BaBa Rounded is a sans-serif font family designed by Naghi Naghashian in three weights. BaBa Rounded Light, Baba Rounded Regular and Baba Rounded 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 Rounded supports Arabic, Persian (Farsi) and Urdu. It also includes proportional and tabular numerals for the supported languages. BaBa Rounded 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. BaBa Rounded’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 Rounded was developed for multiple languages and writing conventions. BaBa Rounded supports Arabic, Persian(Farsi) 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.

Behtab is a sans-serif font family designed by Naghi Naghashian in tree weights. Behtab Light, Behtab Regular and Behtab Bold. It is extremely legible even in very small size. This font family is a contribution to modernisation the Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Behtab supports Arabic, Persian ( Farsi ) and Urdu. It also includes proportional and tabular numerals for the supported languages. Behtab 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. Bauhaus Arabic’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. Behtab was developed for multiple languages and writing conventions. Behtab Arabic 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.

Gilan is a sans-serif font family designed by Naghi Naghashian in tree weights, Gilan Light, Gilan Medium and Gilan Bold. It is extremely legible even in very small size. This font family is a contribution to modernisation the Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Gilan supports Arabic, Persian ( Farsi ) and Urdu. It also includes proportional and tabular numerals for the supported languages. Gilan 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. Gilan’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. Gilan was developed for multiple languages and writing conventions. Jaleh 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.

Afshid is a sans-serif font family in three weights and tow width. Afshid Regular and Afshid ExpandedRegular, Afshid Bold and Afshid ExpandedBold, Afshid Heavy and Afshid ExpandedHeavy. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. Afshid supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Afshid 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. Afshid’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. Afshid was developed for multiple languages and writing conventions. Afshid 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.

Kamane is a new font family, designed by Naghi Naghashian. It is based on classic calligraphic “Naskh” with the modern typographic metric. 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. Kamane supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Kamane design fulfils 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. Kamane was developed for multiple languages and writing conventions. Kamane 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.

Sprout is a low-contrast sans serif, slightly condensed for economy of space, and complete with 6 weights in Roman and Italic. It has open apertures and a generous x-height for clarity of reading. It also comes with a weight balanced italic, which can be used for differentiation or as a standalone typeface in itself. The defining feature of the family is the taut curve, where the inner counter pushes out toward the outer contour, creating a feeling of tension in the curve. In the italic this shape language is pushed further, with a playful looped g and cursive form of the f. Sprout also comes with Old Style figures. Its range of weights makes for a versatile family suitable for branding, on-screen publishing and long-form reading.

Axion SER is an original design by Alex Kaczun. Axion SER is a serif style variation based on his original Axion typeface family of fonts. It is a display font not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. The entire font has an original look which is strong, dynamic, machine generated and can be widely used in publications and advertising. Axion SER is a futuristic, techno-looking and expressive typeface with an appearance of machined parts with sharp and rounded edges. This attractive display comes in roman with lower case and lining figures.The font is also available with true small capitals and old style figures. The large Pro font character set supports most Central European and many Eastern European languages.

Sabon was designed by Jan Tschichold and released in 1967. Sabon was created in response to the specific needs of a group of German printers who wanted a typeface that would be identical in form when produced by three different metal-casting technologies. Named after Jacques Sabon, a sixteenth century typefounder whose widow married another typefounder, Konrad Berner, who is credited with issuing the first typefounder's specimen sheet. Several types on the sheet were attributed to Claude Garamond, and one of these served Tschichold as the source for Sabon roman. The italic was based on another face on Berner's sheet, cut by Robert Granjon. Tschichold's skillful adaptation of these old style faces has produced an elegant and workmanlike book face. The Sabon font family is a popular choice for setting text.

Favarotta was a small settlement on the medieval times. in the Gulf of Castellammare near Palermo, Sicily. Favarotta font is inspired on the style of writing based on Carolingian models, which continued to be used for handwritten liturgical works in Italy. The style show close affinities with the Italian printed books of the period. It combines Roman cursive writing ideas with some of the Celtic innovations in insular writing, including four guide lines, with strokes that flow smoothly from the ascending and descending. Favarotta font family contain five weigh and its corresponding italics. The Italic style are clearly legible and attractively set out, without obvious idiosyncratic tendencies. These fonts can be read and display with pleasure. Each font of the family contain standard ligatures, small caps, old style numerals and support CE languages.

Storica is a display typeface with roman style serifs that create a sense of history and culture. The Storica family has 7 weights as well as a Heavy Rough and Heavy Hand version that give you an option for a more rustic or hand style approach to you projects. The character set is expansive and has a wide range of language support. Storica has a great selection of Stylistic alternates, ligatures, small-caps, old-style numbers and more packed into the opentype features. This typeface is an excellent choice for branding, particularly in the beverage industry, it is also perfect for typographic layouts for magazines, poster, books etc. Storica has been designed to make it easy for a designer to create beautiful typography with creative flair quickly and easily.

