FawazeerNelly is a Bilingual Display Typeface, the Arabic font is based on Kufi Maghribi script with high contrast strike thicknesses. And the Latin font is an italic high contrast font that compliments the Arabic. They work best for titles and Poster Designs. It is an Authentic Design with a modern flavor.

Slab Serif fonts are also sometimes referred to as ‘Egyptian’, hence the Egypt in the name. This lovely and complex font is based on old woodcut fonts. The upper case only font is brilliant for striking headlines. This OpenType font has support for CE languages and I hope you like it.

Sweet azalea is an all rounder font, very easy to adjust following your needs, it can be used as signature, branding, web design and of course used as casual script font to add a handwriting touch, all is available in just one file. Plus featured with ligatures and swash alternates.

What would happen if one took a rather crude, squared-serifed typeface of the type popular in the 19th century and added medieval and calligraphic ornamentation? Maybe the result would be Medieval Gunslinger. The MedievalGunslingerShadOverlay font is spaced so that it can be layered with MedievalGunslingerShadow to produce bicolored lettering.

Lexikos was designed by Vince Whitlock and based on the design of the typeface Corinthian. It is a condensed sans serif typestyle with heavier horizontal weights as vertical. Lexikos is best used with close letter and word spacing and is an excellent choice for applications requiring a clean, contemporary look.

Everleigh is an elegant thin typeface inspired by antique old school fonts. It includes lots of ligatures and stylistic alternates helps to create an authentique and original lettering compositions. Also this font has multilingual support. Check out all available characters on the previews. Thank you and have a nice day!

Punk Vibes is a font for display purposes that reflects creative and natural. It will be suitable for making a dramatic impression on posters, brochures, apparel, logotypes and many other types of print. This font is PUA encoded which means you can access all of the glyphs and alternates with ease.

Sendertime is a stylish and incredibly elegant handwritten font. 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!

Falena is a stylish and incredibly elegant script font. 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!

Art Week JNL is a wider variant of the lettering style used on many WPA (Works Progress Administration) posters for the arts in the Depression-era 1930s. Wider than the version used for Concert Series JNL, it also features an ‘A’ with a rounded top rather than the flat, square version.

Sancoale Narrow is a carefully honed and meticulously crafted new family member for the Sancoale series. Sancoale Narrow has been specially designed to allow for even more versatility for the Sancoale Family. Sancoale Narrow continues with Sancoale's successful simple, geometric and legible structure. It is a contemporary design that is distinctive and unique. This new narrow addition can be used in conjunction with the original Sancoale, but it can also stand on its own. Narrow type comes in a handy in a myriad of situations, from poster design to book covers, web pages to editorial layouts. Sancoale Narrow's six weights make for a typeface family that is very useful for many applications, and also includes a set of true italics. The design is simplified without stems or spurs in the default character set. OpenType alternates do include alternates with stems, Small Caps, Fractions, Tabular Figures, and plenty of alts, including "normal" capitals and lowercase letters. Please see the informative .pdf brochure to see these features in action. Sancoale Narrow also includes a full array of Latin diacritics for multilingual support. OpenType capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. The Sancoale superfamily is suitable for a wide range of uses and is a very economical and versatile addition to any designer's font collection.

Fantastic ML is an exuberant Art Nouveau font. It was originally released as “Modern Style” by Fonderie G. Peignot & Fils, Paris, France sometime before 1903. Since “Le style moderne” was the generic French name for Art Nouveau, it is possible that someone decided a less generic name was needed. The typeface became known as Fantastic. Compared to conventional text letters, it is just that. Fantastic has a whimsical, architectural feel. The typeface reminds me of a cross between Hoffmann’s Palais Stoclet in Brussels and Gaudi’s Sagrada Familia church in Barcelona. The letterforms themselves are similar to those by Ludwig von Zumbusch on the cover of “Jugend” in March, 1896, but with the addition of serifs. Fantastic ML is a decorative, all-cap font intended for display use and functions best at 18 points or larger. There are a total of 306 glyphs. In addition to the standard 1252 Western Europe Code Page with character slots up to decimal position 255, there are glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. However, some older applications may only be able to access the Western Europe character set (1252). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS format and a TTF version which is in Open TT format. Use whichever works best for your applications.

