Telephone is a geometric semi-slab family with block serifs positioned to assist wordflow. The typeface evolved from an italic wordmark designed in 1966 for the British GPO by the Banks & Miles agency to publicize all-figure telephone dialling (all-number calling), and the new fonts retain that italic spirit, even in the upright romans. The squarish glyphs, with a mix of rounded and angular corners, have a post-modern feel suggesting technological advance, innovation and vitality. A wide version, Telephone Extended, is also available.

Kufi Mutamathil is an Arabetic (extended Arabic) typeface design with heavy Arabic Kufi calligraphy accent, both on a single letter level and in an overall text look and feel. Although Kufi, the earliest Arabic calligraphy style, is often described as “stiff”, it is in fact a very flexible style. The Kufi Mutamathil typeface design underlines this calligraphy style flexibility and openness through visualizing a very legible Mutamathil design with Kufi shapes. The Mutamathil type style utilizes only one isolated glyph per Arabic Unicode character or letter, as defined in Unicode Standards. It is a very light style which does not require any standard glyph substitution or the shaping engine. The Kufi Mutamathil font family employs variable, unrestricted, x-height values. It comes in regular and left-slanted italic styles. Kufi Mutamathil includes all required Lam-Alif ligatures. Soft-vowel diacritic marks, or harakat, are selectively positioned with the majority of them appearing on the same level, over or below, following a letter, to ensure that they would not interfere with individual glyphs appearance. Kashida, or tatweel, (shft-j) is a zero-width character. Keying it before Alif-Lam-Lam-Ha will display the Allah ligature. Kufi Mutamathil includes both Arabic and Arabic-Indic numerals, in addition to all Standard English keyboard punctuations and major currency symbols.

Inspired from the bold and loud visual statements from the 90s poster and graphic design trend, makes Strippy can’t hold itself to be born in this universe. A clean, square, and bold form of body, makes Strippy is the simple way to go to shot your statement louder and wider.

The Halis Grotesque font family comes in eight weights of Normal and Italic. In addition, all weights contain small caps in both italic and normal. The name of the font means “pure, clean.” The Halis Grotesque Font Family has the new Turkish Lira Sign as well as an alternative ampersand created by Prof. Halis Biçer, renowned in Turkey for his expertise in typography, calligraphy, and graphic design. That’s why this font’s name is inscribed with a dedication to the venerable Halis Biçer. The spaces between characters are wide enough to be legible even at very small sizes. With the HALIS GROTESQUE FONT FAMILY, you can create beautiful works for the web, including logos, banners, body copy, and presentations. Halis Grotesque also works nicely in print formats such as posters, T-shirts, magazines, and affiches. Because of its eye-pleasing style, this font is both effective and versatile.

Hercílio is a typographic family without condensed serif, modern and geometric inspired by the architectural forms of the Hercílio Luz Bridge in Florianopolis | Brazi Comprising eleven (11), weights of which ten (10) business are: Five weights Romans: Light, Normal, Regular, Medium and Bold Five Italics weights: Light, Normal, Regular, Medium and Bold And a weight (FREE) Hercílio Decorative Comprising 430 glyphs in each source, brings support for 56 languages (Latin and West, Central and East European) still has features Open Type, ligatures and tabular figures. http://www.cort9.com/wp-content/uploads/2016/05/Specimen_Hercilio.pdf

Diorite is modern face built on classical letterforms -- but left with a bit of residual roughness. Some might call Diorite forthright, others brutal. (It reminded the designer of the dark, hard igneous rock of the same name, treasured by the ancient Egyptians for statuary.) The typeface has a relatively chunky, four-style family; the italics are true cancellaresca corsiva, also writ heavy. "The cancellaresca is of course a Gothic design," notes the designer. "Just use a broader pen, and you'll see!" Has four styles: regular, bold, cursive, and cursive bold.

Dream To Berich is a Bold vintage style serif font with strong character and soft features. modern and classic serif font with a clear and bold look. It’s a very versatile font that works great in large. Its comes with two style regular and italic / slant, Dream To Berich was built with openType features, stylistic Alternate and Ligature makes your project will be awesome!! Perfect for editorial projects, Logo design, web font, clothing branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image.

Currently, the STARSsoft NIKA font family is represented by two fonts - Bold & Bold Italic. The letters and numbers in the font are shown in such a way that there are no holes in the letters and the entire outline of the font consists of one closed line. The font has both a standard Latin set and an extended one. The font also has Cyrillic support. In addition to the Russian Cyrillic alphabet, the font has support for Ukrainian and Kazakh Cyrillic. In addition to standard character sets, the font has many additional letters with diacritics.

