On the Town JNL is a reworking of Parks Department JNL, giving it a classic "solid black Art Deco treatment". The wide monoline font of the original design was inspired by hand lettering on a WPA (Works Progress Administration) poster. Art Deco typography and the streamlined style it embraced often conjures up images of New York City in the 1930s and 1940s, thus On the Town JNL is named for the classic MGM musical starry Gene Kelly, Frank Sinatra and Jules Munchen that was filmed on location in "the city that never sleeps".

She’s tall and thin with elegant, long legs and striking features. She can be seen in Comicraft’s COMIXOLOGY ORIGINALS series, ASK FOR MERCY. No, not Mercy herself — we’re talking about the ASK FOR MERCY font! Yes, you asked for Mercy -- begged for it even -- and now we are granting it to you! Mercy Mercy Me. ASK FOR MERCY contains alternate uppercase alphabets, auto-ligatures for a more random, hand-drawn appearance, and Comicraft's revolutionary Crossbar I Technology™, which puts that tricky character in exactly the right places.

Nvma is based on Roman letterforms which appeared during the period from the earliest extant examples in the sixth or seventh century BC until the end of the third century BC. For Nvma the J, U and W had to be fantasies as they did not exist until much later, similar to the G, numerals and other non-alphabetic signs in the font. Thus not all of the archaic forms are represented in Nvma. Nvma was designed to work with Magma, as it matches the weights and heights for Magma Thin and Magma Titling Thin.

Haido is a new contemporary grotesk typeface influenced by post-modernism style. This typeface is has very neutral look, thus making this new typefaces has versatility for use in all kinds of modern design. Haido comes with 18 Styles including 9 Weight, italic and variables font. The small detail of inktrap in this typeface, making Haido is has high legibility in small size and very useful especially for printing needs. And last but not least, Haido has several alternates characters, ligatures and covered more than 100 languages including 2 script latin and cryllic.

William Caslon (1692-1766) laid the foundation for English typefounding, when he cut his first roman face in London in 1722. He modeled his designs on late seventeenth-century Dutch types; thus his typefaces are classified as Old Styles. The original Caslon punches have been preserved, enabling a perfect recutting of his faces. Notice the hollow in the apex of A and the two full serifs or beaks in the C. The italic capitals are irregular in their inclination. The Caslon font family is distinctive for use in subheadings or continuous text.

The Tabac type system is a static typeface with modern shapes and distinct, wedge-shaped serifs. It is primarily designed for the setting of newspapers, magazines and books. Tabac boasts great variability in terms of letter weight in all of its styles. Each style works as a font of its own, featuring the full set of glyphs. The styles may be combined depending on the user; the choice of text and title face thus depends fully on the designer’s own taste, on the needs of the readers and the technologies of printing in use.

Ekko is a typeface that gives you tools to be creative. Indeed, it contains more than 1300 alternate glyphs. By combining these alternate glyphs between them, you can design real vertical ligatures. The graphic possibilities are numerous and various. Ekko gives you the opportunity to play, to experiment and to discover, in order to associate the various vertical ligatures between them, in a balanced and harmonious way. Thus, Ekko makes it possible to express the musicality of each word, and to give a specific, original and unique rhythm to each composition. Following the spirit of jazz music: nothing is predefined, but everything remains open. Be creative and enjoy! We recommend that you use Ekko with a line spacing suitable to the font size with a ratio between 0,54 and 0,6. For example, if the font size is 100 pts, the best line spacing will be between 54 and 60 pts. In order to give the best flexibility to Ekko, you can also find, through other alternate glyphs, different widths for each letter (except: M, N, V and W in uppercase). Each letter, lowercase and uppercase combined, is thus available in dimensions: 3x8, 5x8 and 7x8. Ekko also contains 28 horizontal ligatures.

Jaella is a modern retro serif family. It has unique characters, such as capital A, R and B, making your design unique and stand out. Designed for editorial use, display or fashion-related branding concepts, She can be elegant or play with alternatives for a cheerful retro look. This versatile family has seven weights, from thin to black, and a variable format that can generate more weights.

