A poster for the publication “The Quartier Latin – A Magazine Devoted to the Arts” featured the magazine’s name in a light Art Nouveau serif style. The Quartier Latin was published between 1896 and 1899 by the American Art Association of Paris. This is now available as Nouveau Meadow JNL in both regular and oblique versions.

This was put together by Dan X. Solo to provide a quick way to set headings for a circus brochure. The name was given in recognition of the Baraboo Circus Museum. The end pieces are in pairs on the uppercase keys A-B, C-D, etc. The alphabet itself is in the lowercase position.

Kholodos - the slang name of the refrigerator in Russia. This font contains 383 characters, supports Latin, Cyrillic, Latin-1 Supplement, and also has the symbols of the Ukrainian and Belorussian alphabets. A font feature is a large number of alternates that define the connection of letters. Kholodos - the perfect solution for vibrant retro lettering.

The letters of ShirlyUJest have serifs that have gone wild, crossing over themselves, giving them the look of overgrown vegetation. It is weird and bizarre and out of control; the name says it all. It is caps-only with the lower-case keys containing the glyphs identical to those on the upper-case keys.

Hoy is a decorative font whose name derives from one of the Orkney Islands. Inspired by the wonderful encounter between the Celtic and Norse cultures in this specific geographic location, the font has adapted some of the features of the Insular half-uncial. It is playful and relaxed, and easily recognizable by its roundness.

This font is designed to create typographic textures. It's based on Ankara Display but not in the same family because of some of its different forms. Also, its angular forms give a digital impact.

This vintage typeface named "Classic Heritage" has a steampunk look and was inspired by old-school lettering styles. The 13 stylistic alternate letters can help you to create a unique and interesting text composition.

Font with hexagonal dots for texts, names, logotypes, titles, headers, topics etc. Big sizes of this font can be used for posters, t-shirts and other surfaces. Also good for the three-dimensional inscriptions.

Font with hexagonal dots for texts, names, logotypes, titles, headers, topics etc. Big sizes of this font can be used for posters, t-shirts and other surfaces. Also good for the three-dimensional inscriptions.

Font with hexagonal dots for texts, names, logotypes, titles, headers, topics etc. Big sizes of this font can be used for posters, t-shirts and other surfaces. Also good for the three-dimensional inscriptions.

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 Genesa typeface is a condensed, rounded sans serif typeface with a contemporary styling ideal for editorial or branding design. With it’s 4 weights and accompanying italics, this family can be used for large titles or display settings but is equally legible in small sizes for longer passages of text. Genesa combines a strong, vertical constructed style with a softer rounded approach that adds a humanist flavour. This typeface covers multiple languages through an extensive character set and a wide range of Opentype features that allow various character or numeral choices. A set of over 60 pictograms and arrows are equally features and through their carrying weights, can also be combined seamlessly with any style of the family.

Morris Sans is a newly revised and extended version of a small geometric family of typefaces originally produced by Morris Fuller Benton in 1930 for ATF. His initial design consisted of an alphabet of squared capital letters with a unique twist that characterized its appearance: corners with rounded exteriors and right-angle interiors. The types were intended for use in the fine print found on business cards, banking or financial forms, and contracts. But over the ensuing decades, this design became a popular element in all sorts of design environments, and several foundries revived the typeface in digital form. Since digital fonts are bicameral, with slots for both upper and lowercase letters, new cuts of the type opted filled the lowercase slots with small caps. In 2006, Linotype commissioned its own version of the typeface-an extension for 21st century use. Under the advisement of Linotype's type director Akira Kobayashi, Dan Reynolds redrew the uppercase and added an original lowercase for the first time. Additionally, a number of extras were brought into the fonts, including six figure styles (tabular and proportional lining figures, tabular and proportional oldstyle figures, and special tabular and proportional small cap" figures). Small caps, which have become an iconic element over time, are accessible in each font as an OpenType feature. To differentiate this version from the original, Linotype's new family is named Morris Sans, in honor of Morris Fuller Benton. All fonts in the Morris Sans family are OpenType Com fonts; they include a character set capable of setting 48 European languages that employ the Roman alphabet, including all Central and Eastern Europe languages, those from the Baltics, and Turkish. This glyph coverage extends to the small caps as well. Morris Sans is a wide typeface, especially in its regular widths; the condensed faces set a more conventional line of text. The new lowercase letters are less geometric than the uppercase, except for those that share the same basic forms (e.g., c, o, and s). Instead of following this geometric trend, the new lowercase tends to strengthen the humanist elements that were present in several characters from the original type, including the uppercase D and the figures 5, 6, and 9. Morris Sans also sports a number of glyphic flares, like the stroke found on the original uppercase Q. Morris Sans is a clean, modern design best suited for headlines, advertising, posters, expressive signage (especially on storefronts), and corporate identity work."

