In 1935, Rudolph Ruzicka approached W.A. Dwiggins at Linotype in the USA and handed him six typeface design sketches. These later led to the typeface family now known as Fairfield. The sketch called Script’ was forgotten until 1993, when sketches and designs were found in Ruzicka’s archives. Ruzicka Freehand was originally a more flowing calligraphy typeface which Ruzicka later developed into this strong and unusual form. The typeface is designed in two weights and their matching italics. The figures are clear, only just indicating the handwritten style in the italic forms, and combine into light and harmonic lines of text. Ruzicka Freehand gives texts a private and personal character and is suitable for middle length texts and headlines.

Introducing a new vintage bold script called Vintage Queens. It is inspired from retro typography and lettering in the 70's and 80's combine with bold typography style. With a total of 534 glyphs with 359 alternate, you can make letter combinations for lettering with a lot of options. Includes OpenType feature with many alternates and swashes, helping you to make great lettering. Vintage Queens best uses for Logotype, heading, cover, poster, logos, quotes, product packaging, header, merchandise, social media & greeting cards and many more. This font is also support multi-language. To access the alternate glyphs, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw.

Lemongrass is a connected script typeface for display use. It was inspired by brush lettering and the sea and the strong winds that exist in Porto. These winds are called "nortada", which was also the developing name of the font. It has low contrast and smooth connections to get a good rhythm in the text. Lemongrass can be used for branding and packaging where it will shine, but it can also be used in small texts creating beautiful content. Lemongrass has lots of ligatures, swashes and alternative shapes that will allow making your brand unique. It supports most western European languages making it a more useful display font. Lemongrass Caps comes to complement the main style.

Brittes is a fontface inspired in a formally English round hand, also called anglaise or Copperplate script. The calligraphy was the dominant style among 18th-century writing masters, whose copybooks were splendidly printed from models engraved on copper. In the mid-1800's, the Spencerian form of penmanship became a standard. An elegant handwriting was much prized. Today, in our computer age, a fine, beautiful, and legible handwriting brings a warm personal touch to your graphic design and visual communications projects. This font comes with three different kinds of capitals, regular and swashes to choose from, a full set of stylistic alternates, standard and discretional ligatures. Old style numerals ornaments and tails.

Handsome, adventurous, legible and elegant, this script has the feel of practical handwriting from past centuries. Aquiline is based on a cursive italic style influenced by the 16th century European writing masters. The Aquiline design team turned to Ludovico degli Arrighi, the great 16th century writing master, for period ideas on how to improve, strengthen and add grace to the font. Aquiline has strokes and gestures that seem very like the writing of Arrighi and Mercator, such as the flamboyant balloon of a flourish on the cap A; the graceful flourishes on the cap B, D, and L; and the compact lowercase with tall ascenders. Aquiline has a strong personality and is historically correct.

Antique Vignette is a quirky vintage script font. I call this font quirky font because the concept of this font uses a very visible difference in the thickness of the font. Because of its thickness, it makes this font look more unique and has a more vintage feel. The perfect combination of vintage/groovy style with classic lettering. So this font is suitable for your projects with vintage/retro/groovy themes. In addition, this font is also suitable for logos, branding, lettering, badges / emblems, quotes, posters, svg, book titles, packaging, t-shirts / apparel and others. Come with Opentype feature with a lot of alternates, its help you to make great lettering. This font is also support multi language.

Tiblisi is a font designed to emulate the feel of modern Georgian Script, which is called Mkhedruli. In earlier periods of her history, the Georgian language had several other alphabets, notably the Asomtavruli alphabet and the Nuskha-khucuri alphabet. The first printed material in the Georgian language, in the Mkhedruli alphabet, was published in 1669. Since then the alphabet has changed very little, though a few letters were added in the 18th century, and 5 letters were dropped in the 1860s. The font was named Tiblisi in honor of the nation's captial city. Tiblisi comes with full punctuation, a complete character set for most Western European languages that are based on the Latin Alphabet, and full kerning.

Lucky Lady was inspired by the old, classic art and craft of brush script lettering usually applied in ads of the WWII era and 1940s. The name of the font family refers to one of the most emblematic combat units of the US air force in WWII that were decisive in the victory of the allied forces. Lucky Lady can be mainly used in titles and display texts. It supports East Europe languages. It's highly recommend to use the combined shadow styles under the main regular basic style layer. Lucky Lady includes standard and discretionary ligatures, alternative style for uppercase, fractions, numerators and denominators, end and/or terminal forms and other OpenType features.

