Minimal Nahidha is a minimalist sans serif typeface with a casual and trendy outlook. Minimal Nahidha was built to balance the geometric qualities of a san-serif typeface with all the benefits of traditional serif fonts, like readability and personality. Minimal Nahidha comes in Regular and Slant version, each with its own unique set of characters & it has ligatures and stylistic alternates that make it easy to customize your designs. The fonts works best as display typefaces or as beautiful headline fonts, but can also be used in other ways to create stunning designs. Features : - Minimal Nahidha Family Font - Ligatures - Stylistic Alternates - Multilingual, US Roman, Latin 1 Support Hope you enjoy with our font! Attype Studio

In the 1930s, it was popular to take day-trips by train to the seaside in the British Isles. Many posters were designed by the various regions to advertise these excursions; it is from one of these posters that Inverness was created.

You may be familiar with a caps and small caps type called Cruickshank. In Germany the same face was called Eureka. We took the small caps, which are not so overblown as the caps, and designed a lowercase to harmonize with it.

Vocalist JNL is a bit of a novelty Art Deco typeface based on hand lettering from some 1940s sheet music. Using the classic "thick and thin" style of the day, a number of letters and numbers have wedges cut out of their designs.

In the days before vinyl sign lettering overran the landscape, talented neighborhood sign painters and show card writers made attractive displays for local merchants. Toucan Tango JNL is Jeff Levine's interpretation of a sign painter's sans serif letter with a distinctive inline.

Animated types like this one have been around for fifty or more years. They certainly add a sense of liveliness to a headline. This one trades upon the "wrong way weights" of the old French Clarendon. Think of it as Barnum with Bounce.

Spacelord is inspired by vintage toys from the 1950s and 1960s. It refers to the box art of robots, spaceships, x-ray-guns and other cosmic trash treasures of this golden science fiction age. Aboard the lord: four, three, two, one, zero!

Introducing Moister, inspired by beer labels in the old days. This collection comes with several styles: script, block, and expanded. It is possible to combine and options to create label designs, headlines, logotypes, signage, posters, greeting cards, letterheads, t-shirts and much more.

Stone Print is a "green" typeface. It uses less space than the most popular text typefaces without sacrificing legibility. Made for the reader, the environment, and whoever pays the bills. Together with Cycles, SFPL, and Arepo it makes up a superfamily of typefaces.

Say Hi to Ovetta, a beauty and natural handwritten script. It has a classy style and allows you to create stunning and easy hand-lettering in an instant. Highly recommended for logos, quotes, product label/packaging, fashion, advertising, posters, merchandise, apparel, and more.

Dogjaw uses the OpenType ligature feature to automatically substitute a unique pair of distressed characters when any upper or lower case letter is keyed twice in a row. Dogjaw Pro extends the character set to support Eastern European Latin, Baltic, Greek and Turkish.

Lichtspielhaus Handmade is an ultra condensed handwritten typeface based on Lichtspielhaus. Influenced by the hand-painted signs on cinema facades of the early cinema days, Lichtspielhaus Handmade comes with 4 weights. "Lichtspielhaus Handmade“ is the second part of a Type Noir Quadrilogy.

Extremely influenced by the new rave trend, Fiasco is a reflex of it's excesses. Way too many elements, bright neon colors, and that not-knowing-when-to-stop sort of behavior. Acid House aesthetic remixed by the nu school DJs. Neon Flamboyant.

A Sponge is an useful thing, as much as this cute typeface. TOMO Sponge is great for communicating messages to the young peeps in a friendly, yet legible, way. Comes with a lot of diacritics, plus a handful of cute stylistic alternates.

Woodhaven Initials JNL were designed using an outline cast shadow wood type set against a rectangle with horizontal "engraving" lines to add background texture to the initials. An ampersand is on the corresponding keystroke, and a blank rectangle is on the period key.

Coldsmith uses the OpenType ligature feature to substitute a unique pair of distressed characters when any upper or lower case letter is keyed twice in a row. Coldsmith Pro extends the character set to support Eastern European Latin, Baltic, Greek and Turkish.

A fun design, useful for many informal applications. Based on hand-drawn letters. Due to the nature of this design there may be a very slight lack of smoothness to the curves at extremely large point sizes (around 200 pt and above).

Sur is a modern minimalist sans-serif typeface available in two weights (normal and bold), with a good shape for big editorial headlines and fashion publications. It was developed during 2009, trying to find a new way to express ideas in editorial projects.