Fong Shay Noon JNL is a non-traditional approach to an Oriental-styled font as there are some letter forms with curves and others with straight lines. The name derives from a Chinese restaurant in North Miami Beach, Florida during the 1960s, which in turn took its name from a play on a Yiddish phrase.

Yefimov Serif is a contemporary serif face, with low contrast, squarish shapes of round glyphs and emphasized businesslike nature. It is one of the last original faces by Vladimir Yefimov. Yefimov Serif will suit perfectly for business texts, periodicals and corporate identity. The typeface was completed by Maria Selezeneva and released by ParaType in 2014.

Taglio’s name is derived from intaglio, which means “incised carving” or “an impression from an engraving”. Indeed, Taglio looks like an incised engraving with a contemporary calligraphic interpretation. The down strokes start with a single horizontal line that curves into a dual vertical line and ends with the same single line at the base. The dual elongated strokes create a bold overall impression but is literally twice as sophisticated than if the two lines were solid. That was exactly the goal in creating this font. We managed to create a font that is distinctive, elegant, and crisp that is also intentionally stencilled for more flexibility. For instance, it is ideal for laser cutting signage. One of the unique features in using the capital glyphs is that they stack perfectly without losing legibility, primarily because of the slanted ends of the dual vertical lines - see the example “Miami Fashion Week” display ad. Taglio’s unusual style was carefully crafted to come to life at display sizes. It is therefore ideal for use in branding fashion, restaurants, buildings, packaging, museums, signage, etc. An ideal pairing font is our WERK family which can be seen on some of the display ads below. Taglio has a sparkling and sophisticated personality that will absolutely delight!

From the standpoint of calligraphy, a font family of capitals and uncials makes perfect sense. The Roman square capitals, the quadrata, are matched by round capitals of older Greek origin; the word "uncus" means hook-shaped like a beak or talon. Interrelated and often interchangeable, these capital letters served as book hands for both the Latin West and the Greek-speaking East before they evolved into minuscule alphabets. The Testament family is based on the few formal capital manuscripts of the Bible, Virgil and Homer that have survived from the ancient world. Throughout the Middle Ages both uncials and square capitals were used, often together, for headings and initial characters. By their nature the Roman capitals are the voice of Caesar and hold the place of authority, while the uncials speak for the Church in a balanced relationship. In ancient times church and state were not as separate as they are now, and the alphabets were not as different as typographic tradition has made them. In this calligraphic rendering it is clear that they are of the same substance and can be written in the same style, conveying even to the modern eye the eternal and classical quality of epic and scripture. Testament comes in all popular font formats, and includes support for a vaster-than-usual range of Latin-based languages.

The Heinemann fonts were initially developed by the in-house design team at Heinemann educational publishing out of the necessity to find the perfect font for use in early primary reading books and literacy products. Basic Heinemann is defined by longer ascenders and descenders, which help children to distinguish between letters; rounded edges on all letterforms, which help the reader focus on the individual letter shape; and modified characters (eg., a and g), which ensure instant recognition of letterforms. Heinemann Special offers further modified characters and kerning pairs ideal for dyslexic or special-needs use (eg., a, d, and b). The Heinemann fonts were developed in partnership with children, literacy advisors, teachers of special needs/dyslexia, and primary-school teachers and are now available in response to hundreds of requests from publishers, designers, and teachers to purchase them. They have been tested in schools and learning institutions over an 8-year period, and they are a favorite for use in both print and electronic products. The modern, clean aesthetic of the fonts ensures that their use can spread beyond educational applications.

