Felfel is an Arabic typeface inspired by the rich history of the Arabic Ruq’ah, one of the most widely used Arabic calligraphy styles, but with a modern pinch influenced by the visual identity of Egyptian streets. Born from the fundamental need in the Arabic design scene, Felfel is made to celebrate the elegance and timeliness of Arabic calligraphy while solving the problem of the cascading nature of Ruq’ah that results in increased line spacing. Felfel is space-friendly, perfect for headlines and quotes. Felfel supports major Arabic-script-based languages and covers Arabic, Hindu, and Farsi numbers. Like Traditional Ruq'a, Felfel works with the same context, but it adjusts to your needs without the rigidity of Ruqa’ah’s slanted baseline to give you the flow, beauty, and richness of the Arabic calligraphy with a modern feel. Felfel is dynamic. A substantial part of the font is based on versatile components, that minimizes characters and maximizes possibilities. the dots are in motion! They rotate from and to horizontal and vertical form, based on the word to match the calligraphy and the context, also the dots and marks move up and down, left and right to prevent all kinds of overlapping.

In March 2010, Émile Fradin, a modest peasant farmer from central France, died at the age of 103. To his grave he took the secret behind one of the most controversial archaeological discoveries of the 20th century. A discovery which put into question the very origins of the written word and the paternity of European culture. It was the uncovering of peculiar artefacts would come to be known as the Glozel runes. The discovery of the Glozel runes On the first day of March 1924, a not yet 18-year-old Fradin was ploughing his family’s field in the hamlet of Glozel, when his cow stumbled into a hole. When he and his grandfather, Claude, looked closer, they discovered a mass of broken stone, under which lay an underground chamber. Within, they discovered pottery fragments, carved bones, and a peculiar clay tablet covered in bizarre characters that neither of the two could decipher. The family requested a subsidy for excavation works to be carried out, but were refused by the regional authority. With that disappointment, it seemed as though the discovery would fade into obscurity. However, the following year, news of Fradin’s unusual clay tablet reached the ears of the physician and amateur archeologist, Antonin Morlet. By the end of May 1925, Morlet began the first of his excavations.4 Within the first two years alone, he had amassed some 3,000 finds.

I hope that you enjoy the "Linden" font. The basis for this new font is my Leaf font. As much as I love the Leaf font, however, I felt (and still feel) the desire to have a larger font, for three reasons: 1. I enjoy customizing my internet browser to show different fonts. The original "Leaf" font was a bit too small for that. The new "Linden" font is perfect for this function. 2. Some of the fonts that I use in writing e-mails look their best at sizes 24 or 36. That’s fine for me, but unless I want to go to the trouble each time of changing the size, then the recipients oft my e-mails get wolloped with an enormous-sized font. When I use "Linden" for my e-mails, it’s automatically a perfect size at 12 or 14, solving this problem. 3. I also enjoy customizing the font in which I read my e-mails. Unfortunately, there are only a few which are legible in the tiny size in which this is configured. Again, "Linden" is configured to be large enough automatically so that it can easily be read by anyone. I am pleased to offer a pleasant font for use in any or all of the scenarios; I love fun solutions and hope that you will enjoy the "Linden" font. (Just a tip: when printing out documents using the "Linden" font, I love it best in font size 11!)

The design of Cyan was inspired by features found in classic Roman and styles like Trajan and Bodebeck. It shows the designer's personal preference for geometric Roman proportions while incorporating open centers (B,P,R) and compact serifs. Unlike Trajan, Cyan has lowercase characters in the regular version. The characters stay true to the same features as the capitals, resulting in an unusually distinctive style. The Regular Capitals version contains Roman numerals. Cyan's weight is similar to Trajan's but the horizontal strokes are slightly bolder resulting in better legibility for small sizes, especially for lowercase characters. There are many subtle details in Cyan that become more interesting in larger sizes, for instance the subtle curves in the serifs and the overall smoothness as a result of the mostly rounded angles. Cyan is a robust font that will exceed expectations in areas never explored before. The name is inspired by the Greek word cyan, meaning "blue". The color cyan can have many different variations. One definition is a color made by mixing equal amounts of green and blue light (it also is a pure spectral color). As such, cyan is the complement of red: cyan pigments absorb red light. Cyan is sometimes called blue-green or turquoise and often goes undistinguished from light blue. Obviously the Cyan family is a perfect companion to the Cyan Sans family.