Fashion style meets typography in 9 styles The Ysans designed by Jean François Porchez is a sanserif influenced by Cassandre lettering pieces and the geometric sanserif style from the inter-war period. Since Chanel logo, the geometric sanserif style is the favorite typographic thing in fashion. Ysans asserts this reference. Not only Haute-Couture houses use these categories of typefaces for their visual identity, but fashion magazines usually strength their layout with these geometric sanserif when a Didot isn’t used. Details of Ysans drawings Nevertheless, Ysans takes its sources in certain details imagined by the graphic designer Adolphe Mouron Cassandre for the monogram then logotype Yves Saint Laurent (1961 …). One thing keeps coming in again and again in Cassandre’s post-war graphic work: the pointed finish and endings, the references to the Roman capitals engraved and unique features such as the open R or other details influenced by Antiqua and calligraphic forms or ductus (you should have in mind that an earlier typeface by Cassandre is the Peignot, a modern uncial based on researches of the palaeographer Jean Mallon.) Certain letters from the Ysans are directly an homage to the Yves Saint Laurent logo, the R, the narrow U, the apex of the N, and all the details of such pointed endings on the f and t lowercases. The Ysans, a typeface between diversity and synthesis There are several ways to approach the design of a new geometric sanserif. The first approach is to follow the Bauhaus philosophy by designing in the most rational way, typographic forms based on simple geometric elements: square, round, triangle. Another approach is to start a revival based on an historical geometric typeface and optimize the original ideas, in order to adapt certain details to the contemporary needs. For Ysans, the approach is somewhat different because this project started in 2011 at ZeCraft as a typeface designed specifically for Yves Saint Laurent Beauty, still in use by the brand under its original name Singulier. The Singulier-Ysans has been conceptualized by ZeCraft, both drawing its sources from Cassandre and various historical geometric typefaces. Some will spot specific traits as in Futura, others in Metro or Kabel. By closely observing the Ysans, the result can also recall the way Eric Gill draw the curves and endings of his typefaces, of which Jean François Porchez is a fervent admirer. In the end, Ysans is like fashion as envisioned by Yves Saint Laurent who constantly revealed multiple references in his new collections, without being recognisable any other than with his unique style. “Fashions pass, style is eternal. Fashion is futile, not style.” Cherry on the cake: Ysans Mondrian Ysans Mondrian, named in reference to the Mondrian dress created by Yves Saint Laurent, is the multi-layer version of the family. Ysans, fashion style meets typography Club des directeurs artistiques, 49e palmarès

Have you ever wanted to set a headline within a burst, but found the drawing of all of those angles was a bit too tedious? Sales Pitch JNL solves that problem by setting letters, numbers and punctuation inside individual sections which, when typed out, generates an extended burst pattern. For a flat sided pair of end caps, use the left or right bracket keys. For burst ends, use the left or right brace keys. A blank space is located on the equal sign keystroke, and a wider blank space is on the plus sign. Keep in mind the optical illusion in some program that shows line gaps between characters on the screen. All characters have equal sidebar settings, and are flush with each other. Sales Pitch JNL contains the basic A-Z and 0-9 characters as well as numerous punctuation. For a companion font with a more complete character set, use Prankster JNL, the same type design, but without the burst pattern.

Fits is a modern version of the versatile vintage style script. It's clean, legible and easy to use. Fits was meant to be used as an everyday workhorse font, thus its uses are endless - from websites and signage to merchandise and editorial designs. It looks great on product packaging and menus, being easily readable from afar. It has some initial forms and ligatures, as well as fancier alternates for the capital letters (in case you want to spice things up a bit). Unlike its predecessor, BeachBar, Fits has more basic letter shapes which makes it the perfect script for most day-to-day design applications - think apps, websites, merchandise, posters and cards, blog titles, t-shirts, branding and animation projects, etc. As promised, Fits comes in seven weights for a different impact and with a neat set of Cyrillic letters. All in all, Fits is a simple and workable script that will fit most design tasks perfectly.

