Fonzie redefining versatility. With four charming styles seamlessly blended together, it offers the perfect balance between tradition and innovation. Fonzie's basic style embodies timeless elegance with a Space-saving Condensed form with a modern twist. The SS01 explores futuristic aesthetics with a geometric style, or embraces the sophistication and form of the Extended with the SS02 features, and for the SS03 it is added for those of you who like the extreme extended style that is now a trend.

Tabac Sans is a linear, dynamic sans serif type that blurs the lines between text and title typefaces. Drawing on the rich tradition of European lettering, the humanist basis supports excellent readability even at the smallest letter sizes, while unique details and a wide array of alternative glyphs prove highly effectual in titles and headlines. The broad variety of types and weights make this font family a versatile aid when composing complex magazine and newspaper layouts.

Introducing Civons Serif Display Font A perfect fusion of classic charm and modern allure. Ideal for branding and editorial projects, it effortlessly combines traditional serifs with a contemporary touch, radiating sophistication and uniqueness. So why stop at classic and boring serif fonts when you can add fun and uniqueness with this serif display font? give it a try and you'll love it! Enjoy the font, feel free to comment or feedback, send me PM or email. Thank you!

Designed as a companion to its roman namesake, Aragon Sans is a novel approach to the humanist sans serif. Using the underlying blueprint of true and trusted 16th century forms, its humanism is deeply rooted in fine typographic tradition. By also using the same idea as its roman counterpart, where the stems gradually thicken as they go higher, it becomes a unique breed of sans serif, conservative, and legible in small text, and attractively modern in titling setting.

Chank created Zsazsa Galore as a fresh alternative to Mister Frisky, another jerky, hypercaffeinated interpretation of the traditional roman alphabet. The difference this time is that the new font has no descenders. Every letter comes to rest hard on the baseline. It sits there firmly rooted with branches wiggling around in the air. It was released as the Chank Font of the Month in October 1999 and it was named after Zsa Zsa Gabor because she is beautiful.

»Penta« is a new Sans typeface, designed in the American tradition with contrast between the up- and downstrokes. The contrast is hardly visible on the »thin« cut, but the heavier the weights get, the more contrast becomes visible. That makes this font very useful, almost linear in the lighter weights and very distinct rhythm in the heavier ones. »Penta« is extremly versatile, it can be used for bodycopy in the lighter weights and for heavy headlines.

Badr is a traditional-style Arabic text typeface with two weights: Badr Light and Badr Bold, and include Latin glyphs (Cochin Roman and Bold), allowing a single font to set text in both most Western European and Arabic languages. The two Badr fonts incorporate the Basic Latin and the Arabic character sets, which support Arabic, Persian, and Urdu. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

PT Parangon™ was designed in 1986-2002 by Anatoly Kudryavtsev and licensed by ParaType. This type family belonges to Neogrotesque subclass of closed Sans Serif. Letterforms of lower case is based on the tradition of 1710 Civil type and some modern Italic types. The family has a lot of weights and styles including Extra Condensed, Condensed, Regular, Extra Light, Light, Bold, Extra Bold. For advertising and display matter. Also it can be used for texts in advertising magazines.

Abalda adds to the number of “bad-taste” alphabets as seen on faded commercial inscriptions painted on neglected old houses. To enhance its warm character, some picturesque discretionary ligatures were added. Use it for posters, private invitations, or create a punchy company logo – the smell of old times will coin decent traditional look without a vulgar “Art Nouveau” cheapness. Yes, Abalda shares its overall proportions with Zeppelin 43, hence the whole family is a good choice to combine with.

P22 Araminta is a new font family from the prolific hand of Ted Staunton. Araminta Regular is a Tuscan style decorative font in the Victorian tradition. The Araminta Caps features a multi-font chromatic type system which allows for layering in colors using optional floral embellishments or simple colorful splashes in drop cap settings. Araminta Regular includes over 390 glyphs for multiple language options, while the multi-layer caps fonts contain only the capital letters A–Z.

Ben Harris' illustrated cover for the sheet music of "I Found A Million Dollar Baby (in a Five and Ten Cent Store)" from 1931's "Billy Rose's Crazy Quilt" lists the show's stars and other credits in a pen lettered monoline design with rounded terminals. This early Art Deco type style has now become the digital font Variety Store JNL (a reference to the Five and Ten Cent stores alluded to in the song title from the sheet music).

Bovid ready to clash Following the ancient Adriatic history and natural shapes of the ram horns, Bovid typeface connects sports and tradition in a fearless and reckless way. It empowers players as soon as they put on their jerseys, making them ready to clash for the highest score. Bovid typeface has low contrast and high legibility with priority on numerals. It has capital letters in two sizes and is suitable for sport jerseys, posters, brochures, flags and tickets.

