sure that after installing the font on the system you will be able to use it like every other font. Shahab Siavash, the designer has done more than 30 fonts and got featured on Behance, Microsoft, McGill University research website, Hackernoon, Fontself, FontsInUse,... Astaneh and Hezareh text and headline fonts, Yaddasht and Yadgar handwriting fonts,... already got professional typographers, lay-out and book designers' attention as well as some of the most recognizable publications in Persian Arabic communities.

Rectilinear Ornaments are radiating geometric shapes composed of straight lines. There is an assortment of 47 ornaments located under the character set keys.

An art deco style typeface inspired by the poster from the 1971 film, Velvet Vampire. Such a playful font for a horror flick!

In NeedALilly the characters are composed of threaded needles. It is caps only and the lower-case letters repeat the upper-case glyphs.

The block style lettering with rounded corners found on a package for model railroad kit parts was the inspiration for Model Railroad JNL.

Designed as the main header text for the online, interactive, horror novel, DEAD ENDS. Based on historical documents of colonial-era New England.

XOVA Base, Color One, Color Two, Color Three and Color Four, is a 5 font system that can be layered in different ways to create infinite title effects used commonly in poster and 3D logo design. XOVA’s layer combinations give you complete control in producing styles like, modern, 3D, beveled. It can be used alone and/or in layered and allows you adjust leading and kerning. Each font contains the similar metrics, so when your title is set, copy and paste-in-place to create layers of different weights/styles to build out your desired effect. XOVA works great in any graphics application that allows you to utilize layers or 3D effects.

Caflisch Script was designed by Robert Slimbach in 1993. The design is based on the handwriting of Max Caflisch, one of the foremost graphic designers of this century. Caflisch, a teacher of graphic arts for over three decades in Zurich, is author of several books on typography and designer of the 1952 Columna typeface. Caflisch�s handwriting has a free flowing yet disciplined character, the result of years of practice and devotion to the calligraphic arts. Slimbach retained the subtleties and natural letter joins of Caflisch�s original handwriting while adapting it into a typographically sound and highly practical script typeface. Caflisch Script is a multiple master typeface with a weight axis that allows the typeface to transition smoothly from light to heavy weights, maintaining legibility and visual appeal at a full range of point sizes. Caflisch Script can be used anywhere the appearance of a fine hand is desired, as well as more sophisticated and practical situations such as display work in books and copysetting for advertisements.

Glyphic Neue was inspired by the Op Art style of lettering in the United States that ran rampant in many photo type houses in the 1960's and 1970's. The Glyphic Series from the Franklin Photolettering group was an influence and spring board for this family of fonts, hence it's name. But Glyphic Neue departs from its unicase Franklin influence in several ways. Firstly the designer created both upper and lower case forms. The lowercase has been designed with barley protruding ascenders and descenders and with an x-height equivalent to the cap height, so that upper and lower can be exchanged indiscriminately for a quirky effect. Some of the letters take a cue from the original Glyphic series but many have been redesigned entirely to fit the designers vision. The italic forms differ enough from the upright version making it almost an entirely different display alphabet. Glyphic Neue is a versatile family of 6 fonts -- 3 widths, each with an accompanying italic that look equally at home when used on a party flier or a sports team visual identity.

The typeface Belwe, created in 1926 by German typographer and teacher Georg Belwe, has an uncommon style that is difficult to describe. It is a synthesis of many different genres: it is a slab serif with Art Nouveau style but also with many blackletter influences. The angled serifs on the ascenders and the calligraphic flourishes on the the upper and lowercase V, W, and Ys reference marks made by pens. There are also many other special characters that are unlike any other designs. Have a look at the fun lowercase a, the quirky lowercase f and g, and the unique C, F, L, and R for the uppercase. This design works especially well for display sizes, but is also good for short amounts of text. The mood and image suggested by this typeface is great for menus, invitations, and signs when you want to send a personal and friendly message. It's Art Nouveau roots also give it a place in history for designs from the Victorian period up through the 1920's and 30's