Say hello to our new Retro font, Cheria! Cheria - A chunky serif texture with a bit of humanist touch. With its good readability, Cheria is perfect for both displays as well as body text. Inspired by all the retro aesthetics making a comeback, Cheria is perfectly suitable for creating thoughtful yet still contemporary designs such as logos, packaging, editorial, and more. Cheria - Has a unique shape, where all uppercase letters have alternates so you can combine them to make your text and header look more interesting! What you get : Regular and Bold family Alternate and Ligature Instructions ( Access special characters, even in circuit design ) Letters, numbers, symbols, and punctuation Use in many programs even in Canva Multilingual Support Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Come and say hello over on Instagram! https://www.instagram.com/dharmas.studio/ Dharmas Studio

A typeface design with extra isolated scattered letters and random careless look. It has six members, normal, bold, and medium, all of which come in two styles, regular and left-slanted italic styles. This font family design follows the guidelines of Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for the freely-connecting letters in traditional Arabic cursive text. Fallujah employs variable x-height values. It includes only the Lam-Alif ligatures. Soft-vowel diacritic marks, harakat, are selectively positioned. Most of them appear by default on the same level, following a letter, to ensure that they would not interfere visually with letters. Tatweel is a zero-width glyph. Keying the tatweel key before Alif-Lam-Lam-Ha will display the Allah ligature. Fallujah includes both Arabic and Arabic-Indic numerals, in addition to standard punctuations.

Closing Time - Display Retro Font takes you on a nostalgic journey to the charming days of classic design. This font is the epitome of retro and classic aesthetics, with its distinctive features and timeless appeal. The font boasts a perfect blend of retro and classic elements, achieved by slightly curving the font's edges inward. It offers two distinct versions: a clean variant for a polished look and a textured one for added character. Moreover, it provides alternative characters to infuse a touch of uniqueness and creativity into your designs. Closing Time - Display Retro Font is the ideal choice for logos, invitations, packaging, posters, titles, businesses, greeting cards, magazines, and any design projects that seek to capture the essence of retro and classic themes. Embrace the nostalgia and timeless charm of Closing Time - Display Retro Font, and let your designs tell a story of a bygone era.

The roundness of fresh Dewey leaves, the bending branches of canopy trees and the curvy luscious greens of dense forests; are all the things that inspire this clean display font. Its effortless and natural aesthetic makes it perfect for organic and luxurious brands. The strokes have a great contrast to give it a beautiful end to a long journey. The easy and elegant flow of the font brings one back right into the comforting arms of nature.

PragmataPro™ is a condensed monospaced font optimized for screen, designed by Fabrizio Schiavi to be the ideal font for coding, math and engineering. More than 9000 characters optimized from 9pt to 48pt to guarantee the best possible readability. Designed for every programming language and context: Haskell, Agda, APL, Needle, IPA Phonetics, HTML 5 entities, all the Unicode arrows, Symbols for Legacy Computing, Git tree command line, Agnoster, Poker cards and all the functional programming languages.

Font editors allow one to blend fonts, that is, to take two different fonts and create a new one by averaging the two source fonts. This feature is responsible for the many different weights that come with some modern typefaces. It can also be used to blend completely different fonts, though these blends will require a lot of cleaning and correcting to make them useable. EuroikaKamp began as a blend of two vastly different faces: Euroika, a face with a lot of contrast, straight lines, and smooth curves, and KampFriendship, a hand drawn serif that is almost mono linear. The result is an odd, quirky face that may be useful when one wants a very readable font without the precision and formality of a standard text font.

ULGA Grid Rounded is the smooth, rounded sibling of ULGA Grid and ULGA Grid Solid. The typeface consists of three weights, regular, medium and bold, with corresponding oblique styles. Every character in the extended ULGA Grid family shares the same width. ULGA Grid Rounded features a rounded square design, giving this typeface a soft, yet sturdy appearance. A contradictory mix of stiffness and suppleness, characters slide around like lead-filled snakes trying to find their way through a maze. If this typeface were a snack, it would be a smooth, chocolatey treat - too much of it and you’ll feel dizzy and a bit sick. But, hey, I’m not your dad, do what you want. Learn from your mistakes, that’s what I say. A versatile display typeface that can be used for a wide range of purposes including CD covers, posters, packaging, advertising, name badges for robots, brochures and film titles. Mix and match with ULGA Grid and ULGA Grid Solid, use the alternatives, sneak in an oblique style to spice things up, but most of all this is a fun typeface family. The character set supports Western Europe, Vietnamese, Central/Eastern Europe, Baltic, Turkish and Romanian.

