Hello, Friends! Introducing Ravenholm -a new modern gothic font family. Font looks amazing as single words and as full text blocks. It has support for many languages as: Czech, Danish and Norwegian, Deutsch, English, Espanol, French, Italiano, Magyar, Nederlands, Portuguese, Finnish, Swedish, Turkish, Russian etc. Ravenholm font family cast: - Ravenholm Color (color OTF font) - Ravenholm Bold - Ravenholm Inline - Ravenholm Thin - Ravenhol Slant WARNING #1 Color fonts are pretty new technology - they currently show up in Photoshop CC 2017+, Illustrator CC 2018 and some Mac apps. Learn more about color font support on third-party apps here: https://www.colorfonts.wtf/ Enjoy it on your best projects! For any help regarding this font, please feel free to contact me through my profile page and I’ll be glad to offer support. Thanks for buying!

Crossten Soft�s �modern geometric sans� family consists of 20 fonts. All family fonts contain 370 glyphs and are equipped with many typographic features. Crossten Soft is designed for those who prefer to use single-coded fonts not only in coding but also in many different graphic design environments. Idea; It came from creating a font with a single-spaced aesthetic, without breaking the soft, single-spaced fonts. Crossten Soft is a geometric sans single-spaced font with all typographic features except space and character spacing.

The Ghino family of "modern geometric sans" consists of 20 fonts. All the family's fonts contain 370 glyphs and are equipped with many typographic features. Ghino Text is designed for those who prefer to use single-coded fonts not only in coding but also in many different environments of graphic design. The idea came from creating a font with single-spaced aesthetics, without breaking the single-spaced fonts. Ghino is a geometric sans single-spaced font with all typographic features except spacing and character spacing.

Retail Monoline JNL is a light weight sans serif extracted from the inline of Retail Price JNL and is available in both regular and oblique versions.

No. 510 is a friendly, slim gothic face. Strokes have a gentle inward curve at the median with the tops and bottoms of the letters slightly wider and thicker. The design was first introduced by William H. Page & Company around 1887.

Nastaleeq (Nasta?l?q) ASC is a script font supporting Urdu. Urdu is the nation language of Pakistan. The Nastaleeq ASC font is Unicode encoded. The Nastaleeq ASC font requires an application program which supports Arabic fonts (right-to-left composition). Urdu is also spoken in Afghanistan, Bahrain, Bangladesh, Botswana, Fiji, Germany, Guyana, India, Malawi, Mauritius, Nepal, Norway, Oman, Qatar, Saudi Arabia, South Africa, Thailand, the UAE, the UK and Zambia.

Step into the world of visual grandeur with Wornas, a commanding serif display font that marries bold weight with artistic finesse. The letters are adorned with intricate artistic objects and inline details, transforming each character into a canvas of creativity. These unique style add a visual interest compared to other display fonts. The inline details in this font are a stroke of design genius. Wornas fits in headlines, logos, branding materials, print media, and many more.

Brody’s fonts borrow elements from both Art Deco and non-Western styles. His designs received international recognition for their innovative, computer-oriented style, reaching almost cult status. Four original Brody fonts are available from Linotype Library GmbH: Insignia, Industria-Solid, Industria Inline and Arcadia. For your convenience, we have gathered all four into one package. Industria is a font which speaks of mechanical exactness, cool and reserved. Industria Inline is a lighter version of Industria Solid.

Jacky Black, Handwritten ink style letters font that have a simple and natural shape, but still look elegant and exclusive. Jacky Black, It is suitable for use in your creative ideas, who want unique and natural-looking writing to support your beautiful design. This is a listing of all 229 glyphs contained in the font, including OpenType variants that may only be accessible via OpenType-aware applications. Each basic character (“A”) is followed by Unicode variants of the same character (Á, Ä…), then OpenType variants (small caps, alternates, ligatures…). This way you can see all the variations on a single character in one place. Thanks for your support, please kindly send us a message for any question about our product. Hope you like it.

XLeafMeAlone is a collection of leaf silhouettes from common Indiana trees based on actual leaves. Various leaves, selected for their good looks not their intelligence, were scanned and hand-traced. Some species, such as some oaks, are over-represented because they are more picturesque than others, such as apple or peach. LeafMeAlone was featured in the “Type Drawer” column of Personal Publishing (later renamed Business Publishing--I do not know if it still exists) in November of 1990.