Stems (豎) and crossbars (橫) are direct and simple, dots (點) are short but authoritative, downstrokes (撇、捺) are no longer curvy but straight and sharp, thus, a smart and straightforward typeface. Bold in this family is rough and tough, demonstrating a high extent of muscularity. Meanwhile Light is neatly, naturally and nicely crafted, aiming to achieve high legibility. A popular choice for advertising with diverse usages.

They say the Nile has many secrets and she was the most sacred of them all. Isis. I met her in a small tavern outside of Edfu, hidden like a jewel between Luxor and Aswan. I had journeyed to Egypt to study the mating habits of homosexual hippos. I had no idea it was the journey that would teach me the true nature of love.

Roman Ionic is a unique revival of a typeface that was once popular and used in many late 19th century and early 20th century music publishing houses, such as Durand et fils. It displays a happy marriage between the beautiful features of the Clarendon type and the legibility of the Scotch roman class and is thus aimed to work for titling and body text.

The Weidemann typeface's original name was Biblica, which was designed for the collaborative publication of a Bible by the German Catholic and Protestant Churches. The mass of text which the face was intended to set required that the design allow many characters to fit onto one line without rendering the words illegible. Thus, narrow spacing does not compromise the legibility or the elegance of Weidemann.

Ad Lib designed by Freeman Craw for the American Type Founders (ATF) in 1961. A bold Grotesque with irregular rectangular counters in round characters. This type was designed by cutting the letter images out and thus has some wood-cut character. Some lower case characters have slight inclination. Initially numerous alternative characters were provided. Unusual shapes make this typeface useful for advertising and display work.

Anne Bonny is a modern face with a candy touch. She is noble and confident, bloomy and playful. If you want to give your texts a warm and fabulous note, Anne Bonny is the right one. You can choose between a range of Open Type Features, for example the Swashes Feature for decorating the Upright styles letters as well as the Italics. Share your vision!

A recent walk down memory lane through old college sketchbooks revealed a collection of caricature fish doodles. Then the sketches were discovered by my son who, being a marine life enthusiast, promptly demanded that I draw more fish. Thus, a collection of 71 fish-inspired drawings and bubbly numbers was born. There is even a lemon, since no fish is really complete without one.

The Craftsman font is a faithful reproduction of the logo, or Title typeface used for Gustav Stickley's "Craftsman" Magazine, the foremost journal of the American Arts & Crafts Movement during its publication years of 1901-1916. It is an All-Caps font, with condensed and closely-spaced characters, specifically designed for titles and headlines. The "Craftsman" font is available in two versions: "Craftsman Regular" and "Craftsman Outline." Each is two fonts in one, in the sense that the capital letters are contained in a hand-drawn box (as on the cover of "The Craftsman" Magazine). Lower-case characters are identical, but without the box. Thus, the two may be used separately, or in combination, to achieve a desired effect.

Introducing Rotten Banquet, our first victorian display font. This font inspired by 1800s typography design with some modern touch at it. We made this font without too much swashy efefct on the letterform. Just gave it two bold ripple floral effect at the tail is enough. So this font will more readable and not too complicated thus you could make any kind of projects with this font. In the preview we give you a sample ideas. We made it with one style design for the continuity but of course you could make your own style display for your own project purposes. This font contained with 370+ total glyphs. Each uppercase and lowercase have their own stylistic alternate at least one.

A calligraphic script font Millettre is the last member of the trilogy of types designed by Lyudmila Mikhailova. First two fonts Milanette and Milafleur were released earlier. The font is based on author's lettering artworks which she did for many years for companies who produced greeting cards. The characters of the font have rough contours simulating lettering by a pointed pen on a rough paper. The character set covers standard Western, Central European and Cyrillic code pages. The default version of the font is presented by disconnected script, but connected variant is also included and organized as an alternative stylistic set. The font also contains some initial, finial and alternative forms of letters. Recommended for use in advertising and display typography. Released by ParaType in 2011.

This font is dedicated to the glory of the human spirit and honor. Osovec is a fortress of World War I. On the 6 August 1915, the defenders of the fortress, the Russian soldiers, against whom the enemy had used poison gas; though half-dead, were able to rise to the counter. Thus it was that 60 Russian soldiers routed the 2 thousand strong enemy army. This heroic episode has gone down in history as"Attack of the dead". The font contains more than 700 glyphs, support for all 104 European languages, all Slavic languages, a variety of OT features, including ligatures, old numerals, alternatives, ordinals, and many others.

