This distinctive titling face is based on Elegant Lichte, designed by Hans Möhring for D. Stempel in 1928, with the helpful addition of a lowercase not found in the original. It functions equally well as either a period piece or a contemporary masterpiece. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, as wellas localization for Moldovan and Romanian.

Bubbly Hills is the classic style bubble letter font! Combine the 3-D & flat letter styles, or use these styles separately..... many different looks can be created! There is a sprinkling of dingbats scattered around the alternates, just there to make this font extra fun and useful . Check it out! Bubbly Hills is extended, containing West European diacritics & ligatures, making it suitable for multilingual environments & publications.

Hola Zozo is a slant chubby font. This font is fit for every design purposes. Why its called "Zozo"? Because Zozo is like 2020 :D Have fun with this chubby font. I really hope your projects will be cool with this font, and please don't hesitate to drop me a message if you have any questions or you wanna share some jokes! :) Thank You, Ari

Schreibmeister is my interpretation of Arno Drescher’s design for Ludwig Wagner, Leipzig, completed in 1958. The letters X and x were improved as well as some ligatures. The letter E has an alternative, and the small d comes with two alternatives, of which one form can be reached by typing the partial different key. Generally it is recommended to activate both Standard and Discretionary ligatures.

3D Techno is a font made entirely of little cubes! Combine 3-D and flat styles, or use these styles separately..... many different looks can be created! There is a sprinkling of dingbats scattered around the alternates, just there to make this font extra fun and useful . Check it out! 3D Techno contains West European diacritics and ligatures, suitable for multilingual environments and publications.

It's not fragile, it's delicate! :D A Arabic font (Persian typeface), as a gift for you type lovers! This font does not support any Latin characters. Just Persian and Arabic. You can get this font for free by buying another Si47ash Font: https://www.myfonts.com/foundry/si47ash-fonts/ Let me know when you did it and I will send you a promo-code: shahabsiavash [at] gmail [dot] com

Golestan is designed by Naghi Naghashian. It is a Font family, in 2 weights, 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. Golestan supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Golestan 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. Golestan’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. Golestan was developed for multiple languages and writing conventions. Golestan 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.

The Catenary typeface was designed with the goal of creating an extremely-readable sans-serif font that could weather the future. Inspired by the beauty of the catenary curve, it's a blend of the transitional and the geometric that allows it to be readable while keeping its forms precise and consistent. Every character in its set is unique, leaving no confusion between similar letter forms. Sixes and nines can be distinguished even when they're upside down or sideways. The number one, the lowercase-L, and the uppercase-I can never be confused with one another, even without context. Throw b, d, g, p, and q into a jumble and the challenge of distinguishing the characters can easily be overcome. The Catenary family consists of eight fonts, six of which, the standard light/italic, regular/italic, and bold/italic, work as both excellent text fonts and exceptional display fonts. The two bonus fonts, a stencil and a guerrilla grunge style, make for great additional display font choices. The Catenary family is extremely versatile and ready for your toughest design work.

Pegah is a sans-serif font family designed by Naghi Naghashian in three weights. Pegah Light, Pegah Regular and Pegah Bold. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Pegah supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Pegah design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BaBa was developed for multiple languages and writing conventions. BaBa supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

BaBa is a sans-serif font family designed by Naghi Naghashian in three weights. BaBa Light, Baba Regular and Baba Bold. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. BaBa supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. BaBa design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BaBa was developed for multiple languages and writing conventions. BaBa supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Babak is designed by Naghi Naghashian. It is a Font family, in 3 weights, Light, Regular and Bold. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Babak supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Babak design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Babak was developed for multiple languages and writing conventions. Babak supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Say hello to my serif font, Transcity! Transcity is a Bold Playful Elegant Modern vintage font with beautiful ligatures, tons of special alternative glyphs, ornament and multilingual support. It's a very versatile font that works great in large and small sizes. This beautiful font perfect for branding projects, logo design, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image. Features: More than 100 beautiful swashes in this font Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters Fully accessible without additional design software. Multilingual Support: à á â ã ä å æ ç è é ê ë ì í î ï ñ ò ó ô õ ö ø ù ú û ü ý ÿ š fl fi ž œ ı ç ø š ž æ œ À Á Â Ã Ä Å Æ È É Ê Ë Ì Í Î Ï Ñ Ò Ó Ô Õ Ö Ø Œ Ù Ú Û Ü Ý Ÿ Š Š ŽŁ Ð Ç

The Core Sans BR Family is a part of the Core Sans Series, such as N, NR, N SC, M, E, A, D, G, R and B. The Core Sans BR Family is designed with rounded stroke endings for visual comfort. This family has very small x-heights and large ascenders(descenders) which give an elegant feeling in body text. It is a sans-serif family but it’s structure is similar to serif fonts, so you can make paragraph beautiful with this font family. It is very legible and readable even in small size because of its open counters and distinctive shapes. This font family consists of 7 weights (Thin, Light, Regular, Medium, Bold, Heavy, Black) and Italics for each format. Core Sans BR supports complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, oldstyle figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.