With 2 full alphabets & a full array of symbols & decorations this style can look elegant or insane. New English is easy to customize for infinite unique looks.

With 2 full alphabets & a full array of symbols & decorations this style can look elegant or insane. New English is easy to customize for infinite unique looks.

SPENGLER is a new inline font with over 180 GLYPHS, lots of Foreign Characters brand new and ready to be abused for a stupid price of $10.

The Phosphor font was designed by Jakob Erbar and released in 1930. This inline headline face was designed to look like glowing letters, hence its name Phosphor.

Farmhand is a textured, hand drawn family featuring serif, sans, inline, italic, and extras styles suited for display titling. An all-caps typeface with individually drawn small caps for lowercase. Experiment by mixing and matching the casing for titling effects. Great for packaging and branding. The sans adds a different look but still has the vintage appeal. Try the inline styles to add a little more distinction to your type or the matching catchwords and ornaments to add typographic interest.

Re-drawn and modified from a set of early 1900s die-cut sign letters, Sports Play JNL is a chamfered typeface with an inline that reflects sports-themed topics.

An inline version of the Latin bold condensed, and designed on the suggestion of Robert Harling. There is a double white line, which was originally engraved in Latin type.

A font package to generate traditional three-letter monogram designs, or a single initial. Includes 29 borders, each accessed by a single keystroke on the computer keyboard. The borders will automatically line up with the initials.

Octo is square bold/display font with italics. Letterform is bit quirky and square shaped, it can fill all kind of spaces. Octo has nice form that relate to industrial, machines and italics helps denoting speed. Octo is good for branding in fields of sports, automobile. It has full glyph set of numerals and signs. Octo is an excellent choice for headline-typesetting and logo design. Octo is developed by Gunjan Panchal based in India.

Borne of geometry, found-type and a genuine love of texture, Blakstone has a lot to offer the letterpress style type genre. With 25 styles including hatches, halftones, grunge, linen, inline, shadow, fills, and outlines, Blakstone becomes useful as a layered type system. Combine styles to control colors on different layers to achieve your desired effect or just use a single style to keep it simple. Blakstone is full of open-type features including ligatures, discretionary ligatures, superscript numbers, subscript numbers, and automatic open-type fractions. Another great feature of Blakstone is its support for 130 International languages and dialects. Blakstone has many uses in the design world including signage, branding, invites and cards, clothing design, the music industry, restaurant and grocery signage, coffee shops, the list goes on. Blakstone has a texture for any occasion.

LeftheriaPRO has its structure projected from the capitals of the Greek columns of Ionian order, it is a typography condensed with vertical emphasis composed by 5 weights (light, regular, medium, semibold, bold) including ligatures, alternates, smal caps, old styles figures, fractions, superiors, inferiors. | Download Specimen

Follies is the work of designer Alan Meeks. Its striking 1940s style is combined with an inline look. Follies is excellent for applications where a strong graphic headline is required.

I arrived this concept as a means to fulfil a need for a simple yet radical semi-sans with rounded terminals. My concept called for a modular approach so a single weight font family resulted, the monoline stroke weights being one-eighth of the cap height and the x-height five-eights, the descent two units. Within these constraints I found it was simple to devise an alphabet which met my need for quirkiness whilst retaining its legibility. As for the outline, shadow and contour variants - well they just seem to work. If you are wondering - and you don't hail from the "Land Downunder" - Canberra is our nation's capital; Bondi - "water breaking over rocks" a beautiful beach in Sydney; Uluru is the name given to the world's largest pebble, (formerly known as Ayers Rock); Kakadu is a national park in the "Top End" and Koomerang means "hill of clouds" - all place names in their respective Australian indigenous languages. Come on down - the natives are friendly.

Nazari is a typeface for titles with personality, character and multiple alternatives to design. Nazarí is inspired by Arabic lettering and calligraphy, but updates its shapes through games of high contrast, geometric design and rounded terminals. The family has 4 styles: Regular, Regular Inline, Sans and Sans Inline. In turn, Nazari is divided into a basic set and an extended set. The basic set supplies all the essential characters to design any graphic piece. The extended set also contains different contextual alternatives, ligatures and swashes.

