The hand composition typeface was developed at the Ossip Lehmann type foundry (St. Petersburg) in 1904-07 (after designs by Alexander Leo?). It was redeveloped at Polygraphmash in 1960s for slugcasting composition. Named after Russian Empress Elizabeth I (1709-61). Based on typefaces of George Revillon type foundry of 1840s, though some characters’ shapes were redrawn similar to Russian Academy of Sciences typefaces (mid-18th century). Sharp contrast, strong weight Modern Serif with archaic flavor. The typeface is useful in text and display composition, in fiction, historical, and art books, especially connected to the 18th or 19th centuries. It looks great in Russian classical literature such as Pushkin and Gogol works. The revised, improved and completed digital version was designed at ParaType in 2001 by Lyubov Kuznetsova.

A Stylish Condensed Sans Boilermaker began as a digitization of a film typeface from LetterGraphics dubbed Flair G100. From this origin, it has evolved to a much more robust character set than its original. From the inclusion of original unicase and lowercase alternates to the addition of a Russian language expansion, Boilermaker really shines. See the 4th graphic for a comprehensive character map preview. Boilermaker is loaded with features to give you plenty of customisation options: - Stylistic Alternates feature for Unicase & Lowercase alternates. - Russian language coverage. - A Full set of Inferiors and Superiors for Limitless Fractions - Tabular and Proportional figure sets Approx. 602 Character Glyph Set: Boilermaker comes with a glyphset that includes standard & punctuation, international language support, unicase & lowercase alternates, alternate numeral styles, subscript and superscript.

Ni is a kind of typographic love letter, revealed in three distinct, yet close, type formulas. Ni Serif is a contemporary serif typeface with slight diagonal modulation, amazingly legible, and with a very steady rhythm that allows a wonderful performance, especially in long passages of text. Ni Sans closely match the design characteristics and proportions of the serif counterpart. Ni Sans undeniably shows the strong calligraphic influence that comes from Ni Serif, resulting in a very comfortable humanistic typeface, suited both for print and digital environments. Ni Slab is not a simple Sans with serifs attached. Despite the thick and strong serifs, Ni Slab is a gentle mixture of the DNA of the Serif and Sans counterpart and does not intend to reflect any mechanic approach.

Linotype Sangue is part of the Take Type Library, selected from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This prize-winning font was designed by the German artist Gabriele Laubinger. The most distinguishing characteristic of Linotype Sangue is the contrast between the wide, rounded capital letters and the tall, narrow and pointed lower case. Another factor which makes this font so unique is the way Laubinger worked with stroke contrasts, using heavy strokes in the top third of the characters and diminishing to extremely light strokes at the bottom. Linotype Sangue makes a mysterious, secretive impression. It is best used for headlines and displays and shorters texts with point sizes of 12 and larger.

Ramadhan Amazing is Arabic-style font. Designed with digital flat pen and gothic typography technique that gives the letters an elegant look. Equipped with an Arabic character display. This font is very useful for designing all kinds of graphic designs related to Islamic Content. Ramadhan Amazing font is suitable for branding, logotype, apparel, T-shirt, Hoodie, product packaging, quotes, flyers, posters, book covers, advertising, etc. What's Included? - Open support type - Multilingual support - PUA encoded - Features: uppercase, lowercase, numbers, punctuation, multilingual, alternative, and stylish set. - Accessible in the Adobe Illustrator Glyphs panel, or under Stylistic - Alternative in OpenType menu Adobe Photoshop, Adobe InDesign, Corel Draw, even works in Microsoft Word Please message me if you have any questions. We are happy to help you.

Steelplate Gothic Pro is a sans serif font family with traditional and drop shadow weights. It shares letterform similarities to conventional Copperplate Gothic families, but has no spur serif endings. Most of the original designs came from the Western Type Foundry when BB&S acquired it in 1918; all were cut by Robert Wiebking. It was recast in 1954 by American Type Founders (ATF). Steve Jackaman (ITF) designed and produced a digital version of the original single weight in 1997. In 2017, Jackaman completely redrew and expanded the family, adding entirely new condensed variants and true small caps. Steelplate Gothic Pro has a masculine, industrial feel, and works effortlessly at display and subhead sizes. It shares letterforms with its sans serif sister family, Barnsley Gothic.