A heavy weight - softened sans serif that is not only friendly, but easy on the eyes. Good Eatin was inspired by the title screen from the 1942 Warner Bros. cartoon titled, "Dog Tired". The original all capitals setting had a charming & quiet nature to it, which became even more pronounced when drawn out to include a lowercase set. Later expanded upon to include a Small Caps set, Good Eatin Pro achieves a wider, even more electric appeal. Loaded with personality, Good Eatin Pro is joyful and stands out without being an eyesore, and while being based on vintage lettering it has a contemporary feel.

Jansina is a Japanese-style display typeface with a unique shape that is ideal for making your project stand out in Japanese culture. This typeface will make all of your projects consist of a graphic presentation that fits and is precise, but it is not restricted to that. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out.

Anca typeface started as a comission work for Fest Anca, an international animation festival. They needed something to complement the corporate identity of the festival. Inspiration came from a sketch made by my friend long time ago, which had a tremendous potential. As letters were digitized and the basic alphabet was completed, a very practical and universal typeface resulted. The whole type family has a playful and simple look with rounded stroke endings as well as long ascenders. The construction skeleton uses the minimum number of strokes and as a consequence, some original letter shapes (Q, w, j, &, A, §) were produced. Despite the fact that most letter shapes are based on geometry, some strokes are intentionally irregular, which creates a very natural feeling. Anca is appropriate for setting short paragraphs, headings and big inscriptions.

Who is not totally captured when looking at those marvelously handmade old manuscripts, where letters, borders and elements were so masterfully realized with some touch of Gold leaf (or Silver in some cases) that was making of an ordinary book a piece of art? The name of the pack “Illuminated” comes, like the ancient art used for the old manuscripts, from the latin word “Illuminare” (to light up) and it’s symbol of great value, preciousness and beauty skilfully created with patience and love from artists for centuries. What we at Fontscafe wanted to give you was the opportunity to get a whole “ready to use” set of fonts that could, in a modern and revised form, give that “Illuminated” feeling to our “Digital Era”. A set of new tools to make your art shining!

Gans Italiana is a comprehensive family of wood type inspired typeface based on the same font by the extinct spanish Gans Fundicion.

Lineatura is a simplistic sans serif caps only typeface with dynamic character width. All its styles are based around the same skeleton.

But how? Brown Cow :-)

Strak is a font that was born out of admiration for the work of E. Vermeulen, a Belgian artist known for his tight, precise line and an unseen masterpiece that is spread around the world. He has published and exhibited his work in London, Liverpool, Angoulême, New York, Geneva, Amsterdam, Lyon and Turku (in Finland) and he even signed for the New York Times. Based on a few characters, a complete font was composed by Kustomtype. After a few sketches, Strak came to life. The name Strak, in this case, refers to the slender, beautiful woman with the correct waistlines and proportions. The font is designed this way; it is completely hand-drawn, digitized and can be used in all modern and graphic media. Strak is available in 8 different styles, has class and will make many people's mouth water when they see it on your designs. Do you want quality and style? Then Strak is the font-perfect solution!

When traveling in Paris, American designer Frederic W. Goudy did a rubbing of a second century marble inscription he found in the Louvre. After ruminating on these letterforms for several years, he drew a titling typeface in 1918, all around the letters P, R, and E. He called the new face Hadriano" as that name was in the original inscription. Robert Wiebking cut the matrices, and the Continental Typefounders Association released the font. Goudy designed a lowercase at the request of Monotype in 1930, though he didn't really like the idea of adding lowercase to an inscriptional letterform. The lowercase looks much like some of Goudy's other Roman faces. Compugraphic added more weights in the late 1970s, and made the shapes more cohesive. Hadriano has nicely cupped serifs and sturdy, generous body shapes. Distinctive individual letters include the cap A and Q, and the lowercase e, g, and z. Hadriano™ is an excellent choice for impressive headings and vigorous display lines."

