We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Straight" because of the straight like design. Everything is clear, symmetric and straight. The first "Alef" has a "fatha", this indicates to pronounce the first letter. So instead of saying "R-RAHMAAN" you say "AR-RAHMAN" (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). We went for the traditional "soukoun" instead of the Quranic "soukoun" & the decorative symbols are at a minimum. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He & Kaf". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran. Here is a link to all the extra files you will need: https://drive.google.com/drive/folders/1Xj2Q8hhmfKD7stY6RILhKPiPfePpI9U4?usp=sharing

Quentin Schmerber’s Temeraire serif font family was not designed to be invisible. It is a typographic exploration meant to be seen — with its beauty, one could even say beheld. While some fonts aim to be as easily ignored as possible, Temeraire is offered as a gift to wide-eyed readers with its anything-but-boring character and its conspicuous inconsistency in styles. Most type families increase the weight of each character to expand the family. Instead, research into 17th century sources produced Temeraire’s wide range of letterforms, from the predictable to the odd and loosely related through time. Each style is designed to work alongside the others but are also standalone homages to specific parts of English lettering tradition: gravestone cutting, writing masters’ copperplates, Italiennes, and others. Temeraire’s Regular style is a contrast-loving Transitional Serif with vertical stress, making it great for period and classic works, ironic pieces, and modern throwbacks. The weight of the Bold squares off the ends of each glyph to give it stability, and the italic style rings true: flowing, contrasting, and purposefully inconsistent. Temeraire’s Display Black style is one salvaged from expressive gravestone artistry. The details most easily noticed are the ‘g’ with its descending bowl that has been pressed back up in the centre, and the additional serif on the ‘t’ crossbar that holds its neighbouring character at bay. (The ‘g’ and ‘Q’ have loopless alternates.) The final style is the Italienne, the horizontally stressed counterpoint to the family. By design its characters flow and bend in ways not in step with the rest of the family. All the weight has been pushed to either hemisphere within each glyph, resulting in a display style that demands space and peacefulness around it so its presence can impress. As with all TypeTogether families, Temeraire meets the current designer’s needs. Not only does its five styles shine in print work, it includes alternates for when the defaults are too boisterous and has been expertly crafted for screens. The Temeraire serif font family is resurrected from echoes in time and finds its family relation through impeccable taste.

Inspired by a biography of Coco Chanel and trying to capture the quintessential mood of classical fashion elegance, Cosimo Lorenzo Pancini designed Coco Gothic looking for the effect that the first geometric sans typefaces (like Futura, Kabel or the italian eponyms like Semplicità) had when printed on paper. The crisp modernist shapes acquired in printing charme and warmth through a slight rounding of the corners that is translated digitally in the design of Coco Gothic. This signature touch is enhanced by the inclusion of light humanist touches to the proportions of the letters, resulting in the unique mix that makes Coco Gothic one of our best sellers, with a look that is both contemporary and vintage. After six years from the original project (that has spawned in the meanwhile successful families like Cocogoose and Coco Sharp), we went back to the design to completely redraw and expand the original family, creating with a Pro version that has better on-screen readability, a wider weight range, variable type versions and more language coverage (with Coco Gothic Arabic adding a new script to the latin, greek and Cyrillic of the original). Coco Gothic Pro comes in three subfamilies, each with seven weights with matching italics and featuring an extended character set with open type support for small caps, ligatures, alternates, European languages, Greek and Cyrillic alphabets. The original, body-text optimised Coco Gothic and Coco Gothic Alternate subfamilies have been kept for compatibility with the previous version, while a new Coco Gothic Display subfamily has been developed with a complete redesign aimed at display usage, featuring tighter spacing and optimised letterforms. A distinguishing feature of Coco Gothic Pro is the inclusion of ten alternate historical sets that allow you to use the typeface as a true “typographic time machine”, selecting period letterforms that range from art deco and nouveau, to modernism and to eighties’ minimalism. Equipped with such an array of historical variants, Coco Gothic Pro becomes an encyclopedia of styles from the last century, ready to transform itself and adapt to the mood of your text.