The typeface Belwe, created in 1926 by German typographer and teacher Georg Belwe, has an uncommon style that is difficult to describe. It is a synthesis of many different genres: it is a slab serif with Art Nouveau style but also with many blackletter influences. The angled serifs on the ascenders and the calligraphic flourishes on the the upper and lowercase V, W, and Ys reference marks made by pens. There are also many other special characters that are unlike any other designs. Have a look at the fun lowercase a, the quirky lowercase f and g, and the unique C, F, L, and R for the uppercase. This design works especially well for display sizes, but is also good for short amounts of text. The mood and image suggested by this typeface is great for menus, invitations, and signs when you want to send a personal and friendly message. It's Art Nouveau roots also give it a place in history for designs from the Victorian period up through the 1920's and 30's

Bayside Tavern is a weathered version of our Tavern Alt font family. With its straight sides Bayside Tavern fits better in tight spaces and reads better at smaller point sizes than the regular Bay Tavern version. With three weights, open faced and outline versions to choose from you're sure to find the right style for your new project, restaurant menu, logo, t-shirt design or Pirate costume party. While our original Tavern Alt font has been increased to include five weights additional weights for Bay Tavern will have to wait for now, adding the notched cut in's were all done by hand which causes a lot of cramping so a long break is needed before creating the extra weights. The Fill fonts in the Bayside Tavern family are meant to be layered behind the Bayside Open fonts, if you're using Bayside Open select Bayside Fill, if you're using Bayside Open L select Bayside Fill L, if you're using Bayside Open S select Bayside Fill S and so on.

Once, Blackletter was a calligraphy style. Full of ligatures, with letters bumping into each other to create an unapologetic picket-fence pattern. Some even claimed that the regularity improved legibility! But then Blackletter was cast into metal, and only a handful of established ligatures survived, while most interletter connections were disentangled. Everyone since followed suit, and hundreds of years later, digital Blackletter fonts were modelled mostly on the metal fonts that prevailed rather than the original handwriting. Up until now! AJ Quadrata is an authentic revival of the textura quadrata hand, and its major inspiration is a 15th-century Latin manuscript of the Bible from Zwolle, the Netherlands. The typeface is delivered in two flavors. The default cut is a modern take on textura quadrata that can be useful for today and tomorrow. The standard ligatures feature employs nearly all letters. The tittle of i retains its original, hasty squiggle form (except for the Turkish localization). Discretionary ligatures include medieval ligatures da, de, do, pa, pe, po (and their mixed-case counterparts!). Stylistic sets allow to use historic letter variants such as long s and rotunda r, closed-counter a, and alternate capitals. AJ Quadrata Medieval is perfect for setting Latin. Default forms of capital F, H and O are swapped with the alternates. The squiggles above i only appear for disamibiguation nearby m, n or u, as in original manuscripts. Discretionary ligatures and historic variants are promoted to the standard ligatures feature to make room in the discretionary ligatures feature for a variety of scribal abbreviations. Dedicated stylistic sets include medieval punctuation and justification alternates — glyphs with elongated terminals used for lengthening lines that end up too short. The Rubrum styles can be layered and colored to create the illuminated effect on the capital letters. Besides a faithful rendition of extended Latin including Vietnamese, numerous synthetic additions are included: polytonic Greek, Armenian, and Cyrillic (with Bulgarian and Serbian/Macedonian localizations). Both flavors of the typeface can be considered a starting point that can be further customized using OpenType features, including Stylistic Sets (some features differ between AJ Quadrata and AJ Quadrata Medieval): ss01 Alt E ss02 Descending F / Roman F ss03 Uncial H / Roman H ss04 Angular O / Round O ss05 Contextual closed-counter a ss06 Diamond-dot i j / Always dotted i, j ss07 Contextual rotunda r / No r rotunda ss08 Contextual long s / No long s ss09 Dotless y ss10 Serbian Cyrillic ss11 Alt Cyrillic de ss12 Alt Cyrillic zhe ss13 Alt Cyrillic sha ss14-ss17 [reserved for future use] ss18 Scribal punctuation ss19 Alt linking hyphen ss20 Justification alternates

