An offering from Barnhart Brothers & Spindler’s Catalog No. 9 from 1907, with the rather prosaic name of "Lining Gothic No. 71", inspired this non-nonsense and surprisingly ageless face. As versatile as it is simple, this typeface is a stylish choice for heads and subheads. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

NINE TO FIVE is A Modern Font. The Font comes with Ligature Set (110 more Ligature Style) Good to use for covering your Project, like Branding, Your Logos, Headline Letter, Bookcover or Book Content, Magazine cover, Poster, Quotes Lettering, and more your project design. - Unique glyphs - Multilingual Characters Support - UPPERCASE - Lowercase - Numeric - Symbol - Punctuation Character - 110 more Ligature SET inumocca type

Mollucas Clove is A Vintage Display Font, Unique Vintage StyleWith Some Stylistic Set and Ligature Combinations Exellent typeface to use for covering your Project, like Branding, Movie Title, Headline Letter, Bookcover or Book Content, Magazine cover, Poster, Quotes Lettering, Logos, and more your project design. - Unique glyphs - Multilingual Characters Support - UPPERCASE - Lowercase - Numeric - Symbol - Punctuation Character - Ligature - Stylistic Set inumocca type Studio

Green On Green is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Green On Green has an uppercase alphabet, numbers, and punctuation. For convenience, the uppercase alphabet is repeated under the lowercase keys. Only the portions of the characters that are outlined by the 3D-simulated depth are visible.

Designed for an age of increased nuance and inclusivity, Pluot defies conventional classification. With an upper half inspired by sans-serif tendencies and a serif-influenced lower half, Pluot is a geometric semi-serif (or semi-sans). It is, at once, fresh and exciting, while also completely at home in any setting. Pluot is your elegant workhorse for a new era.

Omels Display Font, fun and joyful character but strong and dynamic. simplel for access of Unique Alternates Exellent typeface to use for covering your Project, like Branding, Movie Title, Headline Letter, Bookcover or Book Content, Magazine cover, Poster, Quotes Lettering, Logos, and more your project design. - Unique glyphs - Multilingual Characters Support - UPPERCASE - Lowercase - Numeric - Symbol - Punctuation Character - Stylistic Set Alternates inumocca type

This super bold display font created by Gholib Tammami , Tamarin Font perfect for your display content with heavy titles and headlines. This font has a unique style with uppercase, lowercase, number, punctuation and ofcourse with multilingual support. Tamaran Features : Mulitilinguange Support If you have any questions, before or after purchase, please feel free to get in touch. Thankyou for coming!

Paku, a typeface that grow on the inspiration of fiddlehead (fern), taking Fibonacci curve as the base, with influence of Art Nouveau & Art Deco, it evolves into a simple yet magical typeface. The spiral’s characteristic in the typeface give the stylish impression of grace, rhythmic, classical & poetry. It’s unique & distinctive looks suitable for any surface printing, publishing, branding, packaging, advertising & digital content.

Mono 91 font is a scientific display typeface with a retro style. The shape is inspired by a spaceship door design, combined with a science fiction genre film style. Suitable for digital content, crypto site, source code programming, industrial, manufacture, and retro/vintage style projects. This font is PUA encoded, which means you can access all of the glyphs with ease.

The Griffith Initials font was inspired by a set of highly stylized capital letters from the remarkable hand of one of Americas foremost penmen, dating back to 1927. They combine a large degree of accuracy, grace, strength, and freedom. This font includes one set of graceful A-Z initials conveniently assigned to both the upper and lower case alphabet characters.

This no-nonsense titling face is based on a Morris Fuller Benton 1934 offering for American Type Founders called, simply, Poster Gothic. Its crisp, clean lines and subtle Art Deco modeling make for attractive and attention-getting headlines. Available in plain and prismatic styles. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

Friem is a hand drawn font inspired by fonts that are usually used for children’s book titles that have a bold, messy and funny impression. Available in two clean and textured styles, this font is suitable for use for logos, book titles, movie posters, YouTube content, quotes, and more. There are ligatures that add features to this font, only in uppercase characters.

White On White is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. White On White has an uppercase alphabet, numbers, and punctuation. For convenience, the uppercase alphabet is repeated under the lowercase keys. Only the portions of the characters that are outlined by the 3D-simulated depth are visible.

Orange On Orange is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Orange On Orange has an uppercase alphabet, numbers, and punctuation. For convenience, the uppercase alphabet is repeated under the lowercase keys. Only the portions of the characters that are outlined by the 3D-simulated depth are visible.