Baltimore Type Foundry released its Antique Geometric series by 1883, including it that year on advance sheets for their 1886 Specimen Book, shortly after the firm was taken over by Charles J. Cary. We have chosen to call our version of the face “Baltimore Geometric” because we like the name better. The Central Type Foundry-Boston Type Foundry combine followed with a similar typeface in 1884, using an engraving machine to cut directly into matrices (Gray page 124). It was called simply “Geometric”. As noted in the write-up for HiH font Teutonia, a number of similar typeface designs have appeared over the years. The simplicity of concept is inviting and certainly fits nicely with some of the intellectual theories that developed in the early twentieth century, like the De Stijl and Constructivist movements. This font is useful in conveying an image that is logical and mechanical, implying a high degree of functionality.

VLNL Boulangerie was originally an incomplete set of early 20th century wood type letters, that Donald Roos found in a dust covered carton box stashed away somewhere at the Royal Academy in The Hague. Charmed by the letter forms Donald decided to print them on paper with a printing press. Next he digitised the prints as they came out, including small imperfections and damages. The missing characters were composed and added digitally to complete the alphabet. (See if you can spot those!?) We think VLNL Boulangerie is a little French in appearance (hence the name), it's joyful, warm, a little crunchy and round-ish. It defenitely has that ‘je-ne-sais-quoi’ that seperates it from most wood type grotesques. It can be perfect for lettering on a storefront window of – let's say a bread shop or a lunchroom. Or a logo for a downtown hipster café. VLNL Boulangerie hardly has any limitations actually.

I was asked by a good friend of mine to design his tattoo lettering. This fellow prefered an easy stencil with no ornament, such as swirls or loops. After some preliminary design I finally accepted the challenge and while completing the whole alphabet, the idea of creating a cool font of it occured to me. Only a few months later this new font family already contained 4 weights, every weight has a companion Italic style, punctuation, numerals and mathematical operators, as well as all accented characters. Bomber TV is a brand-new font and all glyphs have been contemplated very carefully so that all characters match in a well-balanced and streaming way. In both shaped weights, the font suits extraordinary well for headings, slogans etc. The cleanly cut and powerful Bomber TV font can easily be used for logotype, games, prints, magazines, web, apps, packaging, posters, T-shirts, signage & design projects. The font is original and custom made by Kustomtype.

Scan is literally a barcode font, made of actual barcodes, shaped in De Stijl style. It is a monospace, all-caps font with two different barcodes per letter. These offer the user a choice of a heavier look with the upper case and a lighter look with the lower case. Numbers and letters each have their own distinct barcodes. Also included are an alternate K and R. This font offers numerous ways to create artistic presentations with its unusual design. In certain contexts it has a foreboding look of impending doom, or a cool, cutting edge futuristic look, which lends itself to artwork for album covers, video games, movies, television, novels, and more. It can even have a whimsical look with the use of different colors for its individual bars. Some renderings reveal a ridged or textured look, even a 3D or three dimensional look. Scan gives the user a very high degree of creative potential! Digitized by John Bomparte.

Many years ago I studied American Sign Language in an effort to better communicate with some friends of mine within the deaf community. I found ASL to be a beautifully expressive language from a vibrant and active culture. Out of that attempt came this stylized depiction of the manual alphabet used in finger-spelling. Until recently it had only existed in analog form, born of pen and ink on paper. So now I'm glad to say it’s turned digital. Typing a period (.) will reveal the sign for “I Love You” (a combination of the letters I, L and Y), which fits nicely within the shape of a heart. Holding down the shift key while again typing period (greater symbol) will reveal the heart in its filled-in form, which can serve as an underlay. Use these in an application that supports layering in order to create different color combinations. There’s a stylistic alternate letter “S” and an “OO” ligature which can be accessed in OpenType-savvy apps.

Dever’s brute, industrial lines are rounded up in this new typeface from Jeremy Dooley. Dever combines plenty of inspirations. It’s the flair of the Wild West melded with a shout out to the sign painters and package lettering artists of the 1800s. Dever’s big, bold, and handy frame moves through all three of the family’s strapping members. First is the sans. No doubts on what this brother’s like. Dever Sans is as straight-forward as you’ll find in this family with its four separate weights and numerous distressed options. The second of the kin’s a bit of half-breed, you might say. Pointed serifs bring a sharpness to this outfit. Rounding out the family is Dever Wedge, a bit of wild rodeo all its own. This poke’s a quick draw with any of its 107 font, and with it’s auto-replacing alternates, no two repeating characters are alike. You’re guaranteed a great show anytime Dever leaves the chute. The route to Dever was long, with many a switchback. The Wedge variant was designed first, shelved, then developed into Plathorn. But I wanted to return to those brutish forms and decided to round out the family with a sans, serif and plenty of other options. Any of the Dever family have an extended character set including Central and Eastern European languages. The strong faces have specially adapted sub-families, too, so they’re bound and determined to have an outstanding impact at whatever size you use ‘em. It’s a hard ride ahead corralling all those words. Be sure and add these able-bodied boys to your posse today!