LTC Italian Old Style is not to be confused with the English Monotype font also called Italian Old Style, which is an earlier design from 1911 based on William Morris’s Golden Type that is based on Nicholas Jenson’s Roman face. Goudy went back to Jenson’s original Roman and other Renaissance Roman faces for his inspiration and the result is what many consider to be the best Renaissance face adapted for modern use. Bruce Rogers was one of the biggest admirers of Italian Old Style and designed the original specimen book for Italian Old Style in 1924 using his trademark ornament arrangement. These ornaments are now contained in the pro versions of the Roman styles—Regular Pro and Light Pro. With most digitizations of old metal typefaces, one source size is often used as reference (as was Goudy’s method for his own cuttings of his Village foundry types) so that all sizes refer to one set of original artwork. The original hot metal fonts made by Lanston Monotype (from Goudy’s drawings) and other manufacturers used two or three masters for different size ranges to have optimal relative weights—smaller type sizes would need proportionally thicker lines to not appear thin and larger sizes would require thinner lines to not appear to bulky. The variations in size ranges can also be affected by the size of the cutter head in making the master patterns. The light weights of LTC Italian Old Style were digitized from larger display sizes (14, 18, 24, 30, 36 pt) and the regular weights were digitized from smaller composition sizes (8,10,12 pt). The fitting for the regular weights is noticeably looser to allow for better setting at small sizes. Very few font revivals take this approach. Italian Old Style, originally designed by Frederic Goudy in 1924, was digitized by Paul Hunt in 2007. In 2013, it has been updated by James Grieshaber and is now offered as a Pro font. The newly expanded Pro font includes all of the original ligatures, plus small caps and expanded language coverage in all 4 Pro styles.

Morris Fuller Benton, the principal designer of the American Type Founders, designed Mariage in 1901. Mariage, which has been sold under a plethora of different names during the last century, is a blackletter typeface belonging to the Old English category. The term blackletter refers to typefaces that stem out of the historical printing traditions of northern Europe. These letters, called gebrochene Schriften, or "broken type" in German, are normally elaborately bent and distorted. Their forms often print large amounts of ink upon the page, creating text that leaves a heavy, black impression. The Old English style is a subset of blackletter type that dates back to 1498, when Wynken de Worde introduced textura style printing to England. Continental printers had been printing with textura style letters since Gutenberg's invention of the printing press fifty years earlier. Italian printers stopped using them around 1470. For northern Europeans, texturas remained the most popular form of typeface design until the invention of the fraktur style in Nuremberg. Mariage is heavily classicized sort of Old English type. During the Victorian era, designers admired the Middle Ages for its chivalric, community-based values and its pre-industrial lifestyle. Yet they also found the basic medieval textura letterform too difficult to read by present standards. They desired to modernize this old style. Today, this sort of update is often referred to not as "modernization" but as classicism. Benton's design for ATF builds upon earlier Victorian classicist interpretations of Old English/textura letters. For an example of what these Victorian designs looked like, check out the popular 1990 revival of the genre, Old English . Old English style types often appear drastically different from other blackletters. For contrast, compare Mariage to a classical German fraktur design, Fette Fraktur , a schwabacher style face, or the popular early 20th Century calligraphic gothic from Linotype, Wilhelm Klingspor Gotisch . Especially in the United States, classicist Old English typefaces are thought to espouse tradition and journalistic integrity. These features, together with the inherent, complex beauty of Mariage's forms, make this typeface a perfect choice for certificates, awards, and newsletter mastheads.

