Vasili Vasilyevich Radlof or Wilhelm Radloff (Russian: Василий Васильевич Радлов; German: Wilhelm Radloff; 17 January 1837 - 12 May 1918) was a German-born Russian orientalist and founder of Turcology. Radloff is a German-born Russian Turcologist who researches the Turkish world from different perspectives, opens a new era in the history of Turkology by bringing them to light, and devoted 60 years of his 81-year life to these studies. He published his work known as Radloff's Atlas with a runic font specially developed for the Old Turkish Runic Alphabet. I made the Turkish Runic Font using Radloff's Atlas. I developed this Anglo Saxon Futhark font based on this font and adapted it to Anglo Saxon script.

Hello guys... We proud presenting our new font. Jingle Bells is playfull font, display bold font. Jingle Bells would perfect for kids poster, flyer , cover children book, cartoon, comic , cristmast invitation, new year party and etc. Features: Standard glyphs Uppercase and Lowercase Numerals & Punctuations Multilanguage Works on PC & Mac

Elsinor JNL brings the cold stark reality of the future, technology and science to a computer near you...

Introducing Neatly Said - sweet & versatile font family. Packed with hand-drawn letters, stylistic alternatives, and ligatures. Perfect for writing out uplifting quotes for instagram posts, wall art or greeting cards. It will also be there for you if you need to design some charming packaging or branding. Suitable for short and sweet quotes, as well as longer meaningful paragraphs. Designed and kerned with care and love to make using it a breeze. Neatly Said is packed with lovely features: many stylistic alternates for uppercase and lowercase ligatures multilingual support with accented characters for international designers Contact me with your order number to receive the illustrations: monika.torun@gmail.com

"Urban Dope" is a graffiti font characterized by its bold letterforms and rounded corners. This font is ideal for a wide range of design projects, including headlines and various other creative endeavors. With its edgy and dynamic style, "Urban Dope" adds an urban flair to your typography, capturing the essence of street culture.

Inspired by street posters, this font combines the value of beauty and authenticity in its creation. and the style set feature adds variety to the anatomy of the letters, this font belongs to the display category which is suitable for use in graphic designs such as posters, billboards, and large graphic designs.

A graffiti display font with free style font that has the characteristics of street art that shows freedom and is filled with unique characters. Feature : * Symbol * Number * Punctuation * Multilingual support * Support in Mac and Windows OS * Support in design application (photoshop, illustrator, and more) * Upper Case I really hope you enjoy it.

A graffiti display font with free style font that has the characteristics of street art that shows freedom and is filled with unique characters. Feature : * Symbol * Number * Punctuation * Multilingual support * Support in Mac and Windows OS * Support in design applications (photoshop, illustrator, and more) - All Caps I really hope you enjoy it.

Proudly Presenting, Timegoing a Graffiti Street Font. Timegoing is perfect for any titles, logo, product packaging, branding project, megazine, social media, wedding, or just used to express words above the background. Timegoing come with Multi-Lingual Support. Enjoy the font, feel free to comment or feedback, send me PM or email. Thank You!

A brighter slab n’ sans in 18 styles Referred to as Egyptian’s in the early years of the nineteenth century, today slab serifs are primarily used in display sizes but seldom used in body text. With Mislab, Xavier Dupré has designed a brighter and more legible slab serif than most. Mislab aptly combines the strength of a slab serif with the lightness of a sans serif. Bold and thick serifs make for strong impact in display uses while performing extremely well under the most stressful body text conditions. A slight cursive feel adds spice to the text while its delicate rounded rectangular structure is naturally adapted to screen displays. The capitals have fully assumed serifs while the lowercases have more discreet versions. Notable features include sanserif endings on the lowercase a, c, e & s, inducing fluidity and enhanced readability. This highly versatile typeface brings clarity to headlines. Mislab will provide foolproof stability to your layouts. Mislab, a new design by Xavier Dupré Type Directors Club 2014 Tokyo TDC 2014 Communication Arts Typography Awards 2014 Club des directeurs artistiques, 45e palmarès Slanted: Contemporary Typefaces #25

JY Ætna was designed originally by Francesco Griffo in 1495, and appeared in a book by Cardinal Bembo the following year. The typeface was re-created by Jack Yan in 1994, in time for its 500th anniversary. The original x-heights, quaint letters and other niceties have been restored. An italic complement, based on the design by Giovantonio Tagliente, has also been developed. JY Ætna has been one of JY&A Fonts’ more popular families over the years, with some typographers preferring its taller ascenders and descenders for headline work.