Based on the hit album by Glen Campbell, Southern Nights is the font with a style that’s “free as a breeze,” as the song says. It’s fun and casual, yet it has a flair for fashion and elegance. It also has an art nouveau look which lends itself to greeting cards as well as the branding of perfume, clothing, retailing, dining, and other luxury/high-end uses. This font includes alternate characters for the upper R, S, and T, the lower g and z, plus ligatures that include a double lower t and double lower l (L). As the song might say, I apologize to anyone who can truly say that they have found a better font! Digitized by John Bomparte.

Get some beach holiday vibe so needed during a crazy year in the city! BEACHCLUB fonts are inspired by tropical islands hand-painted signs. Bring the summer beach parties feeling with sunshine, music and strong cocktails. We crafted digital versions of woodcrafted letters as if it was made for a beach bar in Hawaii. Then the time, sea and sand did the rest. Use our fonts to bring this fun and relaxed energy to your graphics! Key Features: BEACHCLUB fonts will be a great help and perfect fit for various posters, banners, typography and illustrations. Fonts can be used for both personal and commercial projects. Credits: BEACHCLUB clean and BEACHCLUB grunge are designed by Royalclub. For purchasing the full kit (brushes/frames) proceed to www.royalclub.sh/royalclub-supplies

Melrin – Display Typeface: A Floral Serif Wonder Introduction to Melrin Introducing Melrin Floral Serif Typeface, a display typeface that blends artistic flair with functionality. Its unique design features serifs that bloom like flowers. Ideal for retro designs, Melrin captures the essence of nostalgia in each character. Design and Aesthetics Melrin stands out with its floral serif accents, reminiscent of blooming flowers. This aesthetic makes it perfect for projects needing a touch of vintage elegance. Its bold structure embodies strength, while the delicate serifs add a soft, artistic touch. Versatility and Usage Beyond retro designs, Melrin excels in various applications. It’s a top choice for circus-themed graphics, posters, and branding materials. Its versatility extends to digital platforms, enriching websites and online ads with its unique charm.

Linotype Gotharda is part of the Take Type Library, chosen from contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This display font started as an experiment of the Croatian-German designer Milo Dominik Ivir. He wanted to design a font with characteristics of both sans serif and Gothic faces. From the Gothic he took the heavy strokes, the narrow letters, the exaggerated overmatter and the high x-height. The modern standard forms of the letters s, a, x and z, the clear capitals and the lack of serifs are the characteristics taken from sans serif faces. The result is a font with a constructed, old German feel. Linotype Gotharda is intended exclusivley for headlines in large point sizes.

Garnet is a rare TT typewriter face, made digital from analog samples gathered with great care by Coniglio Type. A time and place; type and life. Garnet Euro Typewriter is the first new release by designer Joseph V Coniglio in over 5 years. It is contemporary designer type, made from the struck steel hammers of an art deco san serif face transferred from a mechanical 1926 Royal Portable typewriter. It has an obsessively complete commercial roman character set ––for the pre-opentype environment of the late 1990's. Yes, it has that great “Monopoly Game” question mark -- and all on a period-piece typewriter! You should have no trouble grafting that sorely needed Euro symbol.” –And he very well did!

Analogia is a digital interpretation of types used in the mid-18th century in books printed at Leuven by Martin van Overbeke. It is intended primarily for use in running text. The roman is businesslike, yet with a distinct personality; it has a generous x-height and is slightly condensed, though without appearing cramped. It is complemented by a more lively italic, which retains some irregularities in the angle of slant that are characteristic of the original. Analogia provides wide support for west, central, and east European languages that use the roman alphabet. Among its OpenType features are ligatures, small caps, several sets of numerals, contextual alternates, intelligent implementation of long ‘s’, and fractions. For more detail, please see the pdf available in the Gallery.

