Lens Grotesk is a Neo-grotesque type family of 16 fonts born as a result of a very conscious research in the field of the neutral Swiss aesthetic. There's a reason for all the prominent examples of this design like Helvetica and Univers to be used on a daily basis for more than 70 years and it's a simple one - they just work. The closed terminals, the low contrast, uniform widths and proportions makes the Neo-grotesques feel just right. Although very often branded as stiff, the neutral Neo grotesques are here to stay and Lens Grotesk is our own reading of the popular style. Lens Grotesk takes the Neo-grotesk model one step further adding a pinch of Geometric sans-serif to the mix thus creating a way more modern and contemporary looking design. Characterized with more generous oval proportions and slightly more open terminals, Lens Grotesk keeps the modulation and rhythm needed for a slightly longer texts while visibly keeping everything in order. Zooming in you'll find traces of the Geometric aesthetic - the robust almost right angled approach of the arches and tails (look t, f, j, y) and the way more circular rounded shapes. Like all our fonts, Lens Grotesk is equipped with a range of OpenType features, stylistic alternatives and of course Cyrillic support. It comes in a pack of 16 fonts with 8 styles and their matching italics or one variable font file available with all full family purchases. Live Tester | Download Demo Fonts | Subscribe

I saw a cool UT-Ligature on an old (maybe 70's or 80's) Texas Longhorns fan-shirt - it was in 3D and I wanted something like that with my own initials A and B to print it on a baseball hat. I started drawing it and when I was finished, I thought it might be nice to do the same for my officemates. I needed another G, T and K. After finishing that I thought it might be cool to do this for other people as well. Since the source of all the 3D glyphs is found in the regular ones which get moved by a 45 degree angle and then connected with lines , I first draw all the uppercase regular glyphs. The thing that followed was kind of an addiction: after finishing the uppercase letters, I wanted to add lowercase letters, after finishing the 3D letters, I thought it would be nice to have a fill version to layer with the 3D letters. Having a rough, woodcut version of the regular style would be cool, too. And the font is also pretty much suited to make a stencil version. When all this was done, I was interested on how the font would look like without the serifs and curves instead of the 45 degree angles, so I did the Longhorn Sans. Good to use for all sports-related designs, especially retro-style soccer/football shirts. Uppercase characters can be combined to form ligatures or logotypes.

With Encercle Draft, you can create circles and other shapes containing numbers up to 999999. Here's how it works: hold shift and type the number of digits, followed by a number. If you want the number 25, hold shift, type 2 followed by 25. If you want the number 250, hold shift, type 3 followed by 250. You can also type letters, periods, slashes, hyphens, question marks and exclamation points. Create an inverse white-on-black effect using your application's Bold feature. Easily change shapes by selecting a different font style from your application's font menu. Encercle Draft is available in the following shapes. Circle Square Box (wide rectangle) Box with rounded ends (tab) Diamond Circle inside a diamond Hexagon Hexagon rotated Octagon Triangle up Triangle down Triangle right Triangle left Quote bubble with left tail Quote bubble with right tail Quote bubble with no no tail Cloud (thought bubble) Encercle Draft uses OpenType technology. Most current graphic design applications support basic OpenType features but there are a few exceptions including AutoCAD, SketchUp, Solidworks and Canva. Encercle Draft will work in Affinity, Inkscape, GIMP, Adobe apps (not Photoshop Elements), Microsoft apps (not Powerpoint), Sibelius and more. Encercle Draft includes a PDF manual with examples. There's also an advanced feature which allows you to create solid-colored backgrounds. For a thicker, sans-serif style, check out Encercle Sans. For more complex layered effects with a different selection of typefaces and shapes, check out Numbers with Rings. Encercle PDF user manual.