Modern antiqua (Victorian, Scotch Roman) «Dodo», 2008–2019. Named so as a portmanteau of Bodoni – Didot. XIX-th century fonts, especially Victorian antiquas, were almost excluded from the modern use by their XX-th century's descendants. And these new books had lost too much of their former beauty, elegance. Their old noble spirit. This project, «Dodo» was started in 2008 year as the first then modern revival for the Old Imperial Russian book scotch antiqua, used 120–170 years ago in almost every printed book. Still keeping the spirit of the Steam æra.

Middle Earth is a Medieval calligraphy serif font. With the historic charm of ancient manuscripts and the ethereal beauty of elven realms, Middle Earth typeface weaves tales of valor and legends. Variable font! Only one font file, but the file contains multiple styles. More info about Variable Fonts: https://mansgreback.com/variable-fonts

Fifteen hundred years from now, a man will be selected to go back in time to prevent a catastrophic event which turned his world into a dystopia. Sent back in time, he was enveloped in empyrean fire, the strands of energy that make up time itself. Crash-landing near Astro City in late 1985, he learned how to master and channel the empyrean forces that had suffused his body -- finally learning to control his powers in time to prevent the destruction of the Space Shuttle Challenger, the event he had been sent to avert. He described himself to journalists as nothing more than "a Good Samaritan", and has continued to help his fellow man in Astro City ever since. John JG Roshell has also been struggling with the empyrean challenge of fitting all of Kurt Busiek's Astro City dialogue into balloons with the regular Samaritan font, so he created the Samaritan Tall font to help his fellow comic book letterers! It's kinda the same thing really. See the families related to Samaritan Tall: Samaritan &

Once upon a midnight dreary, this Comicraftsman pondered, weak and weary, For a name synonymous with Mighty and Marvelous comics lore. Solid, Outline, Inline was the nameless font I'd crafted, I nodded, nearly napping o'er the work I'd grafted When suddenly came a tapping, As of someone gently rapping, rapping at my cubicle door. "'Tis some visitor," I muttered, "tapping at my cubicle door-- Calling out "EXCELSIOR!" Then an Amazing Vision beguiled my sad fancy into smilin', By the Spectacular decorum of the countenance it wore, "Though thy crest be shorn and shaven," he said, "thou art sure no craven, And thy font should not remain nameless here forevermore!" Eagerly I wished the morrow; vainly I had sought to borrow From comic books surcease of sorrow, letters that called out "EXCELSIOR!" Then, upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking of the nominative neuter singular thing Like Some Silvered Surfer wandering from the Nightly shore-- The Vision shrieked, upstarting--"Tell me what thy lordly name is thus!" Quoth the Craftsman: "EXCELSIUS!"

Heroic is a bold and playfull handwritten brush font. This font is very unique because sometimes it can look fierce like in modern street art graffiti if with capital letters, but sometimes it can look cute if it is included with the lowercase letters. As a result, this font can matches a wide pool of designs.

This "Leaf" font has been swirling in my head for years - I remember my sister and I making letter formations like these when I was young. It was exciting to see the lettering look even better on paper than it did in my mind! "Leaf" surprised me by having two distinct looks: in size 24 or smaller, the look is delicate, because your eye doesn't see any space in the letters. In size 28 or larger, the eye can discern spaces, which gives a different facet to its personality. As much as I like this font when viewed on a monitor screen, it really shines when printed. The "Leaf" font is a perfect blend of quaint hand-written style mixed with crisp letter formations. This font has a very "happy" quality to it. May using it bring a little more happiness to your day!