Hackone Tech Display is a cutting-edge font designed to elevate your digital projects. With its sleek and futuristic design, this font is perfect for tech-related content, software interfaces, and website headers. Hackone comes in four variations, regular, slice edge, and outline. and also equipped with italic oblique. To see More our work, you can visit our website: skillyasstudio.com

This font was called differently when I started out building it, but after a long and insightful conversation with a good friend, I decided to call it Nebulous Promise. Nebulous Promise was made using a broken satay skewer (I like using those!) and Chinese ink. It comes with a full set of alternates for the lower case letters and extensive language support.

Designed by Jure Stojan, JY Saj is a typeface family that successfully balances the artistic and the conventional. With 10 weights (UltraThin to ExtraBold, with italic complements), it works at a variety of sizes, in print and on screen. There are both oldstyle and lining figures, the rupee symbol is supported, and roughly 3,500 kerning pairs were added per font.

Fram is an uppercase stencil typeface. It comes with a fine-tuned kerning, its extensive character set ensures multiple languages coverage and the design is adapted to different ranges of size through size-specific optical compensation. Fram L is intended for use at large sizes and Fram S with larger gaps guarantees good performance even when the size is reduced.

GREATEST HOLIDAY - the pencil font - is amazing natural font. It made based on real handwriting. It can be used for cafe or coffee shop menu lists on board, branding, photography, invitations, watermarks, advertisements, product designs, labels, product packaging, book content, quotes and more. It came with number & punctuation, multilingual support, and PUA encode Hope you like this product. Regards Abo Daniel

Inspired by vintage sportswear. The Courage Union font is designed in slab serif style with a vintage athletic feel. There are six varieties: regular, rough, halftone, outline, outline rough, and outline halftone. Ensuring carefully crafted styles result from the use of this font. This font can be used for anything from logos to social media content to cheering for your favorite sports team.

After creating an original light bulb symbol from scratch, I incorporated it in all letters and punctuation signs, ensuring a distinct rhythm and creative variation. The result is a highly recognizable font with a unique appearance, which can inspire you as a designer in many imaginative directions. This font is especially fitting for Christmas-themed projects where light installations take center stage. Similarly, if you represent a light bulb company, consider utilizing it in your indoor presentations or social media posts to showcase the playful voice of your brand. After all, everybody needs their light bulb moment.

A interesting grotesque from light to bold.

Introducing Raimes – Script Typeface Charming and Playful Script Meet Raimes, the Script Typeface that effortlessly infuses charm and playfulness into your designs. Whimsical Elegance Raimes boasts a whimsical elegance that’s perfect for a wide range of creative projects, adding a delightful touch of fun to your content. Versatile for Creative Projects Raimes’ versatility shines through, making it an ideal choice for various creative endeavors, including branding, invitations, and more. A Script Typeface That Delights Raimes ensures that your content is not only visually pleasing but also engaging. It leaves a memorable and delightful impression on your audience. In Conclusion In summary, Raimes – Script Typeface is the font that will bring charm and playfulness to your design projects. Its versatility makes it a great choice for branding, invitations, and a variety of creative endeavors. Raimes captivates your audience, leaving them with a delightful and memorable experience, ensuring accessibility to a broad readership.

A debut from the most anticipated vintage digital typefoundry by Gilang Purnama and Ilham Herry, who stucked their mind, body and soul back into the first era of 18th century. They build this intense visual-time machine that no one capable before. Started by the visual branding of the Ephemera Fonts, they bring every letters of it to the another level of journey. They called it Ephemera Sickles. Ephemera Sickles is a ornamented letterhead style typeface-inspired by the era of victorian (1800-1900) and this style was commonly used by engrossers at the turn of the century to embellish official documents, such as diplomas and other certificates. Carefully crafted for every single letters with the soul of Sickels Lettering, Spencerian, and some research from the Penmanship Journal book. The style is named after Charles Sickels, who headed the art department of Electro-Light Engraving Co. in New York City during the early 20th century. There’s no doubt that such a very strong presence typeface like Ephemera Sickles will bring a powerful identity to your visual project. Will be a perfect joint for a logo, visual branding, poster, beer label, packaging, classic bar decor, vintage hotel, et cetera.

Bold geometric shapes, softened with graceful finishes, characterize this jazz-age offering first proposed by lettering artist Eric Matthews. Best used as upper- and lowercase. Both versions of this font contain the Unicode 1252 Latin and Unicode 1250 Central European character sets, with localization for Romanian and Moldovan.

