A fluid font drawn by hand.

Mamba is inspired by Cooper Black.

A dynamic font inspired by cartoons.

The design of this typeface was influenced by the typefaces left by Firmin-Didot. There are three weights, and all weights can be used in large font sizes to create a gorgeous and attractive impression.

A display face with rounded terminals stylized like drops of a liquid. For use in large sizes in advertising matter and decorative headings. The face designed by Natalya Vasilyeva and licensed by ParaType in 2007.

Circe Rounded is an extension for a popular Circe typeface, with rounded terminals. Bold and ExtraBold faces have two variants with different radius of the roundings. Circe Rounded is even more friendly than the original Circe. The typeface is designed by Alexandra Korolkova and Alexander Lubovenko and released by ParaType in 2015. It is known that the Circe typeface is distinguished by mild and humanist nature being formally a geometric sans-serif. However, as an experiment we decided to make it even softer: Circe now has a version with rounded terminals — Circe Rounded. Rounding is generally regarded as a mechanical operation, but in this case a lot of manual adjustment was needed because of the humanist nature and peculiarities of type design. Moreover, the two bold styles now have two options: a basic one is slightly rounded and an alternate one is fully rounded. In Circe Rounded we decided to dismiss characters with swashes that are rather inappropriate in such a rounded font, but the stylistic sets and alternate characters are remaining. Rounded terminals make an open and friendly typeface even more childish. For example, in quite large point sizes (because the x-height is still not big) it can be used as a body type in infant books. Circe Rounded, similar to Circe, has alternative forms of lowercase characters, which are called “infant” and are used in publications for children’s reading. However, a humanist basis is preserved alongside with its softness and it does not allow it to be as “plasticine” as many other rounded fonts. Two of the most obvious areas of possible application of Circe Rounded are everything for children and everything edible, especially all that is sweet and puff. However, we believe that there are other options.

Rekord Antiqua, regular and semibold, released 1911 by Wagner & Schmidt, is a perfect body text partner for Art Nouveau display fonts. Both styles come with a long s, which can be reached by the OT feature of historical forms or by typing [alt] + b. In addition, you find two framing elements on [alt] + P and [alt] + p, and an oblique style was added too.

This is not a brush font! This is an imitation of brushstrokes, done by pen. But I guess you've already noticed that - the brushstrokes are way too obvious, to have been made by brush. Although being a "fake", the letters leaves you with quite a good impression. Letters were inspired by an old horror movie poster, but is very useful for something less terrifying!

Skyline was commissioned from Font Bureau by Condé Nast specifically as a headline typeface for Traveler magazine. This strongly personal work by Imre Reiner from 1929 and 1934 was known in Europe as Corvinus. Skyline Black and Bold Condensed offer immediate headline recognition through Reiner’s variations on the themes found in the classical Modern structure. Both styles were adapted by Jane Patterson; FB 1992

Released by the Compugraphic Corporation in 1979, the Garth Graphic font family is based on a design by John Matt from the 1960's, reworked by Renee LeWinter and Constance Blanchard. Garth Graphic was named after Bill Garth, a founder of Compugraphic. A fairly strong old style face suitable for text setting; the heavier weights and condensed forms are most used for display work.

Three carefully crafted script styles by the Brazilian type designer João Henrique Lopes. Another type project by Joao in which each style can be written by itself but combined they have an unique vitality and develop their full potential. An excellent readability make Meyling the perfect partner for a variety of projects, from stylish invitations to magazine ads, from poetry books to restaurant logos.

This playful Art Deco classic was inspired by one of many posters produced by the WPA by anonymous artists during the 1930s. An inline version has been added to spice up the visual interest and add a touch of class. Both versions of the font include complete Latin 1252, Central European 1250 and Turkish 1524 character sets, with localization for Moldovan, Romanian and Turkish.