With Encercle Sans, you can create circles and other shapes containing numbers up to 999999. Here's how it works: hold shift and type the number of digits, followed by a number. If you want the number 25, hold shift, type 2 followed by 25. If you want the number 250, hold shift, type 3 followed by 250. You can also type letters, periods, slashes, hyphens, question marks and exclamation points. Create an inverse white-on-black effect using your application's Bold feature. Easily change shapes by selecting a different font style from your application's font menu. Encercle Sans is available in the following shapes. Circle Square Box (wide rectangle) Box with rounded ends (tab) Diamond Circle inside a diamond Hexagon Hexagon rotated Octagon Triangle up Triangle down Triangle right Triangle left Quote bubble with left tail Quote bubble with right tail Quote bubble with no no tail Cloud (thought bubble) Encercle Sans uses OpenType technology. Most current graphic design applications support basic OpenType features but there are a few exceptions including AutoCAD, SketchUp, Solidworks and Canva. Encercle Sans will work in Affinity, Inkscape, GIMP, Adobe apps (not Photoshop Elements), Microsoft apps (not PowerPoint), Sibelius and more. Encercle Sans includes a PDF manual with examples. There's also an advanced feature which allows you to create solid-colored backgrounds. For a thinner, classic architecture/drafting style, check out Encercle Draft. For more complex layered effects with a different selection of typefaces and shapes, check out Numbers with Rings. Encercle PDF user manual.

IngrimayneType has put letters inside a variety of objects, including bowling pins, book covers, coffee mugs, teapots, pumpkins, Christmas ornaments, train cars, tombstones, old bottles, circles, and rectangles. In each case the letters were placed on a single shape. The use of the Opentype feature of contextual alternatives makes it easy to use two different but alternating shapes. ButterflyWingz puts its letters on the right and left wings of a butterfly. The wings provide a large surface for drawing letters, but they have a odd shape so letters must be distorted to fit. The wings are symmetrical but some letters are not, so the right and left wing versions of the same letter are sometimes quite different. Without the contextual alternative feature one could design a typeface like ButterflyWingz but the user would have to alternate upper and lower case keys. With contextual alternatives turned on, the computer automatically alternates the letters creating a line of complete butterflies. Turning on the Opentype feature stylistic styles one (ss01) replaces the empty spaces with empty wings. However, sometimes an empty wing at the end of a line is unwanted and it can be removed by changing the typeface or by turning off the stylistic style for that character. The family contains two styles, a filled style and an outline style. They can be used separately or together in layers to add color. (Empty wings are on the logicalnot and registered characters.) ButterflyWingz is hard to read and should be used in small doses for decorative effects.

“Macaw” is a welcome addition to our library, a modern serif typeface with roots in classical typography. Its forms are sober and delicate in its lightest weights and as the width increases to the boldest, it unleashes a powerful and distinctive emphasis on your project. Developed in a range of four weights with a matching set of true italics, the design of Macaw takes its inspiration from the Italian newspaper market at the beginning of last the century, a time where roman typography was predominant. In fact, the main purpose of this typeface is to preserve versatility and legibility, to prescind from any text size. A multilanguage serif family with a unique fluidity to modern and classic projects. Particularly useful for any editorial need and seamlessly adaptable to any destination of use such as corporate identity, web design, and social feeds. Specifications: - Files included: Macaw Light, Macaw Regular, Macaw Medium, Macaw Bold with corresponding italics - Formats:.otf - Multi-language support (Central, Eastern, Western European languages) Thanks for viewing, Unio.

Gloriz Vintage is the bold and distinctive retro serif font that adds a touch of rustic charm to any project. Designed by Mans Greback in 2023, this font features rounded edges and a heavy, printed appearance that will give your work a vintage look. Perfect for headlines and logotypes, Gloriz Vintage is the perfect choice for designers looking to add a touch of personality to their work. Don’t miss out on this one-of-a-kind family! The Gloriz Vintage family consists of six high-quality fonts: The three weights Regular, Light and Bold, are each provided as both Upright and Italic styles. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive language support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you’ll ever need, including all punctuation and numbers.

The idea of this font started while designing a logotype for a company named (Mazarat), consisting of 3D geometric looking shapes and overall structure. After designing several words, I thought of using the design concept of this logo to develop a geometric Kufi font for headline category. All letters of this typeface family were conceived with suitable coordinates and dimensions to create the first weight, bold, before finishing the rest of the letters to support Arabic, Persian, Urdu and Kurdish languages. Another weight was conceived, regular, which was designed closer to light to support applications that require variations in thickness. With a 3D look, this font is a simple and creative addition which can be useful for book titles in addition to a variety of other geometrical constructions projects. It brings new design concept for ends of Jeem, Ayn, Reh and Waw to enhance beauty and harmony and to enrich our previous geometrical font contributions which started with the release of HS Alhandasi and HS Almohandis from HibaStuido.