Penitentiary Gothic is a digital recreation of the letters used on California state license plates, designed in order to make props for movies and television shows. The regular style is meant to be used on its own, but the other four styles are meant to be used one on top of another in different colors to create an embossed 3D effect. For best results, use the fill style in a dark color on top of a light colored background. Put the lolite style directly on top of the fill style in 10 - 30% of the background color. Put the hilite style directly on top of that in 10 - 30% of your fill color. Put the shadow style directly on top of that using your background color plus 50 - 80% black.

Ambiguity is a type family with five distinct personalities or ‘states’, created as a tool for coaxing designers and brands out of their comfort zone. It embraces both tradition and radicality, as well as generosity and thrift, encouraging us to question our beliefs about the intersection of style and meaning. The family is designed by Charles Nix, who describes Ambiguity as “as much thought experiment as typeface.” Its five states—Tradition, Radical, Thrift, Generous and Normate—each express or subvert different aspects of typographic tradition. Tradition is conservative, relying on historical letter shapes. Radical rejects inherited ideas of proportion, making typically slender letterforms wide, and wide letterforms slender. “It’s contrarian,” says Nix. Thrift cherry picks the condensed shapes from Tradition and Radical, while Generous does the same for wide forms. Normate sits at the center, a synthetic blend of all of the others. “Tradition is very comforting,” says Nix. “It’s the mask of conservatism. It’s calming because it delivers the proportions we expect. With Thrift more fits into a smaller space, so it’s great where words want to get large, like gigantic headlines, or text needs to cram in, like small screen type. You get a sense of carefree and luxury from the Generous cut. One would expect the Radical to be used in a sort of Dadaist way, but in a classic context it provides an enjoyable jolt.” Ambiguity is a litmus test. Designers could spend hours trying on typefaces that offer just one of these voices. Ambiguity provides five different personalities—ideas—beliefs—each of which also work seamlessly together. “It’s a palettea, like idea cards,” he says. “It’s a way of making yourself see differently. My hope is that traditionalists will try on radical clothes and vice versa. It’s a way of exploring outside your comfort zone, breaking out of the doldrums, by stepping through a variety of voices.”

JT Olifer is family font of Jolicia Type designed by Laire Banyu Sandi Pawenang in October 2021, JT Olifer inspired by Modern Typography developed by us in our perspective, with a typeface detail in every corner we make more rounded, and give an inktrap accent to make unique impression special in every glyph, we really consider about aspect legibility, therefore we make family font amount 40 to assist the selection according to visual needs. Font type of JT Olifer contains several nuances that combain aesthetic, contemporary and modern, furthermore we make some alternates glyph that have a friendly and subtle impression, for example ‘f’ the alternate of this name our font we designed is more circular and smooth. JT Olifer has a total of 465 letters with regular, slanted and condensed styles support in 90 languages : Afrikaans Albanian Asu Basque Bemba Bena Breton Catalan Chiga Colognian Cornish Croatian Czech Danish Dutch Embu English Esperanto Estonian Faroese Filipino Finnish French Friulian GalicianGanda German Gusii Hungarian Inari Sami Indonesian Irish Italian Jola-Fonyi Kabuverdianu Kalaallisut Kalenjin Kamba Kikuyu Kinyarwanda Latvian Lithuanian Lower Sorbian Luo Luxembourgish Luyia Machame Makhuwa-Meetto Makonde Malagasy Maltese Manx Meru Morisyen Northern Sami North Ndebele Norwegian Bokmål Norwegian Nynorsk Nyankole Oromo Polish Portuguese Quechua Romanian Romansh Rombo Rundi Rwa Samburu Sango Sangu Scottish Gaelic Sena Serbian Shambala Shona Slovak Soga Somali Spanish Swahili Swedish Swiss German Taita Teso Turkish Upper Sorbian Uzbek (Latin) Volapük Vunjo Walser Zulu