Antipol is a Sans Serif design that reverses the conventions of a regular Latin Sans Serif. With a weight emphasis on the horizontals and its vertical terminals Antipol radiates a 1970s charisma known from the like of Antique Olive. Its modern and avantgardistic attributes are most pronounced in the Hairline weight, where ultra thin lines meet distinctive arrowhead-corners. This particular weight is meant for display settings, think full-page magazine titles or posters. Antipol Wide and Antipol Extended are a generous statement for graphic design with enough space to let the type breathe: art catalogs, lead texts, invitations, letterheads or brand identity. Any style comes with a wide range of OpenType features that goes beyond a standard display font: Small Caps, Proportional and Tabular Oldstyle Figures and Lining Figures, Fractions, and much more. Type Specimen: http://bit.ly/2mxRCcA

Trolls are lurking under each and every river crossing. The earth is shaking as Ogres stomp across the land, spiked clubs in hand. Swordsmen and Sorcerers are waging war on one another even as the pure and young and stout of heart search for the talisman which will restore harmony once more. Are you under the spell of some wizard's magickal incantation or are you just looking for exactly the right typestyle for your J.R.R. Tolkien Convention newsletter? Regardless, an ancient curse has been lifted and the Talmudic Legend of the Clay Beast they call GOLEM has been restored to his former majesty. The shapeless mass is no longer one of unfinished substance, no longer a body without a soul. The Homunculus that was once Comicraft's Golem has had a spiritual awakening and is now available with the crinkly bits smoothed off.

Are you looking for an attractive font for your customers? We have what you need. Play Vehicle is a racing-themed display font to provide you a stylish, brave, modern design which is visually eye-catching because of its variations of thick and thin letters. Through its developed legibility, it is possible to use the font in titles or text contents. The font features you can enjoy are as follows. Features: Stylistic Sets Ligatures Swashes Multilingual Supports PUA Encoded Numerals and Punctuations Play Vehicle fits best for various designs, such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, and more. Find out more ways to use this font by taking a look at the font preview. Enjoy your experience with this font and feel free to contact us for further product information or trouble complaints. Happy designing.

Your purchases include the Hello Darling Script, conjunctive handwritten script, and printed, handwritten, and printed script fonts. Hello Darling is made side by side to work together. All lowercase letters are placed to receive a connecting tail from Hello Darling. You can mix and match the same words to your heart's content! Hello Darling is also made with the crafter in mind: there are no closed counters on either type, meaning they can easily be used for stencils and electronic cutters such as the Cricut line and the Silhouette. The Hello Darling package includes: - More than 300 glyphs in the Hello Darling font, designed to work together! - No closed counters - useful for stencils and vinyls! - More than 200 accented characters in each font. - Double letter binder staggered for a hand drawn look! - PUA-encoded for easy character map access! Enjoy and thank you.

OXYA Cyrillic Greek Handcrafted Font is a handwritten, multilingual display font. Of course, with this typeface you have access to Greek, Cyrillic and Extended Latin set of characters. With this fun font, you can achieve on the spot a real handmade aesthetic for your projects. The authentic handwritten style of this typeface is perfect for your modern graphic design needs. In addition, this messy handwriting font is the perfect addition for baby shower invitations or any craft project. Similarly, you can use it on Instagram quote posts or any other social media content. Not to mention that designing restaurant menus or any natural organic product packaging has never been easier with the help of the OXYA Handcrafted Font. Again, if you are a crafting aficionado this is the ideal scrapbooking font to have in your collection! Made with love with a fountain pen.

Tusque is a layered chromatic type family with a Tuscan flavor. Regular, Circus and Tooled can stand alone, while Highlight and Deco are purely for layering up multicolored gorgeousness. Tusque lends itself to fairy tales, wine labels and boutique logos, and makes some particularly delectable drop caps. Although it’s all caps, the lower case slots are all different from the upper case so you can mix and match to your heart’s content. There are also a bevy of swash alternates and ligatures at your disposal. The contextual alternates feature cleverly substitutes alternate versions of more triangular glyphs like A and V to give a better fit. The ordinal feature changes ‘a’ and ‘o’ to the feminine and masculine ordinals for Spanish etc. but also changes ‘c’ and ‘ac’ to superscript lowercase versions for names like McBride and MacDonald.

