Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Veneto Handwriting Pro is a beautiful typeface that mimics true handwriting closely. Use Veneto Handwriting Pro to create stunningly beautiful designs easily. This typeface comes with many pre-made ligatures and alternative characters for sophisticated typography – all easily accessible as OpenType features. A “random” feature even allows for automated random switching between variations of the same character, resulting in type that looks authentically handwritten.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Schneid Handwriting Pro is a beautiful typeface that mimics true handwriting closely. Use Schneid Handwriting Pro to create stunningly beautiful designs easily. This typeface comes with many pre-made ligatures and alternative characters for sophisticated typography – all easily accessible as OpenType features. A “random” feature even allows for automated random switching between variations of the same character, resulting in type that looks authentically handwritten.

Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect logarithm. We swooned again over its subtleties (“Ah, that mermaid of an R!”). We rehashed decades-old debates about “Hakzidenz,” “improvement in mind” and “less is more.” We dutifully cursed every single one of Helvetica’s knockoffs. We breathed deeply and closed our eyes on perfect Shakti Gawain-style visualizations of David Carson hack'n'slashing Arial — using a Swiss Army knife, no less — with all the infernal post-brutality of his creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed à la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.” The great hype of Swisspalooza '07 prompted a look at Max Miedinger, the designer of Neue Haas Grotesk (later renamed to Helvetica). Surprisingly, what little biographical information available about Miedinger indicates that he was a typography consultant and type sales rep for the Haas foundry until 1956, after which time he was a freelance graphic designer — rather than the full-time type designer most Helvetica enthusiasts presume him to have been. It was under that freelance capacity that he was commissioned to design the regular and bold weights of Neue Haas Grotesk typeface. His role in designing Helvetica was never really trumpeted until long after the typeface attained global popularity. And, again surprisingly, Miedinger designed two more typefaces that seem to have been lost to the dust of film type history. One is called Pro Arte (1954), a very condensed Playbill-like slab serif that is similar to many of its genre. The other, made in 1964, is much more interesting. Its original name was Horizontal. Here it is, lest it becomes a Haas-been, presented to you in digital form by Canada Type under the name of its original designer, Miedinger, the Helvetica King. The original film face was a simple set of bold, panoramically wide caps and figures that give off a first impression of being an ultra wide Gothic incarnation of Microgramma. Upon a second look, they are clearly more than that. This face is a quirky, very non-Akzidental take on the vernacular, mostly an exercise in geometric modularity, but also includes some unconventional solutions to typical problems (like thinning the midline strokes across the board to minimize clogging in three-storey forms). This digital version introduces four new weights, ranging from Thin to Medium, alongside the bold original. The Miedinger package comes in all popular font formats, and supports Western, Central and Eastern European languages, as well as Esperanto, Maltese, Turkish and Celtic/Welsh. A few counter-less alternates are included in the fonts.

Logik is a futuristic square sans serif typeface. Its personality is defined by squared-off corners that you would normally expect to be rounded, this sharpness gives the glyphs an eccentricity that the eye quickly adjusts to. Sharp, incised/stylised ink traps along with slightly tapered/curved horizontals and verticals add to the character of each letterform. These subtleties combine to give Logik a distinctively futuristic aura. Logik’s main use would be for headlines, short runs of text, branding and display purposes – ideally suited for film and book titles, Logik could be widely used for sports, media and recreation purposes also. Logik comes in 7 weights (from Thin to Black) across 3 widths – Regular, Wide, and Extended. Each font covers all European Latin-based languages and includes Old Style Figures, Small Caps, and some Case-Sensitive Forms. Key features: 7 Weights in Roman and Oblique 3 Widths – Regular, Wide, Extended Small Caps Old Style Figures European Language Support (Latin) 550+ glyphs per font.