Freda Sack and Colin Brignall collaborated to produce the Victorian typeface. Their work was inspired by late 19th century display letterforms, and they sought to create a new ornate font in the same style. Victorian superbly reflects the refinement of the late 19th Century. Victorian Inline Shaded was designed by Nick Belshaw. He was inspired by late 19th century display letterforms, and sought to create a new ornate font in the same style. Victorian Inline Shaded superbly reflects the refinement of the late 19th Century.

An inline adaptation of a distinctive slab serif, Cesium is an unusually responsive display face that maintains its high energy across a range of different moods. The Cesium typeface was designed by Jonathan Hoefler in 2020. An energetic inline adaptation of Hoefler’s broad-shouldered Vitesse Black typeface (2000), Cesium is named for the fifty-fifth member of the periodic table of the elements, a volatile liquid metal that presents as a scintillating quicksilver. From the desk of the designer, Jonathan Hoefler: I always felt that our Vitesse typeface, an unusual species of slab serif, would take well to an inline. Vitesse is based not on the circle or the ellipse, but on a less familiar shape that has no common name, a variation on the ‘stadium’ that has two opposing flat edges, and two gently rounded sides. In place of sharp corners, Vitesse uses a continuously flowing stroke to manage the transition between upright and diagonal lines, most apparent on letters like M and N. A year of making this gesture with my wrist, both when drawing letterforms and miming their intentions during design critiques, left me thinking about a reduced version of the typeface, in which letters would be defined not by inside and outside contours, but by a single, fluid raceway. Like most straightforward ideas, this one proved challenging to execute, but its puzzles were immensely satisfying to solve. Adding an inline to a typeface is the quickest way to reveal its secrets. All the furtive adjustments in weight and size that a type designer makes — relieving congestion by thinning the center arm of a bold E, or lightening the intersecting strokes of a W — are instantly exposed with the addition of a centerline. Adapting an existing alphabet to accommodate this inline called for renovating every single character (down to the capital I, the period, and even the space), in some cases making small adjustments to reallocate weight, at other times redesigning whole parts of the character set. The longer we worked on the typeface, the more we discovered opportunities to turn these constraints into advantages, solving stubbornly complex characters like € and § by redefining how an inline should behave, and using these new patterns to reshape the rest of the alphabet. The New Typeface The outcome is a typeface we’re calling Cesium. It shares many of Vitesse’s qualities, its heartbeat an energetic thrum of motorsports and industry, and it will doubtless be welcome in both hardware stores and Hollywood. But we’ve been surprised by Cesium’s more reflective moods, its ability to be alert and softspoken at the same time. Much in the way that vibrant colors can animate a typeface, we’ve found that Cesium’s sensitivity to spacing most effectively changes its voice. Tighter leading and tracking turns up the heat, heightening Cesium’s sporty, high-tech associations, but with the addition of letterspacing it achieves an almost literary repose. This range of voices recommends Cesium not only to logos, book covers, and title sequences, but to projects that regularly must adjust their volume, such as identities, packaging, and editorial design. Read more about how to use Cesium. About the Name Cesium is a chemical element, one of only five metals that’s liquid at room temperature. Resembling quicksilver, cesium is typically stored in a glass ampule, where the tension between a sturdy outer vessel and its volatile contents is scintillating. The Cesium typeface hopes to capture this quality, its bright and insistent inline restrained by a strong and sinuous container. Cesium is one of only three H&Co typefaces whose name comes from the periodic table, a distinction it shares with Mercury and Tungsten. At a time when I considered a more sci-fi name for the typeface, I learned that these three elements have an unusual connection: they’re used together in the propulsion system of nasa’s Deep Space 1, the first interplanetary spacecraft powered by an ion drive. I found the association compelling, and adopted the name at once, with the hope that designers might employ the typeface in the same spirit of discovery, optimism, and invention. —JH Featured in: Best Fonts for Logos

Casual and sugary, Candykitchen is an inline face with a weight problem. Frosted with occasional swashy finishing strokes and a few errant bulbous terminals, this face wants space in your cupboard.

