Original Arabic Transparent Regular font by Glyph Systems

Original Simplified Arabic Regular font by Glyph Systems

Monosphere is a monospaced font, regular but futuristic.

MisterMustard is a chubby art deco style font, not thin or elegant, but plump and jolly. The font is available in two styles regular and italic. While it was designed to be playful, this font has both an uppercase and a lower case, so it works for practically everything (maybe not a headstone or obituary). It’s loaded with extra foreign glyphs so it gives you plenty of options. Buy. Install. Enjoy.

The Trump Mediaeval Office family is designed after the model of the original serif family produced by Georg Trump in 1954. Trump released this typeface through the C.E. Weber type foundry in Stuttgart, and Linotype quickly cut the face for mechanical composition. Thereafter it became popular around the world. One of the most prolific German type designers of the 20th century, Trump created numerous typefaces in several different styles, but Trump Mediaeval is often regarded as his best work. Trump Mediaeval is an old style serif typeface, with new inherent quality that could only have come about after centuries of variation on this theme. It bears some resemblance to the classic Garamond typefaces, yet its characteristic letters set it apart in a positive way. Akira Kobayashi, Linotype’s Type Director, released his own revived design, Trump Mediaeval Office, in 2006. Trump Mediaeval Office has two weights, each with an italic companion. Unlike the original design, Kobayashi has harmonized the varying letterforms across the two weights, allowing Regular and Bold text to stand side by side harmoniously. Trump Mediaeval’s numbers now match across weights as well, optimizing their legibility in sizes large and small. Decades ago, Trump Mediaeval was a popular choice for setting book texts, because of its robust serifs. These are exactly what make the face a good choice for office application today; on lower-resolution printers, these serifs will still remain a strong feature on the letterform, increasing legibility along the line of text.

Hesse Antiqua is the very first typeface designed by Gudrun Zapf von Hesse. It was a pioneering project originally created by her over 70 years ago as a set of brass punches to stamp into leather book covers and spines at the Bauer Type Foundry in Germany. In celebration of her 100th birthday on 2 January 2018, Ferdinand Ulrich and the Monotype Studio team collaborated with her to bring her brass punches to live as a digital font. Hesse Antiqua was developed with careful considerations and decisions to capture the nuance of the beautiful letterforms as they originally appeared in gold and blind stampings. We are pleased to introduce this modern OpenType typeface featuring a proper set of capitals and small capitals, figures, punctuation and some ornaments as well. Hesse Antiqua is best used at 36 points and above, as the designer intended.

Bubble Guts is a whimsical typeface with four fonts. It is one of the few of its kind that has both uppercase and lowercase options, allowing the user versatility and legibility at the same time. Its four styles, Normal, Italic, Shadow, and Extrude, allow for the user to create a bevy of visual effects. It has a retro feel that makes it great for animations, invites, branding, and social media! What you get Bubble Guts Regular Bubble Guts Italic Bubble Guts Shadow Bubble Guts Extrude This typeface supports 438 characters, and it supports most western languages! Layer these fonts to get all types of cool effects! Extrude is perfect for this; it allows for the user to fit the "Bubble Guts Regular" characters on top and create layers.

Before the mid-to-late 1970s, when retailers started to embrace UPC (universal price code) technology on a grand scale, pricing merchandise took on many forms. One method especially popular with variety stores (such as Woolworth's, McCrory's, Kress, etc.) were pre-printed price tags that came in small pads and were inserted into metal holders. Shelf Tags JNL recreates a vintage price tag based on examples seen online, and allows the user different ways to create their own vintage-style price tags. You can either utilize the round pen nib style numbers and price marks to place on any size or type tag, or type out prices using the reversed characters (white on black) along with the two end caps provided to form a complete tag unit. For the more adventurous, a complete blank tag is also provided in case the desire is to print a solid color tag background and [using the regular numbers] crate prices in custom colors. Two sets of smaller number (for "floating" cents prices) are also provided in regular numbers and reverse panels. As an extra bonus, there is a set of 1 through zero, dollar sign, cents sign and decimal point individual black-on-white outlined panels for making individual pricing numbers. The keyboard layout for the various characters is as follows: asterisk key - regular cents sign (no panel) dollar sign key - regular dollar sign (no panel) period key - regular decimal point (no panel) left and right parenthesis keys - panel end caps (to form price tags) colon key - reverse decimal point on black panel 1 thru 0 keys - regular numbers (no panels) A through J keys - small regular numbers (no panels) K and L keys - truncated [shorter width] end caps M through Y keys - individual price numbers (black on white with black border a through j keys - reverse numbers on black panels k key - reverse dollar sign on black panel l key - reverse cents sign on black panel m through v keys - reverse small numbers on black panels w through z keys - blank rectangular panels of varying widths equal sign key - full black panel price tag hyphen key - blank rectangular black panel based on the width of most number panels