Karibu™ is a 100-font original, ultra versatile geometric grotesk family with a lot of character. It is designed for modern projects, to serve as display as well as paragraph text typeface. It is perfect for lots of design situations - from magazine editorial use, logo design & branding, to web design, user interfaces and mobile applications. Main features: - 5 widths (Narrow, Condensed, Normal, Expanded, Wide), each consisting 20 fonts - 10 weights for each width (from Hairline to Black) - handdrawn, carefully crafted italics - alternate stylistic set for more technical and minimalistic projects - pronounced ink traps and large x-height improving legibility in small sizes and adding strong personality to display sizes - flatten letter shapes adding vertical rhythm and elegance to narrow widths - extended latin language support - OpenType features (case sensitive forms, standard and discretionary ligatures, stylistic sets, contextual alternates, lining, oldstyle and tabular figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols)

Dewi is a modern neo-grotesque multi-typeface family with closed forms. It includes 4 versions: condensed, normal, extended, expanded. In each version there are 16 font styles: 8 regulars and 8 italics (64 styles in total). The family contains weights from thin to black. Everything is ready to solve absolutely any graphic tasks. Dewi helps to create a unique and vibrant design consonant with the spirit of our days. Сontours remains neutral in a small size but when you work with large sizes Dewi shows his strong and confident character. Ideally suited for web design, logos and branding, navigation, printing, advertising and packaging, infographic, poster design, music covers and so many more. This typeface will be a real workhorse for you. Opentype features: old-style figures, tabular and tabular old-style, slashed zero, ligatures, fractions and automatic frations, circuled numbers, arrows and stylistic alternates for arrows, superscript and subscript. Multilingual support: Latin, latin extended, cyrillic and cyrillic extended (more than 70+ languages)

Core Sans D is a modern interpretation of condensed sans-serif typeface designed by S-Core and the whole family consists of 2 widths (Condensed, Normal), 7 weights (Thin, Light, Regular, Medium, Bold, Heavy, Black) with their corresponding italics. Core Sans D features a condensed geometric construction and has a large x-height which enhances legibility. The family is ideal for signage, headline as well as body text. Core Sans D is a part of the Core Sans Series such as Core Sans N SC, Core Sans N, Core Sans N NR, Core Sans M, Core Sans G and Core Sans A. Letterform in this type family is simple, clean and highly readable. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Core Sans D supports complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features.

The family has 24 weights, ranging from Thin to Black in Normal, Condensed and Wide styles. It is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster, and billboards, small text, wayfinding, and signage as well as web and screen design. Zawya Pro provides advanced support with features such as case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of letters for Arabic and English with Arabic and Latin digits. As well as Latin-based languages, the typeface family also partly supports the Arabic, Urdu and Persian and more than 30 writing systems such as ( Afrikaans - Albanian - Catalan - Croatian - Czech - Danish - Dutch - English - Estonian - Finnish - French - German - Hungarian - Icelandic - Italian - Latvian Lithuanian - Maltese - Norwegian - Polish - Portuguese - Romanian - Slovak - Slovenian - Spanish - Swedish - Turkish Zulu - العربية Arabic - Urdu الفارسية - الأوردو Persian). In includes OpenType features for Arabic and English: Stylistic set 01 and 02 Numerator & denominator Fractions Ordinals Superscript standard ligatures discretionary ligatures Case Sensitive

Normatica is a neutral typeface inspired by advertising letters used as letterings on shop windows during period of Normalization (the 60s–90s) in former Czechoslovakia. The complete font family consist of 24 styles in 6 weights (Thin–Black) with matching Italics where every style is followed by his Display counterpart. The difference between default and display styles is tighter spacing in Display fonts and different design of punctuation and diacritics accents. Beside the complete set of Latin, Normatica includes Cyrillic characters as well. Each font contains of alternative variation of some characters (j, t, y, Q) and includes a wide range of the Opentype features (for more details see pdf Specimen in Gallery section). Mixture of Normatica and Normatica Display can be effectively used for both text and display usage. It can be used in advertising, signage, corporate identities and various situations of editorial design. You can try two Demo styles in Medium weight fully for free.

German type designer Hans Reichel created this sans FontFont between 1995 and 2000. The family has 36 weights, ranging from Light to Black in Condensed, Normal, and Wide (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, poster and billboards, wayfinding and signage as well as web and screen design. FF Dax provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic and Greek writing systems. In 1998, FF Dax received the The Big Crit award. This FontFont is a member of the FF Dax super family, which also includes FF Dax Compact and FF Daxline.

Douceur (pleasantness in French) is an all caps, serif typeface with a flourish. It was created by hand in one go: no sketches, no try-outs. The font comes in two styles: regular (outlined) and black. Due to style naming issues, the black version will show up as a different font. Douceur comes with all diacritics.