Hafez is a sans-serif font family designed by Naghi Naghashian in three weights. Hafez Light, Hafez Regular and Hafez Bold. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Hafez supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Hafez design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BaBa was developed for multiple languages and writing conventions. BaBa supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Damavand is designed by Naghi Naghashian. It is a Font family, in 5 weights, Light, Regular, DemiBold, Bold and Heavy. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Damavand supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Damavand design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Damavand was developed for multiple languages and writing conventions. Damavand supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography.

Pasargad is a new font family, designed by Naghi Naghashian. It is a Font family in 3 weights, Light, Regular and Bold. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Pasargad supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Pasargad design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Pasargad’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Pasargad was developed for multiple languages and writing conventions. Pasargad supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Oustad Arabic is designed by Naghi Naghashian. It is a Bold headline font, in 1 weight. 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. Oustad Arabic supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. OstadArabic design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Kasha was developed for multiple languages and writing conventions. Nima 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.

Core Sans DS is a rounded version of Core Sans D and a modern interpretation of condensed sans-serif typeface designed by S-Core and the whole family consists of 2 widths (Condensed, Normal), 7 weights (Thin, Light, Regular, Medium, Bold, Heavy, Black) with their corresponding italics. Core Sans DS features a condensed geometric construction and has a large x-height which enhances legibility. The family is ideal for signage, headline as well as body text. Core Sans DS is a part of the Core Sans Series such as Core Sans N SC, Core Sans N, Core Sans NR, Core Sans M, Core Sans G,Core Sans A, Core Sans GS and Core Sans ES. Letterform in this type family is simple, clean and highly readable. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Core Sans DS supports complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features.

Bieta is a sans-serif font family designed by Naghi Naghashian in four weights. Bieta Light, Bieta Regular, Bieta Bold and Bieta Heavy. Width of this font family is almost condensed therefore specially space saving. Bold and heavy versions are suitable particularly for big titles. 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. Bieta supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Bieta 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. Bieta’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. Bieta was developed for multiple languages and writing conventions. Bieta 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.

A narrow, modern Slab Serif. JOSEFOV is directly derived from the sans serif text font ”Hedwig“. Therefore, of course, it pairs best with “Hedwig”. The basic thought was to create a font with heavy rounded serifs in the style of ”Clarendon“ but which hardly reminds one of that particular font. The form principle of rounded serifs is applied whenever possible — for example at the points where the individual strokes of the characters join one another. JOSEFOV seems very technical, very constructed (and truly is). In order to soften up the rigid impression, the serifs are applied at some points contrary to the tradition handed down, as with the upper case A C G K M V W and the lower case a b d h i j k l s t. Historically there is no example of the laterally oriented serifs of capital and small s (S) and C G. On the other hand, the double-sided serifs on the stems of b d h k l appear at the beginning of modern times in the very first serif types from five hundred years ago. The double-sided serifs of A M V W were also customary in the first decades of printing. JOSEVOV is particularly suitable for topics such as nature, folklore, culture, music, nutrition.

Here comes a New font, INKLE is Black Bold Display Font this is strong Font, that is written casually and quickly amazing. Then crafted carefully drawn into vector format. This font is great for your next creative project such as logos, printed quotes, invitations, cards, product packaging, headers, Logotype, Letterhead, Poster, Label, and etc. That is Font INKLE has Stylish,Cool and Unique characteristic more natural look to your text with a more modern look to your text.

Bold mutant typography. Retro-futuristic. Sixties meets 1990’s comic book inspired, superfast for your superhero? The pencil tissue was dragged out from the very back of the file cabinet, stuck in the metal rail, it was lost then found- to bring a unique look to your project. A companion font to astroluxtype’s Spacepod, both fine ways to mark and identify your spacecraft. Note the lowercase letterforms that make connectors such as g, j, y, b, d and g. See the posters at myfonts.com for examples of how to you might use this feature. Redrail Superfast is a minimal glyph set which can be used at various sizes, we consider it a headline/display font and best applied larger than 36 points in size.

Poruka is slanted script typeface with connected letters with gently condensed look. Letters are designed as monoline forms with decent dose of elegancy and stylistic uniformity. Poruka is imagined mainly as typeface for shorter texts or headlines, where text needs to stand out from other elements of content. It can be used successfully both as webfont and on printed materials – all kinds of invitations, labels, packages, posters and editorial use. Poruka comes with two Stylistic Sets – 01 which activates uppercase letters with full font height (from the top of ascender to the bottom of descender) and 02 – which activates handwritten forms on "b", "d", "h" and "l" letters. Also, Poruka is equipped with Swashes and Discretionary Ligatures which doesn't really represent classical pack of expected ligatures, but more as graphical version of a couple of words like "yes", "no", "wait", "ciao" and a few more.