Fontology-E is an experimental font designed by Fabrizio Schiavi. It was created for the cover of the Fontology catalogue. Schiavi's need was to build an optical false modulation effect with versions of the logotype and typical rectangles of an empty font chart. The basic idea was to create a page that contained many rectangles in order to demonstrate the modulation. At the same time, it was important to understand that Schiavi inserted 8 versions of the same logotype each time the corresponding letter is digitized in e, a, d, f, g, h, c and b. The inside of the catalogue has the same layout and text, which is revealed by fanning the pages. Schiavi confess that Fontology-E is a highly experimental typefont.

Railroad Gothic was originally designed in 1906 for ATF (American Type Founders). This uppercase-only typeface is very condensed and also heavy, giving it a distinct 19th American wood type feeling. Like those 19th Century classics, Railroad Gothic is best used when set really big. Originally designed for use in railroad signage, Railroad Gothic has since been adapted for use in many American tabloid journals, which employ it in screaming headlines. When you need to set something large and loud for the whole world to see, this old ATF classic may be right for you. Railroad Gothic is an all caps font, and is available in digital format exclusively from Linotype. The typeface is included in the Take Type 4 collection from Linotype GmbH."

'Euclid. A New Type,' originally designed in the 1930s by modern American designer Alvin Lustig (1915-1955), has been revived as 'Lustig Elements' through a collaboration of designers Craig Welsh and Elaine Lustig Cohen. Only twelve letterforms from the original font design had been retained in archive material in the many decades since its initial development. Lustig Elements combines four simple, geometric shapes aligned to an underlying grid with letterform designs that hold true to the spirit of the original font. Lustig Elements initially came to life in 2015 as wood type cut at Hamilton Wood Type & Printing Museum. The digital version expands on the basic character set with a pro expanded latin character set, small caps and even an Inline variation.

These are the letters I doodled in the margins of my high school notebooks. As it turns out, a man named Milt Glaser doodled them first. He doodled a lot of other amazing things too. Mr. Glaser called his blocky alphabet Baby Teeth. I think the type looks better when it says Surfside, so that's what I called my incarnation. This version has been digitized and expanded, and is available for Mac and PC. These letters remind me of the 80s and the 90s, of Gotcha shorts, Ocean Pacific shirts and fluorescent windbreakers. Surfside matched my Airwalks. They're big and bold. Clunky and funky. Spices up words. Makes 'em look great! Surfside is cool and available for a low low price... scoop it up today!

Few projects are outside the range of PMN Caecilia® Sans. Drawn specifically for on-screen imaging, the family benefits from a large suite of weights, each with several stylistic variations. This is a design ideally suited to building digital interfaces, complex websites, apps, games, kiosks, HTML ads and large-scale brand identities. “My goal was to create a, friendly, versatile, ageless, yet discerning typeface family that will serve the needs of many users,” says Peter Matthias Noordzij. the typeface’s designer. “It is not intended to be eye-catching, but generous: enabling numerous visual and typographical expressions.” The use of Noordzij’s earlier design, PMN Caecilia, in Amazon’s Kindle® wireless reading devices, gave him the opportunity to study the behavior of the slab serif typeface in an on-screen environment. Although based on his earlier design, Noordzij incorporated fundamental changes to optimize PMN Caecilia® Sans’ digital performance. While PMN Caecilia has proven to be a steadfast serif typeface in print and on screen, the addition of a sans serif counterpart gives designers more flexibility when creating complex hierarchies. The combination of serif and sans serif makes the PMN Caecilia family a good choice for everything from print editorial projects to complicated web sites. A broad range of typefaces pair well with PMN Caecilia Sans. Humanist serif typefaces, such as Agmena™, Dante®, and Frutiger® Serif, set up dynamic typographic harmony, while designs like ITC New Veljovic™ Masqualero™ and Perpetua®, will create a striking counterpoint. And, of course, PMN Caecilia is a natural design partner – as are other slab serif typefaces, like the Aptifer™ Slab, Joanna® Nova and Soho® families.