Noctis was originally born as a single weight display typeface, designed by Luca Terzo who took inspiration by the unusual wedge serifs of Aldo Novarese's 1972 typeface for H. Berthold A.G., Primate. The design was developed by the Italian Type team into a full family of five weights from thin, each with its own true italic, and with a complementary set of decorative patterns. The strong Didonesque contrasts make this typeface both impressive at display sizes and easily readable in text size, while the sharp shapes of the triangular serifs and the distinctive letter shapes show their strength in logo design and impressive editorial use. Inspired by the elegant, self conscious and over-the-top aesthetics of Italian fashion scene of the eighties and nineties, Noctis finds its strength in its strong textural nature, that is explored in the Noctis Texturae subfamily, where each letter is used as a tile to produce seamless patterns that can be used to extend the branding capabilities of Noctis. Noctis features an extended latin character set of 481 glyphs covering over 190 languages, and includes advanced open type features like standard and discretionary ligatures, positional numerals, stylistic alternates and case sensitive brackets. Mixing versatility and personality, Noctis is ready to be like a top model on the design catwalk, making your projects looking classic but contemporary, finely tuned but assertive, and elegant as the best Italian luxury fashion.

Achoo! Bless you! This creative font is very cute and will soon be your favorite

My own hand writing, which is surprisingly messy for a font artist. Hope you enjoy!

I was working about 10 years exclusively for a type company. Based on my experiences, I built this superfamily. Schuss™ Sans PCG is a humanistic sans-serif with a little contrast. Small Caps, greek and cyrillic are included. Also tab, prop, lining, old style and small cap figures. It's a typeface with clear and open characters. All complicated shapes are cleaned and simplified with a bit elegance. Schuss™ Slab Pro is a slab serif, based on the Schuss™ Sans. Schuss™ News Pro is the modeled style between Schuss™ Slab Pro and Schuss™ Serif Pro. Schuss™ Serif Pro is the antiqua shape. Additionally all serifs are cleaned up. There is just one-side-serif in the "n" for example. Tab figures (except small caps), mathematical signs and currency symbols have a width system accross all styles and weights.

I was working about 10 years exclusively for a type company. Based on my experiences, I built this superfamily. Schuss™ Sans PCG is a humanistic sans-serif with a little contrast. Small Caps, greek and cyrillic are included. Also tab, prop, lining, old style and small cap figures. It's a typeface with clear and open characters. All complicated shapes are cleaned and simplified with a bit elegance. Schuss™ Slab Pro is a slab serif, based on the Schuss™ Sans. Schuss™ News Pro is the modeled style between Schuss™ Slab Pro and Schuss™ Serif Pro. Schuss™ Serif Pro is the antiqua shape. Additionally all serifs are cleaned up. There is just one-side-serif in the "n" for example. Tab figures (except small caps), mathematical signs and currency symbols have a width system accross all styles and weights.

URW Grotesk was designed exclusively for URW by Prof. Hermann Zapf in 1985. At the same time, Zapf designed URW Antiqua to go with URW Grotesk. At that time, we were working with a large German publishing house (Axel Springer) on type design solutions to replace certain of their newspaper fonts. Test pages of large German newspapers (e.g. Bildzeitung) were printed with URW Grotesk and URW Antiqua font families. For reasons not disclosed to us, the project was dropped and Springer never used URW Grotesk and URW Antiqua for that purpose. Anyway, Zapf finished his designs and URW produced both families. Zapf’s intention for the two typefaces was to design two highly legible, open and classical fonts that could be used for any kind of typography, especially books, newspapers, magazines, etc. However, we realized later on, that URW Grotesk is very well suited for multi media applications on screen.