Typoskript AR is based on a metal type which was produced in 1968 by VEB Typoart, Dresden, from a design of the German calligrapher and lettering artist Hildegard Korger. It bears all the qualities of the artist’s inimitable style which will be immediately recognizable to anyone who’s familiar with her Handbook of Type and Lettering (Lund Humphries, 1992) (Schrift und Schreiben, Leipzig, Fachbuchverlag, 1971). The ARTypes transcription retains the roughness of the artist’s pen on paper as it was featured in the original type, as well as the letterfit, ch, ck and f-ligatures. ARTypes have supplied the font with all the standard accents, monetary signs, etc. The original qu logotype is provided as an alternative letter. A printable .pdf specimen of the type can be downloaded from the gallery.

Out of a lifelong inner struggle, Philip Bouwsma unleashes a masterpiece that reconciles classic calligraphy with type in a way never before attempted. Maestro takes its cue from the Italian chancery cursive of the early sixteenth century. By this time type ruled the publishing world, but official court documents were still presented in calligraphy, in a new formal style of the high Renaissance that was integrated with Roman letters and matched the refined order of type. The copybooks of Arrighi and others, printed from engraved wood blocks, spread the Italian cancellaresca across Europe, but the medium was too clumsy and the size too small to show what was really happening in the stroke. Arrighi and others also made metal fonts that pushed type in the direction of calligraphy, but again the medium did not support the superb artistry of these masters or sustain the vitality in their work. As the elegant sensitive moving stroke of the broad pen was reduced to a static outline, the human quality, the variety and the excitement of a living act were lost. Because the high level of skill could not be reproduced, the broad pen was largely replaced by the pointed tool. The modern italic handwriting revival is based on a simplified model and does not approach the level of this formal calligraphy with its relationship to the Roman forms. Maestro is the font that Arrighi and his colleagues would have made if they had had digital technology. Like the calligraphic system of the papal chancery on which it is modelled, it was not drawn as a single finished alphabet, but evolved from a confluence of script and Roman; the script is formalized by the Roman to stand proudly in a world of type. Maestro came together on screen over the course of several years, through many versions ranging widely in style, formality, width, slant, weight and other parameters. On one end of the spectrum, looking back to tradition it embodies the formal harmony of the Roman capitals and the minuscule which became the lower case. On the other it is a flowing script letter drawing on the spirit of later pointed pen and engravers scripts. As its original designers intended, it works with simple Roman capitals and serifs or swash capitals and baroque flourishes. The broad pen supplies weight and substance to the stroke which carries energy through tension in balanced s-curves. Above all it is meant to convey the life and motion of formal calligraphy as a worthy counterbalance to the stolid gravity of metal type. The Maestro family consists of forty fonts distributed over two weights. The OpenType version compresses the family considerably down to two fonts, regular and bold, each containing the entire character set of twenty fonts, for a total of more than 3350 characters per font. These include a wide variety of stylistic alternates, ligatures, beginning and ending letters, flourishes, borders, rules, and other extras. The Pro version also includes extended linguistic support for Latin-based scripts (Western, Central and Eastern European, Baltic, Turkish, Welsh/Celtic, Maltese) as well as Greek. For more thoughts on Maestro, its background and character sets, please read the PDF accompanying the family.

Beyond the halls of the ivy league, a vintage sport font from the days of old. A complete family for all of your layout needs. Includes a layered COLLEGE effect to stack up and command those team colors.

Tagline is a Fun, Bold casual font that was born from the New York graffiti style. Good for all your entertainment projects. Though "Tagline" is radical in style it's still very readable and calls attention to your message.

Hello! I’m SideNote. I specialize in annotations, headings and friendly dialogue. I’m perfect for descriptions and explanatory text. Use me to deliver tricky information in a helpful, reassuring manner. I look friendly and relaxed but professional enough to make you look awesome. I add personality to otherwise dry information making it fun and easier to understand. Whether you’re pulling some slides together or explaining your work, think of me as your friendly assistant I come with all sorts of useful features, like emoji, arrows and underlines. See my webpage for more details: https://www.jamieclarketype.com/SideNote

Sistina, designed by Hermann Zapf in 1950 was first named Aurelia Titling. It is a heavy supplement to the Michelangelo Titling based on studies of inscriptions in Rome. First release in hotmetal at D. Stempel AG, Frankfurt in 1951. Sistina was originally an all caps font. The digital version from Linotype contains small caps. Hermann Zapf together with Akira Kobayashi, type director from Linotype had made a new revised version of Sistina now named as Palatino Imperial" in the Palatino nova type family, a Platinum Collection product from Linotype."

