It is a big work that started with Windows in Aden and was redesigned and tuned on an Apple device in Cairo. Liberty is an active contemporary variable font, complete with a flexible range of cases tailored to responsive layouts. The font is clear and legible in small sizes, suitable for printing for large texts, web pages, and other visual uses. Language: Latin default Latin Azerbaijani Latin Catalan Latin Crimean Tatar Latin Kazakh Latin Marshallese Latin Dutch Latin Tatar Latin Turkish

The Whimsies series goes further in our fixation with invented little people: the three dingbats of this series contain mostly imaginary situations, drawn first with ink on paper. All but a tiny fraction of the illustrations (a total of 114) have been drawn from one's imagination, with no previous models. The themes depicted here are varied and often humorous, though the humour is on the darker side, you are warned. The themes have a definite retro - victorian feel, with top hats, moustaches, long coats, walking canes and the like. Together with their close relatives, our Illustries, Bizarries, Ombres, Absurdies and Genteta dingbats (we give this bizarre collective the common name of Whimbats) you can use the Whimsies in an endless variety of projects, ranging from small spot illustration to whole pages, page spreads or posters applications. You can use them as they come in the digital font, or customize them easily in your favourite graphics program. A touch of texture or color will give them a completely new look. The vectorial nature of digital fonts means you can enlarge them to any size, with no loss of crispness in their outlines.

Jumping Jess is a high quality decorative typeface making use of Stick Figures in various playful jumping poses to depict the letters A-Z. Numbers, symbols and punctuation are composed of elements from the Stick Figure design to visually complement the letters of the alphabet. With a comprehensive set of Ligatures and hundreds of Hand-kerned pairs, Jumping Jess was developed to look great with any string of letters. This font is suitable for greeting cards, sports posters, logos, signage, menus, wedding invitations, product packaging, craft, children's writing, t-shirts, quotes, social media page covers, large format event banners, book covers, magazine title pages and so much more. We highly recommend using an application that supports Open Type features. Ligatures will better display double consonants like "TT" and "LL" and other character combinations like "SH" and "ZY". Ligatures are enabled by default on some applications like Notepad and Photoshop but disabled by default on others like Word and Paintshop. FEATURES Uppercase alphabet 50+ Ligatures, 400+ Kerning Pairs Full range of numbers, symbols & punctuation Comprehensive language support* * ISO-8859-1, ISO/IEC 8859-15, Windows-1252 (e.g. French, German, Polish, Spanish, Italian, Portuguese, Finnish, Norwegian, Swedish, ...)

This is Alter Littera’s second original design. It started as an attempt at translating into roman forms the lowercase metrics of classic blackletters, in particular those of The Oldtype “Alter Gotisch” Font. Eventually, the design process led naturally to an innovative and modern re-creation of the overall forms and style of classic bold condensed letters from the early twentieth century, especially those of the “Century Bold Condensed” type from American Type Founders (ATF) Company’s American Specimen Book of Type Styles, Jersey City, 1912 (pp. 274-7) [also seen in McGrew, M. (1993), American Metal Typefaces of the Twentieth Century, New Castle: Oak Knoll Books (pp. 76-7)]. In addition to the usual standard characters for typesetting in modern Western languages, the font includes a comprehensive set of special characters, alternates, ligatures and ornaments, plus Opentype features, that can be used for creating distinctive and attractive texts with virtually unlimited variations. The glyphs are clean, smooth and definitely readable, so the font will be suitable not only for large titles and headings, but also for full text pages. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Alter Headletter” Font Page.

Comalle is an organic typeface that rescues some elements of handwritten script, but its stroke does not necessarily answer to a literal calligraphy structure. So Comalle could produce a powerful impact on the page, it was designed with thicker strokes than its counter forms. The objective is that the black of the letter fills the page and causes a fastest visual impact than typographies that balance blacks and whites. One of the most important tasks of the Comalle design was to think of how to handle the unequal percentages of blacks and whites in the typeface. The peculiar thing, is that the precision work of the letter does not make the blacks, but the whites; this is the reason why in one first instance it was very valid to start off designing in a very gross way, nevertheless, the majority energies are put in the details of the design of counter space. From the drained filling concept of forms Comalle was born, a typeface that pretends to enchant with its delicate counter space design and to impact with the heavy outlines which compose its form.

Natalia font, is an original type by Manuel Lage, inspired by the Doric column bases. Its heavy appearance is lightened by the erosion of the serif pieces. It is a typeface with a rigid and compact stroke.