BECOME Display Font Family It tries to display playful ideas in well-balanced styles. Hello, designers. We always seek new innovations, but run into the world of forms and frames, presently. This font family presupposes pleasant imagination and provocation, but controls the change of various styles so as not to lose a sense of balance. B, E, M and W glyphs started from the same skeleton, but the detailed correction work for interpolation transformation was all applied differently. It is designed to be well suited to any layout while providing a unique stimulus. It can be a great display for all ages, from kids to seniors, and covers publishing, web, app and graphic design areas. OpenType Features Stylistic Sets(ss01) : C,E,G,H,L,N,O,Q,U,Z(Uppercases), a,b,c,d,e,g,i,j,l,,n,o,p,q,u,z(lowercases) Stylistic Sets(ss02) : ↑↗→↘↓↙←↖↔↕ ligatures : fi,fl oldstyle figures tabular figures fractions

I'm Andrea, creator at Nirmalagraphics and I want to present my latest font called "Kidszania". I took the name from a children's playground filled with writings posted on the wall. I found a child's writing style that is funny, looks clean and natural. I tried a rough sketch of a font that resembled the writing of the child, then I modified it to become the "Kidszania" font. This font can be used for any needs, especially children-themed designs.

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

Who says design has to be boring? The Quwen King font is the secret key to bringing power, glitz, and gaming style to any of your projects. Quwen King is the perfect solution for projects that require a unique touch. From powerful movie displays to exciting games and stunning streaming events, this font captivates and dominates in a variety of languages. With Quwen King, you don't just get a font, you get the tools to bring creativity, charm, and fun to your designs. Enhance your projects with Quwen King Font now, and enjoy amazing results that will make your designs stand out!

Paestum is a Latin typeface inspired by Greek inscriptions of the 6th and 5th centuries B.C. Its name comes, suitably, from the Latin name for Poseidonia, a former Greek city south of Naples whose two remaining Doric temples have been on antiquities tours since at least the 1700s. Others have scanned this terrain before, of course, but earlier designs failed to supply a lower case. Although Paestum includes complete upper- and lowercase alphabets, diacritics, numerals, and essential punctuation, it does not have many unhistorical glyphs -- such as currency symbols and the @ sign. Paestum comes with three weights: light, medium, and heavy.

Pico is the pixel font that works small and large—from web buttons to LED boards. The native font size is 16px, however you can work within any size that’s a multiple of 2. Pico is featured in the gorgeous mobile game Space Age: A Game of Cosmic Adventure by Big Bucket! The latest version of Pico (1.300) includes a staggering 454 new characters (from 235 to 689)! This update includes support for south eastern European and all new Cyrillic, Hebrew, Greek and math characters. Latin characters and kerning have also been updated and improved for legibility.

Zim is a bold, earthy font, named for the Great Zimbambwe ruins (a World Heritage site). Its solid silhouette represents the timelessness of this ancient structure. The font is very readable, and its bold, rugged shape make it ideal for display purposes, for posters and headlines. Fully professional, it contains a complete set of 255 characters — Upper and Lower case, all numerals, punctuation, symbols and accented characters. It is suitable for layout work in all major European languages — Spanish, Portuguese, German, French, Swedish and Italian (to name a few). The characters are spaced for readability and have been carefully kerned.

Bitstream typeface based on Koch Antiqua by Rudolph Koch (Klingspor, 1922). Koch Antiqua, also known as Locarno and Eve, is the most popular face of one of the great lettering artists of the 20th century. This delicate display face has a small x-height, very tall ascenders, and main strokes that taper gracefully downward. Koch-Antiqua appeared extensively in advertising between the wars. A refined letterform, it is best used sparingly for a distinctive look in advertising, book, and job work. Two weights of Cyrillic version including alternative lc characters were developed by Isabella Chaeva and released in 2008 by ParaType.