Introduce Mantrap, a basic sans serif typeface made specifically for those of you who want your project to be seen by a large number of people, fascinate the audience, and win the camp. Your design project will be unique, appealing, and charming if you use this font in it. Because each anatomical shape of this font has been adjusted so that when combined, it can offer a varied impression while being easy to read, the audience that sees it will be captivated and grasp the content of the message you want to express to all audiences. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

Since 1985, Cartoonists Across America & The World have been promoting literacy, creativity, the arts, and other positive issues using cartoons and humor. Founder Phil Yeh and his band of artists -- including Comicraft President and First (Flying) Tiger, Richard Starkings -- create books, paint murals, take part in school assemblies, conventions, conferences and other public events for all ages throughout the world! Cartoonists Across America & The World have worked in partnership with the Center for The Book in The Library of Congress and other organizations all over the world. They have painted more than 1000 murals in 49 of the United States as well as in Canada, Mexico, Italy, England, France, Germany, Hungary, The Netherlands, China, Taiwan, Singapore, and the Cayman Islands. So we made Phil a font 'cause he's a noble soul. Avoid Extinction -- Read, Reuse, Reduce and Recycle!

German designer Jürgen Weltin designed Linotype Finnegan, a modern text design with roots in the humanist letterforms of the Renaissance. As the recognizable direction of movement in writing runs from upper left to lower right, Weltin mimicked this in his design: Linotype Finnegan's up and down strokes end in residual serifs. All of the thick strokes have a taper; horizontal strokes and curves are noticeably thinner than the verticals. This dynamic nature lends a combination of individualness and energy, along with a high degree of variety, to Linotype Finnegan. Linotype Finnegan is a wholly new and unique typeface. It distinguishes itself through its extreme legibility, originality, and formal excellence. Linotype Finnegan makes fun to read longer texts non-stop. However, the typeface never distracts the attention from the text's content by forcing itself too much into the foreground.

Designed by Nadine Chahine, the Amariya™ typeface family is intended for long form, on-screen textual content. It supports the Arabic, Persian and Urdu languages. The design is consistent with traditional text typeface models popular in the Middle East, but has a lower level of stroke contrast optimized for on-screen reading. The family is available in nine weights ranging from a light hairline to a very bold black. The middle weights are intended for setting text copy while the extreme hairline and black designs are best suited for headlines, sub heads and similar applications. The Amariya family can be used for numerous projects from branding to blogs, in a variety of interactive design environments on both large and small screens. The fonts include the ITC Charter design by Matthew Carter as a Latin companion.

Introducing Klear - A typeface that's turning design conventions on its head! Inspired by the graceful flow of art nouveau, Klear is a perfect blend of quirkiness and elegance. Whether you're working on a formal project or something more avant-garde, Klear has you covered. With two styles to choose from - Regular and Outline, Klear gives your creativity a fresh canvas to shine What's Included? Klear Main File Regular and Outline Family Instructions (Access special characters, even in Cricut Design) Unique Letterforms Works on PC & Mac Simple Installations Accessible in Adobe Illustrator, Adobe Photoshop, Microsoft Word even Canva! PUA Encoded Characters. Fully accessible without additional design software. Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Thank you Dharmas Studio

Klaster Sans is a massive geometric sans-serif typeface inspired by the first German geometric fonts. In particular, their clear, but rough forms and not perfect curves. As well as minimal optical compensators. Due to all this, the letters look weighty and powerful. Klaster Sans has 14 styles. From neat thin to extremely heavy. And it's all in italics. Or one variable font with two adjustment axes. All styles include an extended set of Latin characters and basic Cyrillic. It has support for 210 languages. Also contains stylistic alternatives, case-sensitive forms, arrows, fractions, tabular figures, circled figures and other. Features: – Total glyph set: 657 glyphs; – 14 styles (7 weights x italic) + variable; – Support 210+ languages; – Latin Extended; – Cyrillic Basic; OpenType features: – Uppercase, lowercase; – Proportional, circled, tabular numerals, superiors, inferiors, fractions; – Punctuations and symbols; – Arrows; – Stylistic sets (ss01); – Ligatures; – Case-sensitive forms.