Dossier is a monospaced serif face that originates in Dwiggins's designs for typewriter. It has a soft and casual personality and comes in 8 weights and matching italics, making it ideal for text typography, package and advertisement design. Dossier is an adaptation of William Addison Dwiggins's unfinished typewriter faces. He worked with multiple typewriter manufactures including Underwood, Remington Rand, and IBM, but none of them were finished. He left a number of intriguing drawings which are now kept at the Boston Public Library. You could see in the drawings that Dwiggins was also interested in exploring designs of varied width. Toshi Omagari decided to combine these materials to make a cohesive family: the upright was taken from a drawing of monospaced lowercase for an unknown client, and the italic was from the work he did for Underwood which he called "Aldine". Toshi added narrower and wider alternates in the same way Dwiggins devised.

The Englishman William Caslon (1672–1766) first cut his typeface Caslon in 1725. His major influences were the Dutch designers Christoffel van Dijcks and Dirck Voskens. The Caslon font was long known as the script of kings, although on the other side of the political spectrum, the Americans used it as well for their Declaration of Independence. The characteristics of the earlier Renaissance typefaces are only barely detectable. The serifs are finer and the axis of the curvature is almost or completely vertical. The overall impression which Caslon makes is serious, elegant and linear. Next to Baskerville, Caslon is known as the embodiment of the English Baroque-Antiqua and has gone through numerous new interpretations, meaning that every Caslon is slightly different. American Type Founders presented a Caslon in 1905 which is true to the forms of the original. This font is relatively wide and comes complete with small caps and old style figures.

Time-tested elegance is what you’ll get with Geographica Script, a handwritten typeface steeped in 18th century sophistication. Source materials include the maps of Emanuel Bowen (circa 1694–1767), Geographer to King George II, as well as English and American trade cards from the middle 1700s, including the work of artist and printmaker William Hogarth (1697–1764). A kindred font to our Geographica serif family, Geographica Script is a painstaking replication of the elegant roundhand cursive seen in engravings of the period. Geographica Script has more than 1,100 glyphs, including scores of standard and contextual ligatures, three full uppercase alphabets, historical forms, decorative flourishes, and full Latin support. It’s also got fifty evocative ornaments inspired by map and trade card illustrations, e.g., lion rampant, unicorn rampant, crowns, anchors, sailing ships, whale, dolphin, sun, moon, and many others. Note: To prevent Microsoft Word from cutting off Geographica Script’s extra-long descenders, set line spacing (Format —> Paragraph —> Spacing) to 1.5 lines.

Dwiggins Uncial is based on calligraphy by William Addison Dwiggins that he created for a self-penned short story, which appeared as an insert in the book-arts publication The Dolphin in 1935. This self-described “experimental uncial” lettering features rather unusual treatments of letterforms which combine manuscript calligraphy with modern idiosyncrasies. Dwiggins Extras is a set of decorative extras features 62 stencil and woodblock motifs adapted from abstract and representational Dwiggins designs. Although Dwiggins illustrated a number of books using conventional media, he is best known for his method of illustration that uses a series of hand-cut celluloid stencils or what he called “machine ornaments.” With these stencils Dwiggins (and other designers who use his ornaments) build-up repeated motifs and patterns into abstract designs and/or representational images which have a look that is uniquely Dwiggins’ own. Unlike other illustrators, Dwiggins’ style has not been commonly imitated and therefore his style is as distinctive today as it was 70 years ago.

The Englishman William Caslon (1672-1766) first cut his typeface Caslon in 1725. His major influences were the Dutch designers Christoffel van Dijcks and Dirck Voskens. The Caslon font was long known as the script of kings, although on the other side of the political spectrum, the Americans used it as well for their Declaration of Independence. The characteristics of the earlier Renaissance typefaces are only barely detectable. The serifs are finer and the axis of the curvature is almost or completely vertical. The overall impression which Caslon makes is serious, elegant and linear. Next to Baskerville, Caslon is known as the embodiment of the English Baroque-Antiqua and has gone through numerous new interpretations, meaning that every Caslon is slightly different. Caslon Classico appeared in 1993 and was designed by Franco Luin, the designer of various interpretations of classic typefaces. Luin kept his design true to the original and Caslon Classico consists of two cuts with corresponding italic and small caps characters.