Minnak, as a whole geometric display type is our take on Square Kufic (Makili) style Latin script fonts, comes in eleven weights with linear progression. It is an Uniwidth typeface at the core. From Hairline to Black, all multiplexed weights take up the same space in width and can be used interchangeably. Supports wide range of Open Type features, with many stylistic alternates in 12 context. Minnak is also have a close relation with pixel fonts, because in spite of its based on Makili forms, it all started as a pixel font in the drawing stage before further steps came into play. The key difference between Minnak and Makili style is that the latter must have the exact square counters with no diagonal strokes, and any other components of a letterform must conform to be proportional. Such style-specific requirements determine the overall dimensions of the glyphs and therefore, there can be only minor differences between the typefaces. In Minnak, counters are rectangular because of its narrow and condensed proportions, but the Makili form influence is still manifest. This impression is best confirmed with Medium weight where negative spaces and stem thickness are equal. Contrast and virtually no optical correction were presented, as characteristic of its genre had to have equal horizontal and vertical line thicknesses. As per the minimal and authentic look of the type, all glyphs are drawn as straight or only as 45-degree diagonal strokes. The representation of the ‘diagonalless’ approach is preserved by stylistic alternatives, making its similarity in visual aesthetics clearly visible. Marks and punctuation is another feature that doesn’t follow the strict rules of the origin style. Although not a pixel font, all building parts of the glyphs in Minnak share the same unit precision as they are designed with pixel equivalents in mind. Even space characters are designed to match glyph widths, meeting the demands of certain typesetting or multi-line lettering compositions. With its Pseudo Ancient and Runic alternates, extention parts and ornaments included in all weights, Minnak is suitable for branding, logo and monogram designs, the screen titles and headlines, packaging, posters, book covers and more, where it shines at big sizes. Its pixel font-like appearance makes it a significant choice for the modern compositions. Thanks to mostly uniform width design, it is possible to use Minnak also as a system for lettering. This feature can be used as vertical fitting of the letters between the lines. As a casual expression in Turkish, “Minnak” is one of the seven typeface designs in Esintype's ancient scripts of Anatolia project, Tituli Anatolian series — representing Seljuk period in the medieval Anatolia and their tradition of architectural stone ornamentation.

Paradise Lost is a 1667 poem by John Milton which mostly concerns the Biblical story of the Fall of Man, Eve's temptation by the devil and the expulsion of Adam and Eve from Eden. It's quite a hefty read, as the poem consists of ten books with over 10.000 lines of verse. Needless to say, I didn't read it all. But, it did give me inspiration for a font, which I called Paradise Lost. It's a good name, even though there is nothing Biblical about this font. Paradise Lost was created (pun intended) using a broken bamboo satay skewer and Chinese ink. It is all caps, but upper and lower case differ and like to mingle. I also included several ligatures for double lower case letters (aa, ee, jj, kk, etc.). Paradise Lost comes with an eternity of diacritics.

When designing a typeface, one has to be conscious of superfluous details. Although I am always tempted to add little personal touches, experience taught me that the phrase -less is more- is totally true. In Model, the letters (like models do) participated of a contest: An event in which models engage in competition against each other, often for a prize or similar incentive. The prize was staying in the font! yay! Tall, delicate, refined, the right amount of elegancy: These were some of the aspects to be chosen. Typographically speaking, these things were achieved thanks to a tall x-height (which leaded the font to be somehow condensed), a subtle contrast between thicks and thins, and just the right amount of decorative swirls. The result is a nice script that can be used in magazines, invitations, posters, book-covers and works very well when used over photographs. Get Model and let it be the star of the catwalk. STYLES Model Pro and Model Small Pro are the most complete styles of the font. Both have all the ligatures and decorative glyphs seen in posters above (OT programmed). Model Std One, Std Two and Std Three are reduced versions of Pro. This means they have less glyphs inside. TIP If you are planning to print the font in small sizes, it’s highly recommended to purchase Model Small Pro. Its thins are thicker so they will be better printed.