Metrisch is new sans serif typefamily of seven weights plus seven italics uprights in each weights. The typefaces designed based on traditional geometric construction that have been built with letter size wider, the x-heights taller and short descender that almost proportioned with the basic letter shape. With little details added like clean vertical cuts on the terminals and optimized sharp corners that makes this fonts smooth and refined looks. It was represents the flavor of the most common humanist typefaces style and grotesk feels. The weights comes from extra light to extra bold suitable to make display appearance, and the book and medium weights also works well as small/medium text sizes to accompany your design, such as editorial fashion magazine, solid headline, websites heading, poster, advertising, logo, signage, etc Also, Metrisch type-family fully loaded with OpenType features such as some stylistic alternates, case-sensitive forms, fractions, small capitals,and another most common numerals features such as super & subscript, tabular & oldstyle figures, numerator-denominator, and has more extended latin diacritics characters.

Caflisch Script was designed by Robert Slimbach in 1993. The design is based on the handwriting of Max Caflisch, one of the foremost graphic designers of this century. Caflisch, a teacher of graphic arts for over three decades in Zurich, is author of several books on typography and designer of the 1952 Columna typeface. Caflisch�s handwriting has a free flowing yet disciplined character, the result of years of practice and devotion to the calligraphic arts. Slimbach retained the subtleties and natural letter joins of Caflisch�s original handwriting while adapting it into a typographically sound and highly practical script typeface. Caflisch Script is a multiple master typeface with a weight axis that allows the typeface to transition smoothly from light to heavy weights, maintaining legibility and visual appeal at a full range of point sizes. Caflisch Script can be used anywhere the appearance of a fine hand is desired, as well as more sophisticated and practical situations such as display work in books and copysetting for advertisements.

CoolKids was inspired by the song “Signs of Life” by Arcade Fire. Since the lyrics talk about some cool kids we wondered what a typeface with the name cool kids would look like. We immediately knew it had to be laid back yet bold and to stand out from the crowd. After designing the bold script we decided to include a light, regular and medium weight to offer you more options for your designs. It comes with initial and final alternates, that show up automatically, to make it feel more natural and similar to handwriting. Every character was carefully drawn and connections are real smooth. This casual font-family speaks most Latin languages, both in their basic and alternate forms. CoolKids is great for creating logos, packaging, posters and much more. More important than to create a font is to use it… so now it’s up to you to create something awesome with it. Feel free to share your designs with us via email to hi@seventype.com We would love to see and share them with the world!

The Siseriff family of types contains nine different styles, which were developed by the master Swedish typographer Bo Berndal in 2002. Siseriff is a contemporary slab serif face. Except for the Siseriff Black weight, all of the letters display a slightly condensed appearance that is coupled with a relatively uniform width throughout the alphabet. Siseriff's nine styles are distributed across five weights (Light, Regular, Semi Bold, Bold and Black). The Italic companions for these styles (Siseriff Black does not have an italic companion) are true italics. These redrawn italics add a higher degree of differentiation from the Roman weights than could be achieved with obliques alone. Many common Slab Serif families (e.g., Serifa) do not offer this degree of differentiation. This variety makes Siseriff the perfect choice for journalistic and editorial work, where a good hierarchy may be achieved solely by relying on the various weights available, and their italics. All nine styles of the Siseriff family are part of the Take Type 5 collection from Linotype GmbH."

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.

Jean Evans' interest in type design dates back to her third-grade fascination with fancy script writing. Years later, work at a sign-painting school she found in the Yellow Pages® cemented her relationship with letterforms. Evans went on to study with master calligraphers and type designers, including the likes of Donald Jackson, Hermann Zapf and Matthew Carter. Evans' designs have been exhibited and collected around the globe, and her distinctive calligraphic style has been lauded by leading trade organizations, annuals and publications. Hatmaker, one of Evans' more popular typefaces, was originally developed for the Boston-based broadcast design firm of the same name. Inspiration for the design came from Ben Shahn's famous hand-constructed alphabet. Shahn's alphabet, however, was limited to capital letters. Daunted by the idea of designing a lowercase that would measure up to Shahn's capitals, I developed a second set of caps-simple, quirky, yet almost classic-to work as 'lowercase' with the Shahn-like caps," explains Evans. Mixing the two in Hatmaker, creates a lively interplay of light and dark."