Chopsee is a fun, fluid, versatile font family of 8 weights and matching italics designed by Dan Jones for TypeUnion. The font aims to encompass movement and fluidity with its accentuated curves and terminals. The raised x-height creates more synergy between the lowercase and uppercase characters thus enhancing the visual appearance. The family of 8 weights & italics means you have plenty of usage options whether digital, branding or print - Chopsee black is perfect for that new brand idea you have, while the lighter weights provide a subtle support to clean layouts whether it’s call out text on a website or in print applications such as posters or magazine layouts.

Big Welly …in the United Kingdom we have a very British phrase which is ‘Give it some Welly (Wellie)’ this is often shouted to a person as encouragement or criticism, it asks for more effort to be put into whatever he or she is doing. The saying comes from an informal name for Wellington Boots; Wellies - named after The Duke of Wellington. Hence, ‘Big Welly’ the font, this font is bold and big on the one hand and handwritten on the other. These two attributes make this font ideal as a poster font or t-shirt font for instance to make your message really stand out. So, if you need a bit of added oomph in your design – look no further than ‘Big Welly’.

The design process of OkayPaint began as hand-painted letters on paper. Thus, a variety of distressed paint effects can still be seen in the details, from splatters to dry-brush. This makes for a textured, artistic look. Use OkayPaint to create eye catching designs - perfect for grunge, surf, any casual cool setting. OkayPaint is extended, containing the West European diacritics & ligatures, making it also suitable for multilingual environments & publications.

Meet Kroine – Versatile Serif Typeface Kroine redefines versatility. It’s a serif that suits any display size. Subtle Elegance in Low Contrast Its low contrast strokes offer modern simplicity. Also, Kroine delivers a clean reading experience. The delicate serifs enhance legibility, perfect for extended text. Designed for Flexibility Kroine thrives in both small and large displays. Furthermore, its uniform thickness ensures consistency. Thus, it becomes an ideal choice for diverse design needs.

Created by Italian graphic designer and illustrator Lorenzo Lalatta, Orchestra brings a whimsical yet elegant spin to Latin typography. Every letterform is cleverly adapted from the shape of a musical instrument or musician. Mr. Lalatta has even disguised himself as the bullet glyph. Perfect for use as initial letters or in special invitations, these caricatures allow for delightful color embellishment as well. Don't be shy about wielding this baton!

Bats, Cats, Ghosts and Ghouls, Zombies, Witches and Spiders galore. Cackling to herself alone in her coven, our very own Scary Godmother, Lilou, threw eyes of newts and wings of bats into her cauldron and sent her unearthly children down the street with mischief in mind. Our Halloween Dingbats have every kind of Spooky Monster she could imagine, and a few more besides. Keep your porch light on. Trick or Treat

Invites is a digital recreation of a 1920’s mechanical script that has never existed. I designed it for my wedding invitations last year and named it in honor of my (ex)wife. Who said it wasn’t her. And she was right. So now it’s called something different. I wanted a sweet, romantic name ... Iris? Taken. Lily? Taken. Iris Lily? Cumbersome. I wanted something short and inviting. Uh ... hmmm.

If you're anything like me, you're absolutely in love with all things farmhouse! That gorgeous, rustic style is just about everywhere lately, and I just can't get enough! So, in honor of this elegant trend, I've created, Buttermilk Farmhouse - a rustic, delicate calligraphy script that can be used on everything from signage, to branding, to editorials. Don't be shy, give this baby a test drive and see what you can do!