Sunfice is a heavy retro typeface. In a style that is not quite sans, not quite serif, this bold lettering gives any project the attention it deserves. Use it for a classic logotype or headline to give your work that genuine vintage look. The Sunfice family consists of four high-quality fonts: Regular, Italic, Bold and Bold Italic The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Thorfin is a sharp serif typeface. Drawn and created between 2020 to 2022, this modern lettering has a distinct personality while maintaining a regularity of a body text. Thorfin gives any project a smart character with its geometric shapes and crisp edges. The Thorfin family consist of 14 fonts, such as Thin, Light, Regular, Medium, Bold, Black and Italic. Also includes a variable font! Only one font file, but the file contains multiple styles. Use the sliders in Illustrator, Photoshop or InDesign to manually set any weight and width. This gives you not only the predefined styles, but instead more than a thousand ways to customize the type to the exact look your project requires. More info about Variable Fonts: https://mansgreback.com/variable-fonts The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Two years ago I went on a camping holiday in England with my wife and (then two) small children. The first stop was a nature campsite near the village of Bodiam in East Sussex. My son wanted to see a real castle, so I figured Bodiam Castle was the 'realest' of them all! He loved it, as the castle had a moat, crenellated walls, a bunch of towers and a guy dressed up as a knight. Bodiam font is a rough didone-ish affair. It is all caps, but you can freely mix upper and lower case. It would be ideal for book covers, posters and maybe even for castles. Comes with a treasure chest of diacritics.

The Handel Gothic? typeface has been a mainstay of graphic communication for over 40 years - all the while looking as current as tomorrow. Designed by Don Handel in the mid-1960s, and used in the 1973 United Airlines logo developed by Saul Bass, Handel Gothic was an instant success when released to the graphic design community. Its generous lowercase x-height, full-bodied counters and square proportions make the design highly readable at a wide range of sizes. Handel Gothic's slightly idiosyncratic character shapes gave the face a futuristic look 40 years ago that retains its power today. In addition, its Uncial-like lowercase is instantly identifiable - and unique among sans serif typestyles.

Apnea is a layerable type family consisting of fifty weights. It is an all caps font with a few lowercase alternatives (a, e, i, m, n, t, w, and y) thrown in for a more casual feel. The base letterforms are inspired by a painted sign I found in the garage of an old house I moved into years ago. All the hand-drawn elements were done directly in FontLab to keep them loose and playful without getting distorted or grungy. At its core Apnea consists of eight base weights (Base, Drop Shadow, Halftone, Inline Fill, Outline, Outline 3D, Shading and Shadow) that when combined, can make up the rest of the family. Have fun, experiment and play!

Stencil Patterns JNL collects into one digital file a number of decorative stencil patterns from decades past. These charming illustrations were re-drawn by Jeff Levine using images of vintage oilboard stencils made over fifty years ago. While these are useful as stand-alone embellishments for any print projects, they can also be scaled and printed out onto card or acetate stock for hand-cutting as new stencil templates. A special note of thanks goes to fellow type designer and author, Leslie Cabarga. He supplied the bulk of the images used in designing this font file. There are left and right pointing hands on the parenthesis keys, and a decorative ampersand on its respective key.

Isidora Sans is a new version of the bestselling font Isidora (released a year ago). The absence of terminals gives this new typeface a cleaner and more geometric look, keeping the essence and structure of the classic sans fonts of the early 20th Century yet with a fresh, clean and contemporary appearance. Isidora Sans consists of two subfamilies of 7 weights, ranging from Thin to Black, with matching italics, giving a total of 28 fonts. Isidora Sans is the perfect font for publishing, titles, books, magazines and corporate design. Its Alt version is ideal for logotypes, branding, packaging, and use on web and Tv. The family contains a set of 416 characters supporting 207 different languages.