Silent Echo - the name just popped up! I didn’t hear and echo, nor is it very silent here (with three kids running around). Silent Echo is a handmade all caps font. Quite neat, very legible and full of swashes!

A clean, classic woodtype face from the William H. Page Company, as fresh today as it was over 120 years ago. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

lemonstyle, we named as a lemon because near of girly name character. girly font name are much similar, so we added and combine including style in one name without space. it's really good for women including cosmetic products & anothers

Designed over three years after the second World War, and published in 1949 by the Nebiolo foundry, Normandia was Alessandro Butti’s take on the fat face. As it usually was with Butti’s designs, this face effectively injected a catchy yet expertly calculated calligraphic spin into its source of inspiration — which was the essentially geometric/deco, thicker model of Bodoni’s very popular aesthetic. The metal Normandia saw some widespread use for a handful of years after its publication, not least because of the multitude of sizes in which it was available. It stepped out of the limelight by the mid-1950s, due to a combination of the popularity of cold type and Nebiolo’s refusal to retool its faces for new technologies. It was copied by a few small film typesetting outfits on both sides of the Atlantic, but never really found its way back to the mainstream. By the time computer type became the norm, Normandia was pretty much relegated to a type historian’s collection of anecdotes. This digital update of the classic series revives and refines the three original metal designs (Tonda/Regular, Corsiva/Italic, and Contornata/Outline) and expands the character set to more than 600 glyphs per font, including small caps, six types of figures, fractions and nut fractions, a full set of f-ligatures, some stylistic alternates, and other fine typography niceties.

Monallesia is a sweet, soft hand-lettered font and monogram. Fall in love with its authentic feel and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, Logo, Brand, and cute greeting cards. This display font is the perfect choice for making original and outstanding designs. This font is PUA encoded which means you can access all of the heart-themed glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures.

Benilla is a sweet, soft hand-lettered font and monogram. Fall in love with its authentic feel and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, Logo, Brand, and cute greeting cards. This display font is the perfect choice for making original and outstanding designs. This font is PUA encoded which means you can access all of the heart-themed glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures.

The font Marcel is named in honor of Marcel Heuzé, a Frenchman who was conscripted into labor during World War II. During the months Marcel was in Germany, he wrote letters to his beloved wife and daughters back home in rural France. Marcel’s letters contain rare first-person testimony of day-to-day survival within a labor camp, along with the most beautiful expressions of love imaginable. The letters — stained and scarred with censor marks — were the original source documents used by designer Carolyn Porter to create a script font that retains the expressive character of Marcel Heuzé’s original handwriting. The result of years of research and design work, P22 Marcel Script features more than 1300 glyphs. The font is a highly readable running script that includes textural details that capture the look of ink on paper. The font Marcel Caps is a hand-lettered titling face intended as a companion to the Script. Marcel EuroPost One and Two each feature more than 200 postmarks, cancellation and censor marks, and other embellishments found on historical letters and documents.

The Urbanists is a free style font that has the characteristics of street art that shows freedom and is filled with unique characters. Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature • Swash There it is! I really hope you enjoy it.

Introducing a lovingly handmade new typeface, Hugehito Brush, a fun and imperfect modern brushed script font with a tough of uniqueness driven. Design like a professional with this typeface that fits perfectly for your wedding invitations, street ads, Instagram posts, t-shirt design, branding, and much more.

The Overcook is a free style font that has the characteristics of street art that shows freedom and is filled with unique characters Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature • Alternate There it is! I really hope you enjoy it