Qisharon is a contrast sans serif font, consisting of four styles (light, book, regular, bold) and including 5 writing systems such as Latin (supporting all European languages and Turkish), Cyrillic, Greek, Hebrew, and Arabic. It is based on classic calligraphic rules and respects the traditions of every script. There are plenty of ligatures, that will draw attention to your design. Qisharon with it's formal and elegant nature is a perfect fit for logos, visit cards and magazine headings.

Inspired from Cambodia’s alphabet, Khmer. I tried to explore the visual of the original character in Latin characters. Inspired by 2 gothic fonts, Old London (for the modern/straight feel) and Berliner (for the dynamic between thin and bold line). The letters are made with pencil in a millimeter block book, then scanned into clean vector format. And the result can be use for Display or a Headline with traditional or ethnic theme, including film, game, event, etc.

Aberfoyle is an elegant and ornate modern condensed serif. It’s a great choice for unique branding and banners of anything from gourmet food packaging, to high-end accessories and cosmetics, to winter holiday headline vibes. With its old-world flair, it features a wealth of eye-catching details and a whimsical variety in its approach to letter width and shape. Aberfoyle straddles two worlds, referencing historical embellishment traditions, but squarely looking forward into the future of typographic design.

Cruz Quaste is a calligraphic medieval type, drawn by Måns Grebäck between 2018-2020. While traditional in character it is yet original, and could be described as a reinvented Gothic style. Its blackletter style it works great in historical contexts, or to give projects a tough feeling. Cruz Quaste contains OpenType features such as alternates and ligatures. The font is multilingual and supports all Latin-based European languages. It contains numbers, punctuation and all symbols you'll ever need.

"Atnew" is a modern typeface that includes six individual fonts (ExtraLight, Light, Regular, Medium, SemiBold, Bold) and a variable font ranging between Light (50pt) and Bold (200pt). Keeping geometric shapes but with soft curves gives fonts a playful feel. They can be used in interfaces, websites, posters, stationery, tv show credits, and many other purposes. It could be for your everyday activities like journaling. The variable font version provides more flexibility for your needs by fine-tuning weight points.

Ukrainian humanistic sans of universal purpose. Thanks to humanistic proportions and somewhat calligraphic sharpness, the typeface unobtrusively disturbs the eye, while remaining at the same time a “strong” modern grotesque. Asymmetric motive, distinctive letters and alternative glyphs give the font a Ukrainian flavor. The character set includes Slavic Cyrillic, European Latin and Monotonic Greek. Humus contains traditional and original ligatures, numeral variants, fractions, stylistic and historical alternatives in Cyrillic. The typeface was designed by Andrij Shevchenko in 2007-2022

Excelsia Pro Script is a beautiful narrow script designed in the tradition of Bodoni and Fournier, it has lots of variations. There are for example seven different versions for the uppercase letters that can be accessed with opentype savy software. different ampersands, @-signs, Th combinations, lots of different lowercase letters and so on. The font can be used in all of Europe, Turkey and the Baltic countries (sorry no Greek and Cyrillic). Yours very versatile Gert Wiescher

The image of a set of vintage French tin stencils spotted online was the starting point in designing Freight Yard Stencil JNL. A more traditional ‘B’ and ‘R’ replaces the original characters (which looked kind of awkward due to extra ‘stencil breaks’ within the letters). However, there are a few interesting variants in other characters to set the design apart from similar stencil fonts. Work Yard Stencil JNL is available in both regular and oblique versions.

Gingham is a modern sans serif typeface. The unaltered version of the font is clean and classic. However, the font has multiple different options for alteration. Each letter has up to 8 different versions, which the user can choose from to make connections between letters and words, creating a completely new shape. The font also includes two stylistic sets, nr. 01 gives the overall feel of the text a more modern look and nr. 02 a more traditional one.

Introducing Thelma Classic Sans Serif Font , created by Lettercorner Studio. Thelma is a traditional font for the classic sans serif type. A simple font, with a thin size, adds an elegant and classy impression. This typeface is perfect for an elegant logo, branding, travel promotion, layout magazine, beauty product, packaging product, quotes, or simply as a stylish text overlay to any background image. What’s included? :: Regular :: Uppercase & Lowercase :: Number & Punctuation :: Multilingual Support :: Works on PC & Mac

Brer Rabbit (or Brother Rabbit) is the central figure in an oral tradition passed down by African-Americans. Brer Rabbit is a trickster, just like the other popular trickster character in African stories called Anansi the spider. Brer Rabbit was based on an old font of mine called Rabbit On The Moon. It is a nice, cute children’s book font that comes with extensive language support and Brer Rabbit himself, in the shape of the alternative asterisk glyph.