Mackay is a powerful transitional serif in 6 weights plus matching italics, designed for screen and print. The eccentric serifs on uppercase letters like E, F, L and T are inspired by Alexander Kay’s “Ronaldson” from 1884, working as the starting point for the family. The lowercase letters follow the traditional Antiqua model with attributes tracing back to drawings from the early 20th century. The “grotesk” lowercase a, as well as the sharp lowercase s, derived from the closed shapes of uppercase letters like C, G or S, create a compact and bold appearance while a large x-height and small descenders add a modern look. In favor of a dynamic and elegant impression, the design of the italic cuts come with a strong calligraphic influence. This results in completely new shapes for letters like lowercase a or g, ensuring a smooth integration into their surrounding letters while maintaining a distinctive appearance when combining with romans. The family comes with a variety of opentype features like case sensitive shapes, old style figures, fractions, ordinals and many more. Additional attention was given to the standard and discretionary ligatures, extending the structure of the basic glyphs with elegantly designed letter combinations for g/i, i/t or s/t. According to their dynamic architecture, the italic weights are equipped with additional initial swash characters to subtle accentuate the calligraphic roots. As a result of a high stroke contrast the family works great in paragraphs with medium to large font sizes like headlines, short paragraphs or logos. With its 12 cuts, the family meets all requirements on high quality typography.

Antipol is a Sans Serif design that reverses the conventions of a regular Latin Sans Serif. With a weight emphasis on the horizontals and its vertical terminals Antipol radiates a 1970s charisma known from the like of Antique Olive. Its modern and avantgardistic attributes are most pronounced in the Hairline weight, where ultra thin lines meet distinctive arrowhead-corners. This particular weight is meant for display settings, think full-page magazine titles or posters. Antipol Wide and Antipol Extended are a generous statement for graphic design with enough space to let the type breathe: art catalogs, lead texts, invitations, letterheads or brand identity. Any style comes with a wide range of OpenType features that goes beyond a standard display font: Small Caps, Proportional and Tabular Oldstyle Figures and Lining Figures, Fractions, and much more. Type Specimen: http://bit.ly/2mxRCcA

Introduction to Bages – Bubble Font Bages – Bubble Font is a dynamic and cheerful display font, inspired by the playful shapes of bubbles and balloons. Ideal for catchy displays, this font captures attention instantly, making it perfect for creative and fun-filled projects. Design Features Every character in Bages – Bubble Font mimics the round, buoyant nature of bubbles. The design incorporates smooth, rounded edges, giving a floating effect akin to balloons. This unique style brings a joyful and lively flair to any design, ensuring it stands out with its playful aesthetics. Versatile Applications This font’s versatility is noteworthy, suitable for a variety of design purposes. It’s excellent for party invitations, children’s books, and marketing materials, adding a fun twist to traditional text. Moreover, its engaging style is ideal for educational content, making learning more appealing to young audiences.

Delamere uses conventional sans-serif letterforms but delivered with a strong calligraphic feel.

Neospace Expanded is an avant-garde typeface designed for technology and science fiction lovers. With its elegant geometric minimalism, Neospace redefines typographic aesthetics with a perfect fusion between modern and futuristic. Geometric Inspiration Designed with an expanded proportion and thin thickness, it exudes its own high-tech, futuristic and space style. Each Neospace character has been sculpted from the letter “O”, using the mathematical proportions of the Fibonacci sequence in curves, metrics and kerning, adding a golden ratio to each character. This meticulous approach ensures exceptional readability and a unique aesthetic that evokes a sense of order and precision. Three styles: Regular, which provides a modern and clean look; the Dot Layer, which adds a touch of color and creativity to typographic titles; and the Bold version, which evokes the feeling of futuristic and sophisticated electronic circuits, bringing a sense of avant-garde and advanced technology to your projects. Neospace allows you to create typographic titles in various colors, imitating the sophistication of futuristic electronic circuits. Limitless Versatility Neospace goes further by offering alternative letters and signs, multiple sets of numbers and capital letters, as well as monetary and cryptocurrency symbols. In addition, it incorporates complex OpenType functions that further enrich the design possibilities, allowing even greater customization in your typographic designs.

No, it's not the complete set but a great way to send out invitations for Mah Jongg Parties, Notices, Posters, Banners and Flyers. Here's a menu of what's contained and take a look at the Character Chart for some close-ups. It may seem complicated but not really. Shift, Alphabet keys will give you caps Mah Jongg characters, tiles beside a letter of the alphabet. The "lower case" alphabet is the same letter font used in the caps but without a tile. The regular keys "1 through 9" are the actual Crack tiles with the correct oriental glyph. Numerals to match the "lower case" are found using Shift and the Number keys. The $ sign is the Forward Slash and the "¢" sign is the Back Slash Dragons: Left & Right brackets Nice One Bam symbols: Shift, Left & Right brackets Hitting Option & the keys, "A,S,F & C" will reveal attractive flower designs. Punctuation, period, comma, quotes, etc. are in their usual locations. You may want to print this menu as a handy guide. The license agreement stipulates that you may disassemble and use elements from this font to create colorful art as in the illustration shown with the font listing.