The birth of the monospaced types dates back to the past. There was a need for the creation of typesets for typewriters. The difficulty was to align the different glyphs in the same width. This led to particular problems with letters like “M” and “l”; the former seemed to be squeezed into the same width of all letters and the second one appeared way too streched. Despite – or perhaps because of – the impression of the typewriter is still popular with Graphic Designers. Nowadays there are even monospaced versions of primarily proportional types; for example the the Sans Mono designed by Lucas de Groot or the DIN Mono. Then again, why not the other way round?! In the first half of the Nineties, Erik Spiekermann developed a proportional type named ITC Officina based on the Letter Gothic. According to a survey on the 100 best fonts of all time conducted by FontShop, ITC Officina is in an eighth place, far ahead of its forerunner. This was the reason for me to create a wider design with a Serif and a Sans Serif based on the queen of all monospaced types – the Courier.

Meet Maengame Font Display, Bring Fun and Power to Your Designs! Maengame is not just a font; it's a gateway to a world of joy and power in your designs. With eye-catching display themes and a strong game style, Maengame brings a unique touch to your projects. Inject a fun twist into each character with a bubble-filled design, adding a fun element to each letter. Maengame also brings a sense of courage and resilience, making your projects stand out with passion. Maengame is the perfect solution for projects that require a unique touch. Whether you're working on a bold display, a lively game, or an entertaining event, this font ensures that every design carries unforgettable charm. Do not miss this opportunity! Get Maengame Display Font now and turn every design into an unforgettable game!

Whether you're Making, Understanding or Reinventing comics, you'll need a comic book font that makes your comic book—or comic book about making, understanding or reinventing comic books—look like a, um, comic book. Yes, it's all very well writing about the Invisible Art of Making Comics, but if you can't read about the Storytelling Secrets of Comics, Manga and Graphic Novels, they'll still be secrets, won't they? That's why Scott McCloud came to us to create the official "Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels" comic book font, or as we like to call it: McComicBookFont.

Mixed designs of Futura and Bodoni (Fudonis) are quite popular. Apart from being contemporary, such fonts provide excellent readability. However, most of the existing 'mixtures' were not good enough in terms of balance for P. Kraft. He was finally inspired by a noticeable 'mixture' in a Japanese fashion magazine. His intention was not to combine two existing fonts but to design a completely new typeface: Bohemian - named after the well-known Japanese fashion style in Shibuya/Tokyo - the Bohemian Style.Bohemian and Parametra can be mixed perfectly since their proportions and dimensions are the same.Bohemian was designed for the URW++ FontForum.

Stolzl Display is an original font family designed for headlines, titles and subtitles. Based on the combination of contrasting shapes, the harmony of form and rhythm is fundamental to the design. Inspired by Bauhaus, Stolzl represents, not just the significant influence of this “crucible of modernism”, but aims at capturing its original idealism, commitment to creativity and experiment driven philosophy. Details include six weights, Cyrillic, 480 characters, alternative glyphs, manually edited kerning and Opentype features. Named after Gunta Stölzl, the Bauhaus’s only female master, Stolzl Display is the first subfamily of the Stolzl font collection to be released this year.

The movie poster promoting the 1962 James Cagney comedy "One, Two Three" had it's text done in free-style hand lettering. Starting with an auto-trace in order to have an isolated version of the black letters separated from the red poster background, the tracing kept the basic forms intact, but with limited accuracy. Cleaning up and digitally reshaping the letters manually to form a more correct version [closer to the original movie poster], additional figures, foreign characters, accents and punctuation were drawn from scratch. This is now available as Handwritten Note JNL in both regular and oblique versions.

Introducing Moonlight it's modern handwriting with a signature style and brush texture. This font comes in 2 styles with alternates. The Moonlight has natural handwriting texture making this font look authentic but still readable in incredibly versatile. This font will look outstanding in any occasion design concept, whether it’s being used on colorful backgrounds or as a stand as a headline in a minimalist background! Moonlight has multi-language support, swashes, alternate and ligature dan you can apply it in OpenType mode in adobe photoshop or adobe illustrator. Please enjoy the Moonlight signature Font which makes some stunning designs.