Empire was originally designed in 1937. This version is an all-capitals face with tall condensed characters. The Empire font can be used for headlines and posters where space is tight, or where an empression of height is desired.

Introducing our font called “REACH” – display typeface with 12 styles included (Fill-Fill Outline-Stamp-Outline). Perfect for branding projects, logos, labels, logotypes and more. Features: A-Z all caps characters (12 styles) Numbers, Symbols, and Punctuation Multilingual Support

Ballerose is an elegant and flowing handwritten font. It is PUA encoded which means you can access all of the glyphs and swashes with ease! Fall in love with this font and bring your projects to the highest levels!

Conversation Hearts are inspired by the sweethearts and conversation hearts that can be found all over the US and Britain, but not in Germany. A source of endless fun and surprise. As a typographer to me they are also a surprising document of written communication. Most people complain that nowadays the inscriptions are not as sweet as they used to be. While they used to held romantic and promising inscriptions like “Be True” “Sweet Talk”, today they carry “Tweet me” “Ur Hot” and “Party Girl”. So i took this as a motivation to work with conversation sweetheart on a conceptial inspirational and typographical level. The obvious: every letter pressed on the keyboard brings out a conversation heart that starts with the letter - i.e. L = Loverboy, H = Heartless but what to write? Since i didn't want to reproduce the old “Fax me” and “Email me” I had to come up with something new. Something with a personal relation and of course something that I Love - what else could i write in the shape of the heart? So I tried to access my upper subconsciousness and looked for two words for every letter in the alphabet. One for the capital letter pressed and one word for the lowercase letter. Resulting in a Kurt Schwitters worthy assemblage of vocables "Post-office" “Internship” “Zebra” “Answers” etc. It is not easy to read a text set in Conversation Hearts but easier as a text set in Zapf-Dingbats. To sparkle the visual appearance uppercase letters are filled hearts with “carved” inscription, while lowercase letters are an outlined heart with written inscription. Conversations Hearts is a part of the Light Hearted Font Collection that is inspired by a recording of Jean Baudrillard with the title, "Die Macht der Verführung" (The Power of Seduction) from 2006. Further inspiration came from the article, "The shape of the heart: I'm all yours". The heart represents sacred and secular love: a bloodless sacrifice. by British writer Louisa Young printed in EYE magazine (#43) London, 2002.

Many times, when a new creative process is starting, it is triggered by an everyday action or item. In this case, the looks of a lady’s watch inspired Michael Herold to create his new typeface LUX. The sight of the chronograph sparked associations of the 1950s in Mr. Herold: While this decade was predominantly dominated by brush and feather scripts, there was also a bloom of strict and modern architecture. This special mix of strength and retro style is exactly what Michael Herold is trying to capture in his LUX. The result is a typeface which is perfectly suitable for use on book covers, posters and claims – thanks to its striking impression. The name LUX, Latin for light, is inspired by the high bright-dark contrast within the individual characters. Oft sind es alltägliche Gegenstände, die das Bestreben eines neuen kreativen Prozesses auslösen. So entspringt auch die Inspiration zur Erschaffung der LUX von Michael Herold dem Anblick einer Damenuhr. Der Chronograph löste bei Herrn Herold Assoziationen zu den 1950er Jahren aus: Während diese Zeit hauptsächlich von Schreibschriften aus Federn und Pinseln beherrscht wurde, nahm auch die streng und modern anmutende Architektur starken Einfluss auf die Epoche. Diese Mischung aus Strenge und 50er Jahre Retro-Stil soll in der LUX zum Ausdruck kommen. Das Ergebnis ist eine Schrift, die sich mit ihrer plakativen Wirkung perfekt für Buchumschläge, Poster und Claims eignet. Namensgebend war der starke hell-dunkel Kontrast innerhalb der Schrift – festgehalten in dem lateinischen Wort für Licht.