Monoline Rounded JNL borrows the inline portion of Sales Event JNL. Making a few adjustments to some characters, it is now a lovely monoline with rounded terminals that emulates pen hand lettering.

A 1926 travel brochure for a steamship line provided the basis for this darkly sparkly spritely font. Smooth curves and an off-center inline treatment gives this typeface a strong architectural feel.

A hand lettered emulation of a Roman stencil type face on the cover of the folio for the Stenso School Set was the basis for Eutaw Stencil JNL, which is available in both regular and oblique versions. The Stenso School Set (circa 1940-41) was comprised of three stencils – two lettering guides and a map of the [then] 48 United States. Developed and patented by Baltimore school teacher Ruth Libauer Hormats, her stencils were the first to offer a system for accurate letter spacing and ease of use. “Eutaw” (as part of the font’s name) is taken from Eutaw Place, the street where Ruth and her husband lived at the time of Stenso’s inception. To the Cherokee, the name means “Creek Indian”.

Olio is a chunky geometric sans serif typeface. The bold version takes inspiration from classic geometric fonts like Futura and works well when creating clean, balanced typography. The inline version is the same font with a stylish and decorative stripe effect to each character. Olio inline is a nod towards graphic design champion Lance Wyman and his typographic treatment for the iconic Mexico 68 Olympic identity. Although both versions are designed in reference to great (timeless) graphic design from the past, they have a contemporary finish making them suitable for any design purpose or application.

2018 Update: We extended the language support, added a Black version and added new ornaments. Thank you! Papercute is a cute hand-drawn font designed by Fanny Coulez and Julien Saurin in Paris. Inspired by paper cutting, this font is easy to read, easy to play. Small caps are a little different than caps to create alternative glyphs. We also designed a set of cute paper ornaments, to enhance your designs. We also designed an inline version of this font: Papercute Inline . You could follow us on our Instagram: instagram.com/sc.type Merci beaucoup!

Introducing new layered font family it's call Chester , inspired from combine old postcard stamp and rustic sign painting with have unique decorative shapes. This is collection of type with a layered type system, many possibilities combination and options with 5 font system that can be layered to create different effect ( Basic , Inline, Inner dot, Gradient Inline, Shadow outline & Drop Shade ). You can use this font for various purposes.such as logo, product packaging, labeling, logo, classic shop, badges, quote, sign ,movie title, t-shirt, posters, lable, greetingcard, letterhead, book cover, any artwork.

Racetrack is the work of American type designer, Alex Kaczun, and was conceived as a result of developing a logo for a client. Alex was experimenting with a uniform grid pattern, outline and inline, connecting the dots which lead to this interesting typeface effect. Racetrack is a bold display font, which also works well at many point sizes. It has a futuristic appeal with straight lines and sharp corners. The uniform strokes, inline treatment and symmetry make for a powerful headline. The applications for this font design are endless.

Fruitos is a funky font family with loads of interlocking ligatures. Fruitos is great for packaging, posters or any display use. Fruitos is divided into two families: Fruitos R (regular) is bouncy and has wider “serifs” whereas Fruitos S (straight) makes clear blocks and has straight forms. Both versions have a standard fill version, an Inline version and a Line version that can be used together with the standard version for colourful inline. Fruitos also has an underlined Titling Alternates for every basic character. Try Titling Alternates to spice up your words!

Lewis is a stencil typeface inspired by vintage sign painting. Lewis is designed for display use within printed publications as it has a high contrast of organic forms. Lewis consists of 3 styles; Classic, Display and Inline. Each style is based on the same skeleton but with a different personality. The Classic style is a simple and elegant stencil typeface which is also the original structure of Lewis. The Display style features intertwined flourish like parts and the last member of the family is the Inline style which features subtle internal details.

Bloque is a heavy slab font family which contains six fonts. It has three layers for both roman and italic styles, including an inline and a shadow versions to make different color combinations

DSType proudly presents Diversa Std, the same system as Diversa, but with separate styles: Serif, Serif Stencil, Inline, Soft Serif, Sans, Sans Stencil, Slab, Slab Stencil and Baroque. Diversa Std: Because uniformity still sucks!

The Gourds is a geometric font that has its personality in extreme forms without losing its identification with the legibility and recognition of its characters. indicated for titles and sub-titles or even logos.