The Kolo family was designed by Paul Shaw, inspired by the lettering of Koloman Moser, Gustav Klimt, Alfred Roller and other members of the Secession, Vienna’s turn-of-the-century Art Nouveau movement. Kolo’s family variants—narrow, regular, wide & alternates—serve as stand-alone display styles, or can be used in combination to pack text creatively in the manner characterized by Secession-period graphics.

An American Scotch remixed in 27 fonts Mencken has twenty seven styles, divided into three widths, three optical sizes, romans and italics. Generally, optical size typeface families belong to a same common construction. It falls into the same category of type classification, while presenting different x-heights or contrasts. Mencken is unique because it is designed according to different axis and optical sizes. Firstly, Mencken Text is a low-contrast transitional typeface, designed on an oblique axis, asserting horizontal with featuring open counters. Its capitals follow Didots to better harmonize the rest of the family. On the other side of the spectrum, Mencken Head (and narrow variations) is designed on a vertical axis, high contrast, in a contemporary Didot style. The Mencken is therefore a typeface answering to different sorts of uses, whose design is different according to its uses: from oblique axis in small size to vertical axis in large sizes. Vertical proportions (x-height, capitals height, etc.) were calibrated to be compatible with many Typofonderie typeface families. Lucie Lacava and I followed the idea launched by Matthew Carter few years ago for some of his typefaces intended for publications. From Baltimore Sun’s project to Typofonderie’s Mencken It is a bespoke typeface for American newspaper The Baltimore Sun started at the end of 2004 which marks the beginning of this project. The story started with a simple email exchange with Lucie Lacava then in charge of redesigning the American East Coast newspaper. As usual, she was looking for new typeface options in order to distinguish the redesign that she had started. At the time of its implementation, a survey of the newspaper’s readers has revealed that its previous typeface, drawn in the mid-1990s, was unsatisfactory. The Mencken was well received, some reader responses was particularly enjoyable: “It’s easier to read with the new type even though the type is designed by a French.” Why it is called Mencken? The name Mencken is a tribute to H. L. Mencken’s journalistic contributions to The Sun. According to the London Daily Mail, Mencken ventured beyond the typewriter into the world of typography. Because he felt Americans did not recognize irony when they read it, he proposed the creation of a special typeface to be called Ironics, with the text slanting in the opposite direction from italic types, to indicate the author’s humour. Affirming his irreverence, the Mencken typeface does not offer these typographic gadgets. Henry Louis Mencken (1880 — 1956) was an American journalist, satirist, cultural critic and scholar of American English. Known as the “Sage of Baltimore”, he is regarded as one of the most influential American writers and prose stylists of the first half of the twentieth century. He commented widely on the social scene, literature, music, prominent politicians and contemporary movements. Creative Review Type Annual 2006 Tokyo TDC 2018

Perfect Delight 1992 It's the font that turns ordinary into extraordinary. Let the font transport you to a world where the past and present coexist harmoniously. It's more than a font; it's an experience waiting to be explored. Try it today and embark on a creative journey that marries the best of retro aesthetics with contemporary readability.

Bagorly is Font Family of SMOOTH and SHARP fonts. It is good to use as a header, text, logo, lettering composition etc. Use it in such areas as Clothing, Luxury, Fashion, Alcohol, Jewelry, Vintage Retro.