Cyrillic (and Latin) poster font is limited in composition by uppercase. Monumental, dry, ascetic. Designed for the design of posters, title pages of projects, signage, book covers, building facades. It is formed based on architectural and drawing fonts. It combines Russian traditions and modern trends. The shape of the letters varies from round wide to oblong narrow, in this contrast lies the idea of the font. At first glance, this contradictory decision finds harmony with closer acquaintance.

Named after Maurice Ravel's masterpiece, Bolero likes to find itself in places of classical elegance. Slightly inspired by the soft italics put forth by Giambattista Bodoni and the Didot family, Bolero adds a feminine touch to the traditional clarity of the modern masters. A must-have for anyone who designs wedding invitations, high-end menus, romance-related book covers and posters, cosmetics packaging, fashion branding, and much more. Comes with a large assortment of alternates and ligatures.

Arkwright, named for a well known fictional shopkeeper who kept his shop open all hours is inspired by traditional British (and transatlantic) shop signage. It is a spiritual companion and ideal companion to our more elaborate Granville family. Arkwright is offered in Regular and bold weights and a more decorative 'Grand' form. These faces are especially suitable for posters, period advertising, Chapter headings and signage. Arkwright and Granville are also offered together in a value pack.

Adriane Lux is the decorative, "inline" or "openface" titling companion to Marconi Lima's acclaimed Adriane Text family. This single weight offering is modeled after the Regular weight of the primary family.

 While Adriane Text is intended for thoroughly classical book design, Adriane Lux enters the fold as an equally traditional display face. Have it foil-stamped on your next faux-leather book cover design or embossed on your personal calling card for a touch of well-behaved, regal formalism.

Gunter is a bold modern quirky half serif half sans serif display font that is in a category all on its own. it has a super-strong grounded horizontal present with playful cuts and loops inspired by 60's and 70's design. It was designed with Social Media in mind as it is sure to stand out. It comes with an alternate style set with more traditional caps if you don't want to get too crazy.

Mexican Pattern is my vision of classic Mexican style with colorful and ornate pattern. Mexican patterns appeared as a result of the fusion of two cultures. Aztec and Mayan heritage mingled with Spanish traditions in bright colors. You can use color fonts in PS CC 2017+, AI CC 2018+, ID CC 2019+, macOS 10.14 Mojave+ Please note that the Canva & Corel & Affinity doesn't support color fonts! Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman.

Lunokhod type family (four weights) was designed by Oleg Karpinsky for ParaType in 2005. Lunokhod is an original wide sans serif with square shapes of oval glyphs. Several Cyrillic glyphs such as Í, Ó, ×, ã, ä, ò have alternate letterforms. For example capital H has two shapes: Latin one with diagonal central stroke and traditional Cyrillic with horisontal bar. Capital Ó and × have symmetrical and asymmetrical shapes. For use in display typography and for short text passages.

Part of the wave of modern explorations expanding on the 50+ year-old traditions of groovy psychedelic typography, Mysterylab brings you Phaserwave. With an intriguing fusion of pillowy shapes and sharp stroke ends, this font cooks up a heady mélange of whimsical flow and high precision. We've applied our usual meticulous attention to great kerning, extensive character set, and seamless functionality, so this font's ready to rock your designs any way you might want to do it.

Kilburn is a no-nonsense, condensed Gothic sans-serif. For over a century the condensed sans-serif has been the 'go to' font for gravitas and authority. Kilburn continues in the fine tradition of fonts such as Franklin Gothic, News Gothic and Trade Gothic offering a contemporary interpretation of the condensed sans-serif — functionality with personality. Equally at home as both a text and display font, Kilburn is available in five weights from Thin through to Black.

Happyfin is a sumptuous font based upon the free nature of a handwritten text, it balances the organic form with the necessary preciseness of a traditional typed font. With a smooth light hearted elegance, this font is perfect for designs involving organic produce and situations where a professional yet fun and friendly typeface is needed. The font has high readability level, and yet conveys a good deal of character and style within the simplest of forms.

Samuel Welo’s “Studio Handbook for Artists and Advertisers” contained dozens of hand-lettered alphabets used as inspiration for both the sign trade and for graphic designers. Intertitle Nouveau JNL – available in both regular and oblique versions – was originally an alphabet produced by a round lettering nib, and was first shown in the 1927 edition (later reprinted in the 1960 edition). It is reminiscent of the lettering used on intertitle cards of the silent film era. This font marks an amazing milestone - the 2000th release by Jeff Levine Fonts since its inception in January of 2006.

Hans Kendrick SE is geometric sans typeface inspired by Avenir and Futura. It is the second edition of the Hans Kendrick typeface improving on its geometric consistency, weight distribution, and overall rendering quality.

Vertical Roundpoint JNL is one of a number of classic hand-lettered typefaces found in a 1941 edition of the Speedball® Lettering Pen instruction book and re-drawn digitally by Jeff Levine.