We RECOMMEND that you purchase both of these fonts to get the look like in the font preview image. Tutorials Photoshop: https://youtu.be/qfUNZr0m4n8 Procreate: https://youtu.be/R_5O_pfPBIY Sabersong is a carefully crafted font, which features a very heavy black metal feel. Sabersong suitable for metal band logos, merchandise, clothing, apparel, or anything that needs a black metal feel.

Nido is a cute and funny childish typeface, designed for logos, book titles, invitations, birthday cards, flyers, posters, advertising, etc. It comprises 5 styles: black, white, black italic, white italic and dingbats, which can be used nicely together. Nido is a new design by Sofía Mohr. See also Café Brasil http://www.myfonts.com/fonts/sofia-mohr/cafe-brasil/

In StamperRS all the letters are on little stamps. The upper-case letters are have black letters on white stamps and the lower-case letters have white letters on black stamps. The character set is limited. The letters are from the typeface Myhota, also by Ingrimayne Type. StamperRS was first released in 1995 with the name Stamper.

We RECOMMEND that you purchase both of these fonts to get the look like in the font preview image. Youtube Tutorials : https://www.youtube.com/@madhalinestudio Mask n eyes is a carefully crafted font, which features a very heavy black metal feel. Mask n eyes suitable for metal band logos, merchandise, clothing, apparel, or anything that needs a black metal feel.

This elegant extended script can be used for both formal and casual situations.

Pema – a contemporary Tibetan sans serif encoded in the Unicode standard. This is the first Tibetan typeface influenced by western sans serif fonts. It was designed especially to match multilingual purposes. The rather calligraphic Tibetan scripts did not match with the design aesthetics of western and Indian fonts and so I came up with the idea to design a “modern” Tibetan sans serif. Pema comes in two weights, Regular and Bold, each equipped with almost 1.300 glyphs.

In most cases, motion pictures with a Western theme have their titles and credits lettered in type styles that reflect the period of the Old West. In 1966, the titles and credits for “Texas Across the River” used casual sans serif lettering more suited to the 1960s than a Western taking place in the 1800s. Nonetheless, the lettering inspired a digital font entitled Adventure Film JNL and it is available in both regular and oblique versions.

Edison Swirl, with its terminals majestically looping and twirling in a circular fashion, quickly takes us back to the Victorian era of type. This unusual fancy face, which dates back to the early 1900s, distinguishes itself by employing splayed M & N caps. Some letterforms also contain double cross-strokes for added interest. Edison Swirl is full of ornament and detail which creates a truly striking pattern of intrigue and delight. Edison Swirl is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Gentleman font is a sans-serif font family of 10 weights – from hairline to black – designed by Juraj Chrastina. It is a legible typeface with clear geometry and spiced with nice humanist terminals enhancing its identity. We think Gentleman name suits perfectly to this family because of its beautiful outlines and elegant letterforms yet looking tight, compact and with own presence. Gentleman is surely a good choice both for screen applications and print media. Its multipurpose spreads over poster design, logos, headlines, body texts, stationery and back labels. Also very good for books, magazines and newspapers – an excellent choice even for small text size.

AG Bambook- compressed geometric sans serif with the closed forms. Contains 4 fonts. 2 regular and 2 italic. The font is universal and can be used in different directions of graphic design. Internet, printed materials, clothing, logos, posters, labels, navigation and more. Thanks to character compression, you can place a large amount of information in a compressed space. It will read equally well in large and small sizes. A small difference in the width of the glyphs for different styles allows you to change the saturation while maintaining the size of the text block. OpenType: alternate numbers, old-style numbers, arrows, case sensitive forms, superscript and subscript, numerators and denominators. Support: Cyrillic, Cyrillic extended, Latin, Latin Extended (Western European, Central European, South-East), Kazakh.

Areno was our first ever font family, released in 2017. We’ve learned a lot since then and made the decision to redraw it from scratch with improved letterforms, better readability and added language support. Most adjustments are very subtle, but some glyphs have gotten a complete makeover. We've also added lowercase letters to the family. Areno is a strong and bold sports block font. These fonts are perfect for sports logos, branding, posters, apparel design, magazine headlines, labels and so much more. Areno now features a full Adobe Latin 1 Character Set with support for most Western European languages including Afrikaants, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili and Swedish.

