This font is a clean, modern sans serif bold. Named after “De Rotterdam”* this huge and super cool building (read the story below). Great for headlines, Posters, Flyers but also well legible at small size in large texts. Contains All European language accents and characters. --- The Story --- *This complex is located in the Kop Van Zuid district of Rotterdam, on Wilhelminapier. I was lucky to see this building from the beginning (2009) growing up (2013) That time when I was working and living here. I was always amazed by the design and how huge it is every time I took a look at it while driving or walking on the Erasmus Bridge. When I was going to work or just hiking around the city. It has a special meaning and message for me: I started creating fonts in my free time in 2010 when I came to this city to work. I was factory worker, dishwasher etc. I grew together with this amazing construction from brick to brick, step by step. By the time its construction finished, I was able to quit my day job and become a full time freelance designer.

The typeface family TV Nord is based on the corporate typeface NDR Sans which was developed by Elsner+Flake for the Norddeutsche Rundfunk (www.ndr.de) between 1999 and 2001. This new design came into being as part of a complete overhaul of the visual image of the NDR. This became necessary because the NDR, founded in 1954, incorporated the stations of the East German states Mecklenburg-Vorpommern (1992) and Brandenburg (1997) after the re-unification of Germany. The Hamburg advertising agency DMCGroup developed a new and unified image for the NDR which is in existence to this day. The typeface TV Nord relates to the design of the Trade Gothic and similar American sans serif typefaces of the early part of the last century. Its development concerns itself as much with good legibility for print, as it does for the reproduction on TV screens, which among others, is achieved through its high x-height. The logotype for the NDR as well was developed from the capitals of the NDR Sans. In 2014, the TV Nord was revised stylistically and expanded to incorporate all European-Latin languages. As part of this effort, further complementary cuts were added.

Nahid is a sans-serif font family designed by Naghi Naghashian in 3 weights: Nahid Light, Nahid Medium and Nahid Bold. It is extremely legible even in very small size. This font family is a contribution to modernisation the Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Nahid supports Arabic, Persian ( Farsi ) and Urdu. It also includes proportional and tabular numerals for the supported languages. Nahid fulfils the following needs: 1. Explicitly crafted for use in electronic media fulfils the demands of electronic communication. 2. Suitability for multiple applications. Gives the widest potential acceptability. 3. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bauhaus Arabic’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. 4. An attractive typographic image. Nahid was developed for multiple languages and writing conventions. Nahid supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. 5. The highest degree of calligraphic grace and the clarity of geometric typography.

The powerful Eknaton comes with slanted slabserifs, a new way to add some spring to the old Egyptian slabs. Eknaton echoes the tradition that started with Napoleon's Egyptian campaign 1798, and the simultaneous looting of Egyptian art. The imports led to new ladies fashion in Europe, new architecture and new typefaces like Antique (Figgins, 1815) and Egyptian (Caslon, 1816). The Egyptian faces were also the origin of the famous Clarendon (1845) and Ionic No.5 (1925) as well as the rest of "the legibility types". In the 20th century the slabserifs became popular again with Bauhaus incarnations like Memphis (Wolf, 1929) and Beton (Jost, 1931). The Bauhaus movement, otherwise anti-serif, liked the architectural influence in Egyptian slabserifs. The Bo Berndal design of Eknaton puts some speed into the old Sphinx - the cat is back, in better form than ever! Bo Berndal, born 1924, has been designing typefaces for 56 years, for Monotype, Linotype and other foundries. Eknaton comes in five different widths, from Tight to Expanded, and is an OpenType typeface for both PC and Mac. Swedish type foundry T4 premiere new fonts every month. Eknaton is our eleventh introduction.

Finally, a font that’s ready for your pixel adventures. Johto is a hand-crafted, pixelated font that captures the excitement of 1990s Tokyo for today’s developers, designers, and video-game makers. We all love the pixelated games we played as kids. Now, as programmers, video makers, and creators of side projects that make our hearts pound with passion, there is nothing more satisfying than imagining ourselves in the shoes of the people that inspired us. We want to feel like we're right back there in the excitement of 1990s Tokyo, as an artist or engineer. Johto was created because of our disappointment with the pixel fonts we found online. And for people like us, who care deeply about the quality of our work - especially the work we do for ourselves - we realized we needed a high-quality pixel font to give our work the look it deserves. With over six hundred characters plus support for dozens of languages, including Japanese, tons of fun hand-crafted ligatures to get the look right, Johto is an authentic nostalgia trip. It has all those missing details you didn't notice, but your brain did.