Norwich Aldine ML is a all-cap typeface with enlarged serifs, designed and produced in wood by William Hamilton Page of Norwich, Connecticut in 1872. Norwich Aldine ML is a fine example of the strength of decorative wood types: large, simple type forms that provide the visual boldness sought by advertisers of the Victorian period. While our marketing has gotten so very sophisticated, there is always a place for a simple, visually strong typeface. Although about 14 miles inland, Norwich, Connecticut lies at the head of the Thames River. The river is both wide and deep, and therefore was not bridged in the early 20th century. Until then, if you wanted to get from Groton on the west bank to the whaling port of New London on the east bank by land, you had to go by way of Norwich. Because of its size, the Thames is navigable all the way from Norwich to New London. Docks were built in Norwich around 1685 and the city became Connecticut’s 2nd largest port by 1800. With the construction of the Norwich & Worcester Railroad in 1835, Page could easily ship his wood type north by rail or south by coastal schooner. Included with our font, Norwich Aldine ML, are two 19th century printer’s ornaments of sailing ships similar to those that sailed up the Thames to Norwich. Reference: Moon’s Handbooks, Connecticut 2nd Edition (Emeryville CA 2004) The family has expanded from one to four fonts: 1. Norwich Aldine ML: the concept font, computer-sharp corners and smooth curves, as we imagine it was designed. 336 Glyphs including some reduced-width alternatives for better letter spacing. 2. Norwich Aldine Worn ML: the way actual wooden type would look after have been used for a while. 332 Glyphs 3. Norwich Aldine Distressed ML: the way the wooden type would look after it had really been used, perhaps abused. Alternatives to the more popular letters reflect the damage that typically occurs on a well-wormn font, with nicks, cuts and scratches and the overall wear that reduces the overall height and leads to uneven inking due to varying heights in the chase. A couple of bullets look like bullet holes. 345 glyphs. 4. Norwich Aldine Cyrillic: Cyrillic includes alll English and Cyrillic letters for MS Windows Code Page 1251, ISO 8859-5 and MacOS Cyrillic. 235 glyphs. We did Cyrillic because is was fun and we felt the basic design cried out for Cyrillic. While obviously subjective, we hope you will agree.

Historical Background Old South Arabian Script (OSA) was used before the Islamic era not only in the southwest corner of the Arabian Peninsula, but actually in the entire Peninsula. In addition, samples of OSA have been found as far as Uruk in Mesopotamia, Delos in Greece, and Giza in Egypt. Archaeological finds show that as far back as the 8th century BCE, OSA was used in trade, religious writing, and in civil records. Following the spread of Islam in Yemen, the decline of OSA began in the 7th century CE as it was gradually supplanted by Arabic script. OSA was typically known by the name of the then-dominant peoples in the Southern Peninsula. At various times, it was known as Sabaean, Qatabani, or Hadramite, among others. Although it was used for a variety of languages, OSA is most strongly associated with Sabaean. Many Peninsular languages borrowed OSA before introducing further changes of their own. Prime examples are the Thamudic, Safaitic, and Lihyanite scripts which eventually developed into independent scripts. The westward migration of the Sabaean people into the Horn of Africa introduced the South Arabian consonantal alphabet into the region. The transplanted script formed the roots of the Geez script of Ethiopia, which, in time and under presumably external influences, developed into a rich syllabary unlike any other Semitic script in history. Even a cursory examination of the letter forms of Modern Ethiopic writing reveal a striking similarity to South Arabian Script. OSA inscriptions typically reveal a dominant right-to-left directionality, although there are also many cases of alternating directions, known as boustrophedon writing. Figure 1 is a fine example of this style of writing. OSA inscriptions were discovered early in the 19th century. Soon thereafter, two orientalists, Gesenius and Rödiger, made great strides towards deciphering the script. Styles of Writing Old South Arabian inscriptions have survived primarily on stone, ceramic, and metallic surfaces. Hundreds of artifacts have been found and, to this day, continue to be discovered. Some of the best examples number of inscriptions on softer materials, such as wood and leather, have also been discovered. Although there is a significant difference between the styles of letters on the hard surfaces and those on the soft. Old South Arabian (Musnad) is composed of 29 letters , that is one letter more than the Arabic alphabet, which is between “S” and “Sh”, and names “Samekh”. Aspects of difference between Musnad and the present Arabic writing is that Musnad is written in separate letters, and the shape of the letters do not change according to its place in the word. However, some letters change according to the beginning of the writing. Musnad is either prominent, or deep. Prominent writings are for important writings and deep writings are for ordinary. The material on which the Musnad was written were stones, rocks, wood, and metal. In the course of its development the Musnad use appeared in the “Lehyanite’, “Thamudic”, “Safaitic”, pen to which many changes and amendments were made. And from it “Habashi’ writing was born. As regards his place among the Arabs of the Peninsula , when we look at the internet and its role in cultural dialogue , the Arabs of the Peninsula considered Musnad inscription which was indisputably their national writing until the dawn of Islam. It was used by people in all parts of Arabia in their homeland and abroad . It was their means of chronology and record of their glories and history.2- Features of Musnad Script: 1. It is written from right to left and vice versa. 2. Its letters are not joined. 3. Shape of letters are uniform despite their positions in the word. 4. Words are separated by vertical lines. 5. A letter is doubled in case of assertion. 6. No points and punctuations. 7. Easy to be learned by beginners. My OSA Musnad Font My design and technical work is only a treatment of the OSA Musnad as a symbol of writing. And it is possible to use in computer.. My design is not aimed at demonstrating the linguistic and intellectual structure of the Old South Arabian (Musnad). It is so simple that it could be easy to learn by learners and those who are interested in the OSA Musnad letters in computer. The basis of such importance is that it spares a lot of time and effort for researchers and students in this field. Formerly they used to write the Musnad texts either by handwriting or scan them , But now they can easily write its texts in OSA Musnad by using keyboard directly, so that they can change , amend and fulfill easily and accurately . So, we made use of speed, easiness and accuracy. And anyone interested in the South Arabian history in any part of the world can due to this design read and write OSA Musnad letters most easily. This design will also be used by historians and archeologists. , as well as specialist linguistics . The design also demonstrates the aesthetics of the Himyarit writing. About this font family Old South Arabian is An Arabic, Old South Arabian and Latin typeface for desktop applications ,for websites, and for digital ads. Old South Arabian font family contains two types: Old South Arabian and Old South Arabian serif. The font includes a design that supports Arabic, Old South Arabian and Latin languages. Old South Arabian typeface comes with many opentype features.