Linotype Mega is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. The fun schrift of German designer Till F. Teenck is available in three weights whose names are word plays in themselves. Mega in (which we hope the font will be) contains relatively light, somewhat irregularly-drawn characters which look as though they were printed by hand and the characters are set rather far apart from each other. This weight is good for short and middle length texts in point sizes of 10 and larger. Mega normal is anything but. The characters are the outline forms of Mega in and their larger width reduces the distance between them. This weight is generally a headline font. Mega out is a very heavy weight and is the filled-in version of Mega normal. The characters flow into each other and look almost like silhouettes. The reduced legibility makes this font suitable exclusively for headlines in larger point sizes.

AD's Comics For All has everything you need from a professional comic book font but with a light, accessible price tag. The key to digitally lettering comics is mimicking the style and natural imperfections of hand lettering. This font was handmade and programmed (with nifty tricks) keeping exactly that in mind. The functionality of hand lettered comic book fonts definitely doesn't end at comic books. It can give an energetic and natural feel to just about any design. They can be especially handy when a bit of contrast is needed in a type-heavy layout. If you need an exceptional and affordable font to letter your indie comic book/manga/graphic novel, AD's Comics For All is an excellent choice. If you're a seasoned letterer, this versatile font is worth adding to your dialogue arsenal. If you're a designer and have never looked twice at a comic book, you'll find that comic book fonts are a category of their own and a useful tool in your utility belt.

Abdo Rajab is the second version of the font FS Rajab which was designed by the type designer Abdulsamiea Rajab Salem for Future Soft company fonts. It is a leading company in Arabization field and producing the Arabic and Islamic programs beside the children programs. This font appeared between 1998 and 2000. In this version there were a lot of adjustments to keep the font in its spirit and uniformity between the various characters. Also added some new characters, which gave him another beautiful addition to be used in both title and text designs. Three weights (Regular, light and bold) have been created. Then the font was converted to OpenType to support Arabic, Persian and Urdu to be compatible with the various operation systems and modern software. The combination of modern Kufi and Naskh styles and varying between straight and curved parts made it a beautiful typeface appropriate to the titles and text, and able to meet the desire of the user in the design of ads and modern designs of various types of audio and visual.

The Core Sans N Family is a part of the Core Sans Series (Core Sans N SC, Core Sans N Rounded, Core Sans M, and Core Sans G). Letters in the Core Sans N Family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans N Family consists of 3 widths (Condensed, Normal, Extended), 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black), and Italics for each format. It also supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans N Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

A classic sans-serif typeface made with perfection and readability in focus, Stage Grotesk is your simple choice for textual representation at its level best. Created with a special focus on minimalism and simplicity in typography, this typeface can transform your design projects to another level of visual appeal. Stage Grotesk typeface family comes with a total of 14 fonts having 7 weights (Thin / Light / Regular / Bold / ExtraBold / Black) including upright as well as Italic versions of all weights. Handcrafted and designed with powerful OpenType features in mind, each weight includes extended language support including Western European & Central European sets. A total of 618 glyphs are included covering extra symbols, punctuations, and marks. Stage Grotesk is a perfect choice for graphic design, text presentation, web design, print, and display use. The typeface can be an amazing option for beautiful branding, logo/logotype design projects, marketing graphics, banners, posters, signage, corporate identities as well as editorial design. Adding extra letter-spacing for the upright capital letters will make this font perfect for minimal headlines and logotypes as shown in promo images here.