Mikha, designed by Carine de Wandeleer, is a delightfully handwritten family font which keeps the casual drawing of a marker with clean strokes. Its slight bounce and intentional irregularity, gives your words a wonderful flow. This new font family with 736 glyphs, includes Regular, Condensed and Sans. It has OpenType features such as Stylistics alternates, Swashes, Ligatures, up to five Stylistic sets by letter, initial and terminal forms in upper and lower, ornaments that allow you to mix and match pairs of letters and a Central European language support to fit your design. This OpenType features may only be accessible via OpenType-aware applications, or the Character Map to view and copy any of the extra characters to paste into your favorite text editor/app. This will help your creativity and make it easier to make expressive and elegant your typographic work. Also with Mikha Sans it is possible to write all in capitals. Mikha looks lovely on wedding invitations, greeting cards, logos, posters, labels, t-shirt design, logos, business-cards and is perfect for using in ink or watercolor based designs, fashion, magazines, food packaging and menus, book covers and whatever your imagination holds! Enjoy it!

“Liebelei” – dalliance, flirtation, hanky-panky; kind of diminutive of “Liebe” (German for love) The typeface Liebelei has its roots back in 1932, when Vienna-based painter Rudolf Vogl created the poster for a movie called Liebelei after the popular play by Arthur Schnitzler. Only the title letters existed of that typeface. I loved the letters from first sight and proceeded by adventurously interpreting the missing characters. The goal was to create letterforms that fit to the original from the 1930s and represent a modern multi-purpose font. It should be an easy-to-use italic font with warm and friendly details and a huge variety of alternates and languages. The characteristic curled ends of most letters provide a script touch to the Liebelei. The first font entirely designed was the bold one which corresponds to the original poster lettering, although I tweaked the proportions a tiny bit to a more contemporary shape. Liebelei covers Western, Central European, and Central Eastern European Languages and contains also complete Greek and Cyrillic character sets. Liebelei is best for poster design as well as detailed usage, for example handsome tables, since it supports small caps, different kinds of numerals and fractions.

Arabetics Aladdin is a monoshape font family with a fixed single shape per each Arabic Unicode character. Glyphs are designed to incorporate the traditional Arabetic visual characteristics found in all four varying shapes, isolated, initial, medial, and final, for each letter. The overall design also emphasizes the line-like (khat) horizontal look and feel of the Arabetic scripts without sacrificing legibility. This font family supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It includes two weights: regular and bold, each of which has normal and left-slanted (Italic) versions. The design of this font family follows the Arabetics Mutamathil style design principles utilizing varying x-heights and no glyph substitutions. The Mutamathil type style was introduced by the designer more than 18 years ago. The Arabetics Aladdin font family includes all required Lam-Alif ligatures in addition to all soft vowel diacritics (harakat), which are selectively positioned with most of them appearing on similar high and low levels—top left corner—to clearly distinguish them from the letters. The Tatweel or Kashida lengthening character is a zero-width glyph.

Brown Amsonia is a lovely script font of which letters are in handwriting to express unique, personal nuances in your designs. Such a handwriting font is available in high contrasts having noticeable differences between the bright and the dark letter parts to produce clear, firm displays making the designs look professional and modern. Besides, Brown Amsonia can express personal, artistic displays to create more interesting, noticeable designs. The letters are interconnected and their details show sharp, curvy scratches on the edges. Due to the complex font style details, this font is better to apply for big text sizes. In addition, you may enjoy the available features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Brown Amsonia fits best for various design projects, such as brandings, invitations, greeting cards, name cards, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

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.