URW Grotesk was designed exclusively for URW by Prof. Hermann Zapf in 1985. At the same time, Zapf designed URW Antiqua to go with URW Grotesk. At that time, we were working with a large German publishing house (Axel Springer) on type design solutions to replace certain of their newspaper fonts. Test pages of large German newspapers (e.g. Bildzeitung) were printed with URW Grotesk and URW Antiqua font families. For reasons not disclosed to us, the project was dropped and Springer never used URW Grotesk and URW Antiqua for that purpose. Anyway, Zapf finished his designs and URW produced both families. Zapf's intention for the two typefaces was to design two highly legible, open and classical fonts that could be used for any kind of typography, especially books, newspapers, magazines, etc. However, we realized later on, that URW Grotesk is very well suited for multi media applications on screen.

I was working about 10 years exclusively for a type company. Based on my experiences, I built this superfamily. Schuss™ Sans PCG is a humanistic sans-serif with a little contrast. Small Caps, greek and cyrillic are included. Also tab, prop, lining, old style and small cap figures. It's a typeface with clear and open characters. All complicated shapes are cleaned and simplified with a bit elegance. Schuss™ Slab Pro is a slab serif, based on the Schuss™ Sans. Schuss™ News Pro is the modeled style between Schuss™ Slab Pro and Schuss™ Serif Pro. Schuss™ Serif Pro is the antiqua shape. Additionally all serifs are cleaned up. There is just one-side-serif in the "n" for example. Tab figures (except small caps), mathematical signs and currency symbols have a width system accross all styles and weights.

I was working about 10 years exclusively for a type company. Based on my experiences, I built this superfamily. Schuss™ Sans PCG is a humanistic sans-serif with a little contrast. Small Caps, greek and cyrillic are included. Also tab, prop, lining, old style and small cap figures. It's a typeface with clear and open characters. All complicated shapes are cleaned and simplified with a bit elegance. Schuss™ Slab Pro is a slab serif, based on the Schuss™ Sans. Schuss™ News Pro is the modeled style between Schuss™ Slab Pro and Schuss™ Serif Pro. Schuss™ Serif Pro is the antiqua shape. Additionally all serifs are cleaned up. There is just one-side-serif in the "n" for example. Tab figures (except small caps), mathematical signs and currency symbols have a width system accross all styles and weights.

And now Arabic Scratch font is here! Based on the old Naskh based typeface, this font along with the other Si47ash dirty font Persian Grunge, is introducing new possibilities to use Arabic letters for some of your exciting graphic projects, including book covers, posters, banners, brochures, catalogs, logotypes, and more! Every glyph is unique and all the patterns and textures are distinctively designed and make the font an artwork itself! It's so convenient, you do even have to do anything! Just type the words and the magic happens spontaneously! Shahab Siavash, the designer has done more than 30 fonts and got featured on Behance, Microsoft, McGill University research website, Hackernoon, Fontself, FontsInUse,... Astaneh text and headline font which is one of his latest designs, already got professional typographers, lay-out and book designers' attention as well as some of the most recognizable publications in Arabic/Persian communities.

Fallen Angels Is a modern take on a classic serif style. The stylised capitals add romantic curves and a rebellious elegance to the strong standard character set. It's a bold choice of typography for logo designs, product packaging, album artwork, quotes, posters, apparel & more. Accessing Extra Characters • Alternate characters are available for E, F, r & k. These can be accessed by switching on 'Stylistic Alternates' or via a Glyphs panel. 6 icons are also included within the font (3 halo's and 3 stars) which can be accessed via a Glyphs panel. Language Support • English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

Enfonix is ​​a modern sans display font suitable for the needs of logos, magazines, posters, etc. with dynamic shapes, Enfonix is ​​equipped with 3 alternative width sizes and 2 typeface shapes (Std and Pro). Enfonix is ​​also available in a monospaced style Enfonix Std: Standard form 3 alternative width variations ( Strecth Font ) uppercase and lowercase symbols & numbers multilingual Enfonix Pro: More unique and proportional typeface 3 alternative width variations ( Strecth Font ) uppercase and lowercase symbols & numbers multilingual Enfonix Mono Std: Standard form only one width variation Monospaced uppercase and lowercase symbols & numbers multilingual Enfonix Mono Pro: More unique and proportional typeface only one width variation Monospaced uppercase and lowercase symbols & numbers multilingual