" Bontour" AnElegant & Luxury Display Font Style !! Bontour - An Elegant & Luxury Typeface is my new elegant serif font that will bring in your projects a touch of luxury and style. It's perfect match for logotypes, branding, wedding monograms and invitations, blog headlines and much more. Flip through all the previews and get inspired like I was while creating this font. A modern take on a Caslon style typeface, It's got hundreds of characters and ligatures plus all those European letters! Bontour pairs perfectly with a light scripts font or minimal sans serif. What you get? - Letters, Numbers, punctuation - Multilingual support - PUA Encoded Using Bontour definitely make your text stand out.The Bontour comes includes full set of gorgeous uppercase and lowercase letters, multilingual support, punctuation, and ending numerals .Perfect for DIY projects, greeting cards, labels, quotes, posters, wall art, branding, packaging, websites, photos, photo & photography overlays, signs, window art, scrapbooking, tags and so much more! Check my other Font here : https://gilarstudio.com/ Feel Free contact me if u any question.

Mela was created with a pointed brush and walnut ink using thick brushstrokes. The original idea was to make a kind of urban graffitti with a fat brush, but the final result is more refined and elegant. Something new - light and bold together. The letters are a little bit slanted using sharp strokes, the brush gives the illusion of a fat-tipped marker. This handmade typeface has a lot of contrast, it brings together the beauty of the calligraphic shapes and strokes with the esthetics of a modern urban style. It creates a carefree feeling, contemporary, adding a perfect modern touch to your work. The possibilities for customized layouts are limitless, using the opentype ligatures and alternates to you make Mela your own. Mela Pro contains 473 glyphs: alternates, ligatures, icons, ornaments, and much more. Mela regular is limited to letters, figures and punctuation. Mela & Mela Pro are perfect for headlines and short texts. Use it for magazines, packaging, advertising, branding, posters, editorials, TV, movies and websites to give to your projects the unmistakable human touch of beautiful handwritten letters.

Introducing Mullingar, our latest submission to the display typeface’s world library. Heavily inspired by the letters that are used in old/classic advertisements and signpainting culture, with a little magic touch of modern twist to keep this family relevant. Mullingar letterforms were built from bold and blocky base, unique serif combinations, clean plus smooth curves, and sharp edges. Available in six styles (Regular, Bold, Light, plus Slanted in each version), that guaranteed to give you joy in designing. Mullingar family is a reminiscent of retro sign painting, featuring a rustic architecture that makes it quite at home in a wide variety of design themes. Its blocky characters are best used in bold signage, headlines, advertising, logo designs, product packaging, merchandise, apparel, posters, album artwork, book covers, titling, etc. This typeface also provides additional versatility through OpenType feature, offering discretionary ligatures, standard ligatures, and stylistic alternates. It extends multilingual support to Basic Latin, Western European, Euro, and Pan African Latin languages for design projects intended for an international audience.

German type designer Ingo Preuss created this family between 2014 and 2016. Instance is a new classic built on the foundation of over two centuries of history. Fresh and contemporary, while feeling familiar. This typeface is a high contrast sans serif typeface family and was designed for contemporary typography, especially for use in headlines and on posters, but also for reading purposes. A flexible, medium to high contrast, sans serif less about designing a stylish decorative design and more about applying contrast onto a neo-grotesk skeleton. Instance is more than just chopping off the serifs. The classical proportions of the capitals and x-heights were maintained, but the letterforms were rebalanced for use without serifs. Contemporary modifications were made to some widths, as well as an all new Light weight was created. Please note: Instance STD Office Packages is only as TrueType (* .ttf) and Standard-Version. Also, the character set has been reduced to Standard (without OpenType-Features, SmallCaps, old style figures, etc.). Ideal for testing and for Microsoft Office applications.

Wind Soul is a whimsical display font that floats into the visual realm with an airy charm. Crafted in uppercases and playful design elements, Wind Soul is a delightful typeface that brings a sense of lightness and joy to any creative project. This is ALL CAPS font. The characters in Wind Soul are generously sized, enhancing the font's playful and larger-than-life aesthetic. The thick font weight adds a comforting solidity, while the design, reminiscent of a balloon's roundness, infuses a sense of fun and lightheartedness into each letter. Enjoy the features here. Features: Alternates Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Wind Soul 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.