“Nusaibah” is the first name of an early convert woman to Islam, and the first female to fight in defense of the Islamic religion. Her full name is Nusaibah bint Kaíab Al-Maziniyyah and she took part in the Battles of Uhud, Hunain, Yamama and the Treaty of Hudaibiyah with Islam’s prophet Muhammad (pbuh). Nusaibah is best known for her brave and heroic feat during the Battle of Uhud - fought on March 19, 625 - when she entered the battle carrying a sword and a shield to protect the prophet Muhammad (pbuh) from the arrows of the enemy, and she accordingly received several wounds while fighting and these wounds were not healed until the following year. The prophet Muhammad (pbuh) mentioned her distinct courage by saying that in whichever direction he turned in the battlefield, he could see her defending and protecting him. "Nusaibah" is a modern, geometric, and headline Arabic display typeface. The main trait of this typeface is the novel symmetrical design of its letters which renders it as one of the modern stylish typefaces used for headlines and titles. This is can be noticed in its letters such as “Theh”, “Jeem”, “Ain”, “Sheen”, and others. Moreover, “Nusaibah” font has a character set which supports Arabic, Persian, Urdu, and Latin letters and numerals with a limited range of specific Arabic and Latin ligatures. This font comes in two weights (i.e., regular and bold) with nearly 643 distinctive glyphs. Due to its geometric and linear design, “Nusaibah” typeface is appropriate for heading and titling in Arabic, Persian, and Urdu magazines, posters, and surfaces of different equipment. It is also elegantly suitable for signs, books’ covers, advertisement light boards, products’ and services’ names, and titles of flyers, pamphlets, novels, and books of children. “Nusaibah” typeface is one of the Arabic typefaces that has a novel and modern-day design which can be used in versatile graphic, typographic, and artistic works in different languages for diverse cultures.

Often it is hard to express ourselves and our emotions. Thus, the idea of emotional typography and fonts was born. This is a detailed font with many lines and shapes. It has been designed to reflect the feeling of overthinking. Overthinking, by nature, is done by logically thinking through all the different scenarios and outcomes for one particular thought or situation. Therefore the appearance of this font is one that is structured and technical. This font is great for architecture, buildings, construction, geometry or even for situations that are heavily detailed! It definitely works great as an overlay on images or photographs. Pair this overthink font with a simple sans serif font to contrast against the details in the former. We hope you enjoy this font as much as we do!

We, GalaStudio (Lilia & Galina) represent the SlimOne BESTIARY font from our MELTING FONTS collection. It is a decorative style version of the SlimOne font family, which we designed by playing with glyphs: we converted them into funny animals and thus created a "zoo". One can use the BESTIARY font for children's books and notebooks as well as for all kinds of funky advertising, social media, greeting cards and comics. INCLUDED: GS_SlimOne_Bestiary.otf GS_SlimOne_Bestiary.ttf Numbers, additional glyphs & basic punctuation are included. PERFECT FOR: using in books titles, textbooks, notebooks, different brochures and advertising, especially for kids, home-ware design, packaging design; magazines, posters and flyers titles; logos design, books design, fashion design, slogans etc. :) Multilingual support included for the languages based on Latin alphabet.

From tablet to table – from freehand to font – Average Handwriting was designed originally in freehand on paper then onto a tablet with the help of an appropriate app to give it a ‘wet brush’ feel – this was transferred to paper then tweaked PS and only then imported into a font design programme – this is how we work to keep the original flourishes and a freehand feel to the font. Thus, a well-ordered handwriting with both elements of freehand and precision. It looks especially good in lower-case text situations, delivering an original look - there again you may be looking for a new display font for some large graphic projects such as posters, Average Handwriting also works well in these situations, again, delivering an original look.

Rahaf is my little daughter's name; the word 'Rahaf' means kindness, sensitive and loving in Arabic. Thus, HS Rahaf is an Arabic display and text typeface. It is useful for headlines, books cover and other graphic projects. It gives the feeling and impression of hand-lettering. So it can be used for text when hand writing is needed, like in caricature texts and children stories and books. HS Rahaf is characterized by simplicity, clarity of reading and beautiful flaunt. It contains many ligatures which increase and modify its beauty. The font supports Arabic, Persian, Urdu, Kurdish and Pashto languages.

The Fou typeface family was designed as an alternative to Trade Gothic condensed bold. During the design process of a normally wide font variant a system developed that responds to white space and changing proportions. Thus, round transitions become rectangular and vice versa, space is made and space is taken away. This system and the associated changes are continued on a model with semi-serifs. Fou can also be used as an alternative to Din or the wider Q-Type, but in comparison offers more room for emphasis with its italics, expert sets and numerous special characters.

"And she, Pasiphae, gave birth to Asterion, who was also known by the name of Minotaur, since he had the face of a bull and the rest of a man. Minos wanted to beware against certain oracles by locking him in a maze. It was the labyrinth, the work of Daedalus, a construction of tangled revolts that strayed from the exit.” - Apollodorus from Atenas. LABERINTIA is a font inspired by Daedalus' masterpiece, The Cretan Labyrinth, an experimental, display typeface that creates textures, plays with the mind and loses anyone who dares to take a walk inside it.