Margareta is a modern calligraphic font with handwriting with mono-line model. It's perfect for branding, logos, wedding invitations, diaries, cups, mugs, greeting cards and more. What’s included: 1. Style in this font include: Regular & Italic 2. 103 Ligatures 3. Works both on Mac & PC 4. Simple installations 5. Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, CorelDraw, even work on Microsoft Word. 6. Support multilingual; ä ö ü Ä Ö Ü ß ¿ ¡ 7. To access the alternate glyphs, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and CorelDraw. More information about how to access alternate glyphs, check out this link (http://goo.gl/ZT7PqK)

Nyfors was a sudden idea. I noticed an ad in a magazine, with some handtexted words. I don't recall what the ad was about, neither the words. When I later on tried to remember how the single characters looked like and began to draw them, the result wasn't bad at all. I am not longer sure that they resemble the characters in the ad, but it doesn't matter. Nyfors is a nice handtexted typeface, whatever its origin. There is a small stream in Tyresö where I live and work, called Nyfors. During some centuries there was a center of small scale industries along it, and they used its water to run their machinery. The typeface has its name from that stream. Nyfors was released in 1995.

Mastro™ Sans is a contemporary humanist sans serif and the sans version of Mastro. The lowercase shapes are simple yet distinct, its organic design (specially the italic) are based on different stroke modulation ideas combined into a coherent whole. The uppercase is inspired in roman capital proportions yet keeping the lowercase stroke modulation. Mastro™ Sans has a total of 16 styles and it covers a large set of languages. It also has many Opentype features, such as small caps, superscript numbers and letters, old style and lining figures, tabular figures, case sensitive forms, fractions and more. It is a design with a lot of personality while being versatile. You can use it in branding, editorial, web and video.

This is the definitive standard African font. It combines wonderful readability with tremendous panache. The fact that it has a full character set (UPPER and lower case), all punctuation and all special characters, means that it can be used in just about any African design context. If you had only one African font in your arsenal, it would have to be Aarde Black. The name "Aarde" means "earth" and refers to the gutsy, earthy character of the letterforms. It includes a full character set: characters for English, French, Italian, German, and Portuguese. The numerals are mono-spaced, and are very readable so that they will line up correctly in columns of figures. The letters of the alphabet are correctly kerned so that they appear correctly in text.

Latvian designer and educator Gustav Grinbergs created Stencil Moonlight as an attempt to slightly lighten up the stencil type scene. Intended as a lively, semi-formal face, its shapes are smooth and compact. It leaves a very heavy feeling on the page, as its letters display a very fat bold design. Stencil Moonlight is available is two separate font styles, Regular and Small Caps. When used together, the Stencil Moonlight family can create the perfect combination for your next display need. Stencil Moonlight works best in larger sizes, where it is clear that its forms stem from an experiment with stencil design. Grinbergs recommends the face for application in package design, advertising, poster design, and perhaps even for the subtitling of foreign films!

«Seferis» is an uppercase typeface with a wide repertoire of ligatures, stylistic alternatives, and some swashes. It also has an important language coverage based on Latin. Although the «Seferis» family is mainly influenced by the classical imprint of the incised typefaces, its structure, proportions and aesthetic proposal show modern features, which give it elegance, sophistication, inner strength and an epic character. Designed by Edwin Moreira, with the invaluable support of Ale Paul in the expansion and production of the family. Seferis works perfectly in spaces as diverse as posters, logos, magazine headlines, album and book covers, packaging and many other environments where it can highlight its qualities. Available in 5 weights and a variable file that is included with the full package.