Soleil, designed by Wolfgang Homola, is a geometric sans serif typeface. Unlike most existing geometric sans serif typefaces, it has asymmetrical counters, making it look fresher, more dynamic and more contemporary. Simple geometric forms – such as the circle or the square – played a certain role in the design of the letterforms, but in order to introduce more fluidity into the rather stiff and rigid concept of geometric sans serif typefaces, a lot of optical corrections were necessary. Soleil is based on the modernist ideas of simplicity, clarity and reduction to essential forms. Yet its letter shapes are not the result of geometric construction, but of a design process that brings together simplicity and fluidity, clarity and rhythm. Soleil has a rather large x-height, making it legible also in small sizes or from a bigger distance. The typeface family consists of six weights. The Opentype version also allows for the implementation of typographic features such as Small Caps, lining and old-style figures, both tabular and proportional, ligatures, alternate characters, case-sensitive variants and fractions. Soleil offers a wide range of potential applications: signage and wayfinding systems, book and magazine design, branding and corporate publications.

The gorgeous back-glass artwork for the iconic pinball game Xenon influenced Cyclopentane. The peculiar letter interactions are challenging to employ but pay off handsomely when they communicate your message in such an unusual manner. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Breadley Serif It was a continuation version of the previous one (Breadley Sans) that come up with Serif type look, surely including small decorative on the ends of some of the strokes that make it more expressive. Still stunning great with an elegant look and stands strongly on its own as a heading and brand logo. This Serif version of BREADLEY fancier within sexy touch for business utilities use like business card, name sign, uniform as brand elevation, and many more. This serif BRADLEY typeface, obviously fit to embossed as an exclusive brand tag or even decorating your enormous office corner. You can view all of the available characters in the screenshots above, and you can try out the brand new BRADLEY SERIF now for any design matter. Breadley Serif also has five weights, plus an extra superbold weight, Ligatures, small caps, old-style numerals, and other OpenType features Latin and multilingual support A guide to accessing all alternatives can be read at http://adobe.ly/1m1fn4Y Adobe Photoshop go to Window – glyphs Adobe Illustrator go to Type – glyphs Thank you and have a nice day

Corsa Grotesk is our very own tribute to two typographic giants: the Futura and Avenir typefaces. It is Designed with geometric simplicity in mind with well balanced strokes and modern touch. Generous proportions and x-height with more contemporary details - the single story ‘a’ and the horizontally barred ‘k’ being just two of many examples makes it shine in every jobs it takes. Corsa Grotesk blends the classic geometric aesthetics into a well-balanced font with generous proportions and minimal contrast. It features 10 weights ranging from Hairline to Black plus matching italics, as well as Cyrillic support for Bulgarian and Russian localizations. Filled with all the essential OpenType features like tabular figures, fractions, ligatures etc, it is a great choice for branding, advertising, user interfaces or any text that needs a bit of polish and a slick, present-day look that still feels familiar. With its 2.0 version we managed to polish the font even more. We revisited every path and fixed all the inaccuracies throughout. Corsa Grotesk now comes with way better and consistent spacing and kerning, just the right amount of contrast and balance. Live Tester | Download Demo Fonts | Subscribe

Luxury Ramadan is a meticulously designed font that pays homage to the timeless elegance of Arabic calligraphy. With Luxury Ramadan, you have a font that's more than just a typeface; it's a bridge between heritage and contemporary design. It's a versatile tool that allows you to infuse your projects with the timeless beauty and clarity of Arabic calligraphy. The characters in Luxury Ramadan are thoughtfully crafted with precision, each letter displaying an elegant and sophisticated aesthetic. The sharp and defined shapes add an air of modernity and clear legibility to the font. In addition, you can also enjoy the features here. Features: Alternates Swashes Multilingual Supports PUA Encoded Numerals and Punctuations Luxury Ramadan fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Elicit Script is a hybrid script family, that can be as casual or formal as the occasion demands. Created by Laura Worthington and Jim Wasco, the design is based on pointed pen Spencerian Script handwriting. “It’s like one of those German italics from the early 20th century, that have beautiful shapes that hold their own,” says Wasco. Elicit Script spans five weights, from Extra Light to Bold, and three styles – Formal, Normal and Casual. This makes it an incredibly versatile script design, easily paired with other typefaces and able to be dressed up or down, depending on what it’s used for. The monoline Casual style offers a more relaxed tone of voice, while Formal sits at the more decorative end of the spectrum. Designers can keep things straightforward, tidy and practical with the typeface’s simple caps, or add in swash caps if they need more exuberance and expression. Generous spacing means Elicit Script works well at smaller sizes as well. Elicit Script Variable Set is a single font file that features two axes: Weight and Contrast. The Weight axis has instances from Extra Light to Bold. The Contrast axis has instances from Casual (low contrast) to Formal (high contrast).