Cats OTF color font. Creative set of characters, kittens pictured in a variety of poses. You can use this font for design logos, quotes prints on t-shirts and other. OpenType-SVG Font was designed with Fontself Maker in Illustrator CC. Contains only uppercase letters and digits. WARNING Color fonts are pretty new technology - they currently show up in Photoshop CC 2017+, Illustrator CC 2018 and some Mac apps. Learn more about color font support on third-party apps here: https://www.colorfonts.wtf/

The Scriptuale family, which contains eight styles, is a contemporary upright calligraphic face. Designed by German designer Renate Weise in 2003, this family of typefaces speaks to the present, while at the same time reflecting on a lyrical past. The letterforms of the Scriptuale family are romanticized, they reference German calligraphic styles from the 19th and early 20th Centuries. For instance the design of Scriptuale's uppercase strays from the canon of classical proportion into romantic idealism. While the C and O are drawn according to the ancient quadratic proportions - almost twice as wide, optically, as the E or the L - the letter A is wider than would be expected, and the D narrower. These subtle differences introduce a different rhythm into text set in Scriptuale than Italic styles of calligraphy may offer. Scriptuale's Gs merit special notice: both the upper and lower case G lunge slightly forward, further enhancing the dynamic quality of the text. Also unique in Scriptuale's design is the lowercase width: the letterforms appear slightly condensed; they have large x-heights to compensate for this. In a delightful twist, the number 2's beak has been closed by drawing it full-circle, back into the stem: this references a style of letter design that was practiced, among other places, by artists from the old Klingspor foundry in Offenbach Germany. Typefaces constructed there easily captured the zeitgeist of the romantic period, but are less calligraphic than Scriptuale (e.g., Rudolf Koch's Koch Antiqua). A semi-serif face (like Prof. Hermann Zapf's Optima or Otl Aicher's Rotis Semi), some of Scriptuale's letters have serifs (D), and some do not (A). And although both the B and the E normally have the same "structure" on their left side, Weise has drawn them differently in Scriptuale. These strengthen the calligraphic-like quality of the family. Traces of the pen are easy to see in Scriptuale's design; it is a thoroughly calligraphic face. The eight typefaces in the Scriptuale family include Light, Regular, Semi Bold, and Bold weights. Each weight has a companion italic. Scriptuale is similar to one other contemporary calligraphic family in the Linotype portfolio, Anasdair , from British designer

leviatan is a spooky display font featuring horror & scary characters This font is inspired by blood Add this font to your most creative ideas

Hatter Halloween, is an extension of After, which includes ligatures, Extrude, Swash, Layers and contains entertaining Dingbats for Halloween parties or on horror themes.

Super heavy font inspired by the wide trunk of African trees known as baobabs, available in two versatile styles, with sharp, and rounded corners.

ALS Direct is an open and dynamic typeface with clear-cut letterforms that make it instantly readable. It lends text a neutral, yet agreeable and modern feel. Direct has nine font styles convenient for the purposes of navigation signage. Regular-style letterforms are rather wide, because direction signs are likely to appear before readers at an angle, so the type needs to withstand perspective distortions. And as signs and boards may vary in size, Direct was developed to include several width variations. Condensed fonts can be used where horizontal space is limited, allowing you to keep proper height and readability of the characters. A signage typeface must be easily readable from some distance away and have simple letterfoms with clear-cut features to quickly identify characters. Designing a type for a potentially wide range of purposes calls for a universal approach. If not destined to be used for navigation in a particular building, it shouldn’t incorporate any peculiar elements to agree with certain design or architecture. All of the above determined our choice of a sans serif with large apertures and definite features allowing readers to instantly recognize letters. Descenders are made compact not to interfere with the line below. And the low contrast between thick and thin strokes renders all elements equally perceptible. The x-height is significant, close to the cap height, which inhances readability of the lowercase type. There are two reasons why directions must not be set in all caps. Firstly, lowercase letters are more diverse and include ascenders and descenders identifying some of the letters in the line. And secondly, having learned to read, people recognize word shapes rather than individual letters, which makes lowercase text more readable. With Direct being a signage typeface, first to be developed were its width variations, and different weight styles and italics were added later. Another thing to be kept in mind was that signs often use dark background colors, and black type on a white background appears smaller than white type on a black background. Direct is the first Cyrillic typeface created for navigation purposes. Before that, designers could use the Cyrillic version of Frutiger (Freeset) developed by Adrian Frutiger for the Paris Charles de Gaulle International Airport, and a number of other, mostly body copy, neutral sans serif types. However, signs and boards were dominated by Arial, which Direct would be glad to replace offering elegance and lucidity of form instead of type bluntess. Direct was designed as a signage typeface, but its neutral style and clear-cut letterforms suggest various other ways of application.