Introducing "Aero Flux", the cyber mecha font that will take your designs to the next level. This font is designed with a perfect blend of modern and squared feel, giving it a unique and futuristic aesthetic that is perfect for a wide range of applications. The bold and sleek design of Aero Flux makes it an ideal choice for logos, headlines, and branding materials. It's all-caps design with punctuation, numerals, and foreign support allows for flexibility in creating unique and engaging visual designs. Aero Flux's squared feel makes it perfect for projects that require a strong and sturdy look, such as designing video game or movie titles, product packaging, or creating futuristic posters. This font's bold, industrial look is perfect for capturing the essence of the mecha genre, with its sharp angles and futuristic design. The squared feel of Aero Flux adds a sense of strength and solidity to your designs, making it the perfect choice for projects that require a bold, commanding look. Moreover, Aero Flux's industrial, mecha-modern design makes it the perfect font for creating digital interfaces and user interfaces (UIs), especially those that require a futuristic or high-tech feel. In summary, Aero Flux is a highly versatile font that is perfect for a wide range of applications, from logos and branding to digital interfaces and futuristic posters. With its modern, squared feel and unique design, Aero Flux is the perfect font to add a touch of futurism to your projects and captivate your audience. Aero Flux features: A full set of uppercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Cyber Mecha Style +246 Total Glyphs

Caribe is an expressive typefamily like the blue sky and bright Caribbean sun, designed by CFCG @andinistas. We love to design experimental fonts with a large amount of ligatures and swashes, drawn with special respect and study for what is handmade by ancient artisans. In this context, Caribe is an impressive typefamily of 5 fonts to create logos, posters, book covers, menus, labels, packaging, etc. The 5 Caribbean fonts add up to more than 1500 glyphs that serve to be mixed or independent, functioning as a springboard to encourage your creativity in the design of words, phrases or remarkable headlines of the elements that appear around them. Caribe Script has lowercase letters such as "b d f g h i j k l p q y z" with extremely short ascending and descending strokes achieving generous height x in: "a c e m n o r s u v w x". Caribe Script Produces visual attraction in words and phrases that need lowercase letters with sparing horizontal space width and bold stroke thickness, producing exceptional legibility in headlines or advertising texts. Caribe Script & Caps are based on ancient and multiple letterings from the 40s and 50s that were useful inspiration tools to produce visual pleasure. Caribe Words has more than 60 script words drawn diagonally generating greater intensity within a sentence. Caribe Shields & Digits has more than 50 designs each and they have containers and numbers designed to accompany words, phrases or drawings that serve to harmonize different writings. ENJOY more than 1500 glyphs: + Caribe Script: 743 glyphs + Caribe Caps: 507 glyphs + Caribe Words: 71 glyphs + Caribe Shields: 230 glyphs + Caribe Digits: 40 glyphs

At VetteLetters we like food but we also appreciate our drinks. Yes, of the non-alcoholic kind as well. Like milk. Contrary to what Arnold Schwartzenegger once said, Milk is not just for babies. It contains a whole lot of stuff that is genuinely good for you. Like proteins, carbohydrates, minerals (calcium a.o.) and many vitamins. One time visiting The Hague, Donald DBXL spotted a tile tableau on a brick wall, advertising a dairy factory called ‘De Sierkan’. Yellow sans serif letters on a bright blue background, dating back to the late 19th century, immediately grabbed DBXL’s attention. Especially because the tableau showed both regular and bold letters with some lovely peculiarities here and there. De Sierkan appeared to have been a milk factory solely operating in The Hague from 1879 until 1961. A number of these wall adverts are still to be seen in The Hague streets today. Photos were taken for later reference. Later is now, the lettering has been digitized, missing characters added, and VLNL Melk sees the light of day. VLNL Melk is an all-caps geometric display sans serif family of three weights, Regular, Bold and Black. The basic shape of the letters is a rectangle with rounded corners, leaving a sturdy no-nonsense look and feel. It has a distinct historic aura, but with both feet in this digital day and age. It can equally well be used for the logo of a hipster coffee place, as the cover of a historic novel. Actually, VLNL Melk kan be applied in a wide range of designs like logos, posters, flyers, book covers and magazine headlines.