Ashbury derives its inspiration from 18th century transitional types such as Caslon and Baskerville. It is, however, not a revival but interprets formal aspects in a new and individual fashion. With a flowing outline, it remains warm and pleasant but assertive because of its solid stroke weights. It is very well equipped for a wide range of ambitious applications. Ashbury comes in ten styles, in OpenType format, and with extended language support for more than 40 languages. All weights contain small caps, swash capitals, standard and discretional ligatures, proportional lining figures, tabular lining figures, proportional old style figures, tabular old style figures, matching currency symbols, fractions, and scientific numerals.

In its heyday, the Starlight Room of the Waldorf-Astoria in New York City quite frequently printed lunch and dinner menus for not only their rotating bill of fare, but also for special events held there. The 1937 Electrolux (Eastern) Appreciation Banquet has its own menu cover, and the lettering was in a simple, yet Art-Deco influenced condensed block design with squared features. This simple and quirky typeface has been digitally redrawn as Sales Convention JNL, and is available in both regular and oblique versions.

Here comes a New Font,Introducing Racerboy is a Racing Themes Display Font .Racerboy has 2 is Normal and Slant styles is perfect for the purposes of designing templates, brochures, videos, advertising branding, logos and more.

Grotesk typeface with elastic punctuation & diacritical mark. in 4 weights: Light, regular, Medium and Bold by 4 styles: A (small diacritical), B (normal diacritical), C (hight diacritical) and D (very hight diacritical) language: all latin glyphs

Alpha is an intuitive, clean and modern sans serif typeface crafted to depict change, the new normal, and unbridled opportunities. It has excellent legibility and is ideal for usage in displays, headlines, labels, and website design.

Madelican is a beautiful combination of modern and classical calligraphy, inspired by the handwriting of Italian women and ancient manuscripts. I think calligraphy has an advantage for the alternate characters, Madelican has tons of possibilities for just one letter. My exploration of this fonts was not as easy as in my imagination, it took several trial and errors for the perfect balance of the style. Madelican is very suitable for weddings, book covers, greeting cards, logos, branding, business cards and certificates, even for any design work that requires a classic, formal or luxurious touch. Almost all letters have more alternate than others, it is fine because the limitations of the shape of the letters. It must be readable and legible. Every letter that I've chose are only the best on it and fit with the character style. Multi-lingual support and up to 16 stylistic alternates. If you do not have programs that support OpenType features like Adobe Illustrator and CorelDraw X Versions, you can access all alternative flying machines using Font Book (Mac) or Character Map (Windows). And feel free contact me if you have a question.

The FF Meta® design is a sans serif, humanist-style typeface that was designed by Erik Spiekermann for the West German Post Office (Deutsche Bundespost). It was subsequently released in 1991 by Spiekermann's company FontFont The FF Meta family, initially released as a commercial font in 1991, now comprises over sixty fonts. The FF Meta 2 family was released in 1992, the FF Meta Plus family in 1993, and in 1998 a facelift of the complete font family reclassified the FF Meta series and combined them into family-sets named FF Meta Normal, FF Meta Book, FF Meta Medium, FF Meta Bold and FF Meta Black. These are all available in Roman, italic, small caps and italic small caps. Between 1998 and 2005, further light stroke weights and a condensed family were introduced by Tagir Safayev and Olga Chayeva and were named: FF Meta Light and FF Meta Hairline. The last addition to the growing FF Meta font family is FF Meta Serif released by FSI in 2007. FF Meta Variable Roman is a single font file that features two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. This Roman (upright) font is provided as an option to customers who do not need Italics, and want to keep file sizes to a minimum. FF Meta Variable Italic is a single font file that features an italic design with two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. This Italic font is provided as an option to customers who do not need Roman (uprights), and want to keep file sizes to a minimum. FF Meta Variable Set is a single font file that features three axes: Weight, Width and Italic. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. The Italic axis is a switch between upright and italic

Ring-bearers across Middle Earth will be kissing their Sorceror's Stones, when they hear the news of the debut of this magickal collection of fonts, suitable for Incantations, Faerie talk, Books of Magic and fantastickal Arias. Coincidentally the official font of Scott Sava's DREAMLAND CHRONICLES (how didja guess?), Dreamland is also suitable for any chronicles you may have of your own.