Sean Henrich ATF is a sharp, rounded geometric display font and works best in text and display applications, such as headline, posters, signage, magazine, product branding, corporate branding, logos and titles. Several alternate characters are included in this typeface. Sean Henrich ATF font has six weights; ultra light, extra light, light, regular, bold and extra bold, each available in italic, making a total of twelve styles. Each style has a full upper and lower-case, accents, punctuation and a selection of monetary symbols. Currently Available for PC, in Open Type, PostScript or TrueType.

Koran Sans is a clean family sans humasnist style that is absolutely perfect for editorial headlines. The complete font family of upright and italic letters is easy for you to use 18 styles in many projects. This font is complete with symbols and multilingual. This font style is bold, bold, and sleek, making it perfect for editorial, web, posters, t-shirts, and magazine covers. . etc Including: Uppercase Letters, Numbers, Punctuation & Symbols. Multilingual Support Koran sans exudes character but is still useful thanks to its restrained geometric styling and modern construction.

Dvarlin Staves is a collection of 512 rune glyph's divided into six font family's. The three main font's are Root, Caber and Bole, while Remnant, Branch and Blossom are taller versions of the main set. They all come in four weights: Light, Regular, Semibold and Bold. As well as a Italic and a Slant style for the purpose of adjusting letters on a curved line. It also features codex:437 glyph set and an extended array of letters and corner alternatives, including the default runic glyph's. The collection stands at 72 styles that contains a total of 36 864 glyph's. For extra supporters consider gifting some Staves away to a crafty friend.

The German typeface artist Lucian Bernhard designed Bernhard Antiqua as the first of his many text typefaces. The first weights were produced in 1912 by the foundry Flinsch in Frankfurt am Main. Further weights followed in the 1920s, produced by the Bauersche foundry, which had acquired Flinsch in the meantime. Bernhard font is an alphabet with a marked historical influence. It brings the viewer back to the early 20th century, when the bold forms of this typeface graced advertising displays and posters. Distinguishing characteristics of this typeface are the cross of the capital W and the rounding of the capital R. Linotype's Bernhard condensed bold, with its narrow, robust forms, is best for headlines in medium and larger point sizes.

AZ Storm was inspired from old '70's skateboard logo. This font was designed for use as a fun bold headline.

Saigon is a minimalist condensed serif family. With clean lines and tight curves, its personality dwells in its simplicity making it a timeless editorial typeface. As the italic breaks with the traditional strokes and embrace a more modest yet modern look, it blends in nicely with its upright sister, thus creating an harmonious rhythm which emphasis the minimalist approach of Saigon. The low contrast serif is created to look great in both display and text. Whether it’s bold headlines of descriptive paragraphs, Saigon aims to be as versatile and functional as possible. It supplies 6 weights from thin to bold allowing you to elevate your typography designs in a minute while keeping it simple. Cause great design should be simple. The type family supports major Latin-based languages along with opentype features such as fractions, old style numerals, ligatures, case sensitive punctuation, stylistic alternates symbols and more.

Annlie™ Extra Bold and Annlie Extra Bold Italic are two display faces designed by Fred Lambert in 1966 for the Annlie type family. These two samples from the Annlie family are both fat faces. Fat faces were offshoots of the modern, or Didone, typefaces that were de rigueur during the early 1800s. These fat faces were among the first typefaces to be used solely for advertising purposes. Naturally, they were always used in larger point sizes, in display functions. Annlie could be called an optimization of these old advertising typefaces. With high x-heights, ultra contrast between thick and thin strokes, and perfectly engineered drawing techniques, Annlie is a highly crafted typeface. Give it a spin in your next advertising campaign! Annlie’s fine thin strokes are very graceful in their appearance, and lend a strong, yet soft, feminine feeling to anything they touch.

Since the release of his first typeface, Zulia Pro, Joluvian has spent his time dedicatedly experimenting with an array of calligraphic styles and typography, before starting on his second typeface, Salamat. The journey began on a trip to Asia, where Joluvian was inspired by his time in the Philippines. After a series of discarded type sketches, the first stroke of what is now Salamat was then born.   What at first was a quick sketch, over time, evolved into a stylized typography; that lends to humanistic-expressive calligraphy, optimized with wide variety of swash capitals, contextuals ligatures, ascending and descending, starting and ending letters and a wide range of characters for each glyph. Salamat provides the user absolute freedom to play, create words, sentences and even very stylized paragraphs. Giving one the freedom with type, the way the Philippines gave Joluvian the freedom to explore calligraphy and typography.   Joluvian considers Salamat a new benchmark in his career. He now possesses more typography maturity, and a refined focus to put into practice all the knowledge acquired in his recent years of study, for this and much more salamat ('thank you' in Tagalog) to the Philippines.