Sans meets serif. Would you like to express tradition by using a contemporary font? Sintesi might be exactly what you are looking for. Sintesi stands for synthesis: the unification of serif and sans-serif into a contemporary font, which surprises with different facets depending on its application. In copy size Sintesi performs like a sans-serif. It is a compact and well readable font that fulfills all requirements of modern digital media. In larger sizes, Sintesi unfolds its traditional character. Now, its strong contrast and the perceptible feather-ductus stand out clearly, as we appreciate it in a historical old style face. Sintesi is completed by a suitable italic. Its cursive character has more to do with writing-speed than to moderate inclination. Therefore Sintesi may be well-suited for many other purposes, not only for emphasis. The whole font family consists of 20 styles and offers a wide range of Western and Eastern European special characters, typographical ligatures, uppercase, oldstyle and fraction figures. Sintesi (Serif) builds together with Sintesi Semi and Sintesi Sans an extended family. Start combining antiquity with modernity! Download a free trial version of Sintesi with a reduced character set. Check it out!

Proudly Present The Fright House - Classic Horror Type, created by ikiiko. Inspired by classic horror movie posters, The Fright House, with its retro appeal and traditional serif styling, revives the spirit of horror from the 1970s. The nostalgia and appeal of a past of dread is captured by this typeface, which pays homage to the typefaces that covered horror novels, movie posters, and spooky magazines during that time. The Fright House is a classic elongated condensed serif typeface with a timeless elegance inspired by 1970s fonts. With a precisely defined serif that gives it a sharp and unsettling feel. Each character has graceful contours and precise proportions, seamlessly blending vintage design with the thrilling charm of suspense. This typeface is perfect for an vintage poster, movie title, classic stuff, magazine layout, book cover, and also good for quotes, or simply as a stylish text overlay to any background image. What's included? Uppercase & Lowercase Number & Punctuation Ligature (Bonus) Multilingual Support Works on PC & Mac Get also a good offer & FREEBIE at our site : www.ikiiko.com Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Henrician can claim two sources of inspiration. One of these was a set of beautiful capital letterforms seen on the cover of a 19th century album of engravings. The engravings contained therein depicted lovely examples of half-timbered Tudor architecture and there was a clear 'Tudor' intent behind the letterforms. The second source of inspiration is more conceptual-the title lettering of period films from the 30's to the 60's…think if the opening text when Errol Flynn plays Robin Hood, or think of Richard the Lionheart, or even that great comedy Classic 'Carry on Henry', and it's discussion of Sir Thomas de Cobbler….but we digress! Henrician is a set of eight display and text (but perhaps not Body Text) faces in a 'Tudor Revival' spirit. Like any good revival design they are somehow at home with a wide range period themed design work, covering the medieval until, perhaps, the 18th century, just so long as we're more concerned with fun and appearance than strict historical accuracy. The family will be at home in the realms of advertising, posters, cover design and web design. Try Henrician out today!

Lemonado is a type family drawn with a dry brush pen. It includes upright and italic scripts and all caps fonts with brush texture or with smooth edges. Lemonado Script is playful and slightly bouncing connecting script. It includes two sets of lower cases to increase the hand writing effect. By enabling Contextual Alternates from OpenType panel you can cycle these two sets and achieve variation. Lemonado Script also includes set of lowercases without connecting stroke, you can use those in the middle of words or automatically add them at the end of words by enabling Stylistic Set 1 at the OpenType panel. There are also set of lower cases with end swashes, you can automatically add these swashes to end of words by enabling Stylistic Set 2 at the OpenType panel. Also other alternate characters and underlines are included to give you even more possibilities to play with. Lemonado Caps has two sets of upper case letters, high and low ones. You can achieve this fun looking bouncing effect by varying them. Just enable Contextual Alternates from OpenType panel and those two sets will cycle.