A variation of ”Helvetica according to the blur principle.“ The underlying typeface is ”Helvetica“, the only true ”run-of-the-mill“ typeface of the twentieth century. The distortion principle used simulates the photographic effect of halation and/or overexposure. The light weight, »DeFonte Léger«, nearly breaks on the thin points, whereas on those points where the lines meet or cross, dark spots remain. The characters are ”nibbled at“ from the inner and outer brightness. On the normal and semibold typestyles, »DeFonte Normale« and »DeFonte Demi Gras«, the effect is limited almost exclusively to the end strokes and corners, which appears to be strongly rounded off. The bold version »DeFonte Gros« is especially attractive. As a result of ”overexposure“, counters (internal spaces) are closed in, while characters become blurred and turn into spots; new characteristic forms are created which are astoundingly legible. The fat version »DeFonte Gros« is particularly appealing. “Overexposure” leads to drifted counters, letters blur into spots; new characteristic forms emerge, which are surprisingly easy to read.

Treatise was born in a notebook at the back of a boring lecture on immunology with the simple thought of “How can I make a serif more fun?” When writing a scientific treatise, there are not many options for making it enjoyable. However, some little quirks and fun features in the font can take the serious edge off the writing.... Treatise is a light and open serif with some design quirks, which give it a slightly calligraphic feel; a single -storey “a” and “g,” a visible stroke mark on the “o,” and a curved arm on the “k.” These features are subtle enough to fit into a paragraph of text but bold enough to give a title some character. The Treatise family includes a true italic and a heavy-struck style bold, and several OpenType features; standard and discretional ligatures, contextual alternatives, and different figure styles. The character coverage includes Basic Latin, Latin-1 Supplement, and Latin Extended-A and will support most Latin-alphabet languages, including languages with more exotic characters such as Icelandic and Maltese.

Shackle One is a geometric Sans Serif with a twist. As a modern classic that does not wear out visually it is suitable, for example, for luxury items, leather goods, watches and jewelry, high-class sports, documentation of historical technology or graphics in the field of art and design. It works excellently for huge headlines, but can also show particular strengths in continuous text – its gray value is almost flawlessly uniform. All line connections and terminations are perpendicular, which means that slopes or curves have a light bend at their ends, similar to the lordosis of the cervical spine. This makes the font look upright and straight and at the same time agile and dynamic, like an athlete with good posture – a typeface that is powerful and confident without appearing steely or violent. Shackle One is a classic but casual looking font with sophisticated details. It has a classy appearance without being pretentious. It can appear stern and serious as well as playful and humorous. Its strong character also makes it an excellent corporate font for certain branches. You will love it.

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.

Zin Slab is a contemporary slab-serif typeface designed for various situations of typographic usage. Characteristic feature is a large x-height and balans between neutral construction of letters (strictly vertical axis) and dynamic open forms (opened terminals). Another typical feature is a visually narrower connection between stems and strokes. The complete font family consist of three width proportions (Normal, Condensed and Extended). Every sub-family has 5 weights, ranging from Light to Black with matching Italics. Each font includes small capitals, old-style and tabular figures, standard and discretionary ligatures, alternate glyphs and a many of typographic options applied by the Opentype features. Zin Slab can be effectively used for both text and display typesetting. It can be used especialy in magazine layouts and editorial design, as well in advertising typography, orientation systems, corporate identities and many other situations. Zin Slab is a member of the Zin super family, which also includes Zin Sans, Zin Serif and Zin Display fonts. You can try Demo styles in Medium weight fully for free.

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.

Steel Grrrder is an industrial-style joining script with a stencil effect, available in six weights ranging from Light to Black. Great for all kinds of display purposes including posters, film titles, book covers, magazines, advertising, signage, packaging, logos and tanks, this is a script with a sharp personality and a steely presence. However, if you’re searching for a “nice” script - sorry, bud - you’re looking in the wrong place. Steel Grrrder Script doesn’t entice the reader with voluptuous curves, flowing swashes or frisky letterforms, instead its sharp chiselled features compel the reader to pay attention. Characters muscle their way along like robotic bulldogs in steel-toe cap boots. Steel Grrrder Script is a veritable slab fest, best categorised as a constructivist joining script. Forged from carbon steel and wrapped in a layer of Graphene, this is a robust display typeface family able to withstand even the most demanding typographical situations. The Steel Grrrrder extended family also includes a six-weight sans-serif with corresponding italics and two display fonts, Groove & Nutjob - all designed to work with each other.