Paunchy is a playful and handlettered, calligraphy based font. Especially made for Logos and Headlines.

Aseel is a contemporary and legible typeface. It is intended to work well in the context of information and signage design. It also works well as a body text typeface as it is characterized by open counter forms and a large x-height. It is based on the Naskh calligraphic structure and has a medium stroke contrast. The letters are condensed to fit more information per line and it exists in three weights, regular, medium and bold.

Kollhers is a calligraphic style script font. With contrast bold stroke, slanted and fun character with a bit of ligatures. To give you an extra creative work. Kollhers font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Kollhers font. Cheers, MaulanaCreative

Qisharon is a contrast sans serif font, consisting of four styles (light, book, regular, bold) and including 5 writing systems such as Latin (supporting all European languages and Turkish), Cyrillic, Greek, Hebrew, and Arabic. It is based on classic calligraphic rules and respects the traditions of every script. There are plenty of ligatures, that will draw attention to your design. Qisharon with it's formal and elegant nature is a perfect fit for logos, visit cards and magazine headings.

Pema – a contemporary Tibetan sans serif encoded in the Unicode standard. This is the first Tibetan typeface influenced by western sans serif fonts. It was designed especially to match multilingual purposes. The rather calligraphic Tibetan scripts did not match with the design aesthetics of western and Indian fonts and so I came up with the idea to design a “modern” Tibetan sans serif. Pema comes in two weights, Regular and Bold, each equipped with almost 1.300 glyphs.

This font family is inspired by printed work made by the Elzevir family back in the XVIIth century at Leiden (NL). They worked with material from several type designers, but further investigations sends us to the tracks of one in particular: Robert Granjon. Granjon italics were way ahead of his time, making some really beautiful signs like swashy ampersands and minuscule v letters. This font also contains old style figures in the same fashion as they were printed, like the flipped number 8 and open forms in 6 and 9. This is as much a revival as an original design, because of their weights bold and heavy (both with italics) that were inspired on some titles. In this font you can also find a lot of ligatures, small caps, diacritics and even a fleuron for each weight and variation. Leidener came up from two books: Constantini Imperiatoris (1611) and Exercitationum Mathematicarum (1657), printed by Louis and John Elzevir on their Leiden Workshop, back in the day.

Full Neue is the younger brother of original Full Sans, Full Slab and Full Tools. Ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, way-finding and signage as well as web and screen design. Full Neue provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Full Neue LC 50 Book” forms the central point. The first figure of the number describes the stroke thickness: 10 Thin to 90 Bold. Full Neue LC comes 5 weights and italics also Full Neue SC comes 5 weights and italics total 20 types. The family contains a set of 485 characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Full Neue is the perfect font for web use. You can enjoy using it.

Full Slab is the younger brother of original Full Sans, FullNeue and Full Tools. Ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design. Full Slab provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Full Slab LC 50 Book” forms the central point. The first figure of the number describes the stroke thickness: 10 Thin to 90 Bold. Full Slab LC comes 5 weights and italics also Full Slab SC comes 5 weights and italics total 20 types. The family contains a set of 485 characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Full Slab is the perfect font for web use. You can enjoy using it.

Tombstones tumble as the night shift begins; as bloodsucking bats turn into pale predators and the undead reach through the dirt that covers their coffins to crush and destroy those who dare cross the cemetery path... Finally there emerges a cold cast of creepy characters, a macabre cadre of lurid letters we had to call… GRAVEYARD SMASH.

Solar is a font family designed by Carlos Fabian Carmargo G. Its members, together or separate, can be used in packaging, posters, cards, invitations and logos that need expressive letters with craft features. First, a set of arbitrary ideas were designed on rough paper, and through changes five styles resulted to mix and compose bright words and phrases. Solar Script comes from crossbreeding and the collusion of primitive visceral strokes and calligraphy on textured paper. This way its letters were planned for empty and full areas deteriorated sometimes simulating irregular ink clots. Therefore, the simulate trajectories with bold brushstrokes made that it works especially well in sizes larger than 12 points. Its rhythmic vitality and energy give personality, reflected in uninterrupted rapid and logical talics with strokes. Solar Words has more than 115 words unstable and inclined. Solar Dingbats has more than 100 brightness generating drawings, Solar Sans and Serif are capitals combined with other members of the family.