The 1939 sheet music for “Sea Dreams” had its title hand lettered in an unusual Art Deco style that employed many unusual character shapes and widths within the font design. A teardrop-shaped ‘D’, a slightly off-kilter ‘S’ and a number of other interesting variations became the model for Seahawk JNL, which is available in both regular and oblique versions. The term “Seahawk” is another name for an Osprey.

One of the original Clarendon types, an English design, here derived from a specimen taken from an American foundry, no identifying marks. With a tall x-height, wide version, unlike more traditional Clarendons, not a square serif but bracketed. Unique to this Clarendon are the rounded openings at the points where the horizontal and vertical stems meet in the capital B, D, P and R, not common in other Clarendons.

Schmallfette Binder-Style, designed by Joseph Binder and released by D. Stempel AG in 1959 provided the template for this upright, set-tight display face. Its rather unconventional placement of the crossbars on the f and t is a subtle attention-grabber, and true to Binder's original design. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Moldovan and Romanian.

Introducing Madjestic Comfort font duo, a contemporary pair of scripts and serif fonts. The term Madjestic is not a mistake, but it was an accent game of an area in asian, by adding "d" before "j". With a didot style serif font and flowing script companion, Madjestic Comfort offers beautiful typographic harmony for a variety of design projects, including logos & branding, wedding design, social posting media, advertising & product design.

U-P-D-A-T-E (more glyphs, bug fixed, MAC (Desktop) + WIN (Office) Version) CHARACTERISTICS An own interpretation of a classic egyptienne/slab serif typeface with modern and fancy handmade haptics/hatching. The 3 styles/weights fits perfectly in each font size. From light till bold. All 3 styles are handemade sketched for diverse display size. APPLICATION AREA This heavy, sketched, scribbled, handmade slab serif font “Hand Scribble Sketch Rock” with many language support would look good in head­lines. Magazines or web­sites, party flyer, movie pos­ters, music Poster, music covers or webbanner. TECHNICAL SPECIFICATIONS ■ Font Name: Hand Scribble Sketch Rock ■ Font Weights: Regu­lar, Bold, Light ■ Fonts Cate­gory: Dis­play for Head­line Size ■ Font For­mat: OpenType OTF + Windows TrueType TTF ■ Glyph Set: 361 gly­phs ■ Lan­guage Sup­port: Basic Latin/English let­ters, Cen­tral Europe, Bal­tic, Roma­nian ■ Spe­cials: alter­na­tive let­ters and liga­tures (with accents & €) ■ Design Date: 2013 ■ Type Desi­gner: Manuel Vier­gutz ■ Font License: Desk­top license, Web license, App license, eBook license, Ser­ver license

Core Sans AR Family is a rounded version of Core Sans A that is clean, simple and highly readable. It is a part of the Core Sans Series such as Core Sans N, Core Sans M, Core Sans E, Core Sans A, Core Sans D, Core Sans G, Core Sans R and Core Sans B. Letters in this type 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. Core Sans AR family consists of 8 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy) with their corresponding italics. Core Sans AR contains complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.

After inventing a new metal typecasting procedure that allowed for the production of more detailed typefaces, the famous German typefoundry D. Stempel AG developed Kuenstler Script in 1902 - 1903. Originally called Kunstlerschreibschrift (artistic handwriting), this design was based on English copperplate script styles from the late 1800s. In 1957, Hans Bohn added the heavy Kuenstler Script Black weight to the family. Like intricate handwriting put to paper with a feather and an inkwell, Kuenstler Script makes almost any text look distinguished and elegant. Kuenstler Script is a joining script; and because of its fine hairlines and small x-height, it is best used at sizes above 12 pt. The typeface works well in advertising work and on invitations, greetings cards, business cards, and certificates.

Fontology-E is an experimental font designed by Fabrizio Schiavi. It was created for the cover of the Fontology catalogue. Schiavi's need was to build an optical false modulation effect with versions of the logotype and typical rectangles of an empty font chart. The basic idea was to create a page that contained many rectangles in order to demonstrate the modulation. At the same time, it was important to understand that Schiavi inserted 8 versions of the same logotype each time the corresponding letter is digitized in e, a, d, f, g, h, c and b. The inside of the catalogue has the same layout and text, which is revealed by fanning the pages. Schiavi confess that Fontology-E is a highly experimental typefont.

French Clarendon Bold, a display text type.

Megie Ceyal bold script font. 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 signature or script typeface. Make a stunning work with Megie Ceyal bold script font. Cheers, Maulana Creative