Familytalk is a script font that exudes confidence and elegance in every character. With its thick and sturdy strokes, this font commands attention. The swinging endings on certain letters provide a delightful sense of rhythm and flow to the text. These unique design elements create a sense of movement within the text, making it visually captivating and engaging. Despite its thick weight, Familytalk maintains excellent legibility. Its ability to strike a balance between boldness and grace makes it a versatile choice for projects that demand a stylish script font. Familytalk fits in headlines, logos, posters, flyers, branding materials, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview.

Honesty is sans serif font with flared stems. As such, it belongs to the incise genre which is historically inspired by the roman civilisation and letters carved in granite or marble. One of the major example of it is the Trajan’s Column in Rome which inspired a font called Trajan, designed by Carol Twombly in 1989. Honesty is also inspired by more brutal font such as the Albertus, designed in 1938 by Berthed Wolpe, and its shape is highly influence by the work of the hammer. Despite this brutality and urgency due to the carving technique, the design of Honesty bring softness to it thanks to its low contrast and smooth curves. Honesty’s design include 16 styles, from thin to black in roman and italic.

DIN Stencil Pro on Behance. DIN Stencil Pro: Specimen Manual PDF. Despite the fact that over the years several designers have manually created stencil lettering based on DIN for various projects, there had never been a professional digital stencil version of a DIN-based typeface until 2010 when the original DIN Stencil was first released. The Pro version was released in 2014 and adds multiscript support for Cyrillic and Greek. DIN Stencil Pro was based on its original counterpart DIN Text Pro and was particularly designed to address contemporary projects, by incorporating elements and weights which are akin to industries such as fashion, music, video, architecture, sports and communications. Traditionally, stencils have been used extensively for military equipment, goods packaging, transportation, shop signs, seed sacks and prison uniforms. In the old days, stencilled markings of ownership were printed on personal possessions, while stencilled signatures on shirts were typical of 19th century stencilling. Two companies dominated the market in the mid-twentieth century: the Marsh Stencil Machine Company in the United States and the Sächsische Metall Schablonen Fabrik in Germany. Ever since the late 1930s, it was the German Sächsische Metall Schablonen Fabrik which used heavily the new DIN 1451 standard font (introduced in 1936), attempting to overthrow the reign of the Didot-style modern roman which was at the time the most common stencil letter in Germany. These letters were manufactured mainly as individual zinc stencils which could be ordered in sizes between 10 and 100mm. The DIN Stencil family manages to preserve several traditional stencil features, but introduces additional modernities which enhance its pleasing characteristics which make it an ideal choice for a large number of contemporary projects. Furthermore, the spacing attributes of the glyphs were redefined and legibility was improved by revising the shape of the letterforms. The DIN Stencil Pro family is an enhanced version of the popular DIN Stencil. It consists of 8 diverse weights from the elegant Hairline to the muscular Black and supports Latin, Cyrillic, Greek, Eastern European, Turkish and Baltic. The new version 3.0 includes several additions such the recently unicode encoded character of the German uppercase Eszett (ẞ), the Russian currency symbol for Rouble (₽), Ukrainian Hryvnia (₴), Azeri and Kazakh letterforms.

Introducing OVERLAND, a modern and minimalist Sans Serif typeface with a touch of daring exploration. With slightly rounded corners, it has a strong and distinctive personality that makes it perfect for branding, editorial design, web, and mobile applications. OVERLAND is a versatile typeface that adapts to any environment. Its simplicity makes it highly legible, ideal for communicating clear and direct messages. But its imposing presence makes it stand out in any context, making it an ideal font for those looking to create designs with a touch of originality and style. With six different weights and designed in both uppercase and lowercase, it's a complete typeface family. Its minimalist style is elegant and refined, with its Super and Bold weights ideal for branding or headlines, while its lighter weights allow you to use it for medium or long texts. OVERLAND is a versatile and stylish choice for any project. Thank you for visiting our store, and please don't hesitate to contact us if you have any questions. We're here to help you create stunning designs.