HK Modular stands out as a versatile and adaptable typeface that finds its strength in serving as an impactful display, title, or poster font. Its design allows for effective use in spanning entire pages, highlighting article titles, and designing logos. With a regular cut and rounded-corner design, HK Modular strikes a harmonious balance between sleekness and approachability. This dual nature of the typeface allows it to seamlessly blend sharp, defined edges with a touch of softness, making it suitable for a wide range of design contexts.

Outedis is a unique, cute, and charming handwritten font. you can use it for designs with various kinds of creations that require a touch of beauty, this font is the right choice for your elegant project. This font is designed with a natural touch of handwriting refined to create portions and compositions that suit your needs. So this font is perfect for crafts, kids writing, adventure posters, banner titles, wedding invitations, product packaging logos, quotes, social media page covers, furniture banner titles, book covers, and more.

Tapa is a classical old roman typeface family which has been cut with sharp serif; Its stems, proportions, serif and elegant angles, may induce into a new view of the "Old roman faces" by our contemporary digital age. The kerning pairs were carefully controlled to ensure a good readability and nice page tone contrast. The Tapa font family is completed with true italics (without compression). And enriched with a full set of OpenType features containing ligatures, discretional ligatures, old style numerals and swashed letters.

NONLOCAL, has a firm personality and clearly produces a sturdy and consistent font, making it very easy to read that is suitable for everyday use. All caps fonts. USE NONLOCAL works great in branding, logos, Quotes, headlines, high fashion, Landing Page and Magazine. Have 2 Style give you full to explore for your project. FEATURES 2 Style / Numbers & Punctuation / Extensive Language Support Thanks for checking out NONLOCAL. I really hope you enjoy using it! please kindly send us a message for any question about our product. DLetters.Std

Quarion is a clean, neo-humanist sans with a contemporary geometric approach. Its design started as an exploration of geometric fonts from the early 20th century, like Futura, Neuzeit Grotesk or Recta which allows the typeface to generate an inviting but sophisticated feel on the page. Although, less contrasting, geometric designs have been quite popular around type designers until today, Quarion finds its niche by combining circular elements with a medium stroke contrast, resulting in a versatile and robust workhorse for any analog or digital application.

Resty is a bold script font that is characterized, unique and bold. This font is designed with a natural touch of handwriting refined to create portions and compositions that suit your needs. Of course, this font designed with natural hand touch has alternative features, ligatures and also supports multi-language, So this font is suitable for crafts, logotypes, posters, titles, banners, wedding invitations, product packaging logos, quotes, social media page covers, book covers, and more. what are you waiting for start creating special projects with this font!

Urban Grotesk attempts to follow the best of traditions of Grotesk typefaces: rounded arches, slightly thinner connecting strokes and a vertical shadowing axis, where outstrokes are terminated strictly in perpendicular to the stroke direction. The primary characteristics are the connection of the rounded stroke to the stem, a round dot, lower and more thrifty uppercase, and generous numerals. The width proportions of characters is almost unified, the text colour creates a unified grey area on a page. An airy metric aids good legibility in shorter texts.

Atringe is our newest handwriting script font that has its own charm if it is displayed in various promotional design media or product labels, and has a harmonious nature in its arrangement. This font is designed with a natural touch of handwriting which is refined to create a portion and composition that suits your needs. So this font is suitable for craft, children's writing, adventure posters, food banner titles, wedding invitations, product packaging logos, quotes, social media page covers, furniture banner headlines, book covers, and much more.

Notre Dame is a part of the 1990 program Type before Gutenberg, which included the work of twelve contemporary font designers and represented styles from across the ages. Linotype offers a package including all these fonts on its web page, www.fonts.de. Notre Dame was designed by Karlgeorg Hoefer, who was inspired by the structure of forms once used mainly for liturgical purposes. Digital techniques made it possible to add Gothic ornaments and borders to the font, perfect for designing anything which should have a late Gothic feel.

A page from an "ideas booklet" that was copyrighted in 1939 by the Sanford Ink Company displayed a hand lettered variation on the counter-less [or solid] alphabet that so typified the Art Deco style of the times. Bold, brash and beautiful, Upscale JNL evokes high-end department stores, fine millinery shops, cafeterias, night clubs and other business establishments from the Streamline era. This type of lettering style was a workhorse, and could (and still can) tackle any message with strength, clean lines and class.