The Handel Gothic™ typeface has been a mainstay of graphic communication for over 40 years - all the while looking as current as tomorrow. Designed by Don Handel in the mid-1960s, and used in the 1973 United Airlines logo developed by Saul Bass, Handel Gothic was an instant success when released to the graphic design community. Its generous lowercase x-height, full-bodied counters and square proportions make the design highly readable at a wide range of sizes. Handel Gothic's slightly idiosyncratic character shapes gave the face a futuristic look 40 years ago that retains its power today. In addition, its Uncial-like lowercase is instantly identifiable - and unique among sans serif typestyles.

Waters Titling is the work of lettering artist Julian Waters, a multiple master typeface of classical calligraphic roman capitals. This broad-tipped pen design is related to other historically-based titling alphabets but offers a wider range of weights and widths, making it extremely versatile for movie titles, book jackets, posters, banners, calendars, etc. Waters Titling is based on the timeless Roman monumental inscription forms of almost 2000 years ago, but also has a touch of contemporary vigor and flair. The design displays a strong calligraphic thick/thin stroke weight contrast and flowing, subtly bracketed serifs. In lighter weights, Waters Titling is elegant and delicate, while the bolder weights offer a more substantial sparkle.

This font was originally meant to be my last creation of 2022, but as it turned out, it was the first font of 2023 instead! Why? Well, because it took me a lot of time to complete the 150 different swahes letter combinations, the 182 different letters (not counting numbers, accented characters etc) the small caps, the subscript and the multilingual support! Anyway, it was worth the work - the Frequent font works great as a display font, or whatever you have in mind. Play around with the different versions (Regular, Solid and Inside) for great results.

Terpentijn is Dutch for Turpentine. If you say it out loud, it actually sounds quite similar! Here you thought you were just buying a font, but you get to learn some Dutch too! Terpentijn is a handmade typeface with a serious twist. It is very uneven, very unusual, and, if I may say so myself, very adorable. Terpentijn has that ‘eroded’ look, which will make your designs stand out. It comes in a regular and an inline version, plus a handy shapes pack, which will add that extra wow to your work. Besides Dutch, terpentijn speaks a lot of languages!

Lisa's Hand is a well-formed handwritten Font. The letters are not connected which combines the style of both handwritten and computer fonts. Lisa's Hand is offered in Regular, Bold, Italic, Bold Italic, Condensed and Condensed Italic.

Ralph M. Unger, (Arno Drescher), 2006, (1936) Originally, Arabella Pro was designed by Arnold Drescher around 1936/1939. Drescher created this wonderful script for former Germany type foundry Joh. Wagner. The typeface has been redesigned, digitized, completed and expanded as OpenType Pro in the profonts studio.Arabella Pro comes in two versions, light and medium, each with a large selection of manually designed ligatures and alternates, i.e. swashed upper case to make this naturally flowing script design a perfect font for OTF-savvy applications like e.g. InDesign or Quark Xpress 7.Arabella Pro light and medium are perfect partners for any sans serif, especially for Futura. It is perfectly suited for anything in the area of headlines, posters, invitations etc. However, since it is very well legible, it can also be used individually for small text blocks.

About Sf Article font family: Sf Article is An Arabic and Latin typeface for desktop applications ,for websites, and for digital ads. The main types of Sf Article font family weight are regular and bold. The regular weight is perfect for reading, it is helpful during long reads, Bold Sf Article styles are designed to draw attention to short phrases. The Sf Article font family is characterized by short heights and dynamic stretching of letters through the paragraph, where the space In the line is automatically filled. In Sf Article font family, we have developed two italic fonts: regular and bold, to help with the diversity of stylistic expression in the Article, document and research work. Sf Article typeface comes with many OpenType features including stylistic sets. Designer: Sultan Maqtari Design date: 2021 Publisher: Sultan Fonts

Mourich comes in 2 styles and is recommended for use with stylish and minimalist design. It is carefully designed with medium contrast of the strokes. This font is an all-caps font or has small capitals that very useful for the headline or logo, and is suitable in large or small sizes. Mourich has 500+ glyphs with many OpenType features. There are beautiful ligatures, stylistic alternates, and swashes which you can use it to get your design more softly. Mourich Bold is has 20pt thick from the regular style. The rounded serif gives a strong and assertive look. Beautiful to use as standalone type or combine with regular style. Very much recommended for headlines. Mourich Regular has a minimalist adjustment with more relieved of negative space that awesome to apply in many media. Also useful in the body text or editorial purposes.