Monotype Bembo is generally regarded as one of the most handsome revivals of Aldus Manutius' 15th century roman type, but the original had no italic counterpart. The story is told that Stanley Morison commissioned Alfred Fairbank, a renowned calligrapher, to create the first italic for Bembo, which was released as metal fonts in 1929. Alfred Fairbank, however, claimed that he drew the design as an independent project and then sold his drawings to Monotype. According to him, the statement has been made that I was asked to design an italic for the Bembo roman. This is not so. Had the request been made, the italic type produced would have been different." Whichever version you believe, it was obvious that Fairbank's design - while undeniably beautiful - was not harmonious with Bembo roman. A second, more conventional italic was eventually drawn and added to the Bembo family. Fairbank's first design, which was based on the work of sixteenth-century writing master Ludovico degli Arrighi, managed to have a modest life of its own as a standalone font of metal type. It never made the leap into phototype fonts, however, and the face could have been lost, were it not for Robin Nicholas, Monotype Imaging's Head of Typography in the United Kingdom, and Carl Crossgrove, a senior designer for Monotype Imaging in the US. Nicholas and Crossgrove used the original drawings for Fairbank as the starting point for a new digital design, but this was only the beginning. They improved spacing, added subtle kerning and optimized the design for digital imaging. In addition, Nicholas created an alternative set of lowercase letters, fancy and swash capitals and enough alternate characters to personalize virtually any design project. By the time his work was complete, Nicholas and Crossgrove had created a small type family that included Fairbank, a revived version of the earlier metal font, and Fairbank Chancery, a more calligraphic rendition of the design. An additional suite of ornate caps, elegant ligatures, and beginning and ending letters accompanies both fonts, as does a full complement of lowercase swash characters. Now, instead of a failed Bembo italic, Fairbank emerges in its true glory: a sumptuous, elegant design that will lend a note of grace to holiday greetings, invitations, and any application where its Italianate beauty is called for."

The hand-brushed Fave™ Set has ten informal scripts and other handwritten fonts made up of two subfamilies: Fave and the even-more informal Fave Casual, each have a primary script with a bold version and three other handwritten faces for a total of ten typefaces spanning the casual spectrum. All are optimized for large type use too so they look as good up close as they do set at smaller sizes. OpenType features The Fave family has a few features that happen largely in the background. All of the fonts use the OpenType Standard Ligature feature to automatically differentiate consecutive lowercase letters and numbers (using separate glyphs) and like our previous release Turbinado, they also automatically differentiate like characters that are separated by another letter. Alternate characters The script fonts have alternate uppercase and lowercase characters including multiple t (and double t) crossbar alternates that can be selected from the OpenType glyph table. Enable Contextual Alternates feature to automatically insert a bigger crossbar as the surrounding letters allow throughout a text box or document. You can also make your own custom lowercase t and crossbar to fit any situation–all of the lowercase t ascenders and crossbars are available separately in the OpenType glyph table, and can be combined and moved around manually. Stylistic sets and other goodies Fave Script and its bold counterpart have two Stylistic Sets. When enabled, one automatically substitutes non-connecting alternate characters at the ends of words, the other substitutes even bigger t crossbars than the Standard Ligature feature does. Smart apostrophes and ligatures Other subtle but hopefully helpful features include smart apostrophes, which insert themselves between two script characters in common situations without breaking their connection, and a few ligatures that also make character connections more seamless.

Every font designer has their own favorite font type, which you do not need to find as it takes too much time to figure it out for you until you can match it with a perfect font. Ringtail has the best answer to your needs. Ringtail is a font containing two font types to use together or separately: sans serif and script fonts. Sans serif font has firm, modern, simple looking lines without curvy edges. Meanwhile, the script font has curvy lines in water paint or ink textures. The textures are extra lines added to each letter and to the background letter patterns. A textured script font looks more artistic and more detailed than the other ordinary script fonts to show elegant, romantic impressions in your designs. Additionally, script font can be applied for adding extra visual contrasts to designs with sans serif font. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Ringtail fits best for various design projects, such as brandings, posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, 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.