The contemporary feel of the Sancoale superfamily takes a bolder turn with this futuristic slab. Built from Sancoale's successfully simple geometry, Slab's serif elements and tall x-height give the face an energetic, yet clean figure that easily complements its cousins: Sancoale Softened--a sans with blunted terminals; Sancoale Narrow; and, of course, the original Sancoale itself. The weights of each member have been balanced carefully to ensure compatibility with the others, and when used together, the combination creates a powerful design that is easy to identify. With weights ranging from the classier Thin to the authoritative Black, Slab opens the door to a range of applications. Used in different text sizes, its tech image is legible and neutral enough for longer bodies of copy--both in print and on the web. Have a more prominent need? The web font also stands out well in a headline or even as a display face. Slabís great personality puts a strong foot forward without giving its reader a kick in the teeth. Whatever the task, this font's one to capture the Zeitgeist into your work. All Insigne fonts are fully loaded with OpenType features. Sancoale Slab is also equipped for complex professional typography, including alternates with stems, small caps and plenty of alts, including "normalized" capitals and lowercase letters. The face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Included are small caps, fractions, old-style and lining numbers, scientific superior/inferior figures, complete ordinal and inferior alphabet, and a set of symbols and arrows. The Sancoale family also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Sancoale Slab supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging.

Sancoale Softened is the new rounded companion to Sancoale. While the original Sancoale is crisp and defined, its delicate forms also lend themselves well to a lighter, more rounded version. The stems of Sancoale Softened are blunted, and its corners have been carefully rounded, avoiding the “sausage” look seen with some rounded fonts. This blend of definition and delicacy makes the Sancoale Superfamily versatile and appropriate for a variety of applications. The design minimizes the characters to their essence, leaving a default set of simple characters without notches or spurs. However, the typeface family’s slightly technological feel still appears friendly and approachable to the reader. It’s slightly condensed proportions and tall x-height also make the design readable at a wide range of sizes, which works especially well for web pages. These softer letterforms give Softened its unique, futuristic look--great for distinguishing your text or display. There are six weights with true italics. All insigne fonts are fully loaded with OpenType features. Sancoale Softened is also equipped for complex professional typography, including alternates with stems, small caps and plenty of alts, including “normalized” capitals and lowercase letters. The face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. The Sancoale family also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Sancoale Softened supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Sancoale Softened continues with Sancoale’s successfully simple, geometric and legible structure. With its suitability for a wide range of uses, the Sancoale superfamily is a very economical and versatile addition to any designer’s font collection.

Proudly presenting the newest handwritten font called Sans Andreas. These font made by handwritten style, so all shape looks unique and natural. Sans Andreas is a family font, with 4 styles regular, italic, bold, bold italic. Sans Andreas is also perfect for all your project that has sense fun, playful, art, and .etc If you have any questions or technical support don't hesitate to comment, message or contact java.indonesian@yahoo.com. Have a nice day.

Callingstone is an elegant and modern sans serif font. Fall for its ravishing style and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, and much more! This font is PUA encoded which means you can access all of the amazing glyphs and ligature with ease! Features : Callingstone Regular, sans serif font All Caps, Numerals and more punctuations. Multilingual support for various languages Open Type Format

Alvarisky is a stylish script font that inspired by combination of streetwear, bouncy and hand lettering styles. Ideal for logos, badge, label, apparel, club, event, handwritten quotes, product packaging, header, poster, merchandise, social media & greeting cards. Alvarisky come with opentype feature like ligature and a lot of alternates character. Its help you to make beautiful lettering. This font is also support multi language.

Creatify – Font is a bold script font. It’s perfect for logo, branding, title, social media posts, advertisements, product packaging, product designs, label, photography, watermark, special event, magazine, web design, etc. Features : Creatify ( Uppercase, Lowercase ) Contextual alternates Stylistic alternate Ligatures Multilingual Support If you have any questions please don’t hesitate to contact me. follow my Instagram: fkryall Thank you Fikryal Studio

Cinnamon Cookie is combination of cute-uppercase-display-font with beauty-lowercase-script-font. When it is used together, it is almost perfect for various usage such as; wedding invitation, signature, decoration, until the range of kids products. It also support international characters. Other than that, you will get couples of additional stylistic set characters to improve/enhance your design.

Louisiana originated from the lovely handwriting style of Melanie Snedeker. Lettering Artist Charles Borges de Oliveira then refined the letter forms to produce this one of a kind handwriting script. When you need a legible handwriting font, Louisiana is the perfect choice. Louisiana Grab Bag is a fun little add-on to Louisiana. Chockfull of arrows, smiley faces and other little goodies.