You need traditional christmas symbols to illustrate your text? How about using these historic designs that had been used in good old typography. xmas is not too far and always comes in winter time. Happy Xmas.

Punavuori is a clean geometric unicase font. It's best for display use in magazines, books & posters. Punavuori font was originally designed in 2002. Now it's been remade with the complete character set and five different versions.

A modern cutting designed to give the appearance of an old wood type. The letters were cut as linoleum blocks about 2 inches high, then duplicated as copper electrotypes. Used for some Ringling Bros. circus work.

Manga Master, the classic Blambot font, is now Manga Master Pro! It has been updated with new spacing, kerning, and hinting as well as new autoligs, manga translation glyphs, CAlts, fractions, barred-I correction and more!

Luella is an elegant, hand drawn vintage inspired font by Cultivated Mind. Luella has been carefully crafted and comes in three weights (Regular/Bold/Black). This font works perfectly with the Luella frames and ornaments sets.

Linja is an elegant ultra condensed font. It's best for display use in magazines, books & posters. Linja font was originally designed in 2002. Now it's been remade with the complete character set and six different versions.

With Advertisers Gothic, SoftMaker revives a 1917 design by Robert Wiebking. Inspired by Art Nouveau (Jugendstil) lettering, this typeface is as fresh as it was back then and is well-suited for advertising and display work.

Wavely JNL is a font that could have been made by a child or a nervous writer. Squiggly, handmade lines form the characters and this font can also be used for spooky or horror-oriented themes.

Paralucent is versatile all-purpose modern sans. Available in seven weights, from Thin to Heavy, and in two widths each with corresponding italics, it avoids some of the more eccentric calligraphic quirks of Akzidenz or Helvetica or the cool precision of Univers for an elegant, functional, yet warm design. There are two additions to the core 28-weight family: a three-weight stencil set, and a four weight text family. The text weights have been adjusted for use at small point sizes, and feature more open character shapes, looser inter-letter spacing for improved readability, and lining numerals for use in listings and tables. Several core ideas inform Paralucent’s design. Prime attention has given to the negative space between characters, giving a more even “colour”, especially in text. For example, the J, L and T have shorter arms than comparable sans typefaces, while the M and W are wider. The A has a lower bar, opening up the interior counter. An unusually high lower-case x-height again helps to give a more even colour and improve legibility. Care has been taken to rationalise repeated elements like the tails on lower-case letters, or the Q and the “ear” of the g. Typographic design solutions that are consistent across all these features add more stylistic cohesion. ‘Ink traps’ are exaggerated incisions used to open up a letter's narrower internal angles, which can become clogged with ink, especially in small point sizes. Now largely redundant due to the high quality of modern print, they are still sometimes used as a stylistic quirk or design feature. Now that digital fonts are often reversed or outlined, or enlarged to enormous sizes, these can also lead to unexpected or obtrusive results. Paralucent takes these inevitable digital manipulations into account, and adds optical corrections without resort to ink traps. The family has been picked up by many UK and US publishers, featuring heavily in magazines like Loaded, Heat and TV Quick, as well as high-end coffee-table photography books and gallery websites. A perennial Device bestseller.

Introducing Ultra System; A modern exploration of 8 fonts, each carefully designed to naturally compliment one another. With 6 clean sans fonts and 2 textured script fonts, Ultra System gives you a variety of ways to combine and arrange each font, allowing you to create striking & modern typographic designs. This typeface collection consists of 8 fonts; Ultra System Script • A textured, bouncy & flowing marker script font containing upper & lowercase characters, numerals, and a large range of punctuation. Ultra System Script Alt • This is a second version of Ultra System Script, with a completely new set of both upper and lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Ultra System Sans • A wide, bold sans font containing uppercase only characters, numerals, and a large range of punctuation. Ultra System Sans Line One • A thick outlined version of Ultra System Sans, pair this with other Ultra System Sans fonts to add emphasis to words or phrases. Ultra System Sans Line Two • A thin outlined version of Ultra System Sans, pair this with other Ultra System Sans fonts to add emphasis to words or phrases. Ultra System Sans Italic • Italic variations are included for all 3 Ultra System Sans fonts. FAQs; Accessing Ligatures • Ligatures are supported by most desktop graphics & text software (not just the fancy ones!), including Photoshop, Illustrator, InDesign, Word, Pages & Keynote. Many programs will automatically have this feature switched on for you, but if you need any help accessing then please feel free to drop me a message. Language Support • All Ultra System fonts support the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

The aviation world contains loads of stylish logotypes, from handwritten scripts to geometric styles and so on. The Avionic Condensed family finds its origins of inspiration in the Air China company logotype, and from there has been expanded upon to create a large stylistic family of 40 fonts. Avionic celebrates the geometric sans serif styling of the original logotype, evolving beyond the condensed all capital set logo to include a lowercase designed in parity with the original design style, as well as many weights and widths to offer a fresh diversity. Each subfamily includes a full standard character set with expansive international support of latin based languages, and 5 weights jumping from book to black, along with 5 accompanying obliques. This family is ready to chart a course for your design destination, whatever it may be. Here's what's included with the Avionic Family bundle: 370 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. 5 weights in each subfamily: Book, Regular, Bold, Heavy, & Black. • 4 widths in the collection: Condensed, Regular, Wide, and Extra Wide. Accompanying Obliques with each weight/width style. Fonts are provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Avionic Collection is for you: You're in need of a dynamic geometric font with a variety of weights and widths for your designs You're an aviation junkie and have to have anything inspired by Air China You love the style of Bank Gothic, but really want something just a little different You are looking for a pseudo-techno style font family with versatility You just like to collect quality fonts to add to your design arsenal

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

Write like the inventor of the diesel engine — it’s possible with the Diesel Rudolf Script (patterned after the original handwriting of Rudolf Diesel)... In 2008 the city of Augsburg and the MAN Group celebrated the 150th birthday of Rudolf Diesel, inventor of the diesel engine which was named after him. With the help of a few preserved original letters, it was possible to create a convincing digital version of Rudolf Diesel’s personal handwriting. The engineer and inventor Rudolf Diesel was born in Paris in 1858 and also went to school there. In1870 his family moved to England and Rudolf was sent to relatives in Augsburg where he continued going to school. Later, after completing his studies in Munich, he began working as an engineer in the machine factory Linde. Alone this part of his life makes clear why Rudolf Diesel’s handwriting was so ”jerky,“ hesitant and inconsistent. He learned to write according to the French style, that is, Latin cursive — completely different from the very correct and neat German handwriting taught at that time which he had to learn at 13 years of age. These circumstances explain why his handwriting is ”messy“ (especially for those days) with its mixtures of letter forms within a text, even within individual words. Plus, he obviously did not attach much importance to ”pretty writing.“ Sometimes the characters are wide, then narrow, sometimes large and clear and then again crammed and primitive. The individuality is emphasized with characteristics derived from quill and ink. The diversified images of the font Diesel Rudolf Script make more than 80 ligatures and stylistic alternates possible which can be selected with help from the OpenType functions Ligatures and Discretional Ligatures.

Imagine a hot summer day with a cool breeze, watching the sun set over the beach, ice cold lemonade in your hand and some of your favorite music playing in the background. A perfect postcard moment! Use Barbary Pirates to make awesome type designs for logos, posters, album covers, packaging, Instagram posts...

A 1930s menu from a restaurant with locations in both Long Island and Miami Beach called the “Roadside Rest” sported on its cover some very unusual Art Deco outline lettering. Adapted and slightly modified for typographic purposes, the font is now available as Dining Menu JNL in both regular and oblique versions.

Features: Characters: Uppercase letters, Lowercase letters, numbers & extended punctuation Ligatures and Stylistic Alternates Non-English support for the international designer Deflexure is a luxury modern script font. This font is perfect for wedding event design, such as wedding invitations, wedding event organizer logo, and any design related to weddings. This font is also perfect for writing quotes, print-on-demand design like t-shirts and mugs. Each lowercase font also has alternates for each letter, so when you type lowercase for each font, the letters will have other style options.

TOBELORD is a strong modern sans serif style with All Caps feel nice balanced. Its wide range of uppercase with ligatures allow versatile design options and works perfectly for headlines, logos, posters, packaging, T-shirts and much more. Ligatures feature is default setting in Adobe Illustrator or Adobe Photoshop in Uppercase character. So when you want not to use the ligatures. Open glyphs panel : In Adobe Photoshop choose tool Window Character and then please klick fi symbol In Adobe Illustrator choose tool Window Type Open Type and then please klick fi symbol Have a great day, Haksen

Collette was named in honor of an art deco font called "Independent" designed in the 1930s by Collette and Dufour. Collette is influenced by the design of the original font, however, there are substantial differences: instead of small caps, a true lower case was created, the upper case character proportions and shapes have been greatly modified, and all missing characters have been created to make a truly modern font which nevertheless has all of the panache of the original. It is best used to create a retro feel and in headings, subheads and in short passages of text.

Royalana is a modern royal font with a minimalist factor. A complete font set containing all the important glyphs. Royalana has been inspired by the very minimalist and compact designs in trend to deliver a new look and yet keeping the professional outlook of any design or print. Royalana font set includes; Royalana Light, Royalana Light Italic, Royalana Regular, Royalana Italic, Royalana Bold, Royalana Bold Italic, Royalana Extra Bold & Royalana Extra Bold Italic. Kufic Studio is a platform that provides professional and high-quality designs & fonts to fill the gap that has been missing in the market.

Monocolo is the result of a reflection on communication and of the language evolution in the new media. For this reason, some emoticons have been added to the usual glyphs and symbols and icons have been added to the regular. These glyphs, through the use of Discretionary Ligatures (DL) feature, can be recalled by using their name or idea associated with them (in the English language). This feature is designed to retrieve the icons quickly and not to be applied to a text, therefore you have to pay attention to compound words when used through DL.

I have been to Japan many times, but I have to admit that I have not (yet) been to Odaiba, so this font is a reminder that I should go there one day. Odaiba is a large artificial Island in the bay of Tokyo. It is a popular shopping and sightseeing destination and its sights include a copy of the Statue of Liberty and a mega-sized Gundam Robot. Odaiba Script is a handwritten font. I used a Sharpie pen on paper, so it is nice and thick. It comes with double letter ligatures and all diacritics.

This unicase typeface, with alternate characters in several of the lowercase positions, is patterned after Mosaik, designed by Martin Kausche for Schriftgeißerei Stempel in 1954. A stencil treatment has been employed, and the outlines have been roughened to enhance its ancient feel. The typeface is named for a king of England, Æðelred the Unready, who ruled over a millenium ago. Unlike its namesake, this typeface is quite ready to do yeoman's duty on your next project. The Opentype, Truetype and Windows Postscript versions of this font contain both the Windows 1252/ANSI character set and the 1250/Central European character set.

Benton Modern was first prepared as a text face by Font Bureau for the Boston Globe and the Detroit Free Press. Design and proportions were taken from Morris Fuller Benton’s turn-of-the-century Century Expanded, drawn for ATF, faithfully reviving this epoch-making magazine and news text roman. The italic was based on Century Schoolbook. This version of the family is part of the Reading Edge series of fonts specifically designed for small text onscreen, having been adjusted to provide more generous proportions and roomier spacing, and having been hinted in TrueType for optimal rendering in low resolution environments.

Acherus Feral is sharpened version of Acherus Grotesque. In this new version all sharp edges are flattened and rounded corners are sharpened. Alternative character "G" and optional "t" character have been added. Some of the characters like "A,K,M,N,Q,R,V,W,Z,v,w,z" have been changed completely for the stability of the typeface, in this way it looks more confident and serious. As you can see on the banners, Feral is excellent choice for many platform needs. For further information please check the pdf specimens. Behance Pdf Specimen (White) Pdf Specimen (Black)

Etoxina is designed especially for the burgeoning market of starships and other space cruisers. Etoxina has been developed with the contribution of experts in navigation through space and time. The fonts are ideal for internal and external use (including zero-g and occasional bursts of cosmic rays), and with their simplified forms are expected to survive well in non-linear galaxies. With their unusual diagonal half-pixels the fonts are striking as abstract designs at astronomical sizes, where small text may be placed within the black holes formed inside the letters. On explicit suggestion of Mr. Spock true capital letters have been added.

Itoxina is designed especially for the burgeoning market of starships and other space cruisers. Itoxina has been developed with the contribution of experts in navigation through space and time. The fonts are ideal for internal and external use (including zero-g and occasional bursts of cosmic rays), and with their simplified forms are expected to survive well in non-linear galaxies. With their unusual diagonal half-pixels the fonts are striking as abstract designs at astronomical sizes, where small text may be placed within the black holes formed inside the letters. On explicit suggestion of Mr. Spock true capital letters have been added.

High Fidelity is our funky new variable font that was inspired by an incredible vintage poster we saw at the NYPL (sadly, the designer wasn't credited.) First we developed the ultra wide top-heavy style. Then, unable to resist the dynamics of variable type, we added the narrow width and violà our first variable font was born. We then added "drip" and "stretch" axes so you can play around and customize it to your heart's content. We think it works for anything from album covers, posters, social media, apparel - really anywhere you need a fun, expressive look.

HS Almisk Serif is a display typeface. It can be used for titles and graphic projects, which support Arabic and. It has been created based on modern kufi style. It enjoys flexibility between sharp and curved lines in the structure of characters. This supports with a beautiful appearance and wonderful geometric structure. It based on HS Almisk typeface with a serif on some of its characters. (5) Weights has been created for this typeface between the Light weight and Black weight. This typeface with its diversity of (5) weights is intended to be an attempt for a good addition to Arabic typography.

Hearttiger is a beauty handwritten script style with upper and lowercase feel nice balanced. Its wide range of uppercase and lowercase alternates allow versatile design options and works perfectly for headlines, logos, posters, packaging, T-shirts, postcards and much more. Ligatures feature is default setting in Adobe Illustrator or Adobe Photoshop in Uppercase character. So when you want not to use the ligatures. Open glyphs panel : In Adobe Photoshop choose tool Window Character and then please klick fi symbol In Adobe Illustrator choose tool Window Type Open Type and then please klick fi symbol Have a great day, Haksen

TT Tangerine made in 2017 has been a global hit. It's been used by the biggest performing artist in the world, luxury brands, designer packaging and more. Due to its popularity an italic style was added in Feb 2023. From the designer: I wanted to make a retro font with that 70's good vibes feel but i didn't want to just copy letters from that era. I decided to make new unique letters that had that groovy 70s feel. The bold curves pay homage to the big hair and bell-bottoms of the golden era.

Colmcille was designed by a Gaelic scholar, typographer and printer, and first released by Monotype for composition casting in 1936. The design intention was to provide a Gaelic looking type which worked well as a roman text face. The digital version of the Colmcille font family has been made in collaboration with the designer's son, Dara O Lochlainn. A number of changes have been made, including a new set of figures and the addition of a bold weight. Although originally designed as a text face, Colmcille can be used for advertisements, flyers, in fact wherever a touch of Gaelic charm is required.

It's too much fun! Of all the fonts I have designed, this is my favorite. Thin strokes and delicate embellishments really do it for me and I hope it's for you too! You won't find curves like this in regular fonts. This is modern meets the classic, minimally meets the decorative. Look at the numbers ... then, look again. They have curves of all kinds of unusual places. If you want to stand out then this is the font for you. Logo or title, fashion distribution to masthead, monogram or Instagram, create beautiful art with this font. Rollgates Victoria can do it!

Compass Next is a third edition of Compass TRF designed in 2002. The first time Compass TRF has been conceived was as a “geometric” Didone – all letters literally were drawn with a ruler and a compass. Second edition (2009) got additional styles – Flourish Initials and Small Caps. This time, the objective was to bring overall extreme geometrical expression closer to traditional letterform style of its “modern style” typeface category (Didone). All glyphs were redrawn including in alternative Decorative style, and additional Bold weight has been added. Typeface is released in OpenType format with extended support for most Latin languages.

In the beginning, this font had been designed for an affiche work as wood pattern which includes one font and medium weight. The stylish design of this font had been inclined us to create more weights and more styles. Daphne Font Family comes in three weights; normal and italic. Plus two additional styles which are wood pattern and shadow. You can get great wood pattern results with Daphne Font Family; also with colored shadows, you can get gorgeous results in poster works and t-shirt prints. Even in very small type sizes, it can be legible.

ITC Peter's Miro is the work of New York designer John Peter. It was inspired by the letters used by Joan Miro in his paintings. No one used letterforms more frequently in his work than Joan Miro," says Peter. For his typeface, however, "considerable liberty has been taken with his [Miro's] original letters and missing characters have been added." The letters are a simple script, irregularly and almost crudely written, but bursting with energy. To give designers free rein with their creativity, Peter designed two complete versions of the alphabet in both upper- and lowercase, Peter's Miro and Peter's Miro Too."

Say hello to the Editor's Note Family, an editorial serif display that includes 16 fonts, regular and italic, from Hairline weight to Bold, and still has all the clean lines, tight curves, and trendy minimalist vibes! I've been loving the clean, editorial type trend happening in design right now (let's be real, there's always a place for timeless editorial type). Editor's Note is a stunningly crisp upper and lowercase typeface that looks incredible in both large settings as a display text (think big headers, pretty quotes, calls to action, etc.). I've been loving combining the regular and italic, especially in big, bold quotes.

Different is a Bold beauty handwritten script style with upper and lowercase feel nice balanced. Its wide range of uppercase and lowercase alternates allow versatile design options and works perfectly for headlines, logos, posters, packaging, T-shirts, postcards and much more. Ligatures feature is default setting in Adobe Illustrator or Adobe Photoshop in Uppercase character. So when you want not to use the ligatures. Open glyphs panel : In Adobe Photoshop choose tool Window Character and then please klick fi symbol In Adobe Illustrator choose tool Window Type Open Type and then please klick fi symbol Have a great day, Haksen