Xaver Nature is inspired by nature. Thus, it is characterized by curves and dynamic thickness of the stroke. At the same time, all letters are anchored on the baseline, which makes the font look calm despite its organic appearance. The Schrit contains two weights: a basic weight that guarantees great legibility even in small sizes. A decorative cut that integrates plants into the typeface as decorative elements. This is particularly suitable for headlines and titles. Furthermore, it offers language support for the entire European region, the North American region, as well as for South America and Oceania.

The "Fou" typeface family was designed as an alternative to "Trade Gothic condensed bold". During the design process of a normally wide font variant a system developed that responds to white space and changing proportions. Thus, round transitions become rectangular and vice versa, space is made and space is taken away. This system and the associated changes are continued on a model with semi-serifs. "Fou" can also be used as an alternative to Din or the wider Q-Type, but in comparison offers more room for emphasis with its italics and condensed styles, expert sets and numerous special characters.

Maged, a traditional-style Arabic text face, enjoyed widespread popularity as a dry-transfer typeface prior to being licensed by Letera Arabica to Linotype-Hell for font production. In consultation with the Linotype Design Studio (U.K.), the artwork was redrawn by Adrian Williams to render the typeface into a complete, unitized Arabic font with a full complement of traditional-style ligatures suitable for digitization. Maged, which has two weights, first appeared as a 202 font in 1987 before its eventual conversion to OpenType in 2005. Thus Linotype’s Maged font can be described as a trend-setting modern Naskh design that retains a sense of the fluidity of Naskh calligraphy: the letters, when composed, appear as freshly-written text characterized by rich, inky horizontals, tapering swash strokes and contrasting delicate ascenders. The Bold exploits these features of the Regular without excess, tempered by the need for clarity at smaller sizes. Maged Regular and Bold are eminently suited to text and titling in broader column work (brochures, magazines, advertising, coffee-table books etc.) and are thus able to extend the range of the Linotype Arabic library in areas of work where the more compact text and titling fonts would create a too concentrated effect. Both of the Maged fonts include Latin glyphs (from Palatino Medium and Palatino Black) inside the font files, allowing a single font to set text in both most Western European and Arabic languages. Maged incorporates the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

HU Blueocean is a headline typeface created by imagining waves in a square glass tube. It iis designed to be used in various environments by adding decorative elements, the swaying form of waves, to the Gothic style of a full square module. There is 1 weight of HU Blueocean : Black Features : Uppercase & lowercase Numbers and punctuation Multilanguage (Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Romanian, Pan African Latin, Dutch, Afrikaans, Basic Greek, Basic Cyrillic, Mathematical Operators) 882 Glyphs

Mi negra is a funny and hilarious typography designed especially for children, thought and created by Isabel de Gregorio. It could be described as an original combination between a semi-handwright and semi sans-serif font. Thanks to its structure and nice endings "Mi Negra" is recommended for composing short texts (logotypes, packing, posters, etc.). It may similarly be used for illustrations and comics, as well as in printing press works for children from 6 to 13 years old for instance. Mi Negra has been conceived to be a useful support in all kinds of illustrations works (please note that Isabel, the type designer, considers herself primarily an illustrator). The font designer of Mi Negra tells that every time she needed to provide some text data (i.e. in children infographies) and needed to make them more understandable and suitable for children, she used this typography. The former idea was than to create a font who could be a second option to comic sans, but as the project started to reveal its forms, it was clear that it was revealing another connotation and its own character. In this way, Mi Negra went on modifying its forms and the more it developed, the more it was showing its new characteristics and concepts. The family is composed of three weighs: Light, regular and black. It provides also interesting functional ligatures. It also includes a dingbat with nice doggies. It has 434 characters and can work with 208 languages.

The square icons focus on maximizing the meaning by minimizing the symbols. Let your viewers understand your data without disorientation. Use a metaphorical icon library, designed for fast, intuitive human recognition. All square icons crafted with precision and eye for quality with 32x32 grid system. The metaphors and the compositions designed with pieces from everyday life and popular culture, thus your viewers will never get lost and enjoy a unique and simplified visual style.