Sandbox was inspired by designs created by the Robert D. DeLittle Foundry in York, England, sometime after 1888. At the time, the fonts were simply grouped under the title #260 in the DeLittle catalog. This new font family was completely redrawn and engineered by Steve Jackaman, and several additional weights were designed to give the family improved flexibility. Sandbox was given its new name because it showcases a playful and bold feel, and contains many fun alternate characters and ligatures. It excels in display, but can still lend a carefree feel to subhead and text sizes.

The other day I had to login to a page several times, and as security I had to check the "I am not a robot" box. Actually, I think I did a login at that particular page like 30 times that day...and in the end I was thinking "Come on, you should know by now that I am not a robot" And even though I thought it was a repetitious hassle I figured that I needed to name a font "I am not a robot" - and not a robotic-like one, but a sweet and funny cartoonish one! :)

For decades, the Persian-born Naghi Naghashian has been working as a graphic designer and illustrator in Germany. Arian™ is his first commercial Arabic typeface. Named after his mother, Naghi created the Arian typeface family after years of systematically analyzing the Arabic script. The Arian design is sought to fulfill the many needs and was developed for multiple languages and writing conventions. It's extremely legibilitable not only in small sizes, but also when the type is filtered or skewed. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Telegraph font family was developed on the base of scanned images of telegraph printing machines. It consists of 4 styles: Natural is the most close to original scans with all defects of positioning and dirty print on the rough telegraph paper tape; Clean style uses cleaned contours, but keeps disorder in positioning; Straight is straightened along base line; Clean Straight style has self-explaining name. The fonts can be used for imitation of wire texts and in advertising and display typography. Upgraded version with extended character set was released in 2011 by ParaType. Designer Gennady Fridman.

The Diamonds type family was designed by Hannes von Döhren in 2012. It is an experimental search for geometric new letterforms, which are still easy to read and generate some unexpected attention. Hannes wanted to create a straight and clear typeface but pull away from the path of classic and well learned letter shapes. The Diamonds type family is equipped for complex, professional typography. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages. Each font includes alternate letters, fractions, scientific superior/inferior figures and a set of arrows and geometric forms.

Dashing, a beautiful geometric font for writing titles and sentences that are comfortable to see when reading, a simple but elegant impression makes this font suitable for you to use for various needs of your design projects. smooth, casual and formal. This font is an alternate character in each letter, especially uppercase letters, which you can apply in writing to create a new and captivating look in writing names or trademarks, and so on. This font is perfect as text with displays for a wide variety of branding, advertising, posters, banners, packaging, news headlines, magazines, websites, logo design, and more.

The name FeggoliteHatched comes from the fact that it was created with the help of an old font manipulation program called Incubator Pro. It was an attempt to create a more conventional typeface from the odd monospaced font, FeggoliteMono. As a monospaced font, FeggoliteHatched could be considered a typewriter face, but no typewriter ever produced letters like these. The original version from 1994 is now the italic style and it has a leftward or back slant. The upright or plain version was added much later, in 2018. There is also a choppy upright version included in this family.

Dambera is a made up word I used as planet name in my first comic published in a kids magazine when I was 6 years old. Dambera font has pretty similar reference - it's a simple script font I initially designed for wedding invitations and restaurant menus, but it can have wide appliance in every design field, from posters, book covers, outdoor signes to labels and packages. It contains a set of stylistic ligatures and swash alternates, as well as a small set of floral dingbats. Also contains a set of characters with specific endings (in OpenType terminology, better known under FINA term).

Bebek is drawn on a classic geometric sans serif skeleton but applies baby moves. 'Bebek' gets its name from the Turkish word 'baby' because the font is as cute as a baby and full of surprises. Suggested uses: perfect for modern branding and logo design, editorial design, web design, packaging, and countless other projects; 2 styles: 2 weights; Useful OpenType features: Access All Alternates, Small Capitals From Capitals, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Small Capitals

Baghadeer, from the hand of Stephen Rapp, is an upright connecting script brimming with personality. With its exuberant capitals, dashing crossover strokes, and rhythmic pulse; it retains the active spirit most associated with slanted scripts, but with the grounded presence of an upright. Baghadeer contains 780 glyphs featuring a plethora of swashes, ligatures, and alternate letters to individualize the look of your project. There is also a set of small caps and ornamental flourishes to add some finishing touches. It contains feature programming to make typesetting seamless and has all the language coverage you'd expect in a pro font.