Afrojet Type Foundry presents Sessions, a heavyweight modular typeface with a quirky personality. The design is a fresh reimagination of Joseph Albers' classic Kombinationsschrift alphabet. It utilizes modular, repeating stylized forms to bring dimensionality and personality to the page. Sessions takes advantage of OpenType’s Stylistic Alternates feature with: two numeral options (cap-height and x-height), the option to ‘turn off’ the splayed bottoms of certain glyphs, and numerous alternate characters. All together, these options allow you the designer to create unique and custom designs.

Biennale is a geometric typeface with a strong character and a large x-height which make it an excellent choice for a wide range of applications, such as headlines or branding. Although common in style, Biennale distinctive details and color on the page allow users to create really unique designs. The font comes in 11 weights, from Hair to Heavy, and includes matching italics. As you would expect from Latinotype, this typeface comes with a standard set of 417 characters that support over 200 Latin-based languages.

Radish is relaxed, elegant, and dainty handwriting and looks that features sweet and subtle strokes. This original look will appeal to a variety of craft ideas, from letterheads and titles to fun, natural handwriting. This font is designed with a natural touch of handwriting refined to create portions and compositions that suit your needs. So this font is perfect for crafts, kids writing, adventure posters, banner titles, wedding invitations, product packaging logos, quotes, social media page covers, furniture banner titles, book covers, and more.

To see the “auto-mix” effect, go to the Webfont page. This typeface has been designed to demonstrate a hypothesis: consistency in letter form and style is not essential to fluent reading. The Neology fonts also include both plain constituents, Neology Deco (1920s-style minimalist geometric) and Neology Grotesque (similar to Helvetica etc., but with a small x-height). All fonts have both three-quarter and full cap-height lining figures. The plain fonts have stylistic alternates (“a” for Deco and “g” and “l” for Grotesque).

Hebrew alphabets contain 22 Hebrew letters along with five final letters. These final letters are automatically activated when used in Applications such as Apple Pages® and MicroSoft Word®. Some alternate hebrew letters have been added. Pageantry Hebrew letters do not contain cantillation marks very much used in everyday modern Hebrew accompanied with the complete latin alphabet. View my other Hebrew fonts, Newmark Hebrew, Hebron Hebrew, Hanah Hebrew and Komunidad Hebrew which is a handwritten (script font). Pageantry Hebrew requires OpenType-aware software.

When I first saw the scrapbook pages of Danielle Paradis, I was immediately struck by the funky-cool distinction of her handwriting style. I was inspired and felt moved to ask her for samples, from which to build a complete font. This warm and friendly font is applicable to a wide variety of uses. Use it wherever a casual cool look is desired. It's right at home on trendy restaurant menus, children's publications, organic food labels, correspondence and of course, scrapbooks, to suggest a few. A number of stylistic alternates are included.

You know that feeling when you see something and you're like "Hey, I like this!"? Hopefully, Lily Stevan is that font. With its clean lines and playful design, it's perfect for fun little sayings, logos, and headlines. It's easy to use and will make your designs pop right off the page. Download Lily Stevan today! So what’s included : Basic Latin Uppercase and Lowercase Numbers, symbols, and punctuations Multilingual Support. Accented Characters : ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØŒŠÙÚÛÜŸÝŽàáâãäåæçèéêëìíîïñòóôõöøœšùúûüýÿžß PUA Encoded and fully accessible without additional design software Simple Installations Works on PC & Mac Thank You!

Droob7 is An Arabic typeface for desktop applications, for websites and for digital ads. Currently prepared by the weight one has the alignment between the Arabic and Latin letters to serve the articles sites without resorting to other fonts in the page or article each. Droob7 font family contains two weights: normal and bold. This font supports Arabic and Latin, Persian and Urdu. The font (Droob7) is characterized by clarity and readability and ease of being a promising line very carefully to be used in Web sites (best size is 12-bit).

This elegant typeface was suggested to me by type critic Daniel Will-Harris. Jensen Arabique is based on a set of capital letters drawn by Gustav Jensen that included the word "ARABIQUE" at the top of the first page, therefore the name. Daniel Will-Harris has this to say about Jensen Arabique: "I found an example of this unexecuted Gustav Jensen typeface in a type sample book from 1933, and Jason Castle lovingly digitized it with all its rare and unusual curves intact." Uppercase with alternates, numerals and some punctuation.