The Swiss typewriters were famous for their unique precision. As complex digitalizations and macro shots were a start for the inspiration and studies, each character has been carefully re-crafted from the ultra high def scans of the printouts made on a special bleed-proof paper. Today’s characters such as @, euro sign and most of accents have been crafted according the original alphabet design. The idea was to digitize and keep a saving of the original typewriter including all its functions (e.g. underlining key) . It’s surprisingly very legible at small sizes. Thanks to an x-height tighter and more spaced, a glyph design less detailed and more neutral/simple than other fonts found on american or italian typewriters. The final artwork can be set at very large sizes due to the highly detailed glyph design. Swissa Piccola Regular is loaded with more than 150 glyphs created with the typewriter to avoid letter repetition in a word. This OpenType feature can be accessed through the 'discretionary ligatures' option. Plus it comes with two stylistic sets : one with an original underlining feature, another with a slashed-x feature. In which all characters are unique and also have been originally typed with the typewriter. It contains more 600 glyphs in total. The two features are separated in another two fonts (Swissa Piccola Slashed x and Underlined) in case a non OT-savvy app is used. If you wish to obtain exactly the same prints as the original Swissa Piccola typewriter, you should set your font at 11.3 pt and 19.5 pt of line spacing. The Swissa Piccola font was originally offered in a dedicated limited edition packaging.

The first weights of Neue Haas Grotesk were designed in 1957-1958 by Max Miedinger for the Haas’sche Schriftgiesserei in Switzerland, with art direction by the company’s principal, Eduard Hoffmann. Neue Haas Grotesk was to be the answer to the British and German grotesques that had become hugely popular thanks to the success of functionalist Swiss typography. The typeface was soon revised and released as Helvetica by Linotype AG. As Neue Haas Grotesk had to be adapted to work on Linotype’s hot metal linecasters, Linotype Helvetica was in some ways a radically transformed version of the original. For instance, the matrices for Regular and Bold had to be of equal widths, and therefore the Bold was redrawn at a considerably narrower proportion. During the transition from metal to phototypesetting, Helvetica underwent additional modifications. In the 1980s Neue Helvetica was produced as a rationalized, standardized version. For Christian Schwartz, the assignment to design a digital revival of Neue Haas Grotesk was an occasion to set history straight. “Much of the warm personality of Miedinger’s shapes was lost along the way. So rather than trying to rethink Helvetica or improve on current digital versions, this was more of a restoration project: bringing Miedinger’s original Neue Haas Grotesk back to life with as much fidelity to his original shapes and spacing as possible (albeit with the addition of kerning, an expensive luxury in handset type).” Schwartz’s revival was originally commissioned in 2004 by Mark Porter for the redesign of The Guardian, but not used. Schwartz completed the family in 2010 for Richard Turley at Bloomberg Businessweek. Its thinnest weight was designed by Berton Hasebe.

Introducing Wolfhagen Blackletter, an extraordinary font that embodies the perfect blend of medieval-modern elegance. With its strikingly bold and stylish appearance, this typeface effortlessly merges timeless aesthetics with contemporary flair. What sets Wolfhagen Blackletter apart is its ability to seamlessly transcend borders, thanks to its extensive multilingual support, empowering your creative endeavors on a global scale. This font is a true embodiment of sophistication, making it ideal for headlines, art crafts, logotypes, and beyond. Its unique charm and exquisite design concept bring an unparalleled allure to any project it graces. The intricate details and intricate strokes of Wolfhagen Blackletter capture the essence of medieval craftsmanship while infusing it with a modern twist, resulting in a truly captivating and versatile typeface. We created Wolfhagen Blackletter with a vision to offer designers a font that would stand out from the crowd and leave a lasting impression. The marriage of medieval inspiration with contemporary design was a deliberate choice, as we sought to evoke a sense of timeless elegance while meeting the demands of the modern creative landscape. Unleash the power of Wolfhagen Blackletter, and witness the transformation of your projects into works of art. This font embodies the harmonious convergence of past and present, enabling you to communicate your ideas with a touch of history and a dash of contemporary sophistication. Discover the uniqueness of Wolfhagen Blackletter and embark on a creative journey that is both captivating and unforgettable.