Upon numerous demands of highly esteemed users of our fonts I decided to supplement the Walbaum type family by display and poster cuts. Because I obviously cannot compete with world’s renowned type foundries which already offer a number of renderings of forenamed typeface, I thought proper to decline a bit from the original Walbaum’s design, strictly speaking, from the apprehension we commonly keep about this typeface. Therefore I didn’t set forth the way of modernizing (shame!), but rather the opposite direction: towards an analysis of the original neo-classical intention. I took the 10-point character, magnified it enormously and cut off progressively all the optically thickened bobbles which raised by small-size correction. I ended up at the size of about 120 points, where it became obvious that any further thinning would lead to an undesired manneristic fragility. Resulting 8-member family Walbaum 120 is naturally usable in variety of sizes, as well as cuts marked “10” you can use, say, from 6 to 30 points. I only hope that mister Justus Erich won’t pull me by the ear when we’ll meet on the other side...

Rough Love, it’s fair to say, came before Love Script. The brushed letter specimens that would ultimately serve as the template for the much ‘cleaner’ Love Script have now been turned into a typeface. As I packed these up, I just kept coming back to them and staring at the texture and movement caught on the page. On a lark, I decided it would be fun to let people see an almost a before and after scenario of how one led to the other and decided to produce a typeface from these specimens… Rough Love. For the most part, in typical fashion for me when I brush out a typeface idea, I try to brush the entire character set along with each of the planned variants for swashes, titling, and other alternates—the reason for that is simple -- each letter looks and acts a bit differently when the same movements are imposed on them. With Rough Love, I tried to adhere to that and made very few modifications to the originals, and only had to ‘borrow’ in a few occasions when I happened to forget to brush a variant.

Arthur Sans is a new font design in the spirit of the Art Deco era, the age of elegance, stylishness and refinement. Use this unique typeface for distinctive personal stationary, outstanding business papers, captivating brochures and invitations; for marvellous posters, wonderful menus, hotel leaflets, exciting ads … for outstanding designs. You’ll find out that Arthur Sans is your friend for more than just fine typography. Five weights plus Italics – all equipped with a comprehensive Euro-Latin character set – will hardly leave anything to be desired. Additionally, the font Arthur Sans Regular contains an outstanding extra range of 70 ornamental characters, carefully designed to the very tone of the typeface, to give you a very special kick of extra value to enchant your designs. Alternatively, you can get this set of ornaments seperately, look at the Arthur Ornaments! Arthur Sans is but one part of a greater suite of exciting fonts: you may wish to also check out the sister fonts of the gorgeous Arthur Cabinet family, which will offer you another wonderful scope of fascinating typographic possibilities. For a matching Greek font go to Artemis. And finally, Arthur’s Irish friend is the fabulous Ardagh. __________________________________________________________________________________________

We are really happy to introduce you to Cinta, a brand new elegant sans serif font designed for text. It has a humanistic skeleton, dressed up with a hand-made mechanical suit, which made it rush, audacious. A dedicated tribute to the breakdown of mestizo music rhythm, bright, dreamy but completely real. Full of a broad variety of weights and versions, it’s able to produce subtle changes in the typographic stain. Perfect to make delicate hierarchy both in web and text and show the world their family background undoubtedly. Prudent and thrifty, condensed forms and with a generous x-height, it almost accidentally saves space and avoids being a spendthrift. Discreet even in the italic, slightly slanted to produce a subtle change of look on web use, will make a delightful for the most exquisite users with the audacity of modernity. Classic but not silly. Generous in abundance, with small caps, old numerals, denominators and numerators, fractions, ligatures, all you need to survive in the new modern life of Opentype with elegance. Polyglot, with support for Latin languages, Central European and Cyrillic. A delicate friend who will delight ladies and gentlemen who are discerning and cosmopolitan.