P22 Mayflower is a classical Roman font taken from a Bible of 1610, the edition likely carried to America by the pilgrims on the Mayflower. Good for period reproductions, with its companion italic.

Nuyork Arabic was designed to emphasize on the individual Arabic letter visual traditional characteristics. Including 5 weights, it was designed with both text and display applications in mind. This font is intended to produce virtually cursive texts without eliminating the clarity or look-and-feel of the individual Arabic letters. Offering glyphs for the full Extended Arabic Unicode Standards 6.1, including the latest Arabic Supplement and Extended-A Unicode blocks, Nuyork Arabic incorporates comprehensive support for Quranic texts and other Arabetic scripts, including African sub-Saharan scripts. Careful design considerations were given to make sure that composed Arabetic text is visually prominent and stands well next to Latin. To insure legibility in all sizes, vertical strokes are emphasized when possible, while utilizing multiple x-heights to give a traditional Arabic feel. The design of this font follows the general guidelines of the Mutamathil type style developed by the designer, a decade ago, to enrich and diversify user typographic options, and to address the Arabetic scripts challenges of literacy, education, economics, and technology. Based on this style, it uses one glyph for every basic Arabic Unicode character or letter, as defined by the latest Unicode Standards, and one additional final form glyph, for each freely-connecting letter in the traditional Arabic cursive text. Nuyork Arabic includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned, with most of them appearing on similar high and low levels to clearly distinguish them from the letters. Tatweel, or Kashidah, is a zero-width glyph. Arabetics Latte includes both Arabic and Arabic-Indic numerals. Available in Open Type format, the Nuyork Arabic font family includes regular, light, bold, extra bold, and black.

Baldufa is a charming typeface with strong personality, which looks very comfortable in text. There is a search to obtain complicated curves and detailed features, which give the typeface a touch of beauty and elegance. However, this is also a self-conscious design that claims appreciation for quirkiness and human imperfection through the rounded serifs and irregular vertical stems. The typeface family is also a multi script project, containing Latin and Arabic scripts. The Latin consists of Regular, Bold and Italic styles, including Small Caps and many other typographic features. Whereas Arabic Naskh includes Regular and Bold weights. The whole family has been designed to work harmoniously together to help to produce catalogues and small publications of cultural content. We believe that Baldufa is a tiny but nice contribution to build bridges between cultures and this make us very happy. The letterforms in the Latin are inspired by the slight distortions and idiosyncrasies that came with old printing methods. It has distinct, features such as rounded serifs, irregular vertical streams, ink traps and extremely thin junctions. In the Italic, serifs have been removed to enhance movement and expressivity. These experiments in form have not come at the cost of legibility: The typeface remains suitable for both small and display text. To certain extent, the design of the Arabic gathers the same interest for experimentation than its Latin companion. Baldufa Arabic respects the basic features of Arabic script such as thick stokes in the baseline, multiple vertical axis, genuine stem modulation and good linking between words. However, it steps away from traditional Calligraphic Style. It has rounded top terminals and the traditional contrast between curves and straight stokes has been softened. Letter shapes sometimes slightly differs from tradition in order to obtain more expressivity. Overall, Arabic has been designed to acquire the same elegant and quirky aspect of the Latin.

TE Mona Tharwat Emara," a masterpiece of Arabic calligraphy crafted by the renowned Egyptian calligrapher, Tharwat Emara. This exquisite Ruqaa font seamlessly blends tradition with innovation, offering a timeless elegance that captures the essence of Arabic script. Tharwat Emara, a distinguished figure in the world of calligraphy, has lent his artistic prowess to create a font that is not merely a collection of characters but an embodiment of cultural richness. Each stroke of the pen reflects the heritage of Egyptian calligraphy, echoing the historical echoes of an ancient civilization. "TE Mona Tharwat Emara" stands as a testament to Emara's dedication to perfection. The font's graceful curves and meticulously designed letterforms pay homage to the classical Ruqaa style, while subtle contemporary touches infuse it with a modern flair. It is a harmonious blend of tradition and innovation, making it an ideal choice for projects that demand sophistication and cultural resonance. Designed with precision and passion, this font is not just a typographic tool; it's a work of art that brings the beauty of Arabic calligraphy to the forefront. Each character is a brushstroke of inspiration, contributing to a seamless flow that captures the eye and mesmerizes the reader. Whether you are working on a branding project, publication, or artistic endeavor, "TE Mona Tharwat Emara" adds a touch of timeless class. Embrace the elegance of Arabic script with this font, where every detail reflects the expertise of a master calligrapher. As you embark on your creative journey, let "TE Mona Tharwat Emara" be your muse. Elevate your designs, captivate your audience, and embrace the heritage of Arabic calligraphy with this exceptional font. Embrace the legacy, embrace the art – TE Mona Tharwat Emara awaits, a font that transcends time and tradition