The digital font Technotyp is based on the hot metal typeface created by the German typographer and type designer Herbert Thannhaeuser (1898-1963) for the former East German type foundry Typoart in Dresden. In the typography book ‘Der Schriftsetzer’ (Fachbuchverlag, Leipzig, 1952), by Paul Fritzsche, this absolutely beautiful slab serif design is presented in all its variations. Fritzsche remarked that – because of its rather condensed form and its relatively long ascenders – the 'Werkschrift' of the Technotyp (comparable with our 'Regular') seemed to be very well suited to serve as a text face, and recommended for this purpose that the face be cut for the composing machine. However, this never happened and the entire Technotyp family was made available for hand composition only. This is finally changing and being remedied for good now: URW++ proudly presents the new digital version of this really charming font family with its distinct flavor of the 1950s, adding it to the other digital renditions of Herbert Thannhaeuser fonts at URW++, namely Garamond No. 4 and Magna. The original Typoart family had an italic style for the light version only. The new digital version of Technotyp includes italic styles for the regular, medium and bold weights as well, enhancing the family to meet today’s standards and requirements for professional type setting. To further increase its usefulness, Cyrillic faces were created, too. True to the standard for all digital fonts at URW++, the character set for Technotyp covers all West- and East European languages.

The Sideshadow family has 4 weights, Regular, Bold, Light and Half Light (which is intermediate between Regular and Light). The distinguishing feature of the font (you don't actually need me to explain this, do you?) is the partial shadow to the side of the main character, giving it a distinct and eye-grabbing look. The zip files contain both OTF and TTF versions of the font - install one version only.

Afsane is a sans-serif headline font family designed by Naghi Naghashian in 3 weights, Light, regular and Bold.This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Afsane supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Afsane 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. Afsane’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Afsane was developed for multiple languages and writing conventions. Afsane supports Arabic, Persian 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.

Pegah is a sans-serif font family designed by Naghi Naghashian in three weights. Pegah Light, Pegah Regular and Pegah 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. Pegah supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Pegah 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. Nima’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 was developed for multiple languages and writing conventions. BaBa supports Arabic, Persian 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.

BaBa is a sans-serif font family designed by Naghi Naghashian in three weights. BaBa Light, Baba Regular and Baba 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 supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. BaBa 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. Nima’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 was developed for multiple languages and writing conventions. BaBa supports Arabic, Persian 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.

Babak is designed by Naghi Naghashian. It is a Font family, in 3 weights, Light, Regular and Bold. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Babak supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Babak 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. Nima’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Babak was developed for multiple languages and writing conventions. Babak supports Arabic, Persian 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.

Hafez is a sans-serif font family designed by Naghi Naghashian in three weights. Hafez Light, Hafez Regular and Hafez 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. Hafez supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Hafez 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. Nima’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 was developed for multiple languages and writing conventions. BaBa supports Arabic, Persian 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.

Naghashian is designed by Naghi Naghashian. It is a Font family, in 5 weights, Light, Regular, Bold, Extra Bold and Heavy This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Naghashian supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Naghashian 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. Nima’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Naghashian was developed for multiple languages and writing conventions. Naghashian supports Arabic, Persian 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.

Damavand is designed by Naghi Naghashian. It is a Font family, in 5 weights, Light, Regular, DemiBold, Bold and Heavy. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Damavand supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Damavand 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. Nima’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Damavand was developed for multiple languages and writing conventions. Damavand supports Arabic, Persian 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.

Pasargad is a new font family, designed by Naghi Naghashian. It is a Font family in 3 weights, Light, Regular and Bold. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Pasargad supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Pasargad 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. Pasargad’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Pasargad was developed for multiple languages and writing conventions. Pasargad supports Arabic, Persian 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.

Linotype Atomatic is part of the Take Type Library, selected from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. German artist Johannes Plass designed his font in one strongly-crafted weight. Linotype Atomatic seems to mirror the fast pace and technology of modern times. The slight lean to the right gives an impression of speed and movement. Linotype Atomatic is intended exclusively for headlines in larger point sizes.

Now Appearing JNL is a digital version of some hand-lettering spotted on an early 1960s ad for a Miami Beach night club. Its fun, casual appearance makes it perfectly suitable for any project that conveys a relaxed atmosphere. The font was intentionally not kerned, so the free-flowing form of the lettering is at its best, but it can be set tight by hand if a more compact look is desired.