Inspired by the many emerging tech startups, we wanted to create a font that can play to give the impression of technology but still fit into various design areas. Eriega gives the impression of modern and technology as a movement for change for the better. Eriega is a modern tech display typeface that unites the enthusiasm and technology. A simple, modern, futuristic font that can be applied to many areas of design. Coming with 90+ stunning and super easy to use alternates and ligatures. Very suitable for apps, magazine, headline, website, ads, product package and all type of design project you have. Features: OpenType support Multilingual support (15 languages) PUA Encoded Super Easy to Use alternates - It's OpenType support but you can easily call alternates character using special combination like A.2 S.2 a.r r.i etc. To get results like the preview just type Er.iega

It isn’t very beautiful, very badly written, but it’s cheap. C'est pas bien beau, très mal écrit, mais c'est pas cher.

YR Gothic Arabic font draws inspiration from the Gothic calligraphic style, renowned for its timeless elegance. This style is characterized by a harmonious balance of thick and thin strokes, with a focus on vertical lines. The result is a graceful, fluid letterform, with consistent attention to detail throughout. YR Gothic Arabic font is a sophisticated choice that conveys a sense of refinement and sophistication. With its classic and timeless design, this font is well-suited for various formal applications, such as branding, invitations, and official documents. Its versatility also allows it to be used in a range of other contexts, including advertising and signage, where its sense of elegance and refinement can elevate any design project.

SD Quainton was created in 2016 by Jonathan Quainton the co-founder of graphic design studio Sawdust. With a harmonious blend of Didone and Bauhaus elements Quainton embarks on a fresh and innovative direction. Drawing inspiration from revered typefaces like Bodoni and Didot, SD Quainton evokes the same sense of awe that captivated its creator. Designed with specific contexts in mind, SD Quainton finds its perfect home in the realms of fashion, retail, and premium products, where its captivating charm can truly shine. Although ideally suited for eye-catching headlines and titles due to its delicate strokes, the possibilities of where this remarkable typeface may find its place are as limitless as the designer's imagination.