Ten years or so after his unique treatment of Garalde design with Trump Mediaeval, Georg Trump took on the transitional genre with Mauritius, which was to be his last typeface. He started working on it in 1965. The Stuttgart-based Weber foundry published a pamphlet previewing it under the name Barock-Antiqua in 1967, then announced the availability of the metal types (a roman, a bold and an italic) a year later. The global printing industry was already in third gear with cold type technology, so there weren't that many takers, and Weber closed its doors after more than 140 years in business. Subsequently, Trump’s swan song was unfairly overlooked by typography historians and practitioners. It never made it to film technology or scalable fonts. Thus, one of the most original text faces ever made, done by one of the most influential German type designers of the 20th century, was buried under decades of multiple technology shifts and fading records. The metal cuts of Mauritius seem to have been rushed in Weber’s desperation to stay afloat. So the only impressions left of the metal type, the sole records remaining of this design, show substantial problems. Some can be attributed to technological limitations, but some issues in colour, precision and fitting are also quite apparent, particularly in Mauritius Kursiv, the italic metal cut. This digital version is the result of obsessing over a great designer’s final type design effort, and trying to understand the reasons behind its vanishing from typography’s collective mind. While that understanding remains for the most part elusive, the creative and technical work done on these fonts produced very concrete results. All the apparent issues in the metal types were resolved, the design was expanded into a larger family of three weights and two widths, and plenty of 21st century bells and whistles were added. For the full background story, design analysis, details, features, specimens and print tests, consult the PDF available in the Gallery section of this page.

Mirabeau Buonaparte Lamar had an exotic name for a historic Texan, but he left his mark beginning in 1836, the year of Texas independence and the first year that pioneers other than mountain men made their way West. Lamar went on to become the young republic’s first elected vice-president (to President Houston) and second president -- and to author a number of interesting letters in his elegant, stylish hand. (Mirabeau B. Lamar grew up a well-to-do southerner from Georgia, and his penmanship shows it.) One of the most interesting aspects of designing old handwriting fonts, to me, is pausing to reflect on the actual moment that the letter-writer is sitting at his or her desk or table, pen in hand, putting thoughts to words -- 150 to 200 years ago. Has a complete character set, and plenty more.

John Quincy Adams, sixth President of the United States, didn't hit his stride until he'd left that lofty office. It was during his many years in Congress that he assured his legacy, not least because of his long, masterful oratory opposing slavery. His speeches, in fact, won him the nickname "Old Man Eloquent." So when I decided to simulate Adams's penmanship in his legendary diary (which he kept for nearly 70 years), it seemed fitting to call the font by that name. I focused on his handwriting from about 1810, when he was Ambassador to Russia, but also consulted pages from later years. Old Man Eloquent has both regular and bold weights. The OpenType version has more than 450 glyphs, including alternate uppercase characters, old-style and lining figures, and numerous ligatures; all formats contain several common (English) words.

Somewhat extravagant and yet quite useful? Yes, absolutely. Meet Salted family: two awesome styles and a way cool picture font. Deliberately free-spirited, Salted – the Regular, yet regular is not quite an appropriate adjective for it – brings alternates and also discretionary ligatures that completely transform the font mood, adding unexpected touches of cursive script here and there and thus creating sort of a wild feel. Salted Sweet also brings alternates: 3 for letters, 2 for digits, and is way more even-tempered than it’s playmate. By the way, they play truly nice together. Enter the picture font and the team is complete for an exciting time. It’s said that the cure for anything is salt water: sweat, tears or the sea. We totally agree. Perhaps the cure for a boring design lies in a salted font. Give it a go!

This came from a shop near Munich, Germany, and was a very poor proof with no font name on it. Never did identify it. When we cleaned it up, we liked it pretty well. We think it is typical of some early twentieth century art nouveau fonts.

Ornella is a very typical art nouveau typeface that perfectly fits into the series of URW++ Jugendstil fonts released in the last couple of years. Ornella was reworked, redesigned, completed and digitally remastered by Ralph M. Unger for URW++, based on specimen taken from old font catalogues.

Authentic and historical Brazilian lettering typeface from early Portuguese community newspapers on Brazil; first years of the 20th Century.

A collection of 174 holiday icons and cuts for New Years, Valentines Day, Presidents Day and St Patricks Day.

Crack open another coconut! With Bamboo, you can almost hear the waves and feel the warm tropical island breeze.

DoodleBat Teddies is cute and cuddly. These teddie bears will add the fun touch that any creative project needs.

Based on Lucien Bernhard’s idiosyncratic Schoenschrift, Liberty was designed for ATF two years later, in 1927, by W.T. Sniffin.