Introduce Battiest is our latest modern handwriting script font which has strong characteristics in its curves so that it makes it more beautiful and elegant in its use and also has its own charm when viewed This font is designed with a natural touch of handwriting which is refined to create a portion and composition that suits your needs. So this font is suitable for craft, children's writing, adventure posters, food banner titles, wedding invitations, product packaging logos, quotes, social media page covers, furniture banner headlines, book covers, and much more.

By any stretch of the imagination, Yorso Square JNL is an imperfect font...by design! Taking a page from the elementary school projects of years past, this sans serif face is square and blocky... looking as if it was manually constructed in haste with a ruler and pencil - just as a student might do for a book report cover, science fair project or class poster. If you need a type face that shows the innocence of youth, or possibly a bit of urban audacity - Yorso Square JNL is your choice of lettering!

Kau is a quirky, sans serif display font in two weights. Its funky, stencilled outline bursts onto the page with in-your-face energy, just demanding to be noticed. Kau Black is big and bold, specially crafted for posters, headlines, ads and logotypes. Kau Light forms a perfect foil - clear, skinny and edgy. Use the two together, in a contrasting explosion of form, to create exciting contrasts and vibrant designs The font has all the features of a fully professional typeface. Language support includes all European character sets.

This is a unique design by Elyahu Koren. He wanted to design another version of his Koren Tanakh sacred font that was for Biblical use only. So he designed Koren Siddur to be used for page numbers etc. OpenType Pro Excellent support for Niqqud (Vowels). All marks are programmed to fit each glyph's shape and width. OpenType Pro includes new advanced features like Dagesh Hazak, ShevaNa, Qamatz Katan, Holam Haser and wide letters. Best used with Adobe InDesign CC that support complex Hebrew text. Please check these advanced features in this link: tinyurl.com/2fbkuy95

Introduces our newest "Newest" modern handwriting script font which has characteristic beautiful curves on each letter. This beautiful font is designed with attention to harmony in beauty when you use it in your designs This font is designed with a natural touch of handwriting which is refined to create a portion and composition that suits your needs. So this font is suitable for craft, children's writing, adventure posters, food banner titles, wedding invitations, product packaging logos, quotes, social media page covers, furniture banner headlines, book covers, and much more.

SK Gunaydin is a display sans serif font family designed by Salih Kızılkaya in 2022. Thanks to its high contrast ratio, it offers high readability in all the media you need. It contains a total of 3120 glyphs, 624 glyphs in each font, and offers full support for languages using the Latin alphabet. This font family, which includes 3 different styles, classic, outline and shadow, and 5 different fonts, contains all the characters you will need in designs. You can visit the Behance prohe page for high resolution versions of the project images.

Dranskof is a light-hearted, cheery font. It is inspired by a page from an extraordinary serbian publication for children by the writer, poet and journalist Duško Radović. Dranskof whimsical letterforms are full of joie de vivre, consisting of different glyphs on upper and lower case slots for added flexibility.The contextual alternates feature will instantly alternate glyphs. To literally add a twist here and there, Dranskof is equipped with a spirited set of stylistic alternates, easily accessible through stylistic alternates feature or by the glyphs palette. This is definitely a 'make feel good' font. Enjoy!

Linotype BioPlasm is a display face created by Italian design Mauro Carichini in 2002. It distorts and deletes parts of letters, creating the appearance of a living, typographic organism in pages of text. Lines set in Linotype BioPlasm seems bubble to the surface, and always hints at some sort of unrevealed secret. Although only parts of most letterforms are visible, the high x-heights of Linotype BioPlasm's letters make its text surprisingly legible for such a concept-font. For usage in products ranging from Sonic to Science, Linotype BioPlasm may be the font for you!

During the years of physically doing camera-ready paste-up work before the advent of the digital age, clip art books dominated the way stock art was added to a print project. Clip art books were eventually replaced by clip art CDs, DVDs and online download sites, just as the books themselves had replaced the stock photo engravings of the letterpress era. With the kind permission of Graphic Products Corporation, Jeff Levine Fonts offers up a sampling of images found within the pages of Graphic Source clip art books; aptly entitled Classic Clips JNL.

Comic books are filled with pages full of the daring adventures of crime fighters with colorful costumes, amazing abilities and wondrous powers. They have enthralled kids of all ages since the 1930s. Costumed Hero JNL emulates both the hand lettered cover titles of those vintage comics as well as the title credits from a 1960s television show based on one of these characters. With its non-conforming letter shapes and varying widths, the lighthearted look of classic comic title art can be yours. The font is available in both regular and oblique versions.