BaBa Rounded is a sans-serif font family designed by Naghi Naghashian in three weights. BaBa Rounded Light, Baba Rounded Regular and Baba Rounded Bold. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. BaBa Rounded supports Arabic, Persian (Farsi) and Urdu. It also includes proportional and tabular numerals for the supported languages. BaBa Rounded design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. BaBa Rounded’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BaBa Rounded was developed for multiple languages and writing conventions. BaBa Rounded supports Arabic, Persian(Farsi) and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Rockinstead counts 1, 2, 3, 4, 5, 6, 7, 8... Eight variations per letter, plus alternates for numbers and even for punctuation marks! It is equipped with some clever OpenType programming to make substitutions on-the-fly: the Contextual Alternates feature, with the help of a very careful kerning table, takes care of cycling the alternates in an amazing random-like way, impressively mimicking a true handwritten text. The Discretionary Ligatures feature manages the substitution of handy cursive catchwords, adding that charming twist. To put it more bluntly, this font AUTOMATICALLY alters your typing so that it substitutes glyph variations while you do nothing but type away! No need to use PopChar here to do the substitutions manually, the font itself takes care of that for you. This typeface was originally painted on paper, drawing inspiration from Ralph Steadman’s seminal lettering style. On a first glance it may look quite wild - and it proudly is, indeed. But look again: it is stylishly wild, it is strong, unpredictable, full of attitude and good energy. This multifaceted font will certainly strike its way for free-spirited design applications. Just please be warned: it’s seriously addictive!

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! So, you know the fonts that look like handwriting in the movies by Disney? Well, ours is like that! But it can also be used for other purposes, and it's fun to write with. Daddy The Comicaze is fun handwriting font, it was inspired by our love of cartoons and comic books, but as always, we wanted to add a little bit of humor to it. So we played around with the kerning and spacing until we came up with something that was both fun-looking and easy to read. What else is special about Daddy The Comicaze? Well, for one thing, it includes a lot of different characters! There are tons of punctuation marks and accented letters you won't find in normal fonts. And since it's based on our handwriting style, each character has its own unique personality. Basically, we've taken the best parts of our handwriting and turned them into a beautiful font. A Million Thanks Colllab Studio www.colllabstudio.com

Nympha Family Features: 4 Styles 2 Weights Over 800 characters per style (3200 in total) Up to 10 stylistic variations for each character (!) European Language Support Hundreds of Ligatures, Swashes and Stylistic Alternates Old Numerals True Italics & Much More Trailer: https://vimeo.com/471556131 Nympha is an elegantly crafted and luxuriously exuberant serif typeface, exuding femininity and glamour but also a side of exquisity. Its hard contrast and refined details, along with its opulent swashes and voluptuous curves, create a beautiful and powerful statement to any typographic composition, mixing glamour with a contemporary aesthetic. One could say Nympha has two distinct, yet connected, personalities in the form of two stylistic sets of characters: a contemporary and elegant one and an exquisite and unusual one, both can (and should) be mixed to achieve surprising results. Nympha offers a vast amount of swashes, alternates and ligatures, featuring up to 10 stylistic variations for each character, making it possible to generate endless compositions with ease. Available in 4 styles, 2 weights, offering over 3200 characters. Visit https://www.behance.net/gallery/106734865/Nympha-Typeface/ for a full walkthrough of everything Nympha has to offer.

Gutta Percha is a font for golfers. It takers its name from a hard, resilient natural substance that comes from the sap of trees grown in southeast Asia and which was used for the hard core of golf balls well into the twentieth century, when it was gradually replaced with synthetic material. It therefore seemed an appropriate name for a font using the image of a golfer of the 1920s. The letters are from our font Besley Clarendon, reduced to 70%. That means that Gutta Percha set at 40 points will have the same size letters as Besley Clarendon set at 28 points. However, it should be noted that the two fonts have different baselines. If you use them together you will have to manually adjust the vertical alignment. Gutta Percha is obviously a very specialized font, both because of the subject matter and because the uppercase is designed for use as dropped caps. There may not be many uses for it, but when it is right, it will be really right. Whether you are publishing a book about the history of golf or a clubhouse bulletin, Gutta Percha will surely be noticed.