The Stamnaki Greek Font is a 100% hand-drawn decorative font with which you can achieve a handwritten-type lettering feeling. Of course, the fun font supports a full set of Greek characters and an extended Latin character set with diacritics. Therefore, this multilingual font supports all the European languages. In addition, Stamnaki includes over 20 ligatures so you can achieve a hand-lettering aesthetic on the spot. Cleary, this font can cover from “hand-written” quotes to food packaging, merchandise, and branding projects. Also, it can be used on social media content, for poster design, and any other kind of graphic design that requires a hand-crafted feeling. The style of the font is perfect for your modern graphic design needs. Again, if you are into art and crafts, this is a fun font for you!

Pragmatica Slabserif was designed as a complement to the popular type family Pragmatica by Vladimir Yefimov and Isabella Chaeva (1989-2004) by addition of square serifs. Inspired by Helserif (Phil Martin, 1978) which was formed in the same way by addition of square serifs to Helvetica (Eduard Hoffman and Max Miedinger, 1957). First sketches of Pragmatica Slabserif were created by Vladimir Yefimov in 1988 during development of Pragmatica. Olga Umpeleva designed the whole slabserif type family of six weights basing on those sketches. All styles of Pragmatica Slabserif coordinate with corresponding Pragmatica styles on metrics, proportions, weights and design. The new family can be used together with Pragmatica and separately. It’s convenient for technical texts, for magazines of general nature, for business applications as well as for advertising and display matter. Pragmatica Slabserif was released by ParaType in 2011.

Thoroughly contemporary, clean, and ready for work, Tilden Sans was designed by Delve Withrington to be no-nonsense but still stylish and friendly. Tilden Sans is square-ish with low contrast and a generous x-height. Curvilinear strokes like those in the capitals C or S, and many lowercase letters feature incised terminals offering a measure of distinction from other sans serifs, without sacrificing legibility. All of those features work in unison to make this typeface a pleasure to use and read. The Tilden Sans family has seven useful weights ranging from Light to Black and features a glyph repertoire of over 900 glyphs with language support for 225 languages. This versatile typeface performs brilliantly in a host of sizes. The Regular and Medium weights can be used at text sizes, while the Light and Black weights are great for display size settings.

BERNAT is a unique display typeface perfect for headlines, big text, brandings, logotypes & graphic design purposes such as posters, flyers, and advertisements. This all-caps font can be an excellent choice for creating outstanding logos, promotional content, and marketing presentations that bring uniqueness and freshness. The font is very flexible in terms of your creativity, you can adjust the letterspacing to design unique textual presentations, especially for creating amazing logotypes and branding designs. Please see the examples shown above to get an idea of the capability of this typeface. Extra Features: BERNAT features a Stylistic Alternatives Set of 22 glyphs covering major glyphs which will give you more possibilities to create unique design combinations. The font comes with extended language support including Western European, Central European, and South-Eastern European character sets (a total of 290 glyphs).

ResotE-Pastels family was created inspired by the poetry of natural colors: the elegance of Pearls, the freshness of Mint, romanticism of Lavender and Cherry Blossom. Fully vector color Letters allow you to create any size headers, banners or advertising slogans. Because of the predefined pastel colors, of course, fonts work best on darker backgrounds. Automatic contextual alternates and ligatures built into the fonts compensate for whitespace area differences. Normal OTF ResotE (AllCaps) font is included in the package, which allows you to create text in smaller sizes in style of the ResotE family. Technical info to use: The package contains 6 color font variants in OpenTypeSVG TTF format and a normal TTF font in Black White. To be able to use the color files you need to have installed Adobe Photoshop CC2017, Adobe Illustrator CC2018, Mozilla Fire­fox or Microsoft Edge.

Great Monday is unique, fresh and beautiful handwritten font for branding / logo design / logotypes / greeting cards / promotional graphics and anything in between. Great Monday is completely handmade with passion, perfection as well as aesthetics at it's level best. Unique Ligatures We have created 14 unique ligatures to make sure the font looks beautiful and professional. Extended Character Sets Along with the basic Latin character set, we have added Western European, Central European, South Eastern European character sets for your convenience. The font contains a total of 336 glyphs. Advanced Kerning We have performed advanced, in-depth kerning for all possible letter combinations. What You Get This font being a handmade typeface, comes with only single weight (Regular). CREDITS: Font designed by Lis at Fontastica, produced by Fontastica, distributed by Designova. Created with ProCreate and Fontself on iPad Pro.

Senlot Sans defies convention. A follow-up to the elegant Senlot, Senlot Sans is anything but another sans serif font in search of character. This new member of the Senlot family, while slightly more traditional than its original cousin, confidently boasts more contrast than most sans serifs on the market and even strides smoothly ahead with some of the original Senlot’s calligraphic features. The rich appearance of Senlot Sans contains a complete set of small capitals and nine weights from thin to bold. Unlock its potential even more with titling capitals, superscripts and subscripts, and open style figures. With its broad palate of variables and options, the font covers over 72 Latin-based languages. Simple, elegant, and versatile, Senlot Sans now makes perfect more possible. Put the simplicity of this stunning font to work for you.

Please welcome, White Rainbow. Fun and casual vintage retro decorative font. The definition of real versatility and flexibility. You can rock on both vibes, retro and modern by using a single font. Yes, just like your favourite day-to-day sneakers. Wide variety of Stylistic Alternates and Ligatures in every single letter to elevate your design game to the next level. Cut the process more because it should be easy. Perfectly fit for the visual project such as logo, branding, poster, food and beverages, social media content, website, UI/UX design, youtube thumbnail, CV, mood board, wedding, you name it. FEATURES Uppercase and Lowercase letters ligature and alternates feature Numbering and Punctuations Multilingual Works on PC or Mac Simple Installation Support Adobe Illustrator, Adobe Photoshop, Adobe InDesign, also works on Microsoft Word Hope you Like it. Thanks. Helotype

Introducing Merciful, a charming and playful sans serif font that brings a touch of fun and uniqueness to your designs. With its cute and lively style, Merciful adds a playful and vibrant element to any project. Whether you're designing greeting cards, children's books, party invitations, or any other creative work, Merciful is sure to capture attention and spread joy. This font features both uppercase and lowercase letters, making it versatile for various design purposes. It also includes numbers and punctuations, allowing you to create engaging typography and eye-catching headlines. Merciful supports multilingual characters, enabling you to express your creativity in different languages. With the added convenience of PUA encoding, accessing all the font's glyphs and swashes is effortless. You can unlock a world of creative possibilities by exploring the various ligatures and alternate characters available in Merciful.

Introduction to Bages – Bubble Font Bages – Bubble Font is a dynamic and cheerful display font, inspired by the playful shapes of bubbles and balloons. Ideal for catchy displays, this font captures attention instantly, making it perfect for creative and fun-filled projects. Design Features Every character in Bages – Bubble Font mimics the round, buoyant nature of bubbles. The design incorporates smooth, rounded edges, giving a floating effect akin to balloons. This unique style brings a joyful and lively flair to any design, ensuring it stands out with its playful aesthetics. Versatile Applications This font’s versatility is noteworthy, suitable for a variety of design purposes. It’s excellent for party invitations, children’s books, and marketing materials, adding a fun twist to traditional text. Moreover, its engaging style is ideal for educational content, making learning more appealing to young audiences.

The font is based on an alphabet from a mid1920s art deco book. The original seemed to have tapering strokes but it was too small to be sure; I made all strokes parallel & orthogonal and slightly modified the original in a number of other ways to bring it into the 21st Century. The designers of the original were Paul Carlyle and Guy Oring. Nocturne has all the elegance of the Deco fonts of the 1930s. It recalls the romantic, sophisticated Zeitgeist of the early 20th century, that nostalgic time "between the wars". Nocturne comes in two styles: Nocturne Regular, which uses the Art Deco convention of small x height, and long ascenders. This style is perfect for headers, posters, labels etc. Nocturne Book, which, with its higher x height and slightly wider characters, is extremely legible and suitable for small size text.

Stevia is a font family designed by Carlos Fabian Camargo Guerrero. Stevia is a sweet font family created to design logos, cards, posters, book covers, blogs, packaging, walls, etc. Stevia is useful to differentiate your designs and stimulate your imagination through 5 fonts drawn with an apparent handmade lettering look. Stevia dingbats has more than 250 special monolineal icons to accompany Stevia Script Black (600 glyphs), Stevia Script Light (470 glyphs), Stevia Subtitles Bold (300 glyphs) and Stevia Subtitles Light (300 glyphs) in quotes, legends and short writings. That’s why you'll get a lot of alternative letters in uppercase, lowercase and opentype numbers as well as ligatures and flourishes ideal for beginning, middle and end of word. In summary Stevia is great for communicating naturalness and freshness in designs that need to be outside conventional typographic norms.

Introducing Disforia Inersia! Your purchase includes Disforia Inersia Script, conjunctive handwritten script, and Print, handwritten, printed script typeface. Disforia Inersia created side by side to work together. All lowercase letters are placed to receive a connecting tail from Disforia Inersia. You can mix and match in the same word to your heart's content! Disforia Inersia was also created with the crafter in mind: there are no closed counters in either type, meaning they can easily be used for stencils and electronic cutters such as the Cricut line and the Silhouette. Disforia Inersia Package includes: - Nearly 300+ glyphs in Inertia Dysphoria font, designed to work together! - No closed counters - useful for stencils and vinyls! - More than 200 accented characters in each font. - Double letter staggered ligatures for a hand-drawn look! - PUA-encoded for easy character map access! Enjoy and thank you. Skinny Type

At first glance, the lettering style of Technopen JNL seems to emulate the computer-age fonts of the 1980s. In actuality, this font is derived from an alphabet sample found in an instructional booklet for the Esterbrook Drawlet Pens. The Drawlet line was Esterbrook's answer to the iconic Speedball pen points sold through their chief competitor, the Hunt Pen Manufacturing Company. So, what seems to be late 20th Century typography is actually from vintage source material. In fact, the entire contents of the instructional booklet were copyright 1929! A few minor changes were made to the original A-Z alphabet and additional characters were added. The name Technopen is a shortening of the term 'technical pen', which is both a nod to the techno age of the 80s and the technical instruments of the past utilized for drawing and lettering.

Malou Verlomme’s Madera is a typeface made strictly for graphic designers, created as an indispensable type toolbox that can meet the needs of both print and digital environments. Verlomme has drawn on his extensive experience creating bespoke type for major brands, and Madera is a “typographic synthesis” of this work. Although designed as a restrained sans serif, the typeface has some punchy personality – with sharpened apexes that inject flavour into the design, particularly in the darker weights and when set at all caps. Madera sits alongside fellow geometric designs such as Proxima Nova, Gotham or Avenir, offering a straight-talking tone of voice but with some extra bite. If you’re a large corporation, with a typeface being used in many different environments you want something that's just the right balance of visibility and legibility to sustain an extensive amount of communication.” “The design is very solid but it doesn’t go out of its way to attract attention,” explains Verlomme. “It still has a fair amount of warmth and personality, in a very understated manner. The Madera typeface family has 32 fonts: Upright, Condensed and Italics. It is available in OpenType CFF and TTF fonts formats. Each typeface contains over 650 glyphs with extensive Western, Central and Eastern European language support. It also supports OpenType typographic features like alternatives, ligatures and fractions. Madera Variables are font files which are featuring two axis and have a preset instance from Hairline to Extra Black.

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