An Art Deco, script inspired typeface for 'modern' times, Pauline Didone is a full type family with a unique and flavorful design. It has a sense of femininity and naïveté that comes from its predecessor, Pauline. It's a typeface useful for short bits of copy, logotypes and interesting titling. This typeface family of 10 different fonts includes 5 weights and their italics and a wide range of OpenType alternates. The original Pauline was inspired by and has a strong influence from retro scripts. The typeface is geometric, formed with deliberate contrasting brush strokes and a ostentatious flair. Pauline Didone's high contrast strokes give it a very interesting look that is up to date with latest design trends and very useful for today's design environment. Pauline Didone pairs nicely with the original sans-serif Pauline. The typeface family also includes a full array of alternate forms, including over 150 alternate characters. These alternates can be accessed by activating OpenType features and style sets. Note: In order to use these OpenType features, you will need a program with advanced typography capabilities such as the Adobe Suite or Quark. These alternates also include a group of ball terminals that can be accessed under the swash alternates. Pauline Didone is the latest in a trusted line of typefaces from insigne. Why settle for the ordinary when you can choose Pauline Didone to lend its unique look to your art work?

The Morgan Project can be considered a big type family with ‘many styles’ or a set of different types that match with each other. For me it’s one typeface with different versions with deliberate and visible differences according to the propose to which each version was created. The design started in 2000 as a display type with the design of the Morgan Tower, to which more two display versions were added; Morgan Poster and Morgan Big — all together the make our: FTF Morgan Display Kit 1. All three versions consist only in uppercase with alternate letters in the lowercase and a set of special ligatures. Morgan Tower has four variants that differ in width/weight, Morgan Poster has six variants (often called styles), three weights in upright and oblique and Morgan Big has twelve, six weights in upright and oblique. Lately, the FTF Morgan Tex Kit 1 was added. Apropriate versions to use in text setting. Both versions, FTF Morgan Sans and FTF Morgan Sans Condensed share the same structure and character mapping. Four variants each; regular, bold, oblique and bold oblique with a large character set including: small caps, lining and old style figures (here called Office figures) — both tabular —, small caps lining figures, mathematical symbols and fraction figures, and, a set of foreign characters expanding the possibilities of use for a wider range of languages. Characters are distributed in six different font layouts: Lining, Office, Expert, Caps, Figures & Pi.

After Generis™, Aeonis™ is the second large family of typefaces by Erik Faulhaber. The basic Aeonis sans-serif form references Ancient Greek lapidary inscriptions from the 9th century BC. Between the poles of antiquity and modernity, a deliberate contradiction of round and rectangular forms gave way to a new and energised font: Aeonis. Aeonis is available in three widths and seven weights, all of which have been carefully coordinated in terms of their proportions. The clear contrast in the bold stroke intensity emphasises the organic nature of the font and creates exciting aesthetics. In light of their open forms, the letters guarantee a good level of readability, even in small point sizes. Given that the dynamic individual forms of Aeonis also fit perfectly in a functional image, this typeface is ideal both for complex, text-heavy documents as well as for logos and display text settings. Particular attention was paid to ensuring carefully coordination proportions: all styles and weights have the same cap height, as well as identical ascender heights, x-heights, and descender lengths. The widths of all figures, currency symbols, mathematical operators, and special characters have been carefully aligned for tablular settings. Aeonis is an extremely systematic design. All of its widths and weights may be combined with one another, without restrictions. For users who do not like the open A, an alternate A with a crossbar is included in each font as well.

Austrian Cartoonist Wolfgang Ammer lent his handwriting to this font, which was produced by Miriam Surányi. Wolfgang already uses the font in his daily routine: It facilitates corrections and translations of his cartoons for international newspapers. Rich in contextual alternates, Ammer contains about 1800 glyphs. Each character has multiple alternates. And a complex OpenType substitution feature makes sure that the same variant does not appear twice in a line. As a special gimmick, the font contains a Tic Tac Toe game: To activate it, type a # and turn on stylistic set 20. Then use digits 1–9 for setting the naughts and crosses on their places. The enclosed TT variant has a reduced glyph set and therefore a smaller file size, hence it is better suited for use on the web.