The Modern Times is the most popular font developed by me. It was sold more than any other of font that I created. The earlier version supported Western Europe, Central/Eastern Europe, Baltic, Turkish, Romanian, Cyrillic, Greek, Georgian languages. Last year, I decided to update it. The new version is called TA Modern Times. Its OpenType features include 1200 glyph, Stylistic Alternates, Stylistic Set 01–12, Standard and Discretionary Ligatures, Numerators, Denominators, Subscript, Superscript, Ordinals, Contextual Alternates and Kerning. Currently, supported languages are as following: Western Europe, Central/Eastern Europe, Baltic, Turkish, Romanian, Cyrillic, Greek, Hebrew. Additionally, the font has multiple styles such as Semi Condensed, Condensed, Extra Condensed, Ultra Condensed, Rounded, Inline, Outline, Semi Expanded, Expanded, Extra Expanded, Ultra Expanded. 6 previous versions of the font are FREE. You may download and enjoy it. Latin Plus languages supported 95% Latin Plus diacritics included 88% TA Modern Times OpenType features list: aalt, calt, case, dlig, dnom, frac, kern, liga, locl, numr, ordn, salt, sinf, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, subs, sups TA Modern Times graphic presentation at Behance

Nightshade was my attempt to bring the Old English fonts up to date. The capital letters still contain flourishes, but they look more machined and less calligraphic. I called the font Nightshade after the plant of the same name. Like the plant, it may be considered to be beautiful or poisonous depending on one's outlook. As a result, it can be applied when an attractive, ornate look is required, or it can be used when there is a need to create a more chilling effect. Nightshade has a glyph count of 389 and supports the following languages Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Upper Sorbian, Vunjo, Walser, Zulu

Typer Pro (formerly Consul Typewriter Pro) is a modern OpenType font family reviving the look of old typewriters. Its carefully converted forms are detailed enough even for high pointsizes while keeping a reasonable number of outline points. Typer Pro comes in two variants: Typer Pro Mono is strictly monospaced (all characters occupy the same amount of horizontal space – this way old typewriters usually operated). However, sometimes a more even appearance may be desirable. Therefore, Typer Pro Text has been proportionally altered for a more pleasant and balanced look. Moreover, it is possible to achieve both proportional and monospaced look in both families via Stylistic Sets. You can choose from four different weights in each family and pick characters from its extensive glyph set. Typer also contains a number of Stylistic alternates, randomly replaced alternative letters to avoid the repetition of letters in a word. Typer Pro is a versatile typeface and is perfectly legible even at small sizes and on-screen. When printed, it looks best at its original size around 11–12 pt. Typer supports many OpenType features and offers great multilingual support for most of Latin-based languages. Feel free to download the detailed PDF Specimen.

ChrisMaster is a Christmas Script font and an extra font containing doodle illustration. It looks stunning on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and every other design which needs a handwritten touch. This font is PUA encoded which means you can access all of the glyphs and swashes with ease! It features a varying baseline, smooth lines, gorgeous glyphs and stunning alternates Please check all lowercase, uppercase and numerals to access all Doodle in font format. The best tool if you want to create t-shirt designs, mug designs, logos or just play around. Features : Uppercase & Lowercase Numerals & Punctuations (OpenType Standard) Accents/Multilingual characters beginning and ending swash (ss01-ss06) beautiful ligature PUA Encoded To access all OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator, Adobe Photoshop, CorelDraw and Microsoft word. The font has PUA Unicode (Private Use Areas - font specific code), so that all the alternative characters (with flourishes and swirly lines) can be easily accessed in full through Windows and Mac and you can loadt hem into applications such as Cricut Design Space and SilhouetteStudio. Check my other Font here : https://gilarstudio.com/

Khatt tries to mimic the concept behind the meaning of the Arabic word Khatt: a straight horizontal line. The word Khatt is also the word for calligraphy in the Arabic language. Even though Khatt is a cursive style font it offers clearly distinguished and visually unified letter shapes in every position of a word. Khatt supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It comes with five weights, regular, medium, bold, light, and ultra-light. Each weight has normal and left-slanted “italic” styles. The script design of this font family follows the Arabetics Mutamathil Taqlidi style and utilizes varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter in an Arabic text. Khatt includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Katts’s soft-vowel diacritic marks (harakat) are positioned with most of them appearing on similar lower or upper positions to emphasize they are not part of letters.