The Cralter Font is inspired by authentic typefaces in old posters. These font collections contain serif and sans serif fonts. Every font comes with 4 style typefaces (regular, rounded, rough and stamp). Cralter gives more extras 1 pack illustrations. The Cralter matches apply in some designs such as the logo, poster, label, badge, packaging, t-shirt, branding, quotes and more custom design. Cralter features : 4 style typefaces (regular, rounded, rough and stamp) All-caps, numeral, symbol and punctuation Multilingual PUA Encoded Cralter includes : 9 fonts (serif, sans serif and dingbat) 13 hand-drawn illustrations in dingbat

Rama Gothic Rounded is an antiqued sans serif designed inspired by 1800s-style wood type. All glyphs had been designed carefully to be retro-looking of the old time and to fill all with nostalgia. This condensed font family with 42 styles will be the best solution for posters, titles and anywhere you need impact. To complete your work perfectly, Gothic Extras family is ready for free. They include borders, ornaments and frames designed using vintage catalog of Hamilton in 1800's as a model. Be sure to check out the slab serif style of this Rama series named Rama Slab.

The Kleader Font is inspired by authentic typefaces in old posters. These font collections contain serif and sans serif fonts. Every font comes with 3 style typefaces (regular, rough and stamp). Kleader gives more extras 1 pack illustrations. This font includes some ligatures. The Kleader matches apply in some designs such as the logo, poster, label, badge, packaging, t-shirt, branding, quotes and more custom design. Kleader features : 3 style typefaces (regular, rough and stamp) All-caps, numeral, symbol and punctuation Ligatures Multilingual PUA Encoded Kleader includes : 7 fonts (serif, sans serif and dingbat) 13 hand-drawn illustrations in dingbat

Gezart is a modern sans serif with geometric touch in 32 weights - 16 uprights and its matching italics. The weights are ranging from Hair to Heavy, with one of them (Extra Thin) is for free of charge. Each weight of Gezart contains more than 700 glyphs. The family is equipped for complex, professional typography with Open Type Features including — small caps, localized forms, old-style figures, standard ligatures, subscripts, superscripts, numerators, denominators, numbers in circles arrows, currency symbols and fractions. The Gezart font family is ideally suited for branding & layout design, posters, body text, web, editorial design, and more.

MN Revolta is an organic hand drawn typeface which has 5 styles, regular, stamp, oblique, oblique stamp and outline. Inspired by the uneven shape of stamp spots, this font is made in a grunge style to make it look more authentic so it looks like it was done manually by hand. There are also extra bonus illustrations to make your design even better. This font is very suitable for people who like vintage aesthetics because it gives a classic, old, vintage feel, and looks like it is handmade. Supporting multilingual as many as 89 languages, this font can be used for all designs.

Katika is a sweet and cursive handwritten font. This gentle font will look gorgeous on a variety of design ideas. It will add a joyful and romantic touch to each of your projects!

Quinlophe is a cute font with the theme of romance, and is made by paying attention to the shape and anatomy of the letters so as to produce unique and beautiful letter characters.

Hello Mellinda is a sweet and delicate handwritten font. Dainty and joyful, this font will be ideal for writing wedding invitations, cards, or any other design that may need a romantic, personalized touch!

Positive Attitude is a simple and thin lettered font. Dainty and joyful, this font will be ideal for writing wedding invitations, cards, or any other design that may need a romantic, personalized touch!

Minami is a trendy handwritten font featuring a neat style. This gentle font will look gorgeous on various design ideas. It will add a joyful and romantic touch to each of your projects!

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. Carol Twombly designed this Caslon revival for Adobe in 1990, after studying Caslon's own specimen sheets from the mid-eighteenth century. This elegant version is quite true to the source, and has been optimized for the demands of digital design and printing. Adobe Caslon? makes an excellent text font and includes just about everything needed by the discriminating typographer: small caps, Old style Figures, swash letters, alternates, ligatures, expert characters, central European characters, and a plethora of period ornaments.

Thanks for checking out Squeamish! A fabulously fun yet elegant script font with tons of energy, allowing you to create beautiful hand-made typography in an instant. With extra bouncy curves & loops, Squeamish is guaranteed to make your text stand out - perfect for logos, printed quotes, invitations, cards, product packaging, headers and whatever your imagination holds. What's really awesome is that Squeamish comes with a complete set of lowercase alternates, which allows you to create even more authentic custom-feel text. Another great feature is the bonus ornaments font, which allows you to add some really unique and elegant finishing touches to your script text.