The inspiration source for Monarchy Initials is the 1934 Book of American Types by American Type Founders. In that specimen book, they had created a sophisticated two color initial design they called "Stationers Initials" which was only available in metal type at 24, 36, and 48 points. This wonderfully detailed initial style is now digitally recreated and revived for modern use. Monarchy Initials is only capable of initial or single letter monograms due to its unique design. The two color aspect of the original design has been preserved and made accessible within all programs. The Capital character slots contain the background color glyphs, and the lowercase slots hold the outline art for the letters. You can choose a color, type a capital letter, then switch to black and type a lowercase letter for the two color effect, or just tpe a lowercase letter on its own. It's that easy! Download and view the Monarchy Initials Guidebook if you would like to learn a little more.

The inspiration source for Memoriam Initials is the 1934 Book of American Types by American Type Founders. In that specimen book, they had created a sophisticated two color initial design they called “University Initials” which was only available in metal type at 24, 36, and 48 points. This wonderfully detailed initial style is now digitally recreated and revived for modern use. Memoriam Initials is only capable of initial or single letter monograms due to its unique design. The two color aspect of the original design has been preserved and made accessible within all programs. The Capital character slots contain the background color glyphs, and the lowercase slots hold the outline art for the letters. You can choose a color, type a capital letter, then switch to black and type a lowercase letter for the two color effect, or just type a lowercase letter on its own. It’s that easy! Download and view the Memoriam Initials Guidebook if you would like to learn a little more.

Beleck is a bold and horror display font. To make your creations look amazing, this font has the potential to take your creative ideas further. It is perfect for your horror designs and also a unique alternative to display designs. Beleck was designed for the needs of Halloween themed design concepts and events in October and November. Beleck is also perfect for quotes, greeting cards, invitations, posters, business cards, presentations and more.

Georges Peignot designed the font Nicolas Cochin based on copper engravings of the 18th century and Charles Malin cut the typeface in 1912 for the Paris foundry Deberny & Peignot. The font is named after the French engraver Charles Nicolas Cochin (1715-1790) although its style had little to do with that of the copper artist. Nicholas Cochin is a freer variation of another Peignot font, Cochin, a bit more balanced and elegant.

Rulinover is a serif font inspired by adrenaline-pumping gothic horror movies and games. With that comes Rulinover as a supporting tool to support typography based on genres of horror adventure, challenge and dare in a particular game or film. And also supported by many alternative ligature and letter concepts that are useful in making logotypes or monogram styles. For that, Rulinover is also equipped with various languages such as Latin 1 & 2.

Conifer is a blocky geometric sans serif font that adheres to strict grid rules in order to define its corner angles. Its seemingly rigid form is tempered by the soft, rounded corners, and fine notched details present at acute angles in the glyphs. Available in a clean solid and a varied, textured rough. The result is a rugged, retro, typeface that is at home in fashion lookbooks and wood-carved park signage alike.

Monoline Fonts with strong identity for an outdoor design, camping, wild, journey, adventure, masculine, and etc. Opentype features are available on Marshfield such as Ligatures, Stylistic Alternates (Up to 6 Alternates), Contextual alternates, and Terminal Alternates. Marshfield Comes with 2 Type of Fonts, Script and Cursive. On each type of fonts have 3 different style, Clean (sharp corner), Round (Rounded Corner), and Rough (Rough Version). 6 Fonts in Total for completing your design style.