Pretty September is the perfect font for all your fun designs. The main font file is equipped with ordinary characters (A-Z, a-z, 0-9, ligature), as well as more than 300+ glyphs to support most Latin-based languages. Everything is made with the same brush, and everything is the same size as Pretty September, so you can be sure they will work well together! It is suitable for you to use in making t-shirt design, quote, label, packaging, logo type, or long writing. Because we have compiled kerning and matrices that are tailored to your needs.

PROSTY is a family of minimalistic and geometric fonts. It follows the style of other Fontsphere's forms, but goes one step further. It contains both uppercase and lowercase characters, which makes it useful for display, titling, captions but also for composing short, intermediate and longer texts, which is a very interesting and useful combination here. It was created carefully with details in mind. PROSTY contains a large number of characters as well as multilingual support.

First designed for Chilean newspaper La Tercera in 2010, Acta family is a clean and fresh type system, while conservative enough for newspaper setting. The complete Acta Type System contains Acta and Acta Display, both with six weights with matching italics, Acta Symbols with an amazing collection of symbols specially designed for newspapers and magazines, and Acta Poster, a heavyweight version, elegant and eye-catching in three styles with plenty of ligatures and alternates.

First designed for chilean newspaper La Tercera in 2010, Acta family is a clean and fresh type system, while enough conservative for newspaper setting. The complete Acta Type System contains Acta and Acta Display both with six weights with matching italics; Acta Symbols with an amazing collection of symbols specially designed for newspapers and magazines and Acta Poster, a heavyweight version, elegant and eye catching in three styles with plenty of ligatures and alternates.

First designed for chilean newspaper La Tercera in 2010, Acta family is a clean and fresh type system, while conservative enough for newspaper setting. The complete Acta Type System contains Acta and Acta Display both with six weights with matching italics; Acta Symbols with an amazing collection of symbols specially designed for newspapers and magazines and Acta Poster, a heavyweight version, elegant and eye catching in three styles with plenty of ligatures and alternates.

First designed for chilean newspaper La Tercera in 2010, Acta family is a clean and fresh type system, while enough conservative for newspaper setting. The complete Acta Type System contains Acta and Acta Display both with six weights with matching italics; Acta Symbols with an amazing collection of symbols specially designed for newspapers and magazines and Acta Poster, a heavyweight version, elegant and eye catching in three styles with plenty of ligatures and alternates.

Logo Sans is a clean, geometric sans-serif created with an obvious use in mind - logos (although quite suitable for longer texts as well). It is a clear, easy to read font that comes in a variety of weights & italics ...allowing for pleasing logo design combination and marketing pieces. Its wide characters and linear lines have a very modern, luxurious appeal. The family includes 5 weights...plus italics - for a total of 10 fonts.

A 1930s luggage tag from an eponymous hotel provided the inspiration for this face. The uppercase letters lean to the left and the lowercase letters lean to the right, so aLtErNaTiNg the two will give your headlines a little bounce. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

The cover of the sheet music for the 1910 song “We’ve kept the Golden Rule” features a hand lettered and slightly spurred Art Nouveau type style. As an older couple was pictured below the song’s title, this inspired the name Golden Years JNL for the digital font, which is available in both regular and oblique version.

Inspired by the Froben capitals believed to have been cut by Peter Schoeffer the Younger, son of Gutenberg’s apprentice, this design is neither strictly a Venetian nor an Aldine. The archaic approach and lack of the Aldine model lead us to place the face in the Venetian group. The design owes more to Goudy than to Schoeffer.

This is a font imitating the stage of outline construction of letters using drawing tools - compass and ruler. It is very geometric (with auxiliary lines, axes, centers of circles, tangents, and conjugation of circles), although the circles are somewhat compressed from four sides. The second style, which plays the role of Bold style, is a hatched version of the Regular style. The font has very small elements that appear in a sufficiently large size, so it is better to use it for large compositions, in particular, advertisements, posters, large headings, etc. The family is named "Khachatur" after the name of the father of designer Ruben Tarumian — architect Khachatur Hakobyan, his first master.