Reminiscent of circuitry and wrought iron, Anachrony constructs the forms of an Old English Blackletter with the strokes of a Modern Geometric Sans, and lands in the vicinity of Art Deco. For such an unusual chimera, the Anachrony family is legible and versatile. Its glyphs cover pan-European Latin, Greek, and a wealth of symbols including arrows, zodiac, planets, chess, suits, and circled numbers. It is also packed with Opentype features: Small Capitals: Of similar proportions to the default numerals, tall enough to be a suitable choice in place of regular capitals. All Caps Forms: In addition to the four usual types of numerals, there are numerals and currency symbols that match the capitals. Swash: A leading curly swash on capitals, and fancy looped ascenders in the lowercase that are handled by over a hundred standard ligatures where they would collide. Style Set 01: Romanized forms. Especially recommended for all caps. Plainer A/M/T/V/W/Y, J/Q reined in to the baseline, and alternate g. Style Set 02: Masthead forms. Old-fashioned capitals with descenders and that lower left dealy. Also f/x/z/ß in a more traditional fraktur mode. Style Set 03: Mild embellishments. Tall bifurcated ascenders and descenders. Style Set 04: Extravagant swash descenders. Style Set 05: Final swashes for the end of a word. Style Set 06: Converts capital letters into the corresponding connected Roman numerals. Seemed like it could be useful sometime. Easy swooshes: Standard ligatures allow you to type two to seven commas in a row to append an assortment of sweeping or ending swashes. Catchwords: In Anachrony Royale, turn on Discretionary Ligatures for a variety of decorative articles and prepositions.

Brestonk is a new font with textured stroke detail, also provided some ligatures and extra swashes. Perfect for projects posters, logos, product packaging, invitations, greeting cards, brands, news, blogs, everything including personal charm etc.

Pavement JNL is Jeff Levine's version of the extra-condensed lettering used on roadway information signs as revised by the U.S. Government in 2000. A companion font to this style is Endless Journey JNL.

Rushing Pass JNL is the italicized companion font to Forward Passed JNL and Return Pass JNL. This package includes a bonus solid version of the font (Forward Passed Black JNL) at no extra charge.

Crayon En Folie ('Pencil Madness' in French) is a straightforward pencil font, created with an extra thick black pencil. Use it for books, posters and packaging. Comes with a coloring box full of diacritics.

An old printer's advertising cut for Red Star Oil Stoves yielded a typeface that was both vintage and somewhat techno at the same time. Originally drawn as a slanted logo, the individual letters had an array of chamfered, angled and flat sides combined with a bold outline. This font is available in both vertical and oblique versions.

Isabelle is the closest thing to a metal type revival Jim Rimmer ever did. The original metal face was designed and cut in late 1930s Germany, but its propspects were cut short by the arrival of the war. This was one of Jim's favourite faces, most likely because of the refined art deco elements that reminded him of his youthful enthusiasm about everything press-related, and the face's intricately thought balance between calligraphy and typography. Not to mention one of the most beautiful italics ever made. Jim's early 2000s digitization included mathematical corrections to the original metal cut, as well as some functional improvements for digital use. In 2013, during the remastering of the entire Rimmer collection, Isabelle underwent a considerable rethinking/expansion and was rechristened Isabelle Pro. The new revisions include small caps, ligatures, seven types of figures, automatic fractions, extended Latin language support, stylistic alternates that include lowercase serif angle options in the roman and looped ascenders/descenders in the italic, and plenty of extra OpenType features like caps-to-small-caps substitution, case-sensitive positioning, ordinals, and extended class-based kerning. Now each of the Isabelle Pro fonts includes over 680 glyphs. 20% of this font's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

New Orleans, June 25, 1895 My dear Edmond, I found upon my return home to dinner yesterday, your letter informing me of your affection for Annie and asking that we confide her future happiness to your keeping... This excerpt was taken from a letter written by designer Kathryn Podorsky’s great-great-grandfather, Lucien Doize, in response to Edmond’s request to marry his daughter, Annie. The letter was not only beautiful contextually, but exquisitely penned and epitomized the delightful charm of the New Orleans people of the time. Vena Amoris, or “Vein of Love” refers to a phrase coined by Henry Swinburne in his A Treatise of Espousal published in 1686. Vena Amoris also refers to the fourth finger on the left hand which was traditionally believed to contain a vein running directly to the heart, hence “the ring finger.” As a digital font, Vena Amoris boasts an extensive Latin-based character set that supports 51 languages. Also included are stylistic and contextual alternates, ligatures, swash variants, oldstyle figures, and roman numerals and calligraphic words that will undoubtedly bring a dynamic quality to any setting. All of those extras are driven by cleverly applied OpenType features allowing you to add harmony and calligraphic beauty to your layout.

Designed by Heinz Konig, Waltari was released by the Rudhard'schen Giesserei of Offenbach A.M., Germany in 1900, and reflects all the flamboyant exuberance of that period. Waltari is a Jugendstil rotunda, combining its blackletter roots with a strong Roman influence in an effort to achieve a broader appeal than the traditional forms. As a rotunda, Waltari is easily read by readers who are not comfortable with the schwabachers and frakturs in common use in German printing. Waltari, with its decorative flourishes, has the amazing ability to be both traditional and youthful at the same time. Especially useful for for scrapbooks and invitations. The Waltari ML package includes: 1. Glyphs for ANSI 1250 Central European, 1252 Western Europe, 1254 Turkish and 1257 Baltic code pages. Total 319 glyphs. 2. Total of 472 kerning pairs. 3. OpenType GSUB features: Salt, dlig, hist and ornm. 4. Proportional Numbers 5. Alternate w and z. 6. Original design decorative ornaments The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.