Ring-bearers across Middle Earth will be kissing their Sorceror's Stones, when they hear the news of the debut of this magickal collection of fonts, suitable for Incantations, Faerie talk, Books of Magic and fantastickal Arias. Coincidentally the official font of Scott Sava's DREAMLAND CHRONICLES (how didja guess?), Dreamland is also suitable for any chronicles you may have of your own.

Juxta is a unique experimental and futuristic script. It was born from the idea to combine two antipodes: programming fonts aesthetics and handwritten script. Juxta has witty and jagged character combined with a perfect grid structure and certain decorative elements, such as cross out letters, that gives it the spirit of Nordic minimalistic design. Juxta script is a part of Juxta superfamily, united by the same aesthetics, which currently also includes Juxta sans. Juxta script is available in 7 weights, including Thin, Light, Regular, Medium, SemiBold, Bold, and Black. It is a potential leitmotif of graphic design projects that need a creative breakthrough, including logos, labels, branding, identity, website design, album art, posters, advertising. Juxta offers standard ligatures, contextual and stylistic alternates. It extends multilingual support to Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Pan African Latin, Afrikaans, and Basic Cyrillic for exceptionally far-reaching global accessibility.

An uppercase font that has versatile character. Got a story to tell? Cowgirl can help you tell it. Includes western-themed vector illustrations handmade by Meg Burk. I grew up spending almost every family vacation as a road trip across the southwestern US. In these adventures, I fell in love with learning about the nature around us; deserts, mountains, plains, piñon trees, rainbow trout, black bears, eagles, and more. I fell into freezing cold white water rapids, explored long-abandoned cliff dwellings, camped under the Milky Way, saw old cave markings, stone markings, preserved art, and read many a many old map legends. These memories are visceral and the inspiration that I get from them permeates my every day. Take a piece of these stories with you and use them in your designs, too. Handmade, meant to last a lifetime and inspire others for decades to come.

Based on informal pen handwriting. A set of Western and Central European characters was added in 2011 by Gennady Fridman. For use in advertising and display typography.

The DF-Daantje is an icon font based on a brisk black creature: our Fell Terrier ‘Daantje’.

A very black letter packs a lot of punch, great for paperbacks, posters and most powerful headlines

In the October 31, 1920 edition of Wid's Daily (the predecessor to The Film Daily), a block of ad copy from a 1920 film called "Down Home" had the text printed in such a fluent pen-lettered style that a bit of a shortcut was used at the beginning of the design process for this typeface. Normally, font inspirations are redrawn [and not by simply using auto-trace] except under specialized circumstances like this one where that feature is a help, rather than a replacement for the creative process. The entire block of text copy was auto-traced, then the necessary letters were selected from the available wording and cleaned up to remove any sharp points and irregular curves in an effort to make the end results as close to the original and unusual hand-drawn text. From there the missing characters needed to produce a finished type font were created utilizing the standard methods of drawing and font construction. The end results turned out very well. Using the film's title as its namesake, this design is now available digitally as Down Home JNL in both regular and oblique versions.

Mollen is sans serif font family that designed to be functional. Each glyphs are shaped by geometrical form with specific visual structure: Simple and clean form with low contrast stroke, rounded 'o' in the normal width, mix diagonal and straight cuts on terminals and finials. Low capitals, with flat top and low descenders. With this personality, Mollen meant be fit for modern, contemporary and technological nuance. Mollen consist of 48 font with 8 weight: From Thin to ExtraBold and 3 width: Condensed, Narrow and Normal. With each matching Italics. It also contain 425 glyphs and several opentype features.

The "Strong Display Font" is a derivative of the Clinto slab serif font, originally designed by. Faldy Kudo. This font is specifically crafted to exude strength and impact, making it an ideal choice for display and headline usage. It incorporates the unique typographic feature of ink traps, enhancing its readability even at larger sizes. The font family comprises 6 distinct styles: "Normal, Normal Rounded, Medium, Medium Rounded, Condensed, and Condensed Rounded.” offering versatility in design choices. Additionally, the font provides multi-language support, ensuring that it can be effectively used for a wide range of global content and projects.