Linotype Funny Bones is part of the Take Type Library, chosen from the contestants of the International Digital Type Design Contests of 1994 and 1997. The font was designed by the German artist Ingo Preuss and is available in two weights, one and two. Linotype Funny Bones one consists of two different alphabets containing only capital letters and offers a variety of interesting combinations. Weight two and one set of capitals of weight one are somewhat light and delicate, while the other set of capitals of weight one are of a strongly constructed nature, which makes for a good contrast. The carefully constructed details of the font detract from its legibility, but Linotype Funny Bones is perfect for short texts and headlines in point sizes larger than 12.

HS Albasim A is an Arabic display typeface. It is useful for headlines, books covers and other graphic projects. It is a collaborative effort, as "HS Albasim A" first letters were designed and drawn by Basim Salem Al Mahdi from Iraq and then developed and digitalized as a typeface by Hasan AbuAfash from Palestine. The font is based on the simple lines of Fatmic Kufi but was it distinguished by two main ideas: First, it contains a nice serf in the vertical strokes of its letters. The second, some of storks in its letter differ in the thickness instead of being similar, as it is in the Fatmic Kufi style. The font contains only two weights: regular and bold. Both of them support the OpenType features of Arabic, Persian and Urdu.

Anca typeface started as a comission work for Fest Anca, an international animation festival. They needed something to complement the corporate identity of the festival. Inspiration came from a sketch made by my friend long time ago, which had a tremendous potential. As letters were digitized and the basic alphabet was completed, a very practical and universal typeface resulted. The whole type family has a playful and simple look with rounded stroke endings as well as long ascenders. The construction skeleton uses the minimum number of strokes and as a consequence, some original letter shapes (Q, w, j, &, A, §) were produced. Despite the fact that most letter shapes are based on geometry, some strokes are intentionally irregular, which creates a very natural feeling. Anca is appropriate for setting short paragraphs, headings and big inscriptions.

Nafigat Script goes with Romantic and Modern Calligraphy, ready to give your design project with Fresh and Fabulous Style. This font have an 264 Standard Glyph + 408 Glyph Alternate in Open Type Standard Format. Perfect for wedding, branding and romantic invitation and Also Suitable for various purpose such as digital lettering, headings, logos, wedding invitation, t-shirt, letterhead, signage, lable, news, posters, badges, branding materials, t-shirt, print, business cards, quotes, logo, poster, and suitable for any graphic design project. Nafigat Script comes as a single font file packed full of great features. It contains a full set of lower & uppercase letters, a large range of punctuation, numerals, and multilingual support. The font also contains several swashes and stylistic alternates for those who have open type capable software (e.g. Photoshop/Illustrator).

Linotype Scrap is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. The font is available in two weights and was designed by German artist Ingo Preuss. It is as though the forms of the basic weight were cut with scissors out of pieces of paper. There are no inner contours, only the outer silhouettes. The capital letters which make up Scrap Bonus are set on black rectangular backgrounds and are white and framed with a white contour. This weight includes a number of different pictograms which were also not spared the scissors. The decorative Linotype Scrap embodies the comic style of the 1990s and is meant exclusively for headlines of points sizes 18 and larger.

Roundhand was created by Matthew Carter in 1966 on the basis of handwriting by Charles Snell, an English calligrapher of XVII-XVIII known in particular by his "The Pen-man's Treasury Open'd" written in 1694. The typeface has continuous cursive shapes with oval aspect, high contrast emphasized by abrupt transitions from thin to thick and regularity of slope. Its capitals are often used as initials in combinations with other typefaces. The current digital version of the typeface has 3 styles of different weights. Roundhand is clear and easy to read and is well-suited for medium size texts and headlines. It will work well in invitations, menus, packaging, and advertising accentuating elegance and the subtle nature of the content. The Cyrillic version was developed by Vladimir Yefimov and Isabella Chaeva. Released by ParaType in 2013.

Bauhaus Bugler’s design never appeared in Harry Warren’s 6th grade class newsletter The Broadwater Bugler but its design came about during that same period in 1975. Because of this, it has been officially designated an honorary Bugler font! Its theme of broad curves that leap over and under conjure visions of fashion and high-end department stores with their dress boxes and shopping bags, plus hair products, cosmetics, couture, and other stylish personal merchandise of the highest caliber. Bauhaus Bugler also has an art deco flavor, especially when all capitals are used. It comes with two alternate versions of the upper and lower Y to give users more freedom of choice. Put Bauhaus Bugler in your “haus” today! Be sure to check out Bauhaus Bugler Soft also! Digitized by John Bomparte.

Kongress is a typeface that includes all that is needed for building a proper corporate identity. The design relies on the use of straight lines and a squarish structure for the characters, which provides the text with a compact appearance. This feature helps to save space when required by the typographic composition. The design is also defined by wide counterforms and clean cuts for the strokes. All of this helps the shapes to adapt better to digital environments. Nevertheless, Kongress is not another techno typeface. The slight modulation of the strokes—especially in the italic letterforms—and the large apertures for most characters result in what we will call a techno-humanist style. The squarish structure of a techno-font blends with the calligraphic modulation of a humanist sans serif typeface.

Designed in The Hague amongst the canals and flowering lime trees, Node Display represents the best of organic curves with sharp modern edges. Sophisticated and edgy, it's everything you want out of a display font. It looks amazing at large sizes and, also, small sizes. 16 Fonts. Extra Light, Extra Light Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Outline, Outline Italic. 17 Languages. Basque, Catalan, Danish, Dutch, English, Estonian, Finnish, French, Frisian, Galician, German, Irish, Italian, Norwegian, Portuguese, Spanish and Swedish. 185 Glyphs. 36 Punctuation Marks, 57 Uppercase Letters, 60 Lowercase Letters, Full Number Set. Looks great packaged on wrapping, bottles and jars or digitally on websites, social and apps or printed on newspapers, magazines and flyers.

Flourish breaks the mold of traditional typography. Part italic, part roman, this iconoclastic font is all style. William Millstein casts the contours of formal pen strokes in a taut upright framework to create a typeface that nods back to its origins while looking defiantly forward. The neat and light semi-serif flaunts crisp geometric touches without conceding warmth or personality. A sophisticated design solution that isn’t stuck up, Millstein Flourish makes invitations, identities, and editorial settings thrive. Originally offered by Photo-Lettering in the early 1940s, Millstein Flourish was digitally updated by Jeremy Mickel in 2011. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Penitentiary Gothic is a digital recreation of the letters used on California state license plates, designed in order to make props for movies and television shows. The regular style is meant to be used on its own, but the other four styles are meant to be used one on top of another in different colors to create an embossed 3D effect. For best results, use the fill style in a dark color on top of a light colored background. Put the lolite style directly on top of the fill style in 10 - 30% of the background color. Put the hilite style directly on top of that in 10 - 30% of your fill color. Put the shadow style directly on top of that using your background color plus 50 - 80% black.

Introducing Merong, a versatile serif font that adds a touch of elegance and sophistication to your design projects. Whether you're creating a print or digital design, Merong is the perfect typeface for capturing attention and delivering your message in style. With its variable font technology, Merong offers a range of styles, from regular and elegant to bold and dramatic. You can easily adjust the weight and width of the font to suit your needs, making it a flexible choice for a variety of projects. Merong is an excellent choice for a variety of design projects, from branding and marketing materials to editorial layouts and web design. It's a font that can adapt to your needs and help you achieve your desired aesthetic. WHAT’S INCLUDED? Numbers Punctuation Ligatures Multilingual support...

By Note - Handwritten Marker Note Font By Note is a handwritten marker note font that's created with a natural and unique style. A Note Handwritten note font is suitable for various design graphics projects and can be used in any size. This Note font is also great for digital notes, quotes design, book cover, logotype, poster, food menu, t-shirt, scrapbooking, comic illustration, magazine titles, kids project and much more! Features; - Uppercase, Lowercase, Number, and Punctuation - Special alternates and ligatures - Works on PC & Mac - Simple installations - Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word - Fully accessible without additional design software. - Mültîlíñgúãl Sùppört for; ä ö ü Ä Ö Ü ß ¿ ¡ Hope you enjoy our font and this font is the useful font for your projects!