Lumend Modern Sans Serif Font Sleek and Contemporary Design Introducing Lumend, a modern sans serif font with a unique grotesque twist. Its minimalist aesthetic is defined by clean lines and unadorned forms, offering a fresh, contemporary look. Versatility in Application Remarkably versatile, Lumend Modern Sans Serif Font is adept in both text and title settings. Its legibility in lengthy paragraphs is impressive, while its boldness in headlines commands attention, making it ideal for a variety of design projects. Optimized for All Mediums Crafted for both digital and print use, Lumend’s clarity excels on screens and maintains crispness in print. This adaptability makes it suitable for web design, printed materials, and everything in between.

Lately I feel reluctant to watch the news: The Amazon Forest is burning, Australian forests are burning, palm oil controversy… It really brings tears to my eyes to see all this destruction around me. It is like people hate nature with a vengeance - I cannot explain it otherwise. I made this font to take my mind off things. It was loosely based on Futura, a font I really like. Understory was completely made by hand. It comes with some cute upper case swashes and a whole bunch of diacritics. The good thing is: no trees were cut down or burned to make this font; in fact, I donated a nice amount of $ to help save the rainforests!

The Lilac (or Syringa vulgaris), a slightly vigorous plant, gives a nice colour to the place where its located, well maintained from one season to another and even when not in flower, the colour of its foliage and compact form makes it attractive enough. Lila Pro was created on the coast of Andalucía, inspired by its vibrant colour’s contrasts, and lush climate. This new script has all the advantages of OpenType technology that allows a variety of combinations: standard ligatures, contextual alternates, discretional ligatures, word ending and tails. Specially designed for creating logos for products and packaging, this font can also be used as body text for its good legibility and accurate kerning.

Dx Dynamix is a modern minimalist design typeface with geometric type and more feature alternative characters. there include some ligature. It is inspired by hype and urban design a font suited for lifestyle with trend design. Dx Dynamix comes with elegant style, strength, and contrasts, with features an extended Latin character set of 367 glyphs covering over 85 languages. It has been designed as a variable font to give lots of options and access to unique type looks, however, it also includes nine weights to give just as much access to creativity to those without access to variable supporting software. Its distinctive character and many variables make it a versatile, stylish workhorse, great for interfaces and design.

My Left Hand is exactly what it is...well, not my actual flesh-and-blood left hand but my actual handwriting, and I know that it really is My Left Hand because people tell me all the time, "You're left-handed!" When I hear people say that, it always reassures me that I am left-handed, in case I am ever doubtful about it. Five of the last eight U.S. presidents have been left-handed, so we're in good company, no matter which political party you're a fan of. This font has an appealing rough look at large sizes, but at smaller sizes it looks smooth as silk. Digitized by John Bomparte.

Ambigane is a modern and elegant serif font that seamlessly blends sophistication with contemporary design. Its refined, timeless aesthetic is characterized by the subtle curves and clean lines of its letterforms, exuding a sense of luxury and professionalism. Ambigane strikes a harmonious balance between traditional serif elements and a fresh, modern twist, making it versatile for a range of design applications. With its well-crafted serifs and balanced proportions, Ambigane communicates a sense of refinement and style, making it an ideal choice for projects that require a touch of sophistication and a contemporary edge. Whether used in print or digital media, Ambigane conveys a sense of timeless elegance that elevates any visual composition.

Holgada font family has been designed for Graviton Font Foundry by Pablo Balcells in 2020. It is a geometric sans serif typeface with refined rounded endings that provide a soft and friendly appearance. Its generic shapes make it suitable for any kind of project, text length and size. Thanks to its clear legibility, it can be used in long body texts in very small sizes, in big size headlines and everything in between. The rounded endings not only provide a particular softness when used in body text, but also a distinctive touch when used in display situations such as logos and headlines. Holgada consists of 12 styles, each containing small caps and glyph coverage for several languages.