Atlantide Regular and Decor - decorative fonts, works well as an identity logo type, poster and 3D works. Atlantide Decor has all the glyphs already to create vector and 3D compositions.

In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design of a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for books. A number of parameters needed to be considered, including the pressure of the printing presses and the quality of the thin newspaper ink that would have smothered any delicate strokes. Rough drafts of type designs for the competition were submitted by Vratislav Hejzl, Stanislav Marso, Frantisek Novak, Frantisek Panek, Jiri Petr, Jindrich Posekany, and the team of Stanislav Duda, Karel Misek and Josef Tyfa. The committee published its comments and corrections of the designs, and asked the designers to draw the final drafts. The winner was unambiguous — the members of the committee unanimously agreed to award Stanislav Marso’s design the first prize. His typeface was cast by Grafotechna (a state-owned enterprise) for setting with line-composing machines and also in larger sizes for hand-setting. Regular, bold, and bold condensed cuts were produced, and the face was named Public. In 2003 we decided to digitise the typeface. Drawings of the regular and italic cuts at the size of approximatively 3,5 cicero (43 pt) were used as templates for scanning. Those originals covered the complete set of caps except for the U, the lowercase, numerals, and sloped ampersand. The bold and condensed bold cuts were found in an original specimen book of the Rude Pravo newspaper printing press. These specimens included a dot, acute, colon, semicolon, hyphens, exclamation and question marks, asterisk, parentheses, square brackets, cross, section sign, and ampersand. After the regular cut was drafted, we began to modify it. All the uppercase letters were fine-tuned, the crossbar of the A was raised, E, F, and H were narrowed, L and R were significantly broadened, and the angle of the leg and arm of the K were adjusted. The vertex of the M now rests on the baseline, making the glyph broader. The apex of the N is narrower, resulting in a more regular glyph. The tail of Q was made more decorative; the uppercase S lost its implied serifs. The lowercase ascenders and descenders were slightly extended. Corrections on the lower case a were more significant, its waist being lowered in order to improve its colour and light. The top of the f was redrawn, the loop of lowercase g now has a squarer character. The diagonals of the lowercase k were harmonised with the uppercase K. The t has a more open and longer terminal, and the tail of the y matches its overall construction. Numerals are generally better proportioned. Italics have been thoroughly redrawn, and in general their slope is lessened by approximatively 2–3 degrees. The italic upper case is more consistent with the regular cut. Unlike the original, the tail of the K is not curved, and the Z is not calligraphic. The italic lower case is even further removed from the original. This concerns specifically the bottom finials of the c and e, the top of the f, the descender of the j, the serif of the k, a heavier ear on the r, a more open t, a broader v and w, a different x, and, again, a non-calligraphic z. Originally the bold cut conformed even more to the superellipse shape than the regular one, since all the glyphs had to be fitted to the same width. We have redrawn the bold cut to provide a better match with the regular. This means its shapes have become generally broader, also noticeably darker. Medium and Semibold weights were also interpolated, with a colour similar to the original bold cut. The condensed variants’ width is 85 percent of the original. The design of the Bold Condensed weights was optimised for the setting of headlines, while the lighter ones are suited for normal condensed settings. All the OpenType fonts include small caps, numerals, fractions, ligatures, and expert glyphs, conforming to the Suitcase Standard set. Over half a century of consistent quality ensures perfect legibility even in adverse printing conditions and on poor quality paper. RePublic is an exquisite newspaper and magazine type, which is equally well suited as a contemporary book face.

The first plain weight of Cutoff was designed in 2005 to be used in Miele, an independent Italian free magazine. The need was for an elegant, unusual and legible semi-serif with contemporary flavour. I was fascinated by the deconstructivist work of Jeff Keedy (Hard Times Thick), Phil Baines (Can You, You Can) and Otl Aicher (Rotis), so my aim was to get the feeling of a cut transitional typeface; at the same time felt the exigence to work on the whole shape of the glyphs, in order to soften the “90s deconstructivist” effect and obtain a more balanced and readable design. In the last years I further worked on the typeface adding the other styles, extending the character set and refining the letterforms. Finally the precious collaboration with URW++ brought in 2010 to a complete OpenType Pro font family, with multilingual and advanced typographic features. Fulvio Bisca, July 2010