A gentle breeze caressed his face as his body took on the easy posture of a dancer on break. Flickering sparklets of light sprinkled the glass-smooth surface of the aqua liquid on which he floated. His mind wandered; he was only days away from his scheduled departure date. This day was no different from a hundred other days he had spent melded to his windsurfer, skittering along the breadth of the modest lake, soaking up the sun's rays and forgetting about the entire rest of the world. Lake Quannapowitt, and the town of Wakefield, Massachusetts, were familiar to Steve, a long-time resident of the picturesque New England town. This is where he grew up; this is where he married and lived for many years; and this is the place he was preparing to leave, not one week hence. Not generally prone to nostalgia, it was in just such a state he nonetheless found himself once Zephyrus retreated, as was his custom, periodically, while patrolling the resplendent lake. Steve was going to miss the lake, and he was going to miss the town. How many hours of how many days had he spent exactly like this, standing on his motionless board, waiting for his sail to fill, and staring at the lake's shores, its tiny beach, the town Common with its carefully maintained greenery, and equally well-tended gazebo, the Center church - its spire shadow piercing the water's edge, like a scissor-cut the better to begin a full-fabric tear? Yes, he was going to miss this place - this town which all of a sudden had become a place out of time, just as he was about to become a person out of place. Once this idea struck him, he couldn't shake it. He was transported back in time four score years, now watching his ancestors walk along the shore. Nothing in view belied this belief - not the church's century old architecture, not the gazebo frozen in time, nor the timeless sands of the beach, nor the unchanging Common. Everything belonged exactly where it was, and where it always would be. This, he decided, was how he would remember his hometown. And this is when it occurred to Steve to design a typeface that would evoke these images and musings - a typeface with an old-fashioned look, reflected in high crossbars, an x-height small in size relative to its uppercase, and an intangible quality reminiscent of small-town quaintness. Wakefield, the typeface, was born on Lake Quannapowitt in the town for which it was named, shortly before Steve moved away. It is at once a tribute to his birthplace and a keepsake.

The front page of a late-1940s sales catalog for the [now defunct] Duro Decal Company of Chicago had its company name hand-lettered in a tall, condensed chamfered sans serif type design. Although chamfered lettering had been popular for decades, the way the "R" was shaped gave the letters a bit of an Art Deco influence, and this influence was carried through in the creation of Durable JNL.

Freco is a celebration of the short but very productive life of Dutch designer and illustrator Fré Cohen (1903-1943). This font is mostly an assembled compilation of letters Fré created for a variety of print designs over the years, showcasing her consistent talent for the architectural moderne, art deco, and Wendingen styles of her era. Freco is a prime example of how seemingly minute details can visually be most relevant and consequential in typography. Fré Cohen's subtle variations on the familiar art deco forms and contrast have made her typographical work so stunning it continues to be taught and celebrated as some of the finest 20th century Dutch design. Freco comes in an expanded character set that includes support for Central and Eastern European languages, as well as Turkish, Baltic, Celtic, Maltese and Esperanto. It also includes complementary alternate forms and letter combinations for added flexibility in usage.

If you're feeling a chill in your bones and the grass is a little crunchy under your feet after looking at this font, you might like to put your feet in warm water when you get home if to stave off a little Frostbite. This remastered font family is a chip off the old block, and will help you thaw out before your skin starts to freeze and flake. We recommend you melt Frostbite cubes in the warm water too to ensure you don't stick to the ice. We also recommend you don't lick the letterforms, as we know our customers are wont to do.

Introducing Meritocracy, a full-featured handwritten font with tons of alternate characters and OpenType features. My goal with this font was to make you a typeface that will look as much like hand lettering as possible. Using the built-in OpenType pseudo-random contextual alternates and over 300 individually drawn ligatures, you can infuse your typography with personality and variety.** OpenType Features Meritocracy comes with more than 900 glyphs! Specific OpenType features include contextual alternates, stylistic alternates, a second stylistic set for variety, multiple alternate glyphs for many letters (accessed through the glyphs panel), multilingual support (including multiple currency symbols), standard numbers, and seven ampersand styles. It also includes 325+ standard and discretionary ligatures, all of them individually hand-drawn to be different from all other glyphs in the font. These ligatures allow you to give a super-realistic hand-lettered look to your typography. You can write the same word in so many different ways if you combine the default set, stylistic set 01, and standard and discretionary ligatures in different ways. SPECIAL OPENTYPE FEATURE: If you are using OpenType-capable software like Adobe Illustrator, Photoshop, InDesign, or CorelDraw and you have contextual alternates turned on, you can see the letters randomize themselves as you type, mixing from the default character set and stylistic set 01. (You can always turn on contextual alternates after you have already typed your passage and it will randomize all at once, or you can choose to turn off contextual alternates and substitute specific glyphs yourself - I find that if I'm typing a word or two, I prefer to control the individual glyphs myself; if I'm typing a paragraph, I like to use the built-in randomness of the contextual alternates feature). Note that this pseudo-randomization (aka contextual alternate feature) is ON by default in Apple's Pages app and OFF by default in Microsoft Word, but it can be turned on. The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (To access most of these awesome features in Microsoft Word, you'll need to get comfortable with the advanced tab of Word's font menu. If you have questions about this, ask me!) Files included: Meritocracy-Regular.otf Please note: there is only one file for this font. That's the magic of OpenType - all of the alternates, ligatures, etc. are built right into the .otf file! Mail support : julie@upupcreative.com --- Find inspiration (and sneak peeks at my next font-in-progress) on - Instagram: http://instagram.com/julieatupupcreative - Facebook : https://www.facebook.com/upupcreative - Pinterest: https://www.pinterest.com/upupcreative - My website: http://upupcreative.com --- **PLEASE ENJOY! I can't wait to see what you make with Meritocracy! Feel free to use the #upupcreative and #meritocracyfont tags to show me what you've been up to!**

Maison Luxe is a revival of a very old font designed in France in or around the year 1820. You may have seen this font in the past under the names of Circus, Roma, Madame and Gillé Classic. As of November 2016 we have changed the name of this font from Gillé Classic to Maison Luxe which means Luxury House in French. For many years Joseph Gillé was credited as the original designer of this font however we've recently been contacted by a type historian in France reporting that he could not find any evidence supporting Joseph Gillé as the designer and to the best of his knowledge an artist by the name of Sylvestre may be the true designer. If you love this classic font then you're sure to enjoy the alternate version also with a matching lowercase available from FontMesa under the name of Home Style. This version of the classic with its squared off shadow is true to the original design where Home Style has diagonal lines creating a cast shadow. New in 2016 for Maison Luxe is a new matching lowercase, an uppercase German Double S (versal eszett), Greek character set, opentype features including case sensitive forms and old style numerals. We know you'll enjoy the new additions to this timeless classic design.

Gearing is a typeface that is widely associated with the extreme music genre of death metal. It is characterized by its dark and aggressive appearance, evoking a sense of brutality and chaos. The font is typically designed with sharp edges, bold and angular letterforms, and intricate or distorted shapes. The death metal font typically features strong upper and lowercase letter variations, often with sharp, exaggerated serifs or thorn-like spikes. These embellishments contribute to its menacing and threatening aesthetic. The letters may also have broken or damaged elements, giving them a weathered or decayed look. Though death metal fonts come in various styles and variations, they often prioritize legibility and impact over ease of reading. This means that certain parts of the letters may be missing or disconnected, making them appear jagged or incomplete. Ligatures, which are unique letter combinations, are sometimes included in the font to add a sense of continuity or artwork to the overall design. In terms of color, death metal fonts are commonly depicted in monochromatic shades such as black, grey, or dark red to maintain their sinister appearance. The color contrast often enhances the sharpness and intensity of the font, making it more visually striking. Due to its association with the underground music scene, the death metal font has become an essential element in album covers, band logos, posters, and merchandise. It effectively conveys the aggressive and rebellious spirit of the genre, becoming instantly recognizable to fans and enthusiasts.

The sister fonts Andron 2 English and Andron 2 Deutsch provide a groundbreaking new possibility to render literature text bodies in a sophisticated traditional and yet modern way of type. In German typographic history there has once been a long-lasting struggle called the Frakturstreit (the blackletter quarrel). It was about wether German text ought to be composed in blackletter or rather in Roman type, a question upon which even Goethe, Schiller and other period celebrities got grey over time. However, blackletter type remained alive and has just recently seen an astonishing renaissance. This is not about a blackletter revisionism or some ‘mixture’ concept arguably bridging the gap between either worlds. Andron 2 English and Andron 2 Deutsch offer a new approach to circumvent that old antagonism. As for the lowercase letters I applied certain features of blackletter type onto the glyphs – but entirely abandoned the principle of the broken stroke as such. The result is a lowercase alphabet in the classical Andron style which may be considered an attractive alternative for text in English, German or even other languages. So it’s no longer entirely about choosing between ‘modern’ Roman or ‘ancient’ blackletter only. Andron 2 English Regular and Andron 2 Deutsch Regular feature the same lowercase glyphs but differ in the majuscules (Andron 2 English has normal Latin capitals). ++++ 2012 + NEW! +++ In response to its growing popularity we now present five new fonts as part of the Andron 2 series. Andron 2 English is completed by an Italic and a Bold font. Andron 2 Deutsch now contains three interesting alternative fonts: Italic, Scriptive and Laendlich. Last but not least – A new set of wonderful classical typographic ornaments is part of the Italic and Scriptive fonts. – You can also purchase these ornaments separately as “Andron Ornamente”.

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "