Golestan is designed by Naghi Naghashian. It is a Font family, in 2 weights, Regular and Bold. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Golestan supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Golestan design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Golestan’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Golestan was developed for multiple languages and writing conventions. Golestan supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Afsane is a sans-serif headline font family designed by Naghi Naghashian in 3 weights, Light, regular and Bold.This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Afsane supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Afsane design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Afsane’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Afsane was developed for multiple languages and writing conventions. Afsane supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography.

Proudly present Mockey Clown - Cloud Type, created by ikiiko Mockey Clown is a decorative hipster font in a cloud style. This font is a contemporary and stylish typeface that is ideal for any creative project looking for a distinctive and trendy look. This font style is ideal for designs that need to communicate a sense of movement and whimsy because it has rounded edges, flowing lines, and a slightly bolder appearance. This letter has 3 styles that you can mix or play with to make it more decorative with the addition of bold or contrasting colors, creating a trendy look that is perfect for modern designs. Overall, this typeface is a sleek, customizable choice for any design project that needs a fresh, trendy look. This typeface is perfect for an youth stuff, magazine layout, poster, fashion brand, urban style, quotes, or simply as a stylish text overlay to any background image. What's Included? 3 Styles: Regular / Outline / Fill Uppercase & Lowercase Numbers & Punctuation Ligature (Bonus) Multilingual Support Works on PC & Mac

Homa is a sans-serif sigle weight font designed by Naghi Naghashian. It is extremely legible even in very small size. This font is The contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Homa supports Arabic, Persian ( Farsi) and Urdu. It also includes proportional and tabular numerals for the supported languages. Homa design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Homa’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Homa was developed for multiple languages and writing conventions. Homa supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Mr. Jenkins is designed to fill the void between the crazy, wacky and reckless comic style fonts, and the standard boring but very readable sans-serif typefaces. It makes for a distinctive bold headline, but is also quite legible at small sizes. It’s just off kilter enough to not take itself too seriously. A deceptively care-free font, each character was carefully drawn. The spacing and kerning of each letter and letter combination were painstakingly considered. Particular attention was paid to maintaining consistent optical weights and a spontaneous appearance. Mr. Jenkins is inspired heavily by humanist sans-serif faces such as Myriad and Lucida Sans, with its open apertures, and low contrast but almost calligraphic line weights. The lowercase a is single story in the italic face, but two story in the regular face. It contains uncommon features amongst many “quirky” fonts, including a full set of latin accented characters, lining and proportional figures, math symbols, standard fractions, foreign currency marks, contextual alternates, and even a few ligatures.

Pegah is a sans-serif font family designed by Naghi Naghashian in three weights. Pegah Light, Pegah Regular and Pegah Bold. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Pegah supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Pegah design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BaBa was developed for multiple languages and writing conventions. BaBa supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

BaBa is a sans-serif font family designed by Naghi Naghashian in three weights. BaBa Light, Baba Regular and Baba Bold. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. BaBa supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. BaBa design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BaBa was developed for multiple languages and writing conventions. BaBa supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

"Seen" is the name of the gods in Kingdom of Hadhramaut 3,000 years ago Kingdom of Hadhramaut - Wikipedia "Seen" Font Family Will Add a Splash Of Historical Musnad writing To Your Designs Coming in 4 Styles: Regular,Medium,Bold and Black, "Seen" Font Family is a serif typeface designed by Sultan Maqtari. Each style of the font is incredible in its own way, with attractive curves, spacing, and ligatures. Ideal for bold headlines, short sentences, unique logos, and general graphics, this typeface will effortlessly add a hint of Musnad writing and a splash of Amazing past to any design. "سين" اسم آلهة في مملكة حضرموت قبل ٣٠٠٠ عام ستضيف مجموعة خطوط "سين" لمسة من كتابات المسند التاريخية إلى تصاميمك. تأتي عائلة الخطوط "سين" بأربعة أنماط: عادي،متوسط،عريض واسود ، وهي عبارة عن خط مزخرف صممه سلطان المقطري. كل نمط من الخط لا يصدق بطريقته الخاصة ، مع منحنيات جذابة ، ومسافات ، ووصلة ربط. مثالي للعناوين العريضة والجمل القصيرة والشعارات الفريدة والرسومات العامة ، سيضيف هذا الخط دون عناء لمسة من كتابة المسند ونفحة من الماضي المذهل إلى أي تصميم.

Babak is designed by Naghi Naghashian. It is a Font family, in 3 weights, Light, Regular and Bold. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Babak supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Babak design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Babak was developed for multiple languages and writing conventions. Babak supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Hafez is a sans-serif font family designed by Naghi Naghashian in three weights. Hafez Light, Hafez Regular and Hafez Bold. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Hafez supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Hafez design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BaBa was developed for multiple languages and writing conventions. BaBa supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Naghashian is designed by Naghi Naghashian. It is a Font family, in 5 weights, Light, Regular, Bold, Extra Bold and Heavy This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Naghashian supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Naghashian design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Naghashian was developed for multiple languages and writing conventions. Naghashian supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

The Terminus typeface is an exploration of what occurs to letterforms when flip-disc display and variable-message signs begin to malfunction. Whether caused by analog or computer error, there is a mechanical beauty and randomness in the deterioration of the forms. Dresser's wild take on this concept purposely pushes the limits of legibility along with incorporating historical bits and pieces from blackletter and uncial script forms into this modern digital grid. OpenType font features provide the user with four options to use the typeface. Simply load the default Terminus for a surprisingly legible breakdown of digital characters. Select “Contextual Alternates” for a random selection of altered forms from the 994 glyphs included in the font. With the Glyph Palette open, manually select from the five full character sets to create your own unique settings. Lastly, choose “Stylistic Alternates” for an extreme test of legibility. This setting combines characters from the default font with the most elaborate set of alternates and best exemplifies the organic disintegration of Terminus.

Damavand is designed by Naghi Naghashian. It is a Font family, in 5 weights, Light, Regular, DemiBold, Bold and Heavy. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Damavand supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Damavand design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Damavand was developed for multiple languages and writing conventions. Damavand supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography.

Homayoon is a sans-serif sigle weight font designed by Naghi Naghashian. It is extremely legible even in very small size. This font is The contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Homayoon supports Arabic, Persian (Farsi ) and Urdu. It also includes proportional and tabular numerals for the supported languages. Homayoon design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Homayoon’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Homayoon was developed for multiple languages and writing conventions. Homayoon supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

What happens when historical calligraphy and modern lettering kiss? Liesel! This six-font, hand-lettered family is loosely based on traditional letterforms. Used alone, Liesel Regular reflects a warm, antique aesthetic. But when you pair her with Brush, Pencil, and Shadow - all of which were designed for layering - a modern, artistic look emerges! Experiment with textures, overlays and blending modes to create realistic water colored text. Both Liesel Printed & Liesel Shadow Printed are highly detailed, distressed versions of their solid counterparts, and can be layered to recreate an authentic letterpress or screen printed effect. Opentype features programmed into each text font include contextual alternates, stylistic alternates, swashes, true fractions, and old style numerals. Each Liesel font features PUA coding so all characters, including swashes and alternates, can be accessed with Character Viewer (Mac), Character Map (PC) or PopChar. For more information, including a complete PUA code listing, please review our user guide. We recommend pairing Liesel with Quimbly. Please note: because its outlines are complex & highly detailed, Liesel Printed and Liesel Printed Shadow may process slowly in some applications.

Dara is a sans-serif sigle weight font designed by Naghi Naghashian. It is extremely legible even in very small size. This font is The contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Dara supports Arabic, Persian ( Farsi ) and Urdu. It also includes proportional and tabular numerals for the supported languages. Dara design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Dara’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Dara was developed for multiple languages and writing conventions. Dara supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Oustad Arabic is designed by Naghi Naghashian. It is a Bold headline font, in 1 weight. This font is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Oustad Arabic supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. OstadArabic design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Kasha was developed for multiple languages and writing conventions. Nima supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Power Grotesk is a sans serif typeface with details that give typography that has its own characteristics from the thinnest to the thickest that is slightly widened. The goal is to create a typeface with legibility and good contrast between black and white so that it is suitable for different sizes. The typeface has a special feature that aids in reading and reproducing, trapping the right-sized ink for the text to work. The geometric shapes and structures reflect the inspiration and influence of medieval typography. Power Grotesk moves between the vast historical material that makes up modern typography, combining contemporary details with classic styles.

Columbia Titling is a titling-caps display family based on wide Clarendon-style wood type and industrial signage design from the late-19th and early-20th Century. Columbia Titling includes a small set of OpenType features, including both tabular and proportional figures, special superscript ordinal suffixes, underlined superscript alternate letters, and OpenType fractions. Columbia Titling can have a ‘period feel’ depending on its use, but is fresh enough to use in contemporary designs, like magazine headlines, invitations, or stationery. The typeface — released in four weights — takes its name from the historic S.S. Columbia, a steamboat launched in 1903. Lettering found on the ship’s wheelhouse provided initial inspiration for Columbia Titling.

Notorious is a brush script typeface with features that come from gestural calligraphy plus a touch of personality, therefore, it delivers wider freedom in both rhythm and composition of words. As a result, this typeface is highly suitable to convey expression in a most natural way. Notorious is composed by two styles; the first one is black and the other one textured. Both generate a more natural look when it comes to writing. Every weight includes alternative characters, ligatures, numbers, final forms, swashes, extras and catchwords giving you more options in terms of fostering your creativity. If you are looking to create expressive and gestural messages Notorious is your ideal choice.

Inspired by Art Deco packaging, Rosa fits comfortably into that classic genre. It’s namesake in the collection of La Sociéte Parisienne de Savons is described thusly: In mythological legend, Chloris, the goddess of Spring flowers transformed the body of a nymph into the first Rose. Aphrodite gave her beauty. Dionysus, the god of wine gave her a sweet fragrance and the Three Graces, charm, joy and radiance. Equally compatible with Machine Age, Streamline, Moderne and even Memphis design motifs, it presents the unique option of serving as both the typographic and decorative components of a design. Use Rosa to evoke a sense of elegance, high style and historical context.

The design of Zwoelf stems from a letter created by Oleg Pashchenko for the poetry book called “They Talk.” Modified in several ways, the lettering gained readability and a more neutral look. This typeface combines Modern and Gothic styles, ugliness and beauty, the horrifying and the funny. Typographers may highlight any of this. Zwoelf features elements that can be found in both Roman and Gothic styles, but has no real historical prototype. It creates coarse body copy that feels like blackletters. The type is well-suited for use with rough line graphics. Zwoelf is a good choice for short texts, headings, witchcraft potion recipes, madrigals, spells and treasure map naming.

Quant is a contrasted typeface with a fresh and well-reasoned appearance. It owes allegiance to classical structure but is a free design and does not refer to any historical model. Although it has strong qualities as a reading type, its distinct and powerful ductus makes it superb for headlines and in display sizes. Quant is well-equipped for ambitious typography. The Quant family consists of 8 styles, comes in OpenType format with extended language support for more than 40 languages. All weights contain small caps, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction and scientific numerals.

Monocto is an upright italic, clearly evidenced by the lowercase letters a, e, f, g, i, k, l, v, w, x, y and several capitals. On one hand, the design is inspired by an historical German running hand written with a pen angle of 45°, and on the other, by rational, utilitarian monospace types, similar to those designed for the mechanical typewriter during the Industrial Revolution. As the writing tool touches the paper, a double-square with broken corners is produced, which then, according to ductus, transforms itself into letter components that are either 90°-verticals or 45°-diagonals. The systematic geometry of Monocto offers unexpected design possibilites.

Pyke is a versatile serif typeface inspired by the Didone style of Giambattista Bodoni. After a detailed legibility study, Sofie Beier produced the typeface in three optical sizes; Micro, Text, and Display. The work goes beyond historic revival creating the complexities and subtleties of this classic style fit for users in the modern era. Details include six weights with true italics, specific sizes; Micro for small point sizes of 8 or less, Text for 9–14 points, and Display for larger print sizes, over 530 characters per style with 14 opentype features, and language support for Western, South, and Central Europe. Check out Karlo which is a great pair for Pyke.

A highly intrincated set of ornaments inspired from the work of Johann Georg Schwandner (1716-1791). An accurate historical revival and interpretation of Iza W, at Intellecta Design. State-of-art to use in headings, chapter initials from books, magazines and other publications. In Barocque and Renaissance inspired layouts, or modern mixed proposals. If you’re taking a formal approach to your Christmas designs, Schwandner Ornaments from Intellecta Design will provide unparalleled elegance and sophistication. The ornaments and fleurons in this set are intricately drawn, adding a touch of the Victorian era to cards, envelopes, gift tags, and place cards worthy of the grandest holiday feas

Cenizas is another masterpiece of rough-and-tumble script from the prolific Argentine duo of Koziupa and Paul. Although the overall 'wildness' of Cenizas is reminiscent of popular mid-twentieth-century English display scripts, Koziupa's Latin brush humor and ingenuity remain evident in the underlying structure of the design. Casual, care-free and adventurous, Cenizas can be a great choice for design applications relating to active behavior, like outdoor sports and travel. It also is enough of a rough script to be quite useful in a variety of other design contexts, such as the covers of art books or historical novels, museum literature, music sleeves and posters, or even map designs.

Shock and Awe is a family of two display typefaces drawn up from lettering that has been at the centre of major historical events. Enola Gay is based upon nose art from the B-29 Superfortress bomber that dropped the first atomic bomb, on the Japanese city of Hiroshima, in 1945. Tomahawk is based upon the fuselage lettering of the original (then) General Dynamics manufactured Tomahawk cruise missile. Tomahawk missiles were introduced into military service in the 1970s and have been deployed by US and UK 'coalition' forces in a number of conflicts, including both the 1991 Gulf War and the 2003 invasion of Iraq. Aesthetic production by Marcus McCallion.

Karlgeorg Hoefer designed Beneta in 1991, inspired by the Littera beneventana, the script of the Benedictine scribes from the 10th to the 12th century. During this time, scribes began to use wider pens and set them at a 45 degree angle to the paper, which caused their scripts to have radical stroke contrasts. This script was mainly used for books and certificates but disappeared by the end of the 13th century. Beneta revives the characteristics of this historic script, changing a line of text into an almost ornamental space. Beneta should be used in middle to larger point sizes for shorter texts and headlines.

The Golden Age of the Greek Civilization. The world’s history carved on stone. Hellenica Pro was created based on numerous photos from archaeological sites and several other historical references dating back to 1100 B.C. In order to capture the essence of this writing, there are a few alternate forms used at lowercase, uppercase and/or accented positions. These alternates come from different regions in Greece. For instance, uppercase Theta was used by the Cretans and the Korinthians, whereas uppercase Delta by the Ionians. PF Hellenica Pro comes in 3 versions: Light, regular and bold. The new ‘Pro’ version has been expanded to include 3 major scripts: Latin, Greek and Cyrillic.

Binner was designed by John F. Cumming in 1898 and is an alphabet with a strongly historic character. It takes the reader back to the early part of the 20th century, when typefaces of this kind could be found in advertisements on houses and posters. The robust figures display a marked stroke contrast. Particularly striking are the high middle strokes of the E and F as well as the wavy connecting stroke of the H. The curves of the R and P extend well into the lower third of the characters. With its robust figures, Binner is best used for headlines in middle and larger point sizes.

Sigillium is a flare serif typefaces, which inspired by early XX centuries sign painting advertising. It has strong historical nature. Letters proportions are very closed to the Roman Capital Letters. Sharp flare serifs endings give special medieval style to the typeface. Sigillium includes: 4 types in Upper- and Lowercases Each style contains more than 250 glyphs which support Latin, Western European, Central European languages (Cyrillic is also included) Files description: regular, carved empty, - not filled 2 styles carved with shadow, - different "light" directions Hope you are enjoying using Sigillium. Please do not hesitate to ask me any questions about the product. (c) Photo credit - Unsplash

Matryo is a narrow, sans serif typeface family of fourteen typefaces, ranging from Thin to Black with accompanying Italics. With a soft, rounded form stroke and open shapes, it aims to remain clear and legible at all point sizes and can be set either in longer passages or for headlines and logos. Conceived as a multilingual family, its large character set covers most latin, cyrillic and greek based languages with a particular attention given to covering the historical forms for added functionality. Through Opentype features, Matryo equally offers a choice of numeral styles and some ligatures or alternative letters to add further choices for end users.

MT Bleu Feelin — is a display font with a monospace typographic feel. Please pay attention to Small Caps, Oldstyle Figures, and Alternates. Good for music album covers, posters and magazines. Inspired by the electronic band from Bandung, Bleu House, which has a light and edgy electronic pop experimental music character, the idea emerged to create a font that changes from sound to visual language, namely font. The use of the design for this font is for Display, and while it is issued one regular weight, in the future will develop multiple masters and other experiments. The design concept of the MT Bleu Feelin Mono Regular font is to take a 45 degree diagonal and geometric cut technique. also every corner is rounded which gives a dynamic impression like electronic music. I created this font design because I like visual experiments, and applied it to the character of the font. By using monospaced font characters have an even width. This is a unique feature in that most fonts are 'proportionally' spaced with characters varying in width. While monospace is perfect in certain ways, it is a proportional font that reigns supreme. Proportional fonts are faster to read. however, the MT Bleu Feelin Mono Regular font is intended for display fonts. MT Bleu Feelin Mono Regular supports language settings - Western Europe - Central Europe - Southeastern Europe - South American - Oceania - Esperanto

Gealman is a Grotesk font that stands out for its simplicity, cleanliness, and rigidity. It delivers a modern look and a touch of elegance to any design project, making it highly versatile. Gealman is great for posters, marketing materials, logotypes, headlines, and more. It pairs perfectly with script, blackletter, stylized, and other fonts. Gealman offers a range of functional aspects, including various styles and character sets. It features a robust character set that supports multiple languages, making it an excellent choice for global branding projects. The design concept behind Gealman was to create a timeless typeface that is both contemporary and classic. The font's sleek, clean lines and geometric shapes give it a modern feel, while its classic proportions provide a timeless elegance. Gealman is unique because it combines simplicity with elegance, making it perfect for a wide range of design applications. Whether you're creating a logotype or designing a poster, Gealman is a versatile and reliable choice. Gealman is not based on a historical design or a revival, but it draws inspiration from classic geometric sans-serif typefaces. Its design is rooted in the concept of precision and balance, which gives it a clean and timeless aesthetic.

Haboro is a powerful workhorse. It’s a neoclassical font developed for numerous uses, ranging from editorial and corporate to web pages and apps. This new face from insigne Design takes a modern twist on the high-contrast typeface genre known as the Didone. Recognized for their ability to convey clarity, the geometric simplification of the Didone genre adds a level-headed rationality to whichever work it’s applied. Didones are used to lend style and sophistication to a wide number of applications—everything from style or cosmetic labels to annual reports. With its unique take on this classic genre, Haboro—with its slight wedge-shaped serifs and unique terminals—is still defined by elegance, tradition and timelessness. Even more to its versatility, this multi-purpose text face features whimsical terminals, which liven up even the most serious texts. If you desire, you can also opt for the more usual ball terminals by activating OpenType alternates. The Haboro family consists of seven weights from a Thin to a Black along with matching italics. The contrast from the letters’ thick strokes and thin strokes draws the eye to your design, making Haboro a powerful visual tool for communicating your message. The typeface also contains numerous ligatures and alternates. Choose between serif variants such as ball terminals or standard serifs by utilizing OpenType alternates. We recommend using the default contextual alternates and discretionary ligatures in order to benefit from all members of this fantastic font family. In addition, Haboro has a sizable set of option glyphs and numerous other OpenType variables to give your text the unique touches it needs. Haboro has all of the attributes you need to undertake your next project. Use its modified elegance to shape and mold your next design, whether a web site, app, branding package, or magazine. You’ll find there’s no job Haboro can’t take on.

Meet Gnuolane Jump, the lighthearted typeface that bounces with personality. Inspired by early twentieth-century grotesque designs, Gnuolane Jump is a typeface with a playful 1960s twist. Its superelliptical appearance gives it a unique charm that sets it apart from other headline fonts. Gnuolane Jump features old-style numerals, adding to its vintage appeal. But what really makes this font stand out is its OpenType ligatures. With tailored combos that automatically substitute common character sequences, Gnuolane Jump creates a bouncing effect that brings your text to life. If you’re looking for a more subdued style, be sure to check out Gnuolane and Gnuolane Stencil. But if you want to inject some fun and personality into your headlines, give Gnuolane Jump a try. Its lively spirit and unique character will add an extra touch of charm to your design. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Welcome to the world of Gulkave. Introducing our bold display typeface that will take you back to the retro computing era. With its low-resolution pixel gloss, Gulkave brings a touch of nostalgia with a modern twist. It looks like a classic bitmap font, but with a unique design that sets it apart from the rest. Gulkave was crafted with utmost precision and attention to detail. Unlike traditional bitmap fonts that are made on a control grid, Gulkave was carefully designed with readability and visual balance in mind. This means that you get the perfect combination of a retro computing vibe with modern finesse and legibility. This font is perfect for creating striking headlines and titles that demand attention. Whether you’re designing for print or digital media, Gulkave is the perfect choice for any project that requires a touch of retro techno style. So why settle for a standard pixel font when you can have Gulkave? Try it out today and discover the unique and captivating design that will take your projects to the next level. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

A creative context 2003. Fontsmith was sharing a small, cold, whitewashed studio space in Northburgh Street, Clerkenwell. But things were on the up following prestigious custom type commissions for The Post Office and E4. “Slab serifs were on the brink of another revival, we could feel it,” says Jason Smith. “All we wanted to do was have a play with these slabs, go as far as we could within what was acceptable and readable.” “It wasn’t initially clear what was happening,” recalls Phil Garnham. “We were becoming very influenced by our surroundings, outside the studio space. We absorbed the essence and the designer grime of where we were.” Process Jason began by drawing stems on-screen. “The key aspect of the font is the upward bend of the leading shoulder serif, the way it kind of ramps up and then plummets back down the stem. “The regular and light characters are quite narrow – great for text but the bold is quite wide and chunky – better for headlines. I think ‘y’ is quite different for a slab design. We call it the Fontsmith ‘y’.” Promotion Fontsmith were determined to get FS Clerkenwell noticed. To launch the font, Ian Whalley, a designer friend of Fontsmith, captured words heard on the streets of Clerkenwell, set them in the new font and crafted a small book of typographic conversations. It was a first for Fontsmith. “I think that’s part of why this font has been so successful,” says Phil. “It really does embody the spirit of the area, as a special place for design, arts and crafts. And designers love that.” Contemporary twist FS Clerkenwell, based on influences in and around this part of London with a rich tradition of printing and design, mixes tradition with creation. Old-fashioned values meet new-school trends. Its quirky, contemporary character lends an edge to headlines, logotypes and any large-size text.

Welcome to Rukyltronic—a synthetic bitmap font that brings a unique and intriguing twist to your designs. Inspired by the eccentric computer fonts from the 1980s science fiction computer games, Rukyltronic boasts an array of interesting effects that will add a touch of nostalgia to your creations. With its variable gaps, Rukyltronic is the perfect choice for anyone looking to create an authentic pixel font look. The kerning is limited to full pixel increments, allowing you to achieve an authentic low resolution look and feel in your designs. Whether you’re working on a retro video game, a sci-fi movie poster, or a digital art piece, Rukyltronic is the font you need to bring that vintage 80s computer feel to life. Its unique style and limited kerning create a humble yet striking appearance that is sure to catch the eye of your audience. So what are you waiting for? Give